MODERN ART MUSEUM IN PUNE

POOJA AMBADAS RODE

FIFTH YEAR. B. ARCH

MARATHWADA MITRAMANDAL COLLEGE OF ARCHITECTURE

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Sr No INDEX PAGES

1. INTRODUCTION
 Perception of Indian Culture
 Museums in India
 Functions
ELEMETS OF CULTURE
 Dance
 Drama and theatre
 Music
 VISUAL ART
Painting
Sculpture
2. CULTURAL BACKGROUND OF PUNE
 Introduction
 Pune known as historical city
 Pune known as the city of Peshwas
 Pune known as the Queen of Deccan
3. Reason to choose this site in Pune

4. Principles, Aims and Objectives

5. KELKAR MUSEUM
 Introduction

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  History
 Issue and Challenges
 New upcoming project museum 2000
 Facilities
 Proposed site
6. METHODOLOGY

7. DATA COLLECTION

8. INTERPRETATION TECHNIQUE

9. SPECIAL CONSIDERATIONS
 Acoustics
10. BHARAT BHAVAN

11. URBAN ART MUSEUM

12. ANALYSIS
Positive Aspects
Negative Aspects
Conclusion
13. MODERN ART GALLERY

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14. BOOK CASE STUDY
Beamish Museum
15. NATIONAL CENTER FOR PERFORMING ARTS (NCPA)

16. KALA ACADEMY

17. PUNE And Its Physical Factors

18. SITE SELECTION AND ANALYSIS

19. DESIGN

20. BIBLIOGRAPHY

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INTRODUCTION OF INDIA
India's languages, religions, dance, music, architecture, food, and customs differ from place to place within the
country. The Indian culture often labeled as an amalgamation of several cultures, spans across the Indian
subcontinent and has been influenced by a history that is several millennia old. Many elements of India's diverse
cultures, such as Indian religions, yoga and Indian cuisine, have had a profound impact across the world

PERCEPTIONS OF INDIAN CULTURE

 India's diversity has inspired many writers to pen their perceptions
of the country's culture. These writings paint a complex and often
conflicting picture of the culture of India.

 Traditional Indian culture is defined by a relatively strict social

hierarchy. By the way many believe gods and spirits have an
integral and functional role in determining their life. Several
differences such as religion divide the culture.

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 However, a far more powerful division is the traditional Hindu bifurcation into non-polluting and polluting occupations.
Strict social taboos have governed these groups for thousands of years.

 In recent years, particularly in cities, some of these lines have blurred and sometimes even disappeared.

 India is a country of very diverse cultures with many languages, religions and traditions. Children begin by coping and
learning to accept and assimilate in this diversity. Prahalad - who was born in India and grew up there - claimed, in
the interview, that Indians, like everyone else in the world, want to be treated as unique, as individuals, want to
express themselves and seek innovation.

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 The culture of modern India is a complex blend of its historical traditions, influences from the effects of colonialism
over centuries and current Western culture - both collaterally and dialectically.

 External images of India in the West often tend to emphasize the difference - real or imagined - between India and the
West. There is a considerable inclination in the Western countries to distance and highlight the differences in Indian
culture from the mainstream of Western traditions, rather than discover and show similarities.

 Western writers and media usually miss, in important ways, crucial aspects of Indian culture and traditions. The deep-
seated heterogeneity of Indian traditions, in different parts of India, is neglected in this homogenized description of
India.

 Eroticists approach: it concentrates on the wondrous aspects of the culture of India. The focus of this approach of
understanding Indian culture is to present the different, the strange.

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 Magisterial approach: it assumes a sense of superiority and guardianship necessary to deal with India. While great
many British observers did not agree with such views of India, and some non-British ones did, it is an approach that
contributes to some confusion about the culture of India.

 Curatorial approach: it attempts to observe, classify and record the diversity of Indian culture in different parts of
India. The curators do not look only for the strange, are not weighed by political priorities, and tend to be more free
from stereotypes. The curatorial approach, nevertheless, have an inclination to see Indian culture as more special and
extraordinarily interesting than it actually may be.

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 MUSEUMS IN INDIA:

 The instinct to collect and preserve artifacts has increased with the
evolution of the civilization and increasing curiosity. Cultural and
educational imperatives demand three-dimensional documentation display
and so the museums are increasing in number.

 The role of museums has become synonymous with that of the cultural
centers, where not only are design techniques being used to provoke
greater communication between viewer and exhibit, but space for lectures,
audio-visuals and get together are essential.

 Previously the museum was only a collection of art objects, for display, by
the kings and the aristocracy.

 In Europe it was a demonstration of power of the state anxious to educate

and improve the cultural standards of its citizens. They were the great palazzi
modeled on the ideal of 'Napoleon’s Louvre'.

 It was a place where the inherited/ looted was put on display to a bourgeois
avid for culture and prestige. They flocked to use the artifacts, which were
once the preserve of the aristocracy.

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 Even the museums built in the second half of the century echoed the palazzo fo rm .In the modern times, when
the concept of rigid formality has given place to a place of education through
recreation; it has still remained as a place set apart from the normal civic
life.
 But the trend is changing with museums like the VECHAAR UTENSILS
MUSEUM" at Ahmadabad.

 "THE CALICO MUSEUM OF TEXTILES' and "THE ARTAND CRAFTS

MUSEUM" at Delhi which have all come up in contextual settings. The idea
being to present the collection in accordance to its true and proper
environment. Hence the "VECHAARMUSEUM", where traditional utensils
are kept, are in a scaled down vernacular design and structure the "ARTS
AND CRAFTS" MUSEUM, which is in a truly ethnic setting and the "BIRLA
INDUSTRIAL AND TECHNOLOGICAL MUSEUM" is in vogue with the
modern times.

 The architectural organization of the museum is determined by the total

method of communication to the visitor.

 The visitor becomes a participant, the exhibits as well as their backdrop (the museum environment) becomes
an experience .Instead of creating a conflict between art and architecture - either by totally negating the
museum environment to emphasize the exhibit to be entirely free of its background; we should strive for a
working relationship between the two.

 India is an artistically gifted country boasting a 5,000-year-old cultural and spiritual legacy.

 Art in India is an affair of engaging tradition and adaptation.

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 A country with such diverse art forms requires the state of the art facility to showcase its talents.

 Facilities in India for events are very limited. Further to this it becomes more crucial to render the international
audience a complete artistic experience of Indian artistic Heritage and contemporary socio-expression.

FUNCTIONS:

 To present an integrated story of the evolution of Man and Culture with special reference to India and the
richness and diversity of the cultural patterns in the country .Highlight will be especially on the Tribal culture -
their settlement patterns, social customs, arts and crafts and technology.

 Salvaging and preservation of the fast vanishing aspects of our culture and the documentation and systematic
research of the same.
 Will act as a major center for research and training and enhance the museum movement in Indian to present
and preserve the variety of cultural life.

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 ELEMENTS OF CULTURE

DANCE
 India has had a long romance with the art of
dance. Nātyaśāstra (Science of Dance) and Abhinaya
Darpana(Mirror of Gesture) are two surviving Sanskrit
documents, both estimated to be between 1700 to
2200 years old.

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 The Indian art of dance as taught in these ancient books, according to Ragini Devi, is the expression of inner beauty and
the divine in man. It is a deliberate art, nothing is left to chance, each gesture seeks to communicate the ideas, each
facial expression the emotions.

 Indian dance includes eight classical dance forms, many in narrative forms
with mythological elements. The eight classical forms accorded classical dance
status by India's National Academy of Music, Dance, and Drama are:
Bharatanatyam of the state
of T.Nadu, Kathak of UttarPradesh, Kathakali and Mohiniattam of Kerala, Kuchipudi of
Andhra Pradesh,Yakshagana of Karnataka, Manipuri of Manipur, Odissi (orissi) of the
state of Odisha and the Sattriya of Assam.

 In addition to the formal arts of dance, Indian regions have a strong free form, folksy
dance tradition.

 Some of the folk dances include the Bhangra of Punjab; the Bihu of Assam; the Zeliang
of Nagaland; the Chhau of Jharkhand and Bengal; the Ghumura
Dance, Gotipua, Mahari dance and Dalkhai of Odisha; the qauwwalis, Birhas and Charkulas of Uttar Pradesh; the Jat-
jatin, Nat-natin and Saturi of Bihar; the Ghoomar of Rajasthan; the dandiya and Garba of Gujarat; the Kolattam of Andhra
Pradesh; the Yakshagana of Karnataka ; Lavani of Maharashtra; Dekhnni of Goa.

 Recent developments include adoption of international dance forms particularly in the urban centres of India, and the
extension of Indian classical dance arts by the Kerala Christian community, to tell stories from the Bible.

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DRAMA AND THEATRE
 Indian drama and theatre has a long history alongside its music and dance. Kalidasa's plays
like Shakuntala and Meghadoota are some of the older dramas, following
those of Bhasa. One of the oldest surviving theatre traditions of the world is
the 2,000-year-old Kutiyattam of Kerala.

 It strictly follows the Natya Shastra. Nātyāchārya Māni Mādhava Chākyār is

credited for reviving the age old drama tradition from extinction. He was
known for mastery of Rasa Abhinaya.

MUSIC
 Music is an integral part of India's culture. Natyasastra, a 2000-year-old
Sanskrit text, describes five systems of taxonomy to classify musical
instruments.

 One of these ancient Indian systems classifies musical instruments into four
groups according to four primary sources of vibration: strings, membranes,
cymbals, and air.
 According to Reis Flora, this is similar to the Western theory of
organology. Archeologists have also reported the discovery of a
3000-year-old, 20-key, carefully shaped polished basalt lithopone
in the highlands of Odisha.

 The oldest preserved examples of Indian music are the melodies

of the Samaveda (1000 BC) that are still sung in certain

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 Vedic Śrauta sacrifices; this is the earliest account of Indian musical hymns.

 It proposed a tonal structure consisting of seven notes, which were named, in descending
order,as Krusht, Pratham,Dwitiya, Tritiya, Chaturth, Mandra and Atiswār. These refer to the notes of a flute, which was
the only fixed frequency instrument.

 The Samaveda, and other Hindu texts, heavily influenced India's classical musictradition, which is known today in two
distinct styles: Carnatic and Hindustani music. Both the Carnatic music and Hindustani music systems are based on the
melodic base (known as Rāga), sung to a rhythmic cycle (known as Tāla); these principles were refined in
the nātyaśāstra (200 BC) and the dattilam (300 AD).

 The current music of India includes multiple varieties of religious, classical, folk, popular and pop music.

 Prominent contemporary Indian musical forms included filmi and Indipop. Filmi refers to the wide range of music written
and performed for mainstream Indian cinema, primarily Bollywood, and accounts for more than 70 percent of all music
sales in the country.

 Indi pop is one of the most popular contemporary styles of Indian music which is either a fusion of Indian folk, classical
or Sufi music with Western musical traditions.[121]
VISUAL ART

PAINTING

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 Cave paintings from Ajanta, Bagh, Ellora and Sittanavasal and temple paintings
testify to a love of naturalism. Most early and medieval art in India is Hindu,
Buddhist or Jain.

 A freshly made coloured flour design (Rangoli) is still a common sight outside the
doorstep of many (mostly South Indian) Indian homes. Raja Ravi Varma is one
of the classical painters from medieval India.

 Pattachitra, Madhubani painting, Mysore painting, Rajput painting, Tanjore

painting, Mughal painting are some notable Genres of Indian Art; while Nandalal
Bose, M. F. Husain, S. H. Raza, Geeta Vadhera, Jamini Roy and B.
Venkatappa are some modern painters.

 Among the present day artists, Atul Dodiya, Bose Krishnamacnahri, Devajyoti
Ray and Shibu Natesan represent a new era of Indian art where global art shows
direct amalgamation with Indian classical styles.

 These recent artists have acquired international recognition.Jehangir Art Gallery, Mumbai, Mysore Palace has on
display a few good Indian paintings.

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 SCULPTURE
 The first sculptures in India date back to the Indus Valley civilization, where stone and
bronze figures have been discovered. Later, as Hinduism, Buddhism, and Jainism
developed further, India produced some extremely intricate bronzes as well as temple
carvings.

 Some huge shrines, such as the one at Ellora were not constructed by using blocks but
carved out of solid rock.

 Sculptures produced in the northwest, in stucco, schist, or clay, display a very strong
blend of Indian and Classical Hellenistic or possibly even Greco-Roman influence.

 The pink sandstone sculptures of Mathura evolved almost simultaneously.

 During the Gupta period (4th to 6th centuries) sculpture reached a very high standard in
execution and delicacy in modeling.

 These styles and others elsewhere in India evolved leading to classical Indian art that contributed to Buddhist and
Hindu sculpture throughout Southeast Central and East Asia.

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CULTURAL BACKGROUND OF PUNE

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 INTRODUCTION
 According to the evidence has been found to Dr.Sankalia and
his colleagues in the Deccan College that there was a human
Civilization 1 to a lakh 50 thousand years ago.

 These scholars found Stone Age implements on the banks of

Mutha River and some at the bund garden area and a few at
the Dattawadi area.

 Though part of this city has become a veritable concrete jungle,

its heritage cannot be shrugged off. Pune's cultural heritage is
in its past architecture mingled with history.

 The 8th century Pataleshwar caves of the Rashtrakuta period,

the forts surrounding the city, the colonial bungalows, a legacy
of the British Raj, Aga Khan palace, Shaniwarwada, Lal Mahal and Peshwai wadas are all snuggled safely in a city that
is becoming a concrete jungle.

 Little wonder then that Pune pushed out Mumbai to occupy the second best rank in the Times Of India-IMRB Quality of
Life survey, with an enviable rating of 3.4 in cultural heritage. Ahmedabad and Hyderabad boast of a similar score, with
Delhi scoring 3.6 and reigning supreme.

"Punekars have a penchant for intellectual debate, supported by numerous heritage libraries specializing in
various subjects, lecture series like Vasant vyakhanmala (spring lectures), open forums and kattas on different
themes, where people gather for the pure joy of sharing knowledge," she said.

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 "Various cultures have blended perfectly here—be it the cosmopolitan culture in Camp or the traditional Maharashtrian
culture in its Peths. They have prospered here and kept their identity alive while blending with the rest.

 Also, an inimitable aspect of Pune is the abundance of its cultural spaces for showcasing and appreciating talent in
music, ranging from music festivals such as Sawai Gandharva, to the recent ones like Baajaa Gaajaa," she said. Also,
among the upcoming malls with fancy buys from all over the world, Pune's very own craftsmen, the tambats
(coppersmiths) and the buruds (bamboo craftsmen), have managed to keep their craft alive.

 Pune is probably one the few places with live age-old traditions of Ganeshotsav celebrations, Alandi-Pandharpur wari,
and many more cultural festivities that retain their intrinsic values and messages.

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 PUNE KNOWN AS HISTORICAL CITY
 The Pune city has long tradition and history,
various communities living together for years
together and the people in the region have great
achievement, hence the city is called a historical
city.
 Chhatrapati Shivaji, the great king of Marathas has
established his kingdom in this region.Shahji ,
Shivajis father and grand father Maloji occupied this territory for over a century.
 Shivaji enjoyed his childhood in lal mahal along with his mother and mentor Dadoji Kondadev in pune. Everyday jijabai
used to visit the temple of Ganpati in Kasba peth. Hence she helped for construction of the temple. Shivaji conquered
sinhagad fort from his commander Tanaji in 1670. Pune city has such long tradition and history.

PUNE KNOWN AS THE CITY OF PESHWAS

 After the death of Shivaji there was turmoil in the Deccan due to campaigns launch by Aurangjeb.
However, from 1713 to 1818 Pune city and also the Maratha kingdom was ruled by the Peshwa,
the prime ministers of king of Marathas , the Chhatapati Shahu of Satara.

 The first Peshwa Balaji Vishvanath was living in Saswad, a village about 15 km far away from
Pune.

 As Saswad was inconvenient place to rule. After the death of Balaji Vishvanath his successor the
second peshwa thrale Bajirao (1720-40) construced a palace named Shaniwarwada in 1730-32.

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 The wall around the palace was constructed after some times and the new building called Mahals were built when
Peshwas were rule over Pune.

 Thorale Bajirao expanded the Maratha empire to the north. After that the third Peshwa , Nanasaheb Peshwa (1740-
1761) hold his position and built Parvati temple during his times. In 1761, the Marathas were defeated at the battle of
panipat and lost two leaders Sadshivrao and Vishwasrao along with thousands of sepoys.

 After the Nanasaheb peshwa Thorale Madhavrao (1761- 1772) hold the position and expand the maratha empire by
defeated the nizam and expanding the kingdom.

 Thorale Madhavrao was killed by the sepoys hired by Raghunathrao peshwa on instructions reveived from Anandibai,
wife of Raghunathrao, uncle of madhavrao peshwa.

 After that Savai Madhavrao peshwa was hold the place. He constructed building in shaniwarwada, expanded parvati
temple, developed Sarasbaug Ganesh temple and also built a fountain of 1000 outlets in Shaniwarwada.

 He ended his life in 1795. The last Peshwa was second Bajirao, son of Raghunathrao Peshwa. He joined hands with
British and lastly surrendered to the British and after that the Peshwa and Maratha system was end.

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 PUNE AS QUEEN OF DECCAN
 Pune is known as Queen of Deccan because of its historical, social , cultural and political importance and its
picturesque surroundings in the Deccan.

 REASON WHY I SELECTED THIS SITE IN PUNE-

 Pune is historical, educational, geographical, political and cultural

background. Many great leaders like Peshwas, Phule, and Tilak etc were
from Pune. Pune is known as ‘abode of knowledge’ and the land of
Gandharvas has been a city of learning and knowledge. Raja Kelkar and
Mahatma Phule museum still depict the old culture of Pune.

 The overall environment is encouraging for young artists to make best of

their talents and abilities.

 Pune has eminent artist like me.P.I.despande, Mr.J.dalvi Mr.Kulkarni in the field of literature, Mrs.Rohini Bhate (Bharat
natyam)and Mrs.Manisha Sathe (Kattak)in thr field of classical dancing, Mrs.Jyotsna Bhole late Mrs.Hirabai Barodekar
in the field of singing. Eminent personalities like Pandit Bhimsen Joshi, Pandit Jitendra Abhisekhi, prof.Vasant Kanetkar
have their origin in Pune.

 Pune has been called queen of Deccan, Pensioners paradise the oxford of east, etc which defines complex urban
fabric that it exists in .The recent boom in it industry has driven lot of employment from all parts of nation .Pune
exemplifies an indigenous Marathi culture and ethos, in which education and performing arts is given due prominence.

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 There are various cultural activities going on around the city around the
year like Sawai Sandharva, Vasanotsav, jazz festival, Pune festival, Pune
marathon,Janta raja ,film festival etc..With prominent artists, students an
wide audience is involved.

 The performing drama or arts is visible imbibed in the roots and the future
of the Pune city. what is required is a center which caters to the various
traditional and new age art forms, which provide modern stage and
acoustic facilities and is accessible to all strata‘s of the society. This center
will cater to the cultural Rejuvenation of the city and also create indentity
for the past, present and the future of the city.

 When asked why should one build a theatre? What it does for the community? One artist replied –for some, it is a place
to go to listen music, for others it’s a place of meeting. But actually a theatre should become a place of pilgrimage for a
citizen –its new temple, where all forms of the life generates.tn fact, It is a miniature city, a place where everything is
performed.

 A good theatre in short is the extension of the most active and creative part of the city.it is a place where all artists
meets and recreate a new image of life.

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PRINCIPAL AIMS AND OBJECTIVES

 To establish a national center for the preservation and promotion of

classical, traditional and contemporary performing and visual arts.

 To establish, equip and maintain schools, auditoria, libraries,

archives, museums, studios, workshops and other facilities
necessary to fulfill the above objectives.

 To disseminate knowledge, promote appreciation, provide training

and sponsor or undertake scientific research in these fields with the
objective of further development by encouragement of innovation
within India and by interaction with the arts of other countries

OBJECTIVES.

 To provide for a contemporary International iconic center which imparts to the world the rich legacy of Indian performing
and visual arts and Indian modernist socio-expression.

 To establish a center for the preservation and promotion of classical, traditional and contemporary performing and visual arts.

 To establish, equip and maintain schools, auditoria, libraries, archives, museums, studios, workshops and other facilities
necessary to fulfill the above objectives.

 To disseminate knowledge, promote appreciation, provide training and sponsor or undertake scientific research in these
fields with the objective of further development by encouragement of innovation within India and by interaction with the arts
of other countries.

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 KELKAR MUSEUM

CHAPTER 1

INTRODUCTION

 The Raja Dinkar Kelkar Museum is the one-man collection of Padmashree Late Dr. D.G.
Kelkar (1896 -1990). 'Kaka', as Dr. Kelkar was affectionately known, dedicated his
collection to the memory of his only son `Raja’ who died an untimely tragic death.

 It is a collection about 21,000 priceless artifacts which mirror the everyday life of India. A
testimony to man’s creative spirit - the spirit that breaths beauty into the banal, and puts
romance into the mundane.

 Kaka was a man obsessed with art. A man who, for over sixty years, traveled e xtensively
across the country to obscure villages and tribal settlements, to grand temples and humble
huts, to forgotten attics and folk fares collecting always collecting.

 A connoisseur who had the uncanny vision to spot the exotic in the everyday..... To uncover diamonds under the
dust.

 Kaka was a poet, and under the pseudonym 'Adnyatwasi'. He was a man driven by an inner calling. A man on a
mission. To gather the finest examples of folk arts and Indian craftsmanship and to bequeath them to the world
as an invaluable inheritance, a legacy of love.

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 Today, as we marvel at one man’s dedication, and applaud his efforts, one cannot help but think of how it must
have been for him, way back then. He was a family man, with commitments and responsibilities. And he needed
the support of his family, friends and acquaintances to pursue his passion. Fortunately, this he received and
gratefully acknowledged.

 The impressive Museum collection of 21,000 priceless artifacts recalls the historic Indian culture and traditions
which gently lead to more and more treasures. Creations in stone, wood, metal, ivory, fabric and clay that
endure as the full realization of human craftsmanship.

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 HISTORY

 The collection of Raja Dinkar Kelkar Museum is an

eloquent reminder of the invaluable contribution of
Smt. Kamlabai Kelkar (1902 - 1980), Kaka’s late
wife and partner and also of Kaka’s only daughter
Sau. Rekha Hari Ranade (Prabhatai).

 The Museum’s highlight ‘Mastani Mahal’ reveals

the mansion of ‘Mastani’, the famous concubine of
‘Peshwa Bajirao Ist’ - Kaka’s tribute to the
grandeur of a bygone era.

 This priceless treasure donated by Kakasaheb

Kelkar, since 1975, is aided by the Government of Maharashtra, and is managed by the Board of Management
who are deeply committed to not only preserving Kaka’s collection but also to the growth and development of the
Collection.

 A collection as varied as life itself. As awesome as man’s genius. A collection where each artifact reveals the
powerful creative craft of its unknown creator, and where each object testifies to the passion and perseverance
of Kaka Kelkar.

 A man who single - minded zeal, dedicated himself to the task of giving the arts and crafts of India the
recognition, the respect and the immortality they deserve.

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 ISSUES AND CHALLENGES

 Let's Light-up the Hidden Treasure of India's Cultural Heritage tucked away in the noisy congested heart of Pune
city, lies an unfinished dream of truly world-class proportions. The 'Puneri wada' with its archways and corridors
houses the one-man collection of Indian artifacts -The Raja Dinkar Kelkar Museum.

 Room after room, case after case display the one man's unceasing passion for collecting art, art that is not
remote and distant but taken from the everyday life of India's millions, artifacts that show Indian genius in
seeking final things of life in the ordinary, the practical and the mundane.

 The Museum is now stifled by all too familiar nemesis of city life, lack of space, traffic pollution and the ravages
of time on priceless items from the collection. And it is now time that our generation become sensitive to the
urgent need

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 To bring new life in to this repository of India's culture.

 Needless to say that there is a need for each one of us, the inheritors of Late Dr. Kelkar's collection to make a
serious commitment and a noble contribution to preserve this heritage.

 This is a short appeal for responsible citizens to recognize the invaluable contribution of one man's vision to
India's rich cultural heritage. In its present layout the Raja Dinkar Kelkar Museum h ouses mere 12.5 % of Dr.
Kelkar's extensive collection. In his quest for all that is beautiful Dr. Kelkar collected artifacts from all over India.

 A man obsessed, he drove his family to ruin at times, traveling across the country in search of the everyday
items that reflected the past. In these items lies frozen true beauty a testimony to artistic vision married to the
practical, the functional every time.

 Divided into 42 sections the multifaceted collection at the Museum swelled to about 21,000 pieces of which only
about 2,500 are available to the adoring public for the want of Space. For the bulk of this unique collection lies
unseen, vulnerable to decay and destruction.

 Due to the lack of adequate maintenance facilities in the present premises the beau ty and the longevity of these
priceless artifacts is being adversely affected. This has caused great consternation in many places as almost the
entire collection is presently housed in less than perfect conditions.

 It has been recognized for some time that the existing facilities needed total upgrading.

 Presently the Museum's priceless collections are stored and displayed inadequately and many are deteriorating
at an alarming rate.

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 NEW UPCOMING PROJECT- “MUSEUM 2000”

 The Board of Management of Raja Dinkar Kelkar Museum, Pune proudly present Dr. Kelkar's vision of creating a
grand Museum City Complex comprising of Cultural, Educational and Recreational facilities through project
"Museum 2000" and appeal for generous support from the admirers of this Collection.

 First the Museum City Complex with five times the current exhibition space in carefully controlled settings with
centralized air conditioning and the latest display techniques and security systems against fire an d theft.

 The Museum will fulfill its role as an educator and guardian of the treasures it stores.

 While the administrative block will house the offices of the Director and the Curators the custodians of this
collection. Professionally managed it will also have the publication and the sales division.

 The Mastani Mahal a recreation of 18th Century Mansion will be the show piece of the collection with audio visual
displays of Maratha grandeur.

 Musicology and the formation of the fraternity of professionals in the field of musicology, art history and
anthropology will be the chief concern of the Raja Dinkar Kelkar Institute of Musicology and Fine Arts… the
teaching arm of "Museum City".

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 FACILITIES

 The modern auditorium will seat after 350 people in comfort as symposia and conferences are organized another
element in the self-sustaining financial planning of the complex.

 The modern auditorium will seat after 350 people in comfort as symposia and conferences are organized another
element in the self-sustaining financial planning of the complex.

 The Library will complement academic research in many fields Archeology, History, Anthropology, Sociology and
Literature with its priceless books and documents.

 Microfilming, Multimedia Kiosks and Computer Touch Screens will make the establishment a welcome edition for the
scholarly temperament.

 The Exhibition center & Art Gallery will offer a modern space for artists and craftsman to hold exhibitions in an
ambience conducive for greater interaction between them and the public. There will also be a well-equipped
Workshop,

 A Mini Amusement Park, a Museum Shoppe, a Multimedia Studio, a Cultural Village, a Students Hostel, a Guest
House, a Laboratory and high tech communication facilities.

ATTRACTION TO THE TOURISTS

 All this will surely attract large numbers of international tourists and much needed foreign exchange for the
country. A detailed plan of action for "Museum 2000" is ready. Corporate Houses and Institutions will be
approached to lend their expertise with a view to cutting costs but the need for swift action of all concerned must
be recognized.

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 PROPOSED SITE

 The new Museum City Complex will take shape at Bavdhan Budruk, Taluka Mulshi, District Pune on a piece of 6
Acres of land generously allotted by the State Govt. of Maharashtra just touching the Mumbai -Banglore National
Highway No. 4 and very nearby to the Pune - Mumbai Super Express Way.

AIMS AND OBJECTIVES OF UPCOMING PROJECT

 It would generate Enthusiastic Curiosity amongst the visitors towards India's Cultural Heritage.

 It would utilize Stimulating Techniques from public arenas like Theater and Folk Art with a focus not on Artifacts
alone, but also on the People and Stories behind each variety of it.

 It would apply Sophisticated Technology providing unprecedented access to the collectio n.

 It would offer Electronic access to the Educational Packages & Research Activities of the Museum.

 It would give an Opportunity for the Visitors to Combine Leisure & Learning in a Meaningful way. Gives Special
Emphasis on the Traditions of Maratha Culture & Civilization.

 It would create an Orientation Center for the entire Community by Preserving & Presenting India’s Cultural
Traditions in a most modern and meaningful way.

 It would act as a Storehouse of Ideas backed-up by Latest Display Techniques.

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 Located in Beautifully Landscaped Garden Settings with Musical Fountains.

 It would exhibit the Collection Items in a Secured & Environmentally Controlled Area.

 It would provide Reserved Space for New Collection to Enrich the Existing one.

 It would create Excitement & Discovery while Exploring India's Multifaceted Culture.

 The Architecture would combine Historical Sensitivity with Contemporary Vision.

 It would introduce Interactive Multimedia Kiosk & Computer Touch Screens.

 Nourishes the Scholarly Temperament through the Institute of Musicology, Research Center, Laboratory,
Workshop, Multimedia Studio, Reference Library etc.

 It shall satisfy the Recreational Urge of the Adoring Visitors through an Auditorium, Museum Shoppe, Mini
Amusement Park, Cultural Village and the Model of Puneri Wada.

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CHAPTER 2

METHODOLOGY

 RESEARCH METHODOLOGY
The entire architectural project will be divided into several chapters, each dealing with a separate stage of working in the
thesis from the selection of the topic to setting of the objectives to the final design solution. The various chapters and stages
with are as follows:

 INTRODUCTION AND NECESSITY

This topic will cover introduction, which will include a brief introduction to the topic on general level in terms of what is a
museum. This chapter will cover what is a museum, need of a museum and museums in Indian context.

 BASICS OF MUSEUMS

This chapter will cover the basic design approaches in planning of museums which will also include the study of basis area
in a museum, basic laws of planning and construction basics involved while designing the building.

 DATA COLLECTION

This chapter will include all relevant data pertaining to museum and its actual design requirement will then be combined for
the purpose during the design process.

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 CASE STUDIES, COMPARATIVE ANALYSIS AND CONCLUSIONS
This chapter will include and carrying out the case studies parallel to the selected topic, comparative analysis of the case
studies and summary of conclusions and finding to sum up the interfere drawn. The selection of case studies will be on the
basis of initial data collection, it would be necessary to select the case studies, which are similar to the topic architectural
projects as far as possible or those which will cover several aspects of the topic. This will be followed by the actual site visit
to the live case studies identified. The case studies out in order to study museums:
Case study 1 - BHARAT BHAVAN, BHOPAL
Case study 2– MODERN ART GALLERY, MUMBAI
Case study 3- BEAMISH MUSEUM, ENGLAND

The above three examples selected are all museums, but falling in different categories in terms of their context, size
social and location value which will help in identifying the basic needs or requirements of a typical museums. This
chapter shall include comparative analysis of the case studies carried out and conclusions drawn from the analysis.
The format for analysis of each case study shall be as follows:

Case study 1 – N.C.P.A , MUMBAI

Case study 2– KALA ACADEMY, GOA

The above examples selected are all performing centers, but falling in their size, capacity, acoustics design, structure
and location value will help in identifying the basic needs requirement for typical performing center.

 GENERAL INTRODUCTION OF THE CASE STUDY

1. Site analysis in the terms of location, size and site accessibility, parking, landscape.
2. Zoning activities
3. Distribution areas

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 4. Planning
5. Structure
6. Services which shall include environmental services, supportive services, engineering services,
7. Finishes
8. Visual analysis
9. Services
10. Conclusion

 DESIGN PROGRAM

It will include finalized problem, which is one of the most important steps prior to the actual design process. Programmed
will be based on careful analysis of the programme of selected case studies and Indian standards.

 DESIGN SOLUTIONS AND ANALYSIS

The pre-final stage of the thesis will be working out the final design solution for “the contemporary art museum”. This stage
will be th evolution of the design from the conceptual stage to the final set of the drawing to explain the design solutions
which consists of plans, sections, elevations, necessary details, and sketches. This will include explanation analysis and
assessment of design solution, the analysis of final design will be with respect to factors like planning and zoning of
activities, circulation, structure, materials and finishes, building system, aesthetics and all types of services.

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 CHAPTER 2
DATA COLLECTION
1. MUSEUM
 Museum planning may also refer to the designing
of museum galleries, spaces, or new wings and buildings.
 The goal of a well-designed museum space is that it
accents the collection, and puts the patron at ease.
 There are many features of galleries that must be
considered when organizing and planning a new space.
 Some of those aspects are circulation, density, lighting,
backgrounds, arrangement, and labels.
 The circulation of the space indicates the layout and
direction of flow for visitors.
 This can be done by numbering objects, or the layout of
displays.
 Poor circulation can result in the
patron missing some galleries or
displays or viewing objects in an
order other than what the curator
intended
 Density, clarity, and emphasis are
other aspects to consider when
planning a new space.

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 Galleries and individual objects should be placed so that everything appears to have equal value and importance.
Then within displays, objects should not be overcrowded or cluttered.
 Natural light is ideal, but it must be filtered, and not too intense. It also should be consistent throughout the day –
northern and southern exposure is ideal.
 Backgrounds can refer to a number of things: props, panels, or a simple painted wall can serve as a background
to an object or display.
 These must be subdued enough that they do not detract from the object on display, but they should be

complimentary.
 The specific position, arrangement, and display of an object is important to consider. Height of the display case,
order in which objects are placed or hung, and the grouping of certain objects are all major factors in how patrons
interpret objects.

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EFFECT OF OPENINGS ON ROOF
IN SUCH WAY

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 EXHIBITION

 Exhibit design is the process of developing an exhibit—from a concept through to a physical, three-dimensional
exhibition.

 It is a continually evolving field, drawing on innovative, creative and practical solutions to the challenge of developing
communicative environments that ‘tell a story’ in a three-dimensional space.

 There are many different types of exhibit, ranging from museum exhibitions, to retail and trades show spaces, to
themed attractions, zoos and visitor centers.

 All types of exhibits aim to communicate a message through engaging their audiences in meaningful and compelling
interactions.

 Exhibit design is a collaborative process, integrating the disciplines of architecture, landscape architecture, graphic
design, audiovisual engineering, digital media, lighting, interior design and content development to develop an
audience experience that interprets information, involves and engages a user and influences their understanding of a
subject.

 The exhibit design process builds on a conceptual or interpretive plan for an exhibit, determining the most effective,
engaging and appropriate methods of communicating a message or telling a story

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44
 3. INTERPRETATION TECHNIQUES
 "Heritage interpretation is an educational activity which aims to reveal meanings and relationships through the use of
original objects, by firsthand experience, and by illustrative media, rather than simply to communicate factual
information. “Interpretation techniques is an educational activity which is done to communicate with the listeners or
audience and performer .

 When an art is to be thought to person then it becomes important whether it is been thought in particular manner
which would make person understand that art totally.

 Sometimes person enters an museum , he watches the paintings or sculptures and moves away without knowing any
brief description or history about it which would increase the value of it.

 It the same museum is exhibited in some other manner using an interpretation technique, then same person would
find it more interesting.

 In some museum, person is allowed to self-experience each and every object which makes him more interested in
same one. When such methods are used, then person finds a particular art interesting.

 There are various method through which a artist could teach his art to person who have come to learn it. it may be
through self-experiencing or through skit or by showing a short film about same art etc.

The methods or the techniques for interpretation are-:

1. Skid or drama

2. Self-experiencing

3. Story telling

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4. Panels showing brief description

 Now when a person visit an national heritage site or any heritage site , then he won't understand the value of it,
unless he knows each and every information about it in brief. when it is made to understand by showing any movie
which would involve the story of same site then person would find it more interesting.

 When various fine arts is involved then teaching them verbally makes them difficult to learn it, but when the same is
thought practically or by self-experiencing then it becomes more interesting and it helps them to learn it quickly.

 Certain types of displays common at museums and heritage sites include reconstructions and models.

 Although they have a long history in association with archaeology, these are not included within this assessment as
they do not serve an interpretive function in their own right.

 In identifying elements of interpretation, Edward Alexander (2008, 259) Stated that interpretation “is based on objects,
whether animate or inanimate; natural or Manmade; aesthetic, historical, or scientific.”

 From this it is clear that the object is the starting point; although models can and do aid in the interpretation of
archaeology, without any explanatory context, the objects themselves cannot make sense of the past.

 “In many instances, without proper on-site explanation, the public is unaware of the difference because buildings are
never footnoted in the same way that monographs and articles about the past are.” In other words, a visitor without
any background knowledge would be as lost whether confronting a model of the Athenian Parthenon or the real thing.

 It is through the use of one of the methods described below that such reconstructions and models are able to fulfill
their role as an interpretive aid.

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47
 2. CONSERVATION LAB

 A conservation lab is also a place that houses library materials, sometimes for quite a long period.

 It must have proper environmental conditions, provisions for fire suppression and security, earthquake bracing (where
necessary), and proper shelving.

 Like an exhibition area, it has certain intrinsic problems (eg the light that is necessary for work is inappropriate for
storage). If you can provide a storage area .

 Lavishly overestimate your need for storage space (for paper, board, adhesives, etc) and provide generous access
space for that storage.

 Lighting is critical, and too involved to treat here. It is not sufficient simply to provide "lots" of light; the character of the
light (eg spectral distribution, diffuseness,) and the angle/distance from the work surface will have a dramatic effect on
how clearly one can see textural, color, or other phenomenon.

 Design for flexibility. Try to avoid fixed furniture as much as is practical and when this is impossible try to situate the
fixed furniture where it will interfere as little as possible with the reconfiguration of the space (eg against walls, away
from doors).

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4. AUDITORIUM.

PROGRAM REQUIREMENTS

 Auditorium Seating Area (w/ 650 seats)

 Stage
 Storage/Shop
 Dressing Rooms (boys/girls)
 Control Booth
 Lobby
 Public Toilet rooms (boys/girls)

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SPECIAL CONSIDERATIONS
ACOUSTICAL

 The Auditorium is to be acoustically designed for multi-purpose use.

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 FLOOR
 In the Auditorium provide sealed, painted concrete within the seating sections. Provide
 Carpet in the aisles and forward area (between the seating area and the Stage).
 Slope the Auditorium floor to the maximum slope allowed by code.
 Provide a hardwood floor on the Stage, in front of the main curtain, provide softwood
 elsewhere.
 Provide a finish suitable for multi-purpose use (i.e. dance, theater, concerts
and classroom). Paint flat black.
 Provide standard flooring elsewhere, in accordance with the General Design Requirements section.

WALLS

 Provide sound shaping devices as required for proper acoustics in the Auditorium.
 In the Dressing Rooms, Control Booth and Lobby, extend all walls to the deck above.

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 CEILING

 Provide tiered sections for proper acoustics in the Auditorium.

LIGHTING

 Provide a fluorescent house system with master controls in the front and back of the
Auditorium and in the Control Booth.
 Provide a stage lighting system in the Auditorium, with a means of lowering the fixtures for
Service.
 Provide wall-mounted lighting above the mirrors in the Dressing Rooms.

WINDOWS

 Provide an observation window, the entire length of the wall, from the Control Booth into the Auditorium.

DOORS

 Provide two sets of double doors into the Auditorium from the Lobby, to open near the
center of the Auditorium.
 Provide single doors from the Lobby into the side sections of the Auditorium.
 Provide an overhead roll-up door, 8' wide x 10' high (manually operated), between the
 Storage/Shop and the outside loading ramp.
 Provide double doors, without mullion, between the Storage/Shop and Stage.

ELECTRICAL
 Auditorium Provide a duplex floor outlet at the front of each seating section and on the stage, located as directed.

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53
BHARAT BHAVAN

Bhopal the city of lakes known for its natural splendor and
cultural heritage is named after Raja BHOJ. The catchment area
of the lake created at Bhojpur was so vast that it included in
folklore as "Taal-MeinTaal, Bhopal Taal, Baaki Sab Talayya".
In Brief :

Location Bhopal
Ownership Department of culture, M.P
Architect Mr. Charles Correa
Site area 1200 sq.mtrs
Proj. Cost 194.0 lakhs
Cost. Per sq.ft 130.00 rs
Work began 1980
Work completed 1982

THE REQUIREMENTS :
In 1974 a building was proposed to house a museum for art and
culture with requirements as follows :-

 Permanent museum.
 Art gallery.
 Library.
 Indoor & Outdoor auditoriums.
 Art workshop.

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 Theatre workshop.
 Administrative areas.

In 1978 the concept change from a museum for art and culture to a place of MULTI ARTS COMPLEX providing
interactive proximity to the verbal, visual and performing arts. The requirements change to as follows:

 Galleries
 Permanent exhibition
 exhibition
 Graphic/ceramic/sculpture workshop
 Music library
 Indoor auditorium
 Open air theatre
 Green Room
 Restaurant
 Administration

The entrance is through an iron-gate 8 m wide and leads to a paved

Approach towards the COURT OF FOUNTAIN.

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COURT OF FOUNTAIN :

 Courts form a major special element in the building. The MUGHALS always planned their complexes around the
courtyard. From the court of the fountain one has a visual choice due to the level difference .
 This court guides the visitor to TRIBAL FOLK ART GALLERY & ADMINISTRATION, ANTARANG, BHAIRANG,
& VAGARTH towards west and south.
 This is the largest court in the 3 courts.

FOLK ART & TRIBAL COURT

 This court is also square in plan .The walls are barren and the visitor traffic
is less as compared to the other courts.
 Informal seating is done on the steps like GHATS. SCULPTURE AND LOW
LEVEL LANDSCAPE are the dominating features of this court.

ADMINISTRATION of the complex is housed in this court .At nights when

the INTERIORS get lighted the walls become dark and looks like a cave
architecture.

COURT OF ANTARANG :

 On one enters this court either from the circulation axis from the court of fountain. The over bridge is the main
gate for the entrance to this court.
 The court leads to graphic area, permanent gallery & antarang.
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 The court performs as an extension and a out space, passage, room for the visitor waiting to gain entry in the
permanent museum.

ROOPANKAR - TRIBAL & FOLK ART GALLERY:

 The gallery exhibits a permanent museum of Tribal& Folk

Arts. There are three levels in this museum and the
entrance and exit are in the same level.

 continuous low ceiling has a clear height of 2.4 m. And

makes the gallery even smaller even though the area
covered is a large one.

 The waffle slab roof with coffers makes the otherwise heavy
roof seem light. Large cut outs in pyramidal shapes breaks
the monotony and natural light is taken from them.

 Wooden flexible partitions sub divide the space and gives

the sense of direction.

 Cubical are placed in between areas to define the

movement pattern.

 Large pieces of art are place under the skylight and look
dwarf even though they are very huge.

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 URBAN ART MUSEUM :

 The skylight over the shells and along the

bays and edges form the “YELLOW POOL OF
LIGHT".

 To avoid the direct sunlight on paintings wooded

vertical blinds are used as controlling devices.

 The entry is from a 6.0 meter wide gate.

 The artificial lighting is done by lamps placed in

the waffle slab and is directed towards the exhibit.

 The images of buildings from old Bhopal are

condensed in the galleries of urban art.

 The modern art section is spread over three levels.

 The lowest level is plus 88.2 and houses the

travelling exhibitions.

 While the upper level plus 90.2 houses the

PERMANENT MUSEUM OF MODERN ART.

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 URBAN ART GALLERY:

 The -traveling exhibition has a low ceiling.

 The total height of the free space is 2.4 meter with the height increasing at the middle level and subsequently.

 This change in height was originally conceived so as to accommodate large paintings and sculptures.

 The column free space which square in plan allows

for maximum permutations and combinations and a
flexible use of space. The main considerations
considered are as follows:

 Column free space

 Change, in level framing small spaces using
structural columns
 Artificial lighting.

ANTARANG :

Antarang with U SHAPED flooring and seating pattern

with a capacity of 350 people is a delight in itself. The
seating is on the steps created as a GHAT. This is one of
the most casual and intimate space wearing theatre in
the entire country.

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BAHIRANG

 The Bahirang is the multifunctional and multi-dimensional arena.

 The steps seating made out of natural slope resembles the TERRAI farming.

 In the hilly tracks of the Himalayas.

 The lake view to the west gives another dimension to the entire theatre.

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 The minarets of the mosque in the back drop reminds of the traditional past of the city. A control room on the
upper most tier controls the Air Circulation.

 Air slits - 8640 mm long have been provided for ventilation of the galleries and exhibition theatres just below
the roof slab.16 large and 25 small air slits have been provided in the entire complex for better air circulation.

 During the summers galleries becomes very hot and stuffy. Due to non-compact spread horizontal, horizontal
planning, air conditioning is a must and proves to be very expensive .

 In large galleries like the modern art gallery section of Roopankar.

 The deep spaces lacks clear ventilation.

 Terrace gardens are always wet as water cannot seep through. The flower beds are filled with black cotton soil
upto 50-60 cm .Above the coba.

 R.C.C. niches of the flower bed rests over a coba finish. Landscaping prevents the heat built up inside the
complex by two ways and saves energy.
(a) Provides an insulative layer for solar heat gains.
(b) Enhances the ventilation through air slits by convection.

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ANALYSIS

POSITIVE ASPECTS

 Material Economy.

Extensive use of local material like BASODASTONE & ALANGA for masonry and external wall. These have a low
rejection factor of 33%.

 Space Economy.

The positioning of columns on a square grid of 9.2 x 9.2 mtr. gives a large column free space.

 Energy Economy.

Horizontal spread receives maximum solar gains of 80% of the roof is covered with lawn and saves extensive use of
artificial energy.

NEGATIVE ASPECTS:

 Maintenance.

 High cost of maintenance of the terrace garden is a lacking factor.40% of the annual repair bill goes for this
purpose 40% is spent on water proofing of roof, skylights, on walls, floors, stair and expansion joints.

 Restricted Future Expansion.

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 With covering entire horizontal space available if the- need arrive for expansion there is no space left for this
purpose. Existing exhibition area cannot be expanded due to maximum horizontal coverage.

CONCLUSION:

 In the previous chapters we have tried to understand what the institution called 'The Museum' is all about, in
terms of what is and what it stands for.

 This has been done in various ways, depending on what aspect is being examined, by examining what it is
today and why and how it came to be the way it is.

 The development of museums as we can realize is closely, linked to our history and to the outlooks, attitudes
and priorities of the society.

 In its own ways the Museum has always been trying to understand what is expected of it and has been
accordingly redefining it aims to meet new challenges and fulfill its obligations.

 The modern museum is very different from its predecessors and its function has changed entirely. It shares very
little with the original functions of the first public museum s .Not only has the form of the museum changed but
also its content.

 The material exhibited has been extensively expanded and diversified.

 Within the society the modern museums fulfills an active and varied culture role educational departments,
orientation, galleries, slide presentations, catalogues, posters and other museum publications.

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