DESIGN THESIS

ARCHITECTURAL MUSEUM
ARCHITECTURAL PROJECT

SUBMITTED IN PARTIAL FULFILMENT OF

DEGREE OF BACHLORS OF ARCHITECTURE
(FACULTY OF ENGENEERING AND TECHNOLOGY )
by
RAJSHREE SAKARIYA
5TH YEAR
B.ARCH

UNDER THE GUIDANCE OF- AR. POORNIMA DESHPANDE MAAM

Women’s Education Society

Smt. Manoramabai Mundle
College of Architecture , Nagpur
YEAR 2018-19
 ACKNOWLEDGEMENT

I would like to express my deepest appreciation to all those who provided me the possibility to
complete this project . A special gratitude I give to my mentor Ar . Poornima Deshpande whose
contribution in stimulating suggestions and encouragement helped me to coordinate my project.

Furthermore I would like to acknowledge with much appreciation the crucial role of Smt.
Manoramabai Mundle College of Architecture , who gave the permission to complete the
project “ ARCHITECTURAL MUSEUM ”.

I would like to express my gratitude towards my parents towards my parents to their kind co-
operation and encouragement which helped me in completion to this project .

Last but not the least I would like to thank my colleagues who has been guiding me throughout this
project.

Rajshree . I . sakariya
 ABSTRACT
Architectural museum is becoming one of the most exciting world over and astronomical sums are being spent on
it even when an museum may last for a period of one week of less every year hundreds of architects come over
there and exhibits there work . Spaces are booked months even years in advance due to frequently changes in
exhibition area .

Museum organizers are constantly looking for new and exciting ways to attract more visitors and come to know
the importance of an architect in our life . Sometimes the organizers provide a shell scheme into which each
company fits its display , sometimes small imaginative solution provide to be more impressive than giant double
panel height and some time seminars are held in auditorium as well as seminar hall or else open chabutras for
discussion.

The aesthetic value is a must from the architectural view point . The overall look of the centre should express the
building in a modern way and something special as it’s a architectural museum which depicts the architects and
there works . The hole building is been decided as in historical , medieval , vernacular , Morden and permanent
exhibition area. The form generate itself by the existing site trees prevent over their. The curve shape easily merges
with the site as well as the trees without cutting a single tree.

There will availability for the architecture students for the different works like exhibiting there works ,
competitions , nasa works , juries can be held, workshops , seminars , theatres provision , public library ,material
display and providing a peaceful environment for theme to explore there ideas and thoughts . The held may be
COA and IIA as a programme generator .
 TABLE OF CONTENTS
CHAPTER 1 – INTRODUCTION TO THESIS
1. INTRODUCTION
- Research topic
- General study
- Need
- Project justification
- Scale of project
- Why museum as thesis project?
2. PROJECT DESCRIPTION
3. HYPOTHESIS
4. PROJECT SCOPE
- Aim
- Objective
- Scope
- limitations
- Methodology
CHAPTER 2 – LTERATURE STUDY
1 SITE SELECTION CRITERIA -----------------------pg. 8
2 ZONING
3 TYPE OF EXIHIBITS
- classification of exhibits
- mode of display
- measurements
- exhibition room
- visual perception
- exhibition pattern
- exhibits elderly and handicapped
- pacing
4 STUDY OF MUSEUM
LIGHTING AND DESIGN
-----------------------pg. 12-15
-----------------------pg. 1-4 - introduction
- Natural lighting
- Artificial lighting
- lighting levels
5 STRUCTURAL SYSTEM -----------------------pg. 15
6 STANDARDS FOR MUSEUM -----------------------pg. 16
-----------------------pg. 5 7 VIRTUAL DISPLAY -----------------------pg. 17
-----------------------pg. 5 CHAPTER 3 – PRECEDENT STUDY
-----------------------pg. 6-7 1. INTRODUCTION -----------------------pg. 17
- Selection criteria
- Aspects
2. DR. BHAU DAJI LAD MUSEUM , MUMBAI. ---pg. 18-21
2.1 – INTRODUCTION
- Relevance
- Site
- Scale
2.2 – AREA PROGRAMME
-----------------------pg. 8 2.3 – ARCHITECTURAL DRAWING
-----------------------pg. 9-12 2.4 – SITE PHOTOGRAPHS
3. INDIAN MUSIC EXPERIENCE , ---------------pg. 22-26
BANGALORE .
3.1 – INTRODUCTION
- Relevance
- Site
- Scale
3.2 – AREA PROGRAMME
3.3 – ARCHITECTURAL DRAWING
3.4 – SITE PHOTOGRAPHS
 TABLE OF CONTENTS
3.5 – MATERIALS
3.2 GEOMORPHOLOGY
- soil contour
3.6 – OBSERVATION - Soil topography
4. DILLI HAAT , JANAKPUR . ------------------pg. 27-29 - Soil slope
4.1 – INTRODUCTION - Drainage
- Relevance 3.3 HYDROLOGY
- Site 3.4 VEGETATION
- Scale - Site existing condition
4.2 – AREA PROGRAMME 3.5 CLIMATE
- User activity - Temperature
- Area distribution - Precipitation
- Wind direction
4.3 – ARCHITECTURAL DRAWING - Sun path
4.4 – SITE PHOTOGRAPHS - Best time to visit
4.5 – MATERIALS - Rainfall
4.6 – OBSERVATION CHAPTER 5 – DESIGN IDEOLOGY
5. COMPARITIVE STUDY . ------------------pg. 30-33 1 DESIGN PROGRAM --------------------------pg. 44-45
4. CONCLUSION . ------------------pg. 34 2 FORM DEVELOPMENT --------------------------pg. 46
3 CONCEPTUAL SKETCHES --------------------pg. 46
CHAPTER 4 – UNDERSTANDING THE 4 CREATIVE EXRECISE --------------------------pg. 46
SITE 5 MATERIAL DETAILS --------------------------pg. 47
6 EVOLUTION OF MODEL ----------------------pg. 48
1. SITE OF SUCH CENTERS ANALYZED -pg. 35-36
2. INTRODUCTION ------------------pg. 37-39 CHAPTER 6 – DESIGN TRASLATION
- Location 1 SITE PLAN
- Site area 2 GROUND FLOOR PLAN
- Accessibility 3 FIRST FLOOR PLAN
- Site context 4 SECTIONS AND ELEVATIONS
3. NATURAL FACTORS ------------------pg. 40-43 5 SITE SERVICES
3.1 GEOLOGY 6 BUILDING SERVICES
-soil type 7 VIEWS
 LIST OF FIGURE
FIGURE NO . NAMES FIGURE NO NAMES FIGURE NAMES FIGURE NAMES
. NO . NO .

Fig 1. Need work Fig 19. Viewing angels towards Fig 42. Location plan Fig 66. Site plan
Exhibition
Fig 2. Architectural gallery theme Fig 43. Satellite plan Fig 67. Site section
Fig 20. Diffuse and focus light
Fig 3. Museum style Fig 44. Internal site view Fig 68. Sun path diagram
Fig 21. Disable person measurements
Fig 4. Nagpur activity map Fig 45. Surrounding views Fig 69. Site slope
Fig 22. Minimum stair width in museum
Fig 5. scope of work Fig 46. Drawing details Fig 70. Main road and drainage
Fig 23. Offices in museum pipe
Fig 6. Types of spaces Fig 47. Location map
Fig 24. Minimum walking distance in Fig 71. Site view points
Fig 7. Subdivision of spaces museum Fig 48. Location map
Fig 72. Monsoon water level
Fig 8. Viewing distance should increase Fig 25. Minimum stair width in museum Fig 49. Surrounding area
map
with greater size of object Fig 50. Surrounding area
Fig 26. virtual effect Fig 73. Existing trees
Fig 27. Location map Fig 51. Location map
Fig 74. Existing site views
Fig 9. Minimum distance requirement of
museum Fig 28. Satellite view Fig 52. Main road
Fig 75. Temperature level
Fig 29. internal views Fig 53. Surrounding area
Fig 10. Viewing angels towards exhibition Fig 76. Precipitation level
Fig 30. Activity area Fig 54. Land use plan
Fig 77. Average wind level
Fig 11. Disable person display height Fig 31. Site plan Fig 55. India map
Fig 78. Sun path level
Fig 12. Minimum distance to view Fig 32. Section and elevation Fig 56. Maharashtra map
exhibition Fig 79. Average monthly
Fig 33. Future proposal Fig 57. Nagpur map rainfall level
Fig 13. Vertical and horizontal field of view Fig 58. Site location
Fig 34. location map Fig 80. Tourism score

Fig 35. Internal views Fig 59. Satellite view Fig 81. Section of cavity wall
Fig 14. Possible gallery arrangements
Fig 36. Roofing system Fig 60. Site plan Fig 82. Detail section
Fig 15. Possible circulation pattern
Fig 37. Acoustic system Fig 61. Traffic analysis Fig 83. Detail of bio barrier
Fig 16. Circulation for elderly and
handicapped Fig 38. zoning Fig 62. Current land use plan Fig 84. Detail barrier

Fig 39. Site plan Fig 63. Current surrounding Fig 85. Material use
Fig 17. Components of museum
Fig 40. Section Fig 64. Surrounding amenities Fig 86. bio barrier
Fig 18. Different methods of natural light
Fig 41. All floor plans Fig 65. hydrogeology map of Nagpur Fig 87. Evolution of model
CHAPTER 1.
1. INTRODUCTION
INTRODUCTION TO THESIS
PAGE NO .1

RESEARCH TOPIC – LIFESTYLE IN ARCHITECTURE

The living pattern in a society may be called life style and it is being
Influenced by numerous factors taking into consideration predominantly
The availability of finance and size of income. As such, an attempt has been
Made in this chapter to examine.
1 Concepts associated with lifestyle.
2 Factors influencing life style.
3 Concept of liberalization and changes in lifestyle.

"Life Style develops and emerges from the dynamics of living in a

society". Lifestyle is concerned with "those unique ingredients or
qualities, which describe the style of life of some culture or group and
distinguish it from others. Pattern of living in the world as expressed in his or her activities, interests and opinion. Life style portrays the "whole person" in interaction with
his or her environment. His response was underpinned by the concept that we need to support the profession as a broader and more experimental industry. If we do so,
we can begin to define our understanding of Architecture not as an isolated building or response but as the way we frame our lifestyle. If we can question our lifestyle; we
can evolve. Architecture by existence is typically a static response to the condition of human needs. The design brief which our dead ancestors responded to is not
dissimilar to what we recognise today. The built environment has always dealt with similar issues of shelter, politics, responsibility and privacy.

If we do not test our requirements then how can our lifestyles evolve? To answer the above question We’ll assume we use architecture to play an active role in provoking
future lifestyle desires.

If we assume our lifestyles can evolve more rapidly over the next century then we need to investigate the way in which architecture can provoke change. If we view
Architecture broadly and as the environment which surrounds the way we live then it should in turn be capable of evolving the way we inhabit our environment.

Architecture should in fact be more powerful and genuine than the debate of aesthetics which typically surround our industry.

Architecture is too often exclusive, which eliminates the possibility for public interpretation and mobility. The insignificant decisions that individuals make in life are by
nature experimental, so why does architecture as a profession need to be predictable and calculated? We’d like to see architecture evolve faster and more experimental,
this in turn will provoke change. Architecture needs to be responsive but also questionable – personally he is interested in the potential for nomadic lifestyles based
around theories of derive, this is of cause one of multiple avenues.
 INTRODUCTION TO THESIS
PAGE NO .2

GENERAL STUDY - BOOKS

ARCHITECT AS LIFESTYLE STRATEGY

INFERENCES BOOK 1 ( THE CONCISE TOWNSCAPE , GORDEN CULLEN ) -

• Recently, the article “Introduction to The Concise Townscape” written by Gordon Cullen is particularly interesting to me. In the reading, Gordon Cullen defined
urban design as The Art of Relationship.
• The goal of urban planning was to manipulate groups of buildings and physical town elements so as to achieve visual impact and drama. In other words, cities should
be designed from the point of view of the moving person.
• Cities come alive through the drama of juxtaposition.
• I got very inspired by Gordon Cullen’s view on urban design. Firstly, cities should not be too chaotic or too ordered. In that case, pedestrians will never get bored
walking along the streets.
• Urban planners should always take both order and variety into consideration.
• Secondly, cities should be designed with visible life. It’s fascinating to see what people are up to. A city should be full of people doing things that we can see through
the window. Visible life makes city more energetic.
“Introduction to The Concise Townscape” is actually my first reading on urban planning. Urban planning is still a brand new field to me. But I find it very attractive so far.
I’m looking forward to getting to know more about cities and environmental planning in this semester.

INFERENCES BOOK 2 ( THE EYES OF THE SKIN , STEVEN HOLL ) –

• Architecture ha the capacity to be inspiring , engaging and life is it that architectural schemes which look good on the drawing putter screen can be so disappointing in
the flesh.
• In the experience of art , a particular exchange takes place , I lend my emotions and associations to the space and the space lends me its aura.
• I exist in life only if I can see I am and I remain an impenitent visual – everything is in the visual.
• The art of architecture is tied to the cultural and mental reality of its time.
• The most persistent memory of any space is often its smell.

INFERENCES BOOK 3 (PETER ZUMTHOR - THINKING ARCHITECTURE ) -

• Peter zumthor expresses his motivation in designing buildings that motivation in designing buildings that speak to our feelings & understanding is so many ways &
that posses a powerful and unmistakable presence & personality.
• Buildings are artificial constructions . They consist of single parts which must be joined together . To a large degree , the quality of the finished object is
determined by the quality of the joints.
• The presence of certain buildings has something secret about it . They seen simply to be there. We do not pay any special attention to them . And yet it is stand
without them .This buildings appears to be anchored firmly in the ground.
• If a work of Architecture consists of forms & contents which combines to create a strong fundamental mood that is powerful enough to affect us , it may posses
the qualities of work of art.
 INTRODUCTION TO THESIS
PAGE NO .3

NEED FOR (MUSEUM)

A museum is a place where everyone, with or with out qualification , can enter and be inspired by the stories of our past and present . Museum is the
way forward to develop mankind . A museum is an institution that cares for (conserves) , a collection of artefacts and other objects of artistic, cultural,
historical, or scientific importance. Many public museums make these items available for public viewing through exhibits that may be permanent or
temporary.
- “Museum is an institution that tells the story of human kind . Education is one of most important criteria for development and one of the fundamental objectives of museum is to
educate…..”
There are many types of museums , including art museums , natural history museum , science museums , war museums , children's museums and
architectural museums. Architectural of any museum tells its own story through circulations, density , lighting , backgrounds , arrangements , and labels.
Architecture museum is a unique repository of architect’s and allied professional’s records and a dynamic hub of research into architectural
and built environmental history . The Architectural Museum is a facility for the acquisition , preservation and management of architecture and
related records
Before my under graduation , when I asked my father that I wanted to opt for architecture as my career , my father was in shock for a
moment as he said , “ Architecture is a part of Civil . Isn’t it ? Even the well educated people don’t know enough about the course and its
importance.
Architecture is an ancient discipline , and the result of its thinking and the result of its thinking and endeavour provide us with some of the
most lasting examples of our culture . Its is to bridge this gap in understanding between the profession and society that’s why architectural
museum is needed.
“To develop urban area and society , architecture is the most important criteria to for the infrastructure . The museum of architecture will allow us to imagine our future in
a way that benefits the majority , which is a great challenge facing us today in the development of our buildings and cities.” Fig 1. need work

PROJECT JUSTIFICATION
“ IN INDIA , ARCHITECTURE ALONG WITH ARCHITECTS ARE NOT CELEBRATED AND
APPRECIATED BY PEOPLE . THEY ARE UNAWARE , HOW IMPORTANT ARCHITECT’S
CONTRIBUTION IS IN DEVELOPING THE SOCIETY. THERE IS NO PLACE IN INDIA WHERE MULTIPLE
ARCHITECT’S WORK IS PRESCRIBED , RESARCHED AND EXHIBITED ON A PERMANENT BASIS THUS
PROVIDING THE NEED TO FACILILATE AN ARCHITECTURAL MUSEUM WHERE STUDENTS ,
ARCHITECTS AND COMMON PROPLE CAN UNDERSTAND , STUDY AND ANALYSE THESE WORKS – ”
A museum is normally a building which houses objects and information packaged in different ways since architecture is the subject
of the museum being proposed, and architecture deals primarily with buildings , its necessary to re- imagine the form of a museum Fig 2. Architectural
of architecture. gallery theme
 INTRODUCTION TO THESIS
PAGE NO .4

SCALE OF PROJECT SPACES SHOULD BE………

• The spaces where people can communicate with each other and share there feelings. .
• Where public can learn something or place where public get to know about the hidden part of the city.
• It should be related to Art and the structure related to history of the city.
• Place where people can showcase there talent.
• The family who can enjoy to be there & it can be inspiration to the future youth.
• The place for the Hybrid programs & transforming the way of people think or approach the importance of art in there
life .
• Express art and human emotions through the form of landscape.
• A dynamic structure where people shall have an important role in shaping the image .
• Some exciting features over there which can attract people to come over there.
• The end point where people come and gather and have the entire look of the city.
• It should connect the both the artist and the common public.
• Which connect the indoor and outdoor activities .
• The access should be one but the exists should be wilder which connect with different activities.
• The aim is that people or the visitors to approach ARCHITECTS IN THEIR LIFESTYLE.
The museum is going to be designed in the centre of the India and will have a huge number of local as well as foreigners spectators
that will determine the scale and extend of the project. The annual footprint of museum for architects in Nagpur is more than a million
which shows the amount of scale and stretch of the architectural museum.

WHY MUSEUM AS THESIS PROJECT ?

• The architectural museum can provide the matrix for motivation and inspiration to emerge from a deep understanding of the history of our architecture and its
relevance and place in contemporary conditions.
• Museum planning is an opportunity to describe a new institution , or one undergoing a major expansion or change in human lifestyle and there way of living.
• The project will provide me into better opportunity for my academics and to pursue urban or regional planning further in my post graduation.
• The museum for architecture basically design for the works and there development help in the city base .
• The aim to design this type of typology is to form the space where the public understand to know about the importance of architecture .
• It encourages the youth to became the architect in future which develop the city and to get to know about the history of the architecture.
 INTRODUCTION TO THESIS
PAGE NO .5
2. PROJECT DESCRIPTION
The proposal for instituting a Museum of architecture has been under discussion for a years. GREHA , a registered society , working in the field of architecture ,
environment design , and development of human habitat, took on the responsibility of conceiving a Museum of Architecture , which will raise public awareness of
this discipline , which affects our lives is significant ways on a daily basis.
“The first architectural museum of India which will
MUSEUM FOR ARCHTECTS

PRIMARY AD
RESEARCH
SECONDARY PROJECTS represents the works of famous architects of India as well
VISUAL PHOTOGRAPHS AND
as of the world . Organizations such as Council of
DOCUMENTATION VIDEOS OF Architecture (COA) , Indian Institutes of Architecture
HRITAGE BUILDINGS
(IIA)and Indian National Trust for Art and Cultural
ORAL DOCUMENTATION
AND STRUCTURES Heritage (INTACH) are coming together with GREHA
for this proposal..”
Fig 3. Museum style
3. HYPOTHESIS
The central hypothesis of the project is to create a built environment which possesses a quality of expression of
space and architecture , where everyone , with or without qualification , can be required by architecture
Some other
hypothesis of the
project is to create a
space to encourage
scholarly architecture
and to foster
innovative design
practices . It is to
create public
awareness of the role
of architecture and
design in everyday life
and to uplift
architecture and
architecture practices.
Fig 4. Nagpur activity map
 INTRODUCTION TO THESIS
PAGE NO .6

4. PROJECT SCOPE
AIM

• The aim of my thesis is to design a Museum Complex which will also serve as architectural destination and cater to functions like
collection preservation and exhibition.
• To develop an architectural museum to bridge the gap between architecture and society.

OBJECTIVE
• To study the architectural and design aspects of the museum .
• To study the visitors experience and circulation pattern in museum .
• To study the ergonomics of the exhibitions and display units in art gallery and museum .
• To study the techniques and impacts of lighting in museum.

SCOPE
Space integration is the most important part of museum planning and it’s the main
scope of work which can be exhibited through circulation pattern and zoning on
sheets. Natural and artificial lighting is one of the most important aspects of
museum planning that should be catered deeply with studying the effects and
design aspects of it in the museum.

Interior of the museum is as important as the exterior of the museum , so interior

details are very important aspects of the museum design . Interior details will be
the part of the scope of the work.

Landscaping and site planning is also one of the aspects which makes a boring
museum into a living being , so landscaping is one the major scope of work which
can be exhibited through site plan and landscape details. These scopes of work can
identify the limitation of work. Fig 5. scope of work

LIMITS
The project does not clam about the deep analysis of structural system and structural details as these details are not the main aspects
of design . The projects also doesn’t caters about the costing and estimation of the project because its an academic project.
METHODOLOGY
OBJECTIVE
To study the architectural
and design aspects of the
museum .
To study the visitors
experience and
circulation pattern in
museum .
To study the ergonomics
of the exhibitions and
display units in art gallery
and museum
To study the technique
and impacts of lighting in
museum.
INTRODUCTION TO THESIS
PAGE NO .7
HOW TO ACHIEVE TOOLS
IT
Literature and document Internet , secondary data
study of museum , about and literature study.
their design aspects
Questionaries' and Case study ,
Fig 6. Types of spaces
observation of movement questionnaires and
pattern of visitors in observations.
museum.
Literature study of Case study and literature
exhibits and display unit study of art gallery and
about dimension , display units.
placement and
management .
Analysis of different Case study of artificial
techniques and their and natural lighting .
impact of both natural
and artificial lighting in
museum.
Fig 7. Subdivision of spaces
CHAPTER 2. LITERATURE STUDY
PAGE NO .8

1. SITE SELECTION CRITERIA

During selection of site for a museum the following points must be considered .
1. Its should have security against theft , environmental factors such as flood and earthquakes.
2. The site should have provision for further expansion .
3. The site should be easily accessible through public transport and should be within reach of educational institutions.
4. There should be clear access to the site from the main road.
A museum which is to be built in an isolated spot or reserved space needs to be surrounded by an enclose , especially if the site forms part of an extensive area. For the
visitors this enclosure will provide a fore taste of the museums architecture and thus must not constitute a psychological barrier though the fundamental aim of security
which has to serve must not be scarified.

2. ZONING
Based on environmental needs , security considerations as well as levels of finish the
total museum space can be divided into following zones. TYPES OF SPACES
1. Exhibitions galleries are study areas with public access . These are expensively
built and finished well. 4. Museum storage Storage of collection and related
materials .
2. Entrance , reception , toilets , cloak rooms, staff area , shops , guest rest
Storage of pre-rational supplies .
room , library , cafeteria .
Collection storage.
3. Stores , laboratories unloading and loading area etc.
4. Workshops , exhibitions etc.
5. Public services Auditorium and related spaces
TYPES OF SPACES Museum shops and sales.
Cafeteria.
1. Galleries Permanent Cloak rooms and toilets.
Temporary Reception and waiting area.
2. Gallery support space Curatorial office and related space. 6. Administration space Museum programs and related.
Conservation laboratories.
Collection handling and registration 7. Operations Security protection and related space.
space. Surveillance room.
Photographic , media , publications. Maintenance , staff lounge , toilets.
3. Study areas Library Ac and electricity control rooms .
Studios , training labs.
8. Circulation Public and non- public services.
Private pods , workshops.
 LITERATURE STUDY
PAGE NO .9

3. TYPE OF EXHIBITS
Certain general relationships between spaces and such preferred organizations on plan and selection may increase the possible museum user in other words
some building forms, but never only one make museum installation easier than others, principally these performances concern the movement of the visitors
.Except for the isolation exhibits, the typical museum experience is one of he image viewing in a sequence. Which refused by a walking observer meeting
static objects, the design may ensure if necessary that the images are viewed in one particular sequence with themes in which objects are not icons but are
to be viewed in context with proceeding and succeeding ones. The theme comes first and then objects of various kinds are devised and assembled in some
sequence that would produce a message of that communicates the theme.

CLASSIFICATION OF EXHIBITS :-
• PERMANENT EXHIBITS – The permanent exhibits undergo periodical change from 5-10 years . The changes are minimal but they have permanent
effects and goals to achieve.
• TEMPORARY EXHIBITS – The temporary exhibits , the museum organizes the exhibition for a limited period and for a specific cause . They are two
spaces internal and external.

MODE OF DISPLAY
The idea of exhibits considerably changed during years rather than awesome display of exhibits with “do not touch” restriction , the
display has formed a team of inactive , active and interactive types . The worlbhop concept (active/interactive) encourage public
participation through visual demonstration and the film shows and lectures are more encouraging and entertaining.

Fig 8. Viewing distance should increase with greater size of object.

Measurements of adult and six year old visitors in relation to cases. Right side picture shows the difficulties encountered in viewing details more than
3ftbelow or 1ft above one’s eye level.
 LITERATURE STUDY
PAGE NO .10
MEASUREMENT
The approximate eyelevel and the levels of comfortable visibility are given in the figures with little eye movement people usually see and recognize the things
which are within an approximately, elliptical come of vision with apex at the cone at eyeball height . Studies have shown that in general the adults absorb an
area only about one foot above his own eye level to 3 feet below it at an average distance of 24”-48” arraying objects above or below these limits, places a
strain on seldom used muscles and produces aching backs, tired feet, burning eyes and stiff necks some large objects such as to temples or dinosaurs will
inevitably saw above these viewing limits. The visitors must be permitted space to back away from the object to comprehend it.

Fig 11. Disable person display height

Fig 9. Minimum distance requirement of museum Fig 10. Viewing angels towards exhibition

Fig 12. Minimum distance to view exhibition Fig 13. Vertical and horizontal field of view
 LITERATURE STUDY
PAGE NO .11

EXHIBITION ROOM

Certain general relationships between spaces and such preferred organizations on plan and selection may increase the possible museum user in other words
some building forms, but never only one make museum installation easier than others, principally these performances concern the movement of the visitors .
Except for the isolation exhibits, the typical museum experience is one of the image viewing in a sequence. Which refused by a walking observer meeting
static objects, the design may ensure if necessary that the images are viewed in one particular sequence with themes in which objects are not icons but are to
be viewed in context with proceeding and succeeding ones. The theme comes first and then objects of various kinds are devised and assembled in some
sequence that would produce a message of that communicates the theme.

VISUAL PERCEPTION
The following list of factors must be considered in the qualitative analysis of visual perception. Experience and
attention of the observer. The characteristics of the form, optical size inherent contrast, colour, texture, secularity,
reflectance etc. Simultaneous contrast context information content, patterns figures background separation etc.
Adaptation illumination qualities geometry dispersion characteristic directionality, spectral type, quality polarization
number and type of sources consistency of directional characteristics and colour rendering effect etc presence or
absence of focus or distraction in the luminous environment.

CIRCULATION
Circulating pattern should be designed keeping in mind that there is general tendency to turn right to enter an exhibit hall.
Depending upon the rate of flow of visitors the areas inside the gallery can be described below:
Fig 14. Possible gallery arrangements
• Areas of constant crowd flow:
These are the areas where terse repetitive exhibits that can be easily understood by the visitors are placed.

• Areas of crowd slope-age:

These are characterized by the general display of nature along with the exhibits of conceptual nature requiring time to absorb.

• Areas of variable crowd flow:

The exhibits allow visitors to choose among simple and complex exhibits . The circulation of public and staff, service areas has to be
separated from each other and the visitor should be able to approach a particular gallery of his or her choice as directly as possible.
Fig 15. Possible circulation pattern He should not be obliged to return or proceed through galleries he is not interested in. The location of temporary exhibit hall
should take into consideration of the possibility of large number of visitors. A separate entrance is advisable.
 LITERATURE STUDY
PAGE NO .12

CIRCULATION PATTERNS
• Star/Fan pattern:
The main part is generally continuous, but the path leads to series of self contained units which have a more varied path within them.
• Arterial pattern:
The main path is continuous and no option exists for the visitors. It is used where presentation is dependent upon a fixed sequence.
• Block pattern:
This is the most commonly used pattern in the interactive sessions of science and technology museums. It offers a relative lyun constructed pattern witch
can be random and self directive as desired by a visitor.
• Comb pattern:
Main circulation path and optional alcoves are provided which a visitor may enter or bypass.
• Radial pattern:
This pattern is a series of alternatives from a central area.

CIRCULATION FOR ELDERLY AND HANDICAPPED PACING

Their need should be met according to the guidelines

below : Usage of ramps and doorways to accommodate Pacing is a means of
wheel chairs frequent and easily accessible resting areas. reducing both mental and
physical fatigue for the
museum visitor . Methods of
pacing:
• Providing contrasts and
diversity in
spaces so as to hold
visitors
interest.
• Easy organization and
layout of spaces
for easy orientation.
• Provision of rest areas to
change
Fig 16. Circulation for elderly and handicapped of pace activities Fig 17. Components of museum
 LITERATURE STUDY
PAGE NO .13

4. STUDY OF MUSEUM LIGHTING AND DESIGN

INTRODUCTION

The museum design will guide the visitors to discover, explore and
learn about history in a creative environment. Lighting plays a
significant role in developing interaction between humans and
museum artefacts in one defined space." The goal of a museum is to
create an interactive experience for the guests, as well as preserve Fig 18. Different
the condition of artefacts. methods of natural light

DAYLIGHT
Museum designs incorporate daylight because humans relate to nature.
"Natural Light can be used to great effect to dramatize and enliven the
design of 7 any building (De Chiara, 690, 2007). Light defines a space within
a building’s design.
Different methods of admitting natural light from above. (a) cross section (b) to
(h)cross section and view from above. (i) and (j) cross section Different methods
of admitting natural light from above. (a) cross section (b) to (h)cross section and
view from above. (i) and (j) cross section

Factors such as reflection, glare, acclimation and delineation in the space should be
analysed closely. IESNA has researched and made factors that “affect the final
luminance produced by architectural surfaces and daylight” (RP-30-96, 30, 1996).
Scale and proportion are important considerations. The “ceiling height and room
depth” directly correlate to the amount of daylight absorbed and explore the
intent of light in the space (RP- 30-96, 30, 1996). Various heights and room depths
also can affect human perception of space. The amount of daylight and how natural
light is filtered into a space will create several different effects in a specific space.
For example, if a room is small with high ceilings and a punch of daylight, it will be
perceived as being larger. If a room is large with low ceilings and little daylight, the
space can feel confined and stagnant.
When daylight is introduced in a space, interior finishes can create more reflective
surfaces and cause a negative effect. Materials and finishes
that are too shiny or reflective create glare. If there is glare or too much reflective
light, guests may experience discomfort while interacting in the museum, and their 8 Fig 19. Viewing angels towards Exhibition
experience will be greatly altered.
 LITERATURE STUDY
PAGE NO .14

ARTIFICIAL LIGHTING
Several types of artificial light sources are used in interior applications to provide light for
visibility, tasks, accent and decoration. Typical interior artificial light
sources include incandescent, fluorescent, HID, fibre optics, cold cathode and 9
LEDs. Incandescent lamps are generally used for ambient and accent lighting with
track luminaires. In museums, incandescent, fibre optic and HID are the most
common light sources. According to IESNA standards for museums, compact fluorescents,
tungsten Halogen, HID and PARs are the most common for general lighting. With indirect
lighting, fluorescent lamps are used to diffuse illumination quality. Accent lighting inclue
PAR-type incandescent and tungstène halogène. Incandescent, compact fluorescent,
tungsten halogen, metal halide and fibre optic are recommended to use in case, cabinet and
under-shelf lighting. Flood lighting typically consists of recessed down lights or track-
Fig 20. Diffuse and focus light
mounted fixtures with incandescent, tungsten halogen and HID light sources (RP-30-96, 44,
1996).
 LITERATURE STUDY
PAGE NO .15
LIGHT LEVELS
In the IESNA’s required light levels, collection storage is five foot-candles and collection handling is
twenty to fifty foot-candles.. The overall objective in a museum’s lighting design is to light
individual objects with consideration to the sensitivity of the object and how guests will view it. If
the 10 exhibit is very sensitive, the foot-candle requirement ranges from five to ten. Sensitive
objects have fifteen to twenty foot-candles. Less sensitive objects can have thirty to fifty foot-
candles (De Chiara, 690, 2007).

Another factor in lighting a museum is the accessible light levels throughout the exhibits ranges
from five to thirty foot-candles. Guests’ safety and preservation of artefacts are critical in an
exhibit’s design. (RP-30-96, 10, 1996). Ambient lighting usually consists of five to 30 foot-candles.
Within the interior space, ramps and stairs, visitor pathways and text panels all are required to be
ten to thirty foot-candles. Direct signage is twenty to thirty foot-candles (RP-30-96, 11, 1996).

The age of viewers and light

levels directly impact the
experience of the museum. An
individual less than forty years old
needs five to twenty fc to
adequately see details within an
interior space. While older adults
need a minimum of ten fc. (RP-
30-96, 12, 1996). Fig 21. Disable person measurements

5. STRUCTURAL SYSTEM
• The system which is flexible and gives large unobstructed spaces should be adopted in galleries.
• Easy integration of services such as air conditioning ducts, lighting fixtures and fans should be there.

The building should be secured against vibrations, damp rising from ground , fire and theft etc.(Source from the books of: “Time-saver standards for building types” by
Glenn Arbonies and Sandra V lock- page no.677 to 692. and “Time-saver standards for building types” by Joseph De Chiara and Jhon calLendar- page no.329 to 340.)
 LITERATURE STUDY
PAGE NO .16

6. STANDARDS FOR MUSEUM

Fig 22. Minimum stair width in museum

Fig 23. Offices in museum

Fig 24. Minimum walking distance in museum Fig 25. Minimum stair width in museum
 LITERATURE STUDY
PAGE NO .17

7.VIRTUAL DISPLAY
• A virtual museum (VM) (according to the ViMM.1 working definition is a digital entity that draws on the characteristics of a museum,
in order to complement, enhance, or augment the museum through personalization, interactivity, user experience and richness of
content.
• Both the 'physical' museum (Ph.M.) and the VM share a common commitment to the institutional validation of content and quality
of experience through curatorial process, inherent in the ICOM definition.
Perception
This basic level is where most schools that are exploring VR are working
right now - mostly due to logistics, economics and the availability of the
technology. Essentially this level refers to the use of 360 images as the extent
of the virtual experience. There is nothing wrong with this though! It is just
essential that the experience is supported and framed by well-considered
pedagogy so that it becomes more than a gimmick.
Stimulation
The step above Perception is where I see 360 videos and simple experiences
that utilise audio alongside 360 content. The same rule regarding the
scaffolding of the experience with great pedagogy applies.
Interaction
This was the hardest level for me to define but I eventually settled on the
concept of Interaction. This level forms a bridge between the simpler, less-
autonomous experiences of the levels below and truly immersive
experiences. The user has some degree of control here. An example of this
would be users being able to navigate around an experience using a point
and click interface to reach different areas of POVs.
Immersion
Sometimes referred to as "Presence." This is the zenith of VR - true
immersion and it cannot be achieved using the simple headsets that are
currently being used more broadly in schools. Essentially the Immersion level
is where the user gains full autonomy and is able to make choices and create
content within a virtual space. Multiple senses are engaged and an emotional
reaction is possible. Fig 26. virtual effect
CHAPTER 3. PRECEDENT STUDY
PAGE NO .18

1. INTRODUCTION
“ The case study method addresses the importance of learning how to learn as an essential element of continuous professional growth . Case studies provide
orientation to the complexity of practise for the novice and perspective for the seasoned professional.”

The main aim of the case study and literature study is to understand the different design aspects and design requirements of the museum. Every space has
its own importance and every plays an important role in making a place alive . Case study and literature study is required to frame out these spaces and their
design aspects.

Dr. bhau daji lad museum Mumbai is the study for the project to understand how museum are different in their own way. While Indian music experience in
Bangalore and the dilli haat in janakpur is chosen for the literature analysis to understand the standards of museum planning.

SELECTION CRITERIA
The selection of these case studies and literature study was a tough call in the world of so many architectural masterpieces . The case studies and literature
studies has their own design evolution , concepts , requirements and the way of exhibitions which makes them unique in their own categories . The main
criteria for selection is to understand the design aspects of a museum not only in an architectural way but also as a way what visitors experience . Other
criteria for selection was not to take monotonous case studies , they should be different from each other in different aspects.

The Dr. bhau daji lad museum , Mumbai is one of the best examples of exhibiting art and story of human kind in a different and interesting way, while the
Indian experience museum , Bangalore shows the importance of circulation and zoning of the spaces in a museum . The dilli HAAT , janakpur is different from
the museum which shows the different way of art of display . Every case study and literature study in the report has its own unique feature which makes
them one of their kinds .

STUDY SCOPE
The different aspects was based on different design requirements , scale of the project , site of the project , their relevance to the thesis project , and other
architectural aspects . Architectural aspects such as concept evolution , site planning , zoning , circulation attern and planning are covered . Other
requirements like area programing , activity pattern and design capacity is needed to frame out the design requirements .structural aspects such as structural
details , materials , services are also an integrated part to understand the design aspect of the project . Lighting is one of the main aspects of museum
planning and is covered out to understand different lighting system used in different spaces.
 PRECEDENT STUDY
PAGE NO .19

DR. BHAU DAJI

DR. BHAU DAJI
1. INTRODUCTION
LAD ,MUSEUM
LAD MUSEUM MUMBAI

RELEVANCE
The Dr. Bhau Daji Lad Museum is the oldest museum in Mumbai . It showcases the industrial arts and life in 19th century Mumbai , earlier Bombay . The early
collection consisted of replicas of the objects sent for the great exhibition of 1851 at London .

Initially housed in the town barracks , the collection was opened to the public in 1857 with Sir George Birdwood , as the curator . The year 2007 marked the
150th anniversary of this special event . In 1858 public funds were raised for the construction of a grand palladian building with high Victorian interiors that
was completed and opened to the public on may 2 , 1872 as the Victoria and Albert Museum .

The museum was renamed Dr Bhau daji Lad museum in 1975 in honour of the man whose vision and dedication ensured its establishment.

SITE
DIRECTIONS ADDRESS
Dr. Bhau Daji Lad Museum, Veer Mata Jijabai Bhosale Udyan (Rani Baug),
91/A, Dr. Babasaheb Ambedkar RoadBycullaEast, Mumbai 400027, Maharashtra
,India
ACCESSIBILITY
By Bus Towards Veer Mata Jijabai Bhosale Udyan (Rani Baug)
1, 3, 5, 6 Ltd, 7 Ltd, 8 Ltd, 9, 11 Ltd, 15, 18, 19 Ltd, 21 Ltd, 22 Ltd, 25 Ltd, 50, 51,
64, 67, 69,
126, 134, 168, 50 Ltd.
By Train Central Line - Byculla (East) Station, 2 mins walk
Western Line - Mahalaxmi Station, 10 mins by taxi via Jacob Circle
Harbour Line - Reay Road, 5 mins by taxi, 10 min walk
Parking Pay-and-park facilities are available within the compound for 2 wheelers,
Fig 27. Location map cars
and buses. Fig 28. satellite view
Visitors with Disabilities
The Museum is wheelchair friendly. The Museum and Plaza may be accessed by
ramps, with hydraulic lift to access the first floor
 PRECEDENT STUDY
PAGE NO .20
SCALE
The museum is amongst the best designed museum in India . It is designed over a space of 50 acres which includes the zoo part known as rani bhaug .
Visitors from all around the country come to visit this architectural masterpiece. The museum consists of six main exhibition galleries and other amenities
such as library , café , shops etc . The different galleries exhibits lifestyle , art works , cultural diversity , Mumbai evolution and the history .

Fig 29. internal views

2. AREA PROGRAMME
THE INTACH CONSERVATION LAB AND THE DOCUMENTATION CENTRE
An INTACH conservation lab & documentation centre has been established at the museum to restre
and conserve the museum collection and to assist other museums in Maharashtra. Most of the
museum objects were damaged from poor handling and incorrect conservation work. INTACH has
established a special heritage club at the museum , 20 schools are active members. Special activities are
organised for participating school
EDUCATION ENTER
A dilapidated cottage that served as a strange room was painstakingly restored to function as the museum’s
education centre. The building was completely transformed internally while retaining its exposed brick façade
and Victorian sensibility. Regular lectures, seminars, films and audio visual interactions are held here.
AUDIO GUIDE
The Museum’s interpretive audio guide uses state of the art technology to
bring to life the stories of the Museum - its history, architecture and collections.
SHOP
The Museum Shop supports traditional craftsmen and NGOs and has a unique
selection of gifts, many of which have been inspired by the Museum collection.
On display are Museum inspired mugs, bags, postcards, puppets, diaries and Fig 30. Activates area
magnets as well as traditional products like paper Mache, bidri, shawls and
bronze statues.
 PRECEDENT STUDY
PAGE NO .21

3. ARCHITECTURAL DRAWINGS

Fig 31. Site plan Fig 32. Section and elevation

FUTURE PROJECT
MUSEUM EXPANSION
The Museum has embarked on an ambitious expansion plan to develop a new wing on the north side of the Museum,
supported by the Municipal Corporation of Greater Mumbai and private donors.
The new wing is expected to be 120,000 sq ft, providing new galleries and facilities including a learning centre, a
research centre, an auditorium and conference centre, a library and archive, conservation facilities and a new museum
shop, a café and a restaurant. At the heart of the new wing will be a permanent gallery to showcase contemporary
Mumbai, focusing on Mumbai's critical role in imagining modern India, and highlighting its cultural achievements. A
spacious special exhibitions gallery of international standards will showcase major touring exhibitions.
The new Museum wing aims to become the primary centre for the contemporary cultural development of Mumbai.
The new Exhibitions galleries and Learning Centre will encourage artistic and creative initiatives to engage a wide
spectrum of audiences. The iconic new building will put the Museum on par with leading museums across the world.
This is a key moment for the Museum as it reaches out towards new audiences both in India and internationally. It will Fig 33. Future proposal
reposition Indian contemporary culture on the global art and design scene.
 PRECEDENT STUDY
INDIAN MUSIC EXPERIENCE
PAGE NO .22

CENTER FOR INDIAN MUSIC EXPERIENCE

1. INTRODUCTION
RELEVANCE
If there's one things that Bangalore loves it's music. Well, and beer, but mostly music. So it was only natural that the country's first and only music museum was to be set
up on Namma Bengaluru. While the space is already open for the cafe, a few musical events and amazing art installations that double up and music instruments, the
project, an effort by the Indian Music Experience Trust, that’s made up of music lovers from across the city, along with the Brigade Group, is modelled around the Museum
of Pop Culture (also known as the Experience Music Project) in Seattle.
Officially opened on December 13, 2018, you can look forward to plenty of interactive experiences, when you head here This will also be one of the rare museums where
you will be encouraged to touch and feel things instead of just viewing it studiously from a distance. And don't worry if you've always been told you have strange taste in
music. This place is for music lovers of all kinds of genres, and will explore the history behind plenty of iconic songs and music maker sIf there's one things that Bangalore
loves it's music. Well, and beer, but mostly music. So it was only natural that the country's first and only music museum was to be set up on Namma Bengaluru. While the
space is already open for the cafe, a few musical events and amazing art installations that double up and music instruments, the project, an effort by the Indian Music
Experience Trust, that’s made up of music lovers from across the city, along with the Brigade Group, is modelled around the Museum of Pop Culture (also known as the
Experience Music Project) in Seattle.
Officially opened on December 13, 2018, you can look forward to plenty of interactive experiences, when you head here This will also be one of the rare museums where
you will be encouraged to touch and feel things instead of just viewing it studiously from a distance. And don't worry if you've always been told you have strange taste in
music. This place is for music lovers of all kinds of genres, and will explore the history behind plenty of iconic songs and music makers
SITE
• ARCHITECT - GALLAGHER AND ASSOCIATES
ARCHITECTURE PARADIGM PVT. LTD
• DURATION OF PROJECT- 2013 TO 2018
• CLIENT- BRIGADE GROUP
• PROJECT COST- 45 CRORES
ABOUT BUILDING -
• AREA – 50000 SQFEET
• CARPET AREA - 30000 SQ FT
Fig 34. location map • NO.OF FLOORS – 4
• CONTEXT – MILLENNIUM PARK PUTTENAHALLI LAKE
• LOCATION – BRIGEDE MILLENNIUM AVENUE OPP. WOOD ROSE CLUB, JP NEELAM BARI AQUAPARK NARAYANA PU COLLEGE.
NAGAR, SOUTH BENGALURU, KARNATAKA
 PRECEDENT STUDY
PAGE NO .23

SCALE
• CONCEPT- INSPIRED FROM SAPTA SUR ( SA RE GA MA PA )
• MIRRORING THE REVERSE CHRONOLOGY OF THE EVOLUTION OF THE MUSIC,THEY BEGIN ON THE TOP FLOOR DESCENDING THROUGH ERAS OF
MUSIC, BACK TO WHERE IT ALL BAGAN ON THE GROUND.

• VISION – THE CENTRE FOR IME IS A VIBRANT MUSIC EPICENTRE WHICH CELEBRATES INDIA’S UNITY IN SPIRIT & DIVERCITY IN CREATIVE
EXPRESSION.
• MISSION- THE IME WILL BRING TOGETHER THE BEST EXPERTISE TO CREATE AN EXPERIENCE THAT ENGAGES,EDUCATES & ENTERTAINES
THE PARTICIPANTS THROUGH EXHIBITS, LEARNING ACTIVITIES & PERFORMANCES TO CREATE A DEEPER EMOTIONAL CONNECTION WITH MUSIC

PARKING FOREGROUND AREA RETAIL STORE CAFETERIA MUSIC STORE LERNING CENTER
Fig 35. Internal views
 The form of the building is derived from the form of a grand piano.

The entrance of the museum is de markated by a projected ceiling nearly 12m high which gives it the welcoming sense and grandeur.

The museum galleries are nearly three times the human scale in height giving the space character of grandeur.
The building is oriented on
East – west axis considering the climatic conditions.

The facade is mainly made up of concrete and glass where glass is only used on north and east sides.

Indian music experience showcases the rich and diverse culture of Indian music through its exhibits and galleries.

It also intends on passing on this great legacy to next generations through the performances and events carried out.

It also serves as the learning center for those who wish to learn Indian music . Fig 36. Roofing system.
 PRECEDENT STUDY
PAGE NO .24

2. AREA PROGRAMME
SR. PLACE NAME FACTS EXPERIENCE
N / VIEW
O.
1 SOUND EXPERIMENTAL MUSICAL INSTALLATIONS THE INSTALLATIONS ALONG WITH MUSICAL EXPERIENCE,
GARDEN GIVE RELAXINF AND MEDITATING EXPERIENCE.
2 ENTRANCE PRE FUNCTIONAL GATHERING SPACE WITH HIGH FOYER WELCOMES US TO THE MUSEM.
FOYER CEILING HEIGHT
3 INTRODUCTOR CIRCULAR PLAN THE AUDIO VISUAL CONNECTS A PERSON WITH MUSIC.
Y THEATRE 280 DEGREE SCREEN EVEN A NON-MUSICAL PERSON BECOMES CURIOUS AND
ILLUSTRATES RELATION BETWEEN LIFE AND MUSIC. CAN RELATE LIFE WITH MUSIC.

4 CONTEMPORA INSTRUMENT MIXING DEVICE THE OPPORTUNITY OF EXPLORING MUSIC THROUGH

RY MUSIC PROVISION OF HEADPHONES TO LISTEN TO DESIRED MIXING DEVICES REALLY ENGAGES THE MIND AND GIVES
ZONE GENRE OF MUSIC. IMMENSE PLEASURE
5 INSTRUMENT DISPAY OF INDIAN MUSICAL INSTRUMENTS IT’S A GREAT SURPRISE INDEED TO GET AN OPPORTUNITY
GALLERY TO SEE 108 MUSICAL INSTRUMENTS SO CLOSELY AND THAT
TOO UNDER ONE ROOF
6 HINDUSTHANI SAMAYCHAKRA (OVERHEAD CIRCULAR SCREEN THE GALLERY PLAYS AN IMPORTANT ROLE IN
CLASSICAL STATING THE SAMAY OF RAGAS) INTRODUCING BASICS OF HINDUSTHANI CLASSICAL MUSIC
GALLERY DIPLAY OF RENOWNED HINDUSTHANI CLASSICAL TO A LAYMAN. IT ALSO TELLS ABOUT THE RELATION OF
SINGERS AND RAGAS HUMAN LIFESTYLE WITH THE HINDUSTHANI CLASSICAL
MUSIC.
7 STORIES DISPLAYS RELATION BETWEEN INDIAN FOLK AND PERFORMING ARTS ARE WIDELY CONDIDERED AS A PIECE
THROUGH CLASSICAL PERFORMING ARTS AND MUSIC OF VISUAL ART BUT THIS DISPAY ILLUSTRATES THEIR
SONGS MUSICAL RELATION.
8 SONGS OF SONGS RELATED TO HUMAN LIFESTYLE AND STAGES THE DISPLAY CONSTRAINS US TO RECALL THE HIDDEN
PEOPLE OF LIFE MUSIC IN OUR OWN CULTURE AND EVEN OUR DAY TO
DAY LIFE WHICH IS OTHERWISE MARELY CONSIDERED AS
MUSICAL PIECE.
 PRECEDENT STUDY
PAGE NO .25
SERVICES : FOR SPECIALLY ABLED PERSONS –
ACOUSTICAL CONSIDERATIONS • Air conditioned ducting's • Ramps
Partitions of plywood with gypsum board 50mm. provided. • Lifts
Non reflective paints. • Lifts, ramp, staircase , service • Rest rooms
Carpets used on floors in theatres. lobby, ducts, FIRE FIGHTING SERVICES :
Walls treated with acoustic panels of rock wool rest rooms. • Fire extinguisher, alarms
in some places. • Fire staircase.
Fig 37.
Acoustical
system
SOUND GARDEN-
• Designed by auroville
architect’s.
• It is an open space where a
visitor’s every move will create a
music..
• Each musical installation here
invites us to explore it’s distinct
sound, material & vibration.
• A sensitive touch will allow you to
have a truly memorabl auditory
experience.
Materialused–aluminium,plastic,
Fig 38. Zoning rubber, wood, metal & stone.
Fig 39. Site plan

Fig 40. Section

 PRECEDENT STUDY
PAGE NO .26

3. ARCHITECTURAL DRAWINGS

THIRD FLOOR PLAN

FIRST FLOOR PLAN

SECOND FLOOR PLAN

Fig 41. All floor plans

 PRECEDENT STUDY

1. INTRODUCTION
DILLI
DILLIHAAT
HAAT
PAGE NO .27

RELEVANCE
• CONCEPTION OF THE PRAGRAM IS AS LARGE A DESIGN INTERVENTION AS ITS PHYSICAL, MAIFESTATION . THE FINAL FUNCTIONALITY FOUND AN
INDOOR, WELL EQUIPPED 800 CAPACITY AUDITORIUM FOR FORMAL CONCERTS AND AN INFORMAL SIMILAR CAPACITY OPEN AIR AMPHITHEATER
THAT WORKS SIMULTANEOUSLY WITH INDEPENDENT SPACES AND SUPPORT SERVICES.
• A MULTIPURPOSE , MULTISCALED EXPOSITION HALL FOR EXIBITIONS AND SEMINAR IS PROPOSED.
• A SET OF 4 BASKETS HOUSES A MUSIC MUSEUM , A MUSIC STORE AND MUSIC WORKSHOPS SPACES.
• A LARGE AIR-CNTINED FOOD COURT EXTENDS INTO SHADED COURTYARDS AND EXPANSIVE GREENS FOR THE BASIC NEEDSOF SPILL OVERS.
• FORMAL INFORMAL AND OPEN SHOP SPACES ARE CREATED TO BRING IN THE REQUIRED SENSITIVE ADAPTIONS OF MALLS MARKETS AND BAZAARS
INTO THIS HAAT.

SITE

Architects – Archohm
Location - Janakpuri, New Delhi,
Architect in Charge - Mr. Sourabh Gupta
Area - 16000.0 m2
Project Year - 2014

SURROUNDING – Fig 43. Satellite plan

Fig 42. Location plan
6 ACRE NORTWEST FACING COTIGIOUS PIECE THAT TURNS SOUTH EAST TOWARDS THE END.
THE PLOT IS BOUND BY THE MAIN BUS TR=ERMINUS ON ONE SIDE, THE TIHAR JAIL ( A
NATIONAL PRISON ) GREENS ON THE FRONT. THE COMPLEX IS PLANNED WITH TWO
ENTANCES, A PRIMARY FACE VEHICULAR AND PEDESTRIAN ZONES AND A SECONDARY
REARNTRY FOR PEDESTRAINS INTO THE CRAFT ONLY ZONE.
 PRECEDENT STUDY
PAGE NO .28

SCALE
‘Haat Beat’ was the starting point to this design competition entry in 2005. Delhi Tourism and Transportation Development Corporation had invited entries for a Dilli
Haat in Janakpuri - a massive site with a large residential audience, in a part of Delhi that had very few places to go out to. DTTDC has promoted music all across Delhi
with its concerts and other initiatives. The idea was to give them a home for playful music and give these homes a place to play with music. This was the underlying layer
that bonded the overall program of formal and informal shops to sell crafts and celebrate culture; to inject a new life into this part of Delhi and be its rhythmic ‘heart beat’.

Fig 44. Internal site view

2. AREA PROGRAMME
AMPHITHEATER –
NOT ONLY THE MUSIC CENTE, BUT ALSO THE AMPHITHEATER AVAILS TO TAKE CARE OF
INTERACTIVE FUNCTIONS.

MATERIALS-
THE ONE MATERIAL THAT IS BEING WIDELY USED IS BAMBOO : FOR SHADDING , SCREENS FOR
BASCKETS AND FOOD COURT , SCULPTURE FOR STREET FURNITURE . AS WELL AS NATURAL
GROWING BAMBOO ARE ALSO PLANTED.

Fig 45. Surrounding views

 PRECEDENT STUDY
PAGE NO .29
TABLE TOWER –
TAKING COGNIZANCE OF ALL THE REQUIREMENTS, SO AS TO MAKE THE HAAT – A FUNCTIONALLY VIABLE PROGRAM, IT WAS DECIDED TO MUSIC
THEME TO THE CEMTER . THE LACK OF ANY CENTER DEDICATED TO MUSIC IS EVIDENT.

3. ARCHITECTURAL DRAWINGS

ACTIVITY AREAS

PLAN

SECTION
SITE PLAN
SECTION SECTION

SECTION
Fig 46. Drawing details

5. COMPARITIVE STUDY
DISCRIPTION DR. BHAU DAJI LAD
MUSEUM OF MUMBAI
Old block is an RCC loadbearing
structure.
STRUCTURAL Where as the new block is an
SYSTEM RCC framed structure
Dr. Bhau Daji Lad Museum, Veer
Mata Jijabai Bhosale Udyan (Rani
LOCATION Baug), 91/A, Dr. Babasaheb
Ambedkar
RoadBycullaEast, Mumbai
400027, Maharashtra ,India
SITE AREA Area- 50 acres
Old block is in the combination
ARCHITECTURE of and Persian style. The new
blocks are modern and
contemporary.
BUILDING DESIGN Building was designed for the
museum. But space within the
zoo.
• Its an historical museum and
now a days Morden buildings
and facades is provided.
NEGATIVE POINTS • These museum is for under
small scale as it is
redeveloped building.
INDIAN MUSIC
EXPERIENCE
BANGLORE
RCC frame structure.
Columns are visible only on
corridors
Brigede millennium avenue opp.
Wood rose club, jp nagar, south
bengaluru, karnataka
Area – 50000 sq feet
Modern and contemporary.
Building was designed for the
museum.
The spaces are complex and cut to
cut activities are provided
PRECEDENT STUDY
PAGE NO .30
HAAT DILLI JANARPUR INFERENCE
Bamboo is highly used in the structure and natural bamboo The RCC framed
is also planted. structure is flexible and
giving large
unobstructed spaces
can be adopted In
galleries.
Janakpuri, new delhi. -
Area – 16000 sq.m -
Contemporary building. Morden building
Conception of the program is as large a design intervention It should be designed
as its physical, manifestation . the final functionality found for the museum.
an indoor, well equipped 800 capacity auditorium for
formal concerts and an informal similar capacity open air
amphitheatre that works simultaneously with independent
spaces and support services.
A lot of activities is being done at the same places
The spaces are complex and cut to cut activities are provided Should be avoid such
problems.
 PRECEDENT STUDY
PAGE NO .31
DISCRIPTION DR. BHAU DAJI INDIAN MUSIC EXPERIENCE HAAT DILLI JANARPUR INFERENCE
LAD MUSEUM OF BANGLORE
MUMBAI

• Its located in a • The services and the duct • The site location is placed in a good
good contacts provision is in a proper way . surroundings
POSITIVE POINTS where rani • The spaces created inside the • Open spaces are provided for better Should apply this concept.
baugh is near by buildings makes the public interaction
and had zoo interesting. • It depicts the Delhi culture and can
over there. • The structure it self stands a shop over there.
• After every iconic building. • Conception of the program is as
exhibition room large a design intervention as its
and projector physical, manifestation .
room is
provided for the
movie screening
area.

Ground and first floor Ground , first , second and third Maximum three floors
FLOORS floor Maximum 2 floors with terrace
garden.

LANDSCAPE Lawn, trees and garden Lawn, trees and garden with The hole site have good vegetation and Sculpture as a focal point.
with sculptures are sculptures and sittings are there addition provision of ;landscape.
there

Not provided Parking areas are scattered through Common parking is provided itself the
PARKING out the site. A common parking along site. The separate parking area is
with the other activity buildings in the preferable
same site.

CIRCULATION IN Block and arterial Block and arterial forms of There are open semi open connectivity's Ramp as a form of vertical
GALLERIES forms of circulation. circulation. through each blocks circulation .
 PRECEDENT STUDY
PAGE NO .32

DISCRIPTION DR. BHAU DAJI INDIAN MUSIC EXPERIENCE HAAT DILLI JANARPUR INFERENCE
LAD MUSEUM OF BANGLORE
MUMBAI

SPACES Huge spaces are not All the spaces are utilized to its maximum Small and big pockets are designed for the All the spaces
utilized for the museum activities. should be utilised
purpose thus giving
importance to all
the part of the
museum.

CANTEEN Café id provided at the Café is provided at the entrance at the A huge food court with the shopping facilities Outdoor Canteen
end of the museum sitting space and attraction point. is been provided. must be provided
courtyard is provided in and act as
the centre. interactive space.

ARTIFICIAL Use of less artificial Use of artificial light is more as open As the spaces are segregated the light Use of less artificial
LIGHTING lighting is lesser as huge windows less provided penetrate easily. light
windows are provided

NATURAL Bigger windows are there. Less use age of natural lighting Treat lights are provided at the pathways. Artificial lighting
LIGHTING fixtures must be
fixed keeping in
mind the type of
exhibits and also the
intensity of light
required.

CIRCULATION Galleries are well Galleries are well connected and have There are open semi open connectivity's Natural lighting
connected to huge sufficient lobby spaces wide corridors are through each blocks fixtures must be
staircase. there. effectively used and
care must be taken
to see that the light
does not glare the
exhibits.

DISCRIPTION DR. BHAU DAJI LAD
MUSEUM OF MUMBAI
Building attraction due to its
CONCLUSION site context and the internal
carving in the wall.
The dr. Bhau daji lad Mumbai
city museum seeks to serve
the community as an
institution dedicated to
excellence in cultural
SPECIALITY
education through exhibitions
and different visual and
intellectual media. To engage
the community, especially
children, to promote a
greater appreciation of
Mumbai's artistic, cultural and
economic history and
development and to promote
cross cultural understanding
and cultural awareness at all
levels.
INDIAN MUSIC
EXPERIENCE
BANGLORE
Building attraction due to its
uniqueness of structure and spaces
created.
The aim consists of three parts -
1. An interactive multimedia exhibit
area with eight thematic galleries, an
instruments gallery, three mini
theatres and several touchscreen-
based interactives.
2. A sound garden with 10 'playable'
musical sculptures such as xylophones,
wind chimes and gongs
3. A learning centre with five
classrooms, a seminar hall and a
library space
In addition, it houses an amphitheatre,
gift store and cafe.
PRECEDENT STUDY
PAGE NO .33
HAAT DILLI JANARPUR INFERENCE
Beautiful landscape and the amalgamation of the There must some
bamboo structures done all over the site. building attraction
element.
• Conception of the program is as large a
design intervention as its physical,
manifestation . the final functionality found
an indoor, well equipped 800 capacity
auditorium for formal concerts and an
informal similar capacity open air -
amphitheatre that works simultaneously
with independent spaces and support
services.
• A multipurpose , multiscale exposition hall
for exhibitions and seminar is proposed.
• A set of 4 baskets houses a music museum ,
a music store and music workshops spaces.
• A large air-condined food court extends
into shaded courtyards and expansive
greens for the basic needs of spill overs.
• Formal informal and open shop spaces are
created to bring in the required sensitive
adaptions of malls markets and bazaars into
this haat.
 PRECEDENT STUDY
PAGE NO .34

6. CONCLUSION
The main aim of the case study and literature study was to understand the different design aspects and design requirements of the museum .. Every space has
its own importance and every space plays and important role in making a place live . Case study and literature study is required to frame out these spaces
and their design aspects.
The bhau daji lad museum in Mumbai is very thoughtfully planned and the entire campus is theme based right from the entrance .
It give the look of the royalty and ancient effects which established in every wall and every column of the museum . Every art work has
some meaning to it which is beautifully depicted . This museum provides a new museum’s vision , the visitors experience and an
organized plan which make it one of its kinds . The exhibition and display units are creatively developed through unique design ideology
which separates this museum from on orthodox museum . Best thing about these museum is that it display the Mumbai culture and the
human lifestyle how it gradually increases through out the year .

The Indian music experience in Bangalore is one of the well designed museums in India , also the museum is well with all the
services and ducting system . The zoning of the building is well segregated and the feeling of the music and its importance is been
displayed. A grid brings the site under control. Each grid offers a way to understand the site and influences the relationship between
design and the site. The selection of which grids to use begins setting up the relationship of the architecture and the site.The octaves
present a clear way of structuring music with the seven notes spread over 12 semitones and forms the basis of classical Indian music.
These seven notes provides the framework for music. The musician decides which notes to select and in what order to construct the
raga . Similarly, the architect selects different notes[by representing them as points on the grid inscribed onto the site]and connects
some of them to define the kind of spaces required.

The dilli haat in janakpuri is one of the unique idea to showcase the city cultural and there local materials which include all
different activities like shopping centre auditorium exhibition etc. As a design philosophy, with two Dilli Haats already in the city, one
questioned the design elements at multiple levels. Fundamentally, all Dilli Haats need to have a common ground of bringing artisans to
interface with city dwellers. All these haats need their own identity to attract people not only from their own neighbourhood, but from
the city at large. One also had to look at evolving the language and imagery of these haats with time. They could not be imitated
extensions of the previous haats or imitations of villages in the city. They had to be progressive, in tune with today’s times and
respecting the craft and cultural centricity of the project. The design solution therefore, is a conversation between the past and the
present, acknowledgement of the traditional and its adaptation in contemporary times, in concept and in construction.
CHAPTER 4. UNDERSTANDING THE SITE
PAGE NO .35

1. SITE OF SUCH CENTER ANALYZES

PUBLIC VIEW
• This area is located in the prime area where all the commercial
activities is been done
• These area is located at the central where one road goes directly
to the highway
• The crowd over there is rich and the accommodation system is
available easily.
• It is near to public spaces like Swaminarayan mandir, public
grounds, schools and religious places.
• Its is accessible to every person to person
Fig 47. location map TRAFFIC ROAD PLAN
• The location is where the metro line is been going on through Fig 49. Surrounding area
main line.
LOACTION - DISTANCE FROM LOCATION
• It is the area where residence is not near by and nagnadi river
SWOT ANALYSIS –
Swaminarayan Marg, To railway station – 7.9 km passes through it. • Centre of the city
To airport - 13 kms
Ring Rd, Wathoda • At the few distance sewage treatment plant is there and the site• is Local public crowd
Layout, Nagpur, To bus stop – 6.3 kms • Near the metro station head
attached to highway road.
Maharashtra • Not that much developed area
PUBLIC VIEW
• The fort is located in the center of the city. It is not open for general
public. Opened for public on 15 August and 26 January for general
public. Someone told me that a historical battle was fought here.
• Sitabuldi fort is located atop a small hillock in the middle of Nagpur.
• It’s Nagpur is one of the major attractions for the tourists. Sitabuldi.
The location of the historical place of Sitabuldi Fort at Nagpur adds
to the charm of the place. The Sitabuldi Fort is situated on the two
hills of Sitabuldi, which are referred to as twins, as they look alike. In
fact, the fort has got its name from these hills. Fig 50. Surrounding area
Fig 48. location TRAFFIC ROAD PLAN
• The sitabuldi Fort in Nagpur is not just a fort but a historic landmark
and a must see place in Nagpur. It is fort played a important role in SWOT ANALYSIS –
map
DISTANCE FROM LOCATION
LOCATION - the Anglo Maratha war. The atmosphere is great once you reach the • Scope for development
To railway station – 2.2 km
Madha Colony, top. It is not a very tall fort as it is situated on a hillock but you can • Lonely area
To airport - 9.4 kms
Sitabuldi, Nagpur, view the city from there. On the way up there is the sitabuldi Ganesh• Main road site with metro oriented
To bus stop – 3.6 kms
Maharashtra 440001 Mandir which is an important place of worship in Nagpur. • Not that much developed area
 UNDERSTANDING THE SITE
PAGE NO .36
PUBLIC VIEW
• Ambazari is a very posh locality with good environment.
School, bank, ATM and hospital are available nearby the
locality. Transport facility is also good in this locality.
• It is a prominent area of Nagpur, developed and is
surrounded by many developed areas. It has all
amenities that too of good quality and is suited to all
types of people for stay. Overall an excellent area with
no complaints at all. It is well protected with plenty of
activities or recreation, no power supply or water
supply problem. Fig 52. Main road
Fig 51. Location map TRAFFIC ROAD PLAN • It is one of the best places to live in Nagpur. SWOT ANALYSIS –
LOCATION - DISTANCE FROM LOCATION Surrounded by prestigious areas ambazari lake, garden, • River front site with peaceful and dense plantation
Ambazari Road, To railway station – 1 0km statue, futala lake & one side totally covered by • Local public crowd
Verma Layout, Hill To airport - 10 kms RTMNU . All lush green surrounding, peaceful locality • Metro corridor with prime area location
Top Layout, Ram To bus stop – 5 .4 kms with all the facilities at your doorstep. • No proper cleanliness and maintenance
Nagar, Nagpur,
Maharashtra

Fig 53. Surrounding

area Fig 54. Land use plan
 UNDERSTANDING THE SITE
PAGE NO .37

2. INTRODUCTION
LOCATION

12.58 acres , vacant public site ,

belonging to the Nagpur
development authority has been
identified . This is located in
Fig 55. India map Fig 56. Maharashtra Nagpur ambazari road , verma
map Fig 57. Nagpur map Fig 58. Site location
layout.
Fig 59. satellite location
SITE AREA
The site is located at prime area were all the public spots are available like historic reservoir with a
spacious garden , waterfront walkways and swimming area . The site is orientated at east-west India.
Ambazari lake is situated near the southwest border of Nagpur , in the sate of Maharashtra , India . It
is one of the 11lakes in Nagpur and is the largest lake in the city . The nag river of Nagpur originates
from this lake. This lake is near VNIT and surrounded by mango trees .

INFERENCES-
• All architectural colleges near by which is convenient for the students to visit
• With proper lake view and plantation with maintenance the nature.
• Connected to metro route which will convenient to public to travel.
• Contour site provides easy drainage options.
• Full facilities of electric and water supply.
• The site is surrounded by tourist which will attract the location.
Fig 60. site dimensions
 UNDERSTANDING THE SITE
PAGE NO .38
ACCESSIBILITY
The ambazari is located on the western side of the city
Nagpur and can be reached quickly using all means of
public transport . Since this tourist site is extremely
popular , transportation facilities are readily available . For
those of you who are staying near the airport , the
ambazari lake is just 4 kilometres away . The railway
station is also only five kilometre away .from both these
places, taxis and cabs can be easily booked.

ACADEMY & RECREATIONAL FOOD STALLS AND

ACCOMMODATION
INSTITUTIONS SPACES RESTAURANTS

These is the arrangements of the facilities available near by the site. And the
traffic graph that locate the different changes in traffic according the time changes. Fig 61. Traffic analysis

SITE CONTEXT
Fig 64. surrounding amenities
These is the arrangements of the facilities available near by the site . And the traffic graph that
locate the different changes in traffic according the time changes.

Fig 62. Current land use Fig 63. Current surrounding

 UNDERSTANDING THE SITE
PAGE NO .39

3. NATURAL FACTORS
GEOLOGY

Geology is the science which deals with the physical structure and substance of the earth , their history , and the processes which act on them . Geology is a
very important aspect of the site analysis to understand the soil typology , texture and characteristics of the proposed site.

SOIL TYPE
Medium to deep clayey, black cotton soils; medium, loamy The district forms part of Deccan Plateau having flat topped and terraced features. Eastward and
alluvial soils; shallow sandy, clayey red soils.
northeastwards the landscape changes due to the change in the underlying rocks. The rocks of Gondwana
series present a low rolling topography with a poor soil cover and vegetation. On the north the upland ranges
are the extension of Satpuras which gradually narrows down towards west. South of these upland range
stretches the Ambegad hills, the western extremity of which is the Nagpur district. The Ramtek temple is on
the spur of this range. The Girad hill range extends along the southeast and separates the valley of the Kar
from that of Jamb upto Kondhali. Another main hill range runs northwards through Katol taluka from
Kondhali to Kelod separating the Wardha and Wainganga valleys. The northeastern and east central parts of
the district is drained by the Wainganga and its tributaries. The central and western portion is drained by the
Wena which is a tributary of Wardha river.

Fig 65. hydrogeology map of Nagpur
There are six types of soils found in Nagpur district. The details are as follows:
1) Kali soils: These are black cotton soils which are fine grained clayey in texture and varies in depth from 1
m to 6 m or more and retain moisture. They are found around Kalmeshwar, Saoner and Nagpur.
2) Morand soils: These are predominant in the district. They are black cotton soils with higher percentage of
lime than the Kali soils. They are black, grey or light to dark brown in colour, clayey in texture and have a
depth of about 1 to 3 m.
3) Khardi soils: They are shallow soils mixed with sand and found mainly in hills. These are grey in colour,
clay loam in texture.
4) Bardi soils: They are red gravel covered with boulders found on summits and slopes of trap hills and are
less fertile in nature.
5) Kachchar soils: They are mainly found in the banks of Kanhan river and are alluvial soils, loamy in nature
and vary in depth from 1 to 3 m.
6) Wardi soils: They are red soils with a large amount of sand. They are shallower and clayey loam in nature.
They are mainly found in the paddy tracts in the eastern part of the district. Ground Water Scenario
 UNDERSTANDING THE SITE
PAGE NO .40

4. GEOMORPHOLOGY
Geomorphology is the study of the physical features of the surface of the earth and their relation to its geological structures site
contour and typology of the site helps us to understand the slope , drain off and drainage pattern of the site.

SOIL CONTOUR AND SOIL TOPOGRAPHY SOIL SLOPE AND DRAINAGE AND SUNPATH

S
I
T
E

Fig 66. Site plan A

N Fig 68. Sun path diagram Fig 69. Site slope

A
L
Y
S
- Bad view
I
- Good view
Fig 67. site sections
S

Fig 70. Main road and Drainage pipe Fig 71. Site views
 UNDERSTANDING THE SITE
PAGE NO .41
HYDROLOGY
The depth to water levels in the district during May 2011
ranges between 0.08 (Umrer) and 15.59 (Sathnaovi) m
bgl. Depth to water levels during premonsoon (May
2011) has been depicted in Figure-3. Shallow water
levels within 10 m bgl are seen in almost entire district.
Water levels in the range of 10-20 m bgl are observed
parts of Kamleshwar, Hingna, Narkhed, Paraseoni talukas
as isolated patches.

The depth to water levels during Nov. 2011 ranges

between 0.60 m bgl (Umrer) and 10.60 m bgl (Manegaon
Tek). Spatial variation in postmonsoon depth to water
levels is shown in Figure-4. In the entire district the
water levels are shallow within 10 m bgl. Water levels of
2-5 m bgl is the most dominant range occupying major
parts of Ramtek, Mouda, Kuhi and Bhiwapur talukas.
Water levels of less than 2 m bgl are observed in isolated
patches i.e., parts of Narkhed, Nagpur, Umrer and Mouda
Fig 72. Monsoon water level map Talukas.
VEGETATION
Vegetation is important for any site analysis to understand the natural ecology of the site . It is one of the most neglected aspects of the site analysis , however
, it helps to understand a better design context of site and landscape.
• OAK TREES
• MANGO TREES
• ASHOKA TREES
• LEMON TREES
• APTA TREES
• NEEM TREES
• SHRUBS
• WILD GRASSES

Fig 73. Existing trees

 UNDERSTANDING THE SITE
PAGE NO .42

Fig 74. Existing site pics

CLIMATE
TEMPERATURE
The hot season lasts for 2.0 months, from April 8 to June 8, with an average daily high temperature above 103°F. The hottest day
of the year is May 14, with an average high of 108°F and low of 83°F.
The cool season lasts for 2.9 months, from November 13 to February 9, with an average daily high temperature below 87°F. The
coldest day of the year is December 28, with an average low of 56°F and high of 82°F.

PRECIPITATION
A wet day is one with at least 0.04 inches of liquid or liquid-equivalent precipitation. The chance of
Fig 75. Temperature level
wet days in Nagpur varies very significantly throughout the year.
The wetter season lasts 3.5 months, from June 9 to September 24, with a greater than 32% chance of a
given day being a wet day. The chance of a wet day peaks at 61% on July 23.
The drier season lasts 8.5 months, from September 24 to June 9. The smallest chance of a wet day
is 2% on December 6.
Among wet days, we distinguish between those that experience rain alone, snow alone, or a mixture of
the two. Based on this categorization, the most common form of precipitation throughout the year
is rain alone, with a peak probability of 61% on July 23.
Fig 76. Precipitation level
 UNDERSTANDING THE SITE
PAGE NO .43
WIND
This section discusses the wide-area hourly average wind vector (speed and direction) at 10 meters above the ground. The wind
experienced at any given location is highly dependent on local topography and other factors, and instantaneous wind speed and
direction vary more widely than hourly averages.
The average hourly wind speed in Nagpur experiences significant seasonal variation over the course of the year.
The windier part of the year lasts for 4.3 months, from April 24 to September 3, with average wind speeds of more than 7.5 miles per
hour. The windiest day of the year is June 23, with an average hourly wind speed of 9.9 miles per hour.
The calmer time of year lasts for 7.7 months, from September 3 to April 24. The calmest day of the year is November 25, with an
average hourly wind speed of 5.2 miles per hour. Fig 77. Average wind level
SUNPATH
The length of the day in Nagpur varies over the course of the year. In 2019, the shortest day is December
22, with 10 hours, 51 minutes of daylight; the longest day is June 21, with 13 hours, 25 minutes of daylight.
BEST TIME TO VISIT
To characterize how pleasant the weather is in Nagpur throughout the year, we compute two
travel scores.
The tourism score favors clear, rainless days with perceived temperatures
between 65°F and 80°F. Based on this score, the best time of year to visit Nagpur for general
outdoor tourist activities is from late October to early March, with a peak score in the last week
of January.
RAINFALL Fig 78. Sun path level
To show variation within the months and
not just the monthly totals, we show the
rainfall accumulated over a sliding 31-day
period centred around each day of the
year. Nagpur
experiences extreme seasonal variation in
monthly rainfall.
The rainy period of the year lasts for 8.5
months, from February 26 to November 11,
with a sliding 31-day rainfall of at least 0.5
inches. The most rain falls during the 31
days centred around July 24, with an Fig 79. Average monthly rainfall
Fig 80. Tourism score average total accumulation of 11.2 inches.
CHAPTER 5.
1. DESIGN PROGRAMME
DESIGN IDEOLOGY
PAGE NO .44

MUSEUM LOBBY – PUBLIC AREA MUSEUM SUPPORT HEADQUATER – PRIVATE AREA

ACTIVITIES TOTAL AREA ACTIVITIES NO. OF NO. OF PER PERSON TOTAL
ROOMS PEOPLE AREA AREA
ENTRY/VESTIBULE 15 SQ.M
DIRECTOR’S 1 3 8 SQ.M 25 SQ.M
TICKETING 15 SQ.M OFFICE
MAIN LOBBY 45 SQ.M SECRETARY 1 3 4 SQ.M 12 SQ.M
OFFICE
INFORMATION DESK 10 SQ.M
HEAD QUATOR’S 1 3 8 SQ.M 25 SQ.M
RECEIVING ROOM 75 SQ.M OFFICE
(Settle tour collection room)
ADMINISTRATIVE 1 3 4 SQ.M 12 SQ.M
MEN’S PUBLIC RESTROOM 50 SQ.M ASSISTANT
WOMEN’S PUBLIC REST ROOM 50 SQ.M OFFICE
EMPLOYEE’S 1 10 2 SQ.M 20 SQ.M
ELEVATOR LOBBY 20 SQ.M
LOUNGE
WAITING AREA 12 SQ.M
MEN’S STAFF REST 1 8 6 SQ.M 50 SQ.M
ROOM
MUSEUM SPACES – SEMI- PRIVATE AREA
WOMEN’S STAFF 1 8 6 SQ.M 50 SQ.M
ACTIVITIES NO. OF NO. OF PER TOTAL REST ROOM
ROOMS PEOPLE PERSON AREA
AREA MECHANICAL 1 - - 25 SQ.M
ROOM
DISCUSSION 1 40 2 SQ.M 80 SQ.M
LOADING 1 - - 15 SQ.M
AREA
PLATFORM
SEMINAR ROOM 2 30 0.6 SQ.M 36 SQ.M
MUSEUM 2 - 30 SQ.M 60 SQ.M
MEN’S PUBLIC 1 10 5 SQ.M 50 SQ.M STORAGE
RESTROOM MEETING ROOM 1 10 1.5 SQ.M 15 SQ.M
WOMEN’S 1 10 5 SQ.M 50 SQ.M (SMALL)
PUBLIC REST MEETING ROOM 1 15 1.5 SQ,M 22.5 SQ.M
ROOM (LARGE)
 DESIGN IDEOLOGY
PAGE NO .45
MUSEUM SUPPORT HEADQUATER – PRIVATE AREA
ACTIVITIES NO. OF NO. OF PER PERSON TOTAL ACTIVITIES NO. OF NO. OF PER TOTAL
ROOM PEOPL AREA AREA ROOMS PEOPLE PERSON AREA
S E AREA
CONFERENCE 1 21 1.7 S.M 36 SQ.M EVOLUATION OF 1 100 8 SQ.M 800 SQ.M
ROOM BUILDINGS
RESEARCH LAB 1 15 3 SQ.M 45 SQ.M HISTORICAL 1 100 8 SQ.M 800 SQ.M
DOCUMENTS
CONSERVATIO 1 15 3 SQ.M 45 SQ.M
N ROOM EXIBITION AREA 2 30 2.78 SQ.M 83.5 SQ.M
STAFF HEADS 1 6 10 SQ.M 60 SQ.M AUDIO- VISUAL 2 15 2.78 SQ.M 55.6 SQ.M
ROOM
CONTROL 1 - - 25 SQ.M
ROOM / PHOTOGRAPHIC 1 15 2.78 SQ.M 55.6 SQ.M
PROJECTOR AREA
ROOM
MOVIE THEATOR 1 35 0.6 SQ.M 21 SQ.M
GENERAL , A/V 1 - - 25 SQ.M (SMALL)
STORAGE
(LARGE) 1 50 0.6 SQ.M 30 SQ.M
MUSEUM SPACES – PUBLIC AREA
ACTIVITIES NO. OF NO. OF PER TOTAL AUDITORIUM 1 150 2.8 SQ.M 420 SQ.M
ROOM PEOPL PERSON AREA RELAXATION AREA 1 20 3 SQ.M 60 SQ.M
S E AREA
SHOPS 3 10 6 SQ.M 180 SQ.M
ARCHITCETURAL 1 100 8 SQ.M 800 SQ.M
DRAWING GALLERY CAFE 1 150 4 SQ.M 600 SQ.M

MODELS DISPLAY 1 100 8 SQ.M 800 SQ.M WORKSHOPS 2 100 1.5 SQ.M 300 SQ.M
LIBRARY 1 100 9 SQ.M 900 SQ.M
SKETCHES DISPLAY 1 100 8 SQ.M 800 SQ.M TEMPORARY 1 200 0.9 SQ.M 180 SQ.M
EXIBITIONS
BIO-DATA OF 1 100 8 SQ.M 800 SQ.M TOTAL NO. OF OCUPANCY – 1700 PEOPLE
ARCHITECTS
EMPLOYEE – 104 ACCORDING TO THE
MATERIAL DISPLAY 1 100 8 SQ.M 800 SQ.M VISITORS - 1400 FOOTFALL PARKING – 5000 SQ.M
TOTAL BUILT UP – 14,300 SQ.M
 DESIGN IDEOLOGY
PAGE NO .46

E
V
O
L
U CREATIVE EXERCISE
T MODEL

I
O
N CONCEPTUAL SKETCHES

O
F

P
L
A
N
 DESIGN IDEOLOGY
PAGE NO .47

5. MATERIAL DETAILS

CAVITY WALL

Fig 82. Detail section

A cavity wall is composed of two masonry walls separated by an air space. The
outer wall is made of brick and faces the outside of the building
structure.[4] The inner wall may be constructed of masonry units such as
concrete block, structural clay, brick or reinforced concrete.[4] These two walls
are fastened together with metal ties or bonding blocks.[5] The ties strengthen
the cavity wall.
The water barrier is a thin membrane that keeps moisture away from the cavity
BIOBARRIER Fig 81. Section of cavity wall side of the interior wall.
Landscapes and hardscapes require continuous
maintenance. While landscapes (softscapes) require
continual pruning, trimming and manicuring, hardscapes
require pressure washing the fixing of cracks and the
protection against invading tree roots. This becomes
especially necessary when trees are in close proximity to
the hardscape area, with its roots acting as powerful
forces from nature which are likely to bring damage to
hardscapes as well as building foundations.
Roots are free forces from nature that extends
Fig 85. Material use Fig 86. bio barrier
underground and move outwards its tree canopy. As a Fig 83. Detail of bio barrier
tree grows, its roots also become larger as well as A Solution to Controlling Nature’s Powerful Forces
longer. This is a normal occurrence, but can be quite A root barrier is a product that acts as a physical underground wall designed to
damaging in the process. As this happens, a greater protect structures, like foundations and patios, against tree root damage. With
amount of pressure is also applied on hard surfaces, the unique geotextile design of Bio Barrier, the product is able to provide
which causes it damage. In result, this will require repair, flexibility to surround any structure or surface.
which can be quite costly and can cause aesthetic
blemishes which can be very difficult to fix. Fig 84. Detail barrier
 DESIGN IDEOLOGY
PAGE NO .48

6. EVOLUTION OF MODEL

STAGE 1

STAGE 2

STAGE 3
Fig 87. Evolution of model
 BIBLIOGRAPHY

• dilli haat janakpuri - Google Searchwww.google.com

• section of BRICK cavity wall - Google Searchwww.google.com
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