BIRLA INSTITUTE OF TECHNOLOGY PATNA CAMPUS. THESIS REPORT SUBMITTED TO: THE DEPARTMENT OF ARCHITECTURE BIT PATNA GUIDED BY: PRESENTED BY: Ar. ASHUTOSH KUMAR CHANDRAMAULI BARCH/15003/14 IX SEMESTERCERTIFICATE This is to certify that the work presented in the report entitled “THESIS REPORT ” in partial fulfillment of the requirement for the award of Degree of Bachelor of Architecture of Birla Institute of Technology, Patna is an authentic work carried out under my supervision and guidance. To the best of my knowledge, the content of this dissertation report does not form a basis for the award of any previous Degree to anyone else. (Ar. Ashutosh Kumar) Department of Architecture Birla Institute of Technology, Patna The thesis project as mentioned above is hereby approved as a creditable study of project work and has been presented in a satisfactory manner to warrant its acceptance as prerequisite to the degree for which it has been submitted. (External Examiner -1) (External Examiner -2) Head of the Department of Architecture Birla Institute of Technology, PatnaACKNOWLEDGE T 1 blame all of you. Writing this book has been an exercise in sustained suffering. The casual reader may, perhaps, exempt himself from excessive guilt, but for those of you who have played the larger role in prolonging my agonies with your encouragement and support, well you know who you are, and you owe me First of all, [ would like to thank Dr, Anamika Nandan (HOD Dep't. Of Architecture, B.L.T Patna) and Ar. Ashutosh Kumar(Thesis Guide) for their guidance in structuring the contents and figuring out the focu: area of study. I would also like to thank Ar, Nitish Chandra for his valuable suggestions, constant support and encouragement all through the making of this report. My senior Ankit Kumar & Nikhil $ information over the topic olanki for his contribution and My friends Tejash Singh, Rohan Roy, Harshit Raj, Midhat Fatima, and all my batchmates for their valuable inputs, helps and their presence. And lastly I'd like to thank my parents for their encouragement and belief in me, Nobody has been more important to me inthe pursuit of this project than the members of my family.Table of Content | 2018 TABLE OF CONTENT Topic Page/Sheet No. Chapter 1: Introduction to Thesis 1-6 Tntroduction 12 11 Architectural Museum 1 1.2 Need of the study 1 1.3 Project justification 2 14 Scale of project 2 1.5 Why museum as thesis project? 2 Project Description 23 Site Context 35 3.1 Site Description 34 3.2 Site Justification Hypothesis S31 Aim 5.2 Objective 5.3 Scope 5.4 Limitation 5.5 Methodology Chapter 2: Case Study Introduction 1.1 Selection Criteria 1.2 Aspects Madhya Pradesh Tribal Museum, Bhopal 2.1 Introduction 2.1.1 Relevance 2.1.2 Site 2.1.3 Scale 22 Area Programme 2.2.1 Area Chart 2.2.2 User Activity 2.2.3 Area Distribution 2.3 Architectural Drawings 2.3.1 Conceptual Plan 2.3.2 Site Plan 2.3.3 Circulation Plan 2.3.4 Zoning 2.3.5 Floor PlanTable of Content | 2018 2.3.6 Elevation 2.3.7 Section 2.3.8 Ceiling Plan 2.3.9 Details 2.4 Site Photograph 2.5 Materials 2.6 Lighting 2.7 Observation 2.8 Design Analysis, 2.9 Conclusion National Museum, Delhi 3.1 Introduction 3.1.1 Relevance 3.1.2 Site 3.1.3 Scale 3.2 Area Programme 3.2.1 Area Chart 3.2.2 User Activity 3.23 Area Distribution 3.3 Architectural Drawings 3.3.1 Conceptual Plan 3.3.2 Site Plan 3.3.3 Circulation Plan 3.3.4 Zoning 3.3.5 Floor Plan. 3.3.6 Elevation 3.3.7 Details 3.4 Materials 3.5 Lighting 3.6 Observation 3.7 Design Analysis 3.8 Conclusion Solomon R. Guggenheim Museum, New York 4.1 Introduction 4.1.1 Relevance 4.1.2 Site 4.1.3 Scale 42 Area Programme 42.1 Area Chart 4.2.2 User Activity 4.2.3 Area Distribution 43 Architectural Drawings 43.1 Conceptual Plan 4.3.2 Site Plan 4.3.3 Circulation Plan 4.3.4 Zonin; 4.3.5 Floor Plan 4.3.6 Elevation 4.3.7 SectionTable of Content | 2018 43.8 Details 4.4 Materials 45 Lighting 4.6 Observation 4.7 Design Analysis 4.8 Conclusion Bihar Museum, Patna 5.1 Introduction 5.1.1 Relevance 5.1.2 Site 5.1.3 Seale 5.2 Area Programme 5.2.1 Area Chart 5.2.2 User Activity 5.2.3 Area Distribution 5.3 Architectural Drawings 5.3.1 Conceptual Plan 5.3.2 Site Plan 5.3.3 Circulation Plan 5.3.4 Zoning 5.3.5 Floor Plan 5.3.6 Elevation 5.3.7 Section 5.4 Materials 55 Lighting 5.6 Observation 5.7 Design Analysis 5.8 Conclusion Comparative Study Conclusion Chapter 3: Understanding the Site Introduction 1.1 Location 1.2 Site Are 1.3 Accessibility 1.4 Site Context Natural Factors 2.1 Geology 2.1.1 Soil Type 2.1.2 Soil Texture 2.13 Soil Characteristic 2.2 Geomorphology 2.2.1 Soil Contour 2.2.2 Soil Topography 2.2.3 Soil SlopeTable of Content | 2018 2.2.4 Drainage 2.2.5 Seismic Zone Hydrology 2.3.1 Surface Water 2.3.2 Ground Water 2.3.3 Flood Level Vegetation 2.4.1 Indigenous Vegetation 2.42 Site Existing Condition Climate 2.5.1 Temperature 2.5.2 Precipitation 2.5.3 Wind Direction 2.5.4 Sun Path 2.5.5 Climatic Zone 2.5.6 Thermal Comfort Zone 2.5.7 Sciography Social and Cultural Factors 3.1 Existing Land use 3.2 Traffic and Transport 3.3 Density 3.4 Social & Economical Factor 3.5 Site Services 3.5.1 Electrical Services 3.5.2 Water Supply 3.5.2 Drainage 3.5.2 Strom Water Calculation 3.6 Historical Factor 3.6.1 Importance 3.6.2 Impact 3.6.3 Design Element Aesthetic Factors 4.1 Natural Feature 4.2 Spatial Feature 43 Visual Resources 44 Scale 4.5 Skyline Building Bye Laws Analysis & Zoning 6.2 Foundation 6.3 Drainage and Sewer Line 6.4 Built Form & Orientation 6.5 Bye Laws 6.6 Zoning 6.7 S.W.O.T.Table of Content | 2018 Chapter 4: Standards and Area Programming Standards for Museum Area Programming Chapter 5: Design Ideology Introduction 102- 1.1 Elements of Architecture 102-103 1.2 Lines as Basic Elements of Architecture 103 1.3 Types of Lines 103-104 1.4 Motion of Expression 104 Form Developement 104-105 Design Consideration 105 Climatic Consideration 106 Structural Consideration 107 Material Detail 107-108 Chapter 6: Design Translation Site Plan round Floor Plan irst Floor Plan Second Floor Plan Basement Plan Grid Plan Elevation Section Detail Views Chapter 7: BibliographyTable of Content | 2018 LIST OF FIGURES Chapter Figure No. Content No. i Fig. 3.1 @) Propose Connectivity Proposed Site & Existing Condition Sun Path Diagram Prevailing Wind Direction Fig. 1.1 (i) ‘Tribal life displayed in Tribal Museum, Bhopal Fig. 1.2 () Site Connectivity 12 Sun Path Diagram 1.2 Prevailing Wind Direction ¥.! Scale of exhibits in Tribal Museum Fig. i) Concept development Fig. 3.2 (i) Site Plan of Tribal Museum Fig. 3.2 (ii) Entrance and Exit of Tribal Museum Fig. 3.3 ()) Spatial integration in State and Tribal Museum Fig. 3.3 (i) Circulation Plan Zoning of Tribal Museum Fig. 3.5 (i) First Floor Plan Fig. 3.5 ( Entrance facade of Tribal Museum Fig. 3.5 (ii) Reception Counter & Museum Shop Fig. 35 (Ww) Ground Floor Plan Fig. 35 (0) Ramp connecting First floor & Ground floor Fig. 3.6 (i) Sectional Elevation Fig 3.6 (i) Side Elevation Fig. 3.6 (ii) Sectional Elevation of Gallery 3.6) East Side Section ie. 3.7(0 Site Section Fig. 3.7 (i) Section of Library Block Fig. 3.7 (ii) Section of North Zone Gallery Section of Entrance Block Inverted Ceiling Plan Fig. 3.8) Lighting Layout Fig. 3.8 (i) Structural Truss Detail Fig. 3.9 (i) Restaurant Plan Fig. 3.9 (ii) ‘Auditorium Plan Fig. 4 (i) Tribal Painting Fig. 4 Gi) Open Air Theatre Co) Tribal Hut Fig. 4 (iv) ‘Art Gallery Fig. 4 (v) Corridor avi) Spiritual Gallery Fig. 4 (vil) Tribal Life GalleryTable of Content | 2018 Deviok Gallery Clay pot for display Use of Bamboo for shading Fig. 5 (ai) Use of Stones Fig. 5 (iv) Wood for Furniture Fig. 5(¥) Plaster of Paris Perforated Lighting Fig. 61 Courtyard Fig. 6 (i) Artificial Lighting Fig. 1.1 () Displays in National Museum Fig. 12 (ii) ‘Sun Path Diagram Sun Path Diagram Fig. 2.2 (il) Prevailing Wind Direction 3am) Concept development of the museum Fig. 3.2 (i) Site Plan of National Museum Fig. 3.3 (0) ig. 3.4 (i) Horizontal zoning of National Museum Fig. 3.5 (i) Basement Plan Fig. 35 (i) Ground Floor Plan Fig. 3.5 (il) First Floor Plan ‘Second Floor Plan Courtyard Model of National Museum Front Elevation Fig. 3.7 (i) Special Exhibition Plan Fig. 3.7() Special Exhibition Plan a) Use of Aluminium & Wood in National Museum Effective use of Spot Ligh aa) Solomon R. Guggenheim Museum, New York Fig. 1.2 (i) ‘Sun Path Diagram Fig. 1.2 (Hi) Prevailing Wind Direction Fig. 3.4 0) Concept development of the museum Fig. 3.2(i) Site Plan of Guggenheim Museum 3300) Circulation Plan of Guggenheim Museum Fig. 3.4 (i) Vertical zoning of Guggenheim Museum Fig. 3.5 (i) Floor Plan of Guggenheim Museum Fig. 3.5 (i) Guggenheim Museum Fig. 3.6 (i) Front Elevation of Guggenheim Museum Fig. 3.6(ii) 3D view of Guggenheim Museum Fig. 3.7 () Section of Guggenheim Museum Fig. 3.7 3D Section of Guggenheim Museum Fig. 3.8 (i) ‘Structural Details of Guggenheim Museum Materials used in Construction st) Luminance Ceiling & Atrium for natural lighting Fig. 2.4 0) Bihar Museum Fig. 1.2 (i) ‘Sun Path Diagram Fig. 1.2 (i Maximum & Minimum Temperature Fig. 3.4 (i) Concept development of the museum Fig. 3.2 (i) Site Plan of Bihar MuseumTable of Content | 2018 Fig. 32 Site Section of Bihar Museum Fig. 3.3 (i) Circulation plan of Bihar Museum 3at) Zoning of Bihar Museum Fig. 3.5 (i) Ground Floor Plan of Bihar Museum Fig. 3.6 (i) Bihar Museum Elevation of Bihar Museum Section of Bihar Museum Use of different materials in Bihar Museum ‘Natural Lighting in Bihar Museum Fig. 1.1 () Site Location Map Fig. 1.2(i) Proposed Site Map Fig. 1.2 (i) Proposed Site Dimension Fig. 13 @) Proposed Site is 1.1 Km away From Qutub Metro Station Proposed Site is 17.6 Km from New Delhi Railway Station away Proposed Site Is 24.5 Km away from ISBT Kashmere Gate Fig. 13 Gv) Proposed Site is 11.6 Km away from Indira Gandhi International Airport Fig. 1.4 () Delhi Master Plan 2021 Fig. 14 (i) Site Surrounding Fig. 1.4 (il) Current Land Use Fig. 2.1 i) Parent Soll at Proposed Site Soll Particles at Proposed Site ‘Surface Form at Proposed Site ‘Surface Form at Proposed Site Fig. 2.1 (iv) Soil Depth at Proposed Site Fig. 2.1 (iv) ‘Soll Depth at Proposed site 22 Proposed site Contour Plan Fig. 2.2 (i) Proposed Site Topography Fig. 2.2 (il) Site Sectional Profile (Latitudinal 22 (iv) Site Sectional Profile (Longitudinal) Fig. 22(¥) Site Slope (0.5% to -1.9%) Fig. 2.2 (vip Drainage in Delhi Fig. 22 (vi Slope of Proposed Site Fig. 2.2 (vi Proposed Site is in Seismic Zone 4 Fig. 2.3 0) Surface Water in Delhi Fig. 23 (i) Water Quality in Delhi Fig. 2.3 (ill) Pre Monsoon Groundwater Level Fig. 2.3 (iv) Post Monsoon Groundwater Level Fig. 2.4 (i) Neem Tree Fig. 24 (ii) Babul Tree ig 2.4 (i) Banyan Tree 24 wv) Chakunda Shrub Fig. 24(¥) Gohkru Shrub 2.4 (vi) ‘Anjan Weed Fig. 2.4(v) Site Existing Condition Fig. 24 (vi) Site Top View 235i) ‘Maximum & Minimum Temperature of Delhi Fig. 25 (ii) ‘Annual Precipitation of Dethi Fig. 2.5 (il) Numbers of days of RainfallTable of Content | 2018 25 (0) Wind Rose (lan-Apr) Fig. 25(¥) Wind Rose (May-Aug) 5 (vi) Wind Rose (Sep-Dee) Fig. 2.5 (vil) ‘Annual Wind Rose Fig. 2.5 (vii) ‘AM 5 (in) 0AM Fig. 25 (0) 12M ig. 2.5 (xi) 3PM Fig. 25 (al) India’s Climatic Zones Fig. 2.5 (xii) Dalhi Thermal Comfort Zone Fig. 2.5 (xiv) ‘9AM Fig. 2.5 (x) 12M Fig. 2.5 (xvi) 3PM Fig. 2.5 (xvii) SPM Fig. 3.4 (i) Delhi Land use Fig. 3.2 (i) Road Connectivity Fig. 3.2( Qutub Complex near Proposed Site Fig. 3.2 (Hi) Footfall of Qutub Complex Fig. 3.3 () Population Density Fig. 3.3() Urban Growth Religion wise Population Sex Ratio ‘GDP Growth Economie Sector in NCR Fig. 3.5 (i) Electrical layout of Delhi Fig. 35 (i) Proposed site under BRPL Fig. 3.5 (il) Water Supply Line of Delhi 5 (iv) ‘Aquifers in Delhi Fig. 3.5(¥) Drainage Direction of the site Fig. 35 (vi ‘Mehraull Drain to Shahdara STP Fig. 3.6 (i) Qutub Complex Fig. 3.6 (i) ‘Qutub Complex Fig. 3.6 (il) ron Pillar 6 iv) Qutub Minar Fig. 3.6(¥) ‘Qutub Minar Section Fig. 3.6 (vi) Remains of Hindu Temples ‘Arched Gateway Fig. 3.6 (vil) ) ‘Natural Features of Proposed Site Fig. 4.2 (i) Site Geometry and Spatial feature Visual Impact of Qutub Complex in West Side of Proposed Site ‘Scale of Buildings in North Direction wrt Proposed Site ig. 4.5 (i) Delhi Skyline Fig. 45 (i) Qutub Complex Skyline Fire Fighting Bye Laws Parking Bye Laws Fig. 6.1 (i) ‘Main Accessible Road Fig. 6.2 (i) Pile foundation preferred in Alluvial Soil Fig. 62(ii) Pile Foundation Deta ig. 6.3 Drainage Plan Fig. 63 (i) ‘Stromwater Collection Through Landscape Fig. 6.4 (i)Table of Content | 2018 Fig. 64 (0) Built Form Fig. 6.5 (i) in according to Bye Laws eet) Site Zoning Fig. 6.6 (i) Vertical Zoning Components of Museum Diffuse and Focus Light ing angels towards Exhibition ‘Minimum distance to view Exhibition Fig. 1.10) Viewing angels towards Exhibition Fig. 2.2 (vip Vertical and Horizontal Field of View Fig. 1.1 (vl) Minimum Distance Requirements of Museum Fig. 1.1 (vii) ‘Minimum Stair width in Museum Fig. 2.2 (ix) ‘Minimum Stair width in Museums Fig. 1.1.0) Minimum walking distance in Museum 1 i) Offices in Museum Fig. 1.2 (i ‘Auditorium in Museum Fig. 1.1 (xii) Material used in Museum Fig. 1.1 (xiv) Lights Luminance level and Colour Renderation Fig. 1.1 (0) Lights Luminance level in Museum Fig. 2.2 (xvi) Lighting Techniques and installation in Museum Fig. LI (xvii) Display Techniques and Installation in Museum Fig. 11 (vil) Activity Chart Fig. 1) Point as an architectural element Fig. L1G Tine as an architectural element Fig. 1.1 Gi) ‘Shape as an architectural element A Gv) Form as an architectural element Fig. 12 () Lines used in architectural drawings Fig. 13 () Yypes of Lines Lines cam be used to express motion of expressions Lines are used to create the fagade Building envelope developed from the Site Design consideration Low E-Glass ‘North fagade is designed with Low E-Glass South Tagade is designed with Wooden braced frame ‘Structural elements used in museum Wooden Fagade Planters and Luminous Backlight Fig. 6) Wooden Facade BracingCHAPTER 1: INTRODUCTION TO THESISIntroduction to Thesis | 2018 NATIONAL MUSEUM OF ARCHITECTURE INTRODUCTION: A museum is a place where everyone, with or without 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) collection of artifacts. 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 museums, science museums, war museums, children’s museums and architectural museum. Architecture of any museum tells its own story through circulation, density, lighting, backgrounds, arrangement, and labels. 1.1 ARCHITECTURAL MUSEUM: Architecture Museum is a unique repository of architects’ and allied professionals” records and a dynamic hub of research into architectural and built environment history. The Architecture Museum is a facility for the acquisition, preservation and management of architecture and related records. 1.2 NEED: 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 endeavor provide us with some of the most lasting examples of our culture. It is to bridge this gap in understanding between the profession and society that’s why National Museum of Architecture is needed fo develop urban area and society, architecture is the most important criteria to for the infrastructure. The National 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.” * Merriman, N, J, 1968, The role of Museums. ARCHAEOLOGY ~ Vol. II: 4-7. Zaman, Rana Siddiqui, 2014. _Idea__of architecture museum __ mooted htips://www,thehindu.com/news/cities/Delhi/idea-of-architecture-museum- mooted/article6454416.ece]. Accessed July 16, 2018. EET National Museum of Architecture, New DelhiIntroduction to Thesis | 2018 1.3 PROJECT JUSTIFICATIO.: “In India, architecture along with architects is 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 preserved, researched and exhibited on a permanent basis thus providing the need to facilitate an architectural museum where students, architects and common people 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 building, itis necessary to re-imagine the form of a museum of architecture. 1.4 SCALE: ‘The museum is going to be designed in the heart of the national capital and will have a huge number of local as well as foreigner spectators that will determine the scale and extend of the project. The annual footprint of national Museum Delhi is more than a million which shows the amount of scale and stretch of the architectural museum. 1.5 WHY MUSEUM AS THESIS PROJECT? ‘The National Museum of Architecture can provide the matrix for motivation and inspiration to emerge from a deep understanding of the history of our own architecture and its relevance and place in contemporary conditions Museum Planning is an opportunity to describe a new museum’s vision, the visitor experience and an organizational plan for a new institution, or one undergoing a major expansion or change in focus, ‘The project will provide me a better opportunity for my academies and to pursue Urban or Regional planning further in my post graduation 2. PROJECT DISCRIPTION The proposal for instituting a Museum of Architecture has been under discussion for a few years GREHA, a registered society, working in the field of architecture, environmental 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 in significant ways on a daily basis “The first architectural museum of India which will represents the works of famous architects of India as well as of the world. Organizations such as Council of Architecture (COA), Indian Institutes of Architects (IIA) and Indian National Trust for Art and Cultural Heritage (INTACH) are coming together with GREHA for this proposal.” * 3. Kulkarni, __Nirmal___2016___The _National__Museum _of _Architecture htips://architexturez,net/doc/az-cf-182220]. Accessed July 16, 2018. Oe —————— National Museum of Architecture, New Delhi Page 2Introduction to Thesis Project consists of spaces like > Art gallery, > Exhibitions, Library, Open Air Theatre, Landscape, Administrative and Public amenities spaces. 3. SITE CONTEXT: 3.1 SITE DESCRIPTION: “7.3 acres, vacant institutional site, belonging to the Delhi Development Authority (DDA) has been idemified. This is located in Lado Sarai, close to the Qutub Complex and the Indian Institute of Technology, Delhi with good access from the Mehrauli Badarpur Road.” * ¥ 7 -&- 5 eee Fig. 3.1 () Proposed Site Location: 28.521196 N, 77.198624 E Fig. 3.1 (i) Connectivity 4 Kulkarni, Nirmal. __2016__The __National__Museum _of_Architecture. https: //architexture: 82220]. Accessed July 16, 2018 Page 3Introduction to Thesis | 2018 2.1 km away from Qutub Metro Station 12. km away from Indira Gandhi International Airport Terminal 3 14.9 km away from New Delhi Railway Junction 20.1 km away from ISBT Kashmere Gate Fig. 3.1 iii) Proposed Site & Existing Condition Climate: Macro-Climate: Humid Subtropic: Average Temperature: 25.0 °C Maximum Temperature: 47.0 °C Minimum Temperature: -2,2 °C Annual Precipitation: 886 mm Prevailing Wind Direction: 18km/h North-West Fig. 3.1 (iv) Sum Path Diagram Fig. 3.1 (v) Prevailing Wind Direction 3.2 SITE JUSTIFICATION: The site is situated in the national capital of India which makes it a perfect site for people from all over the country to come and understand the importance of architecture, The site is also situated Ee National Museum of Architecture, New Delhi Page 4Introduction to Thesis | 2018 near to the Qutub complex, which itself is a architectural masterpiece. People visiting Qutub complex will surely access the museum especially the tourists ‘The site is also situated near the urban village of Lado Sarai and Hauj Khas which are urban centre as well as heart of art galleries. 4. 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 inspired 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 on society and to uplift architecture and architectural practices. 5.1 AIM: ‘© To develop an architectural museum to bridge the gap between architecture and society 5.2 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. 5.3 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 aspect of it in the museum Interior of a museum is as important as the exterior of the museum, so interior details are very important aspect of the museum design. Interior details will be the part of the scope of work Landscaping and site planning is also one of the aspect 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. National Museum of Architecture, New DelhiIntroduction to Thesis | 2018 5.4 LIMITATION: ‘The project does not caters about the deep analysis of structural system and structural detail as these details are not the main aspeets of design. The project also doesn’t caters about the costing and estimation of the project because it’s an academic project, 5.5 METHODOLOGY: OBJECTIVE HOW TO ACHIEVE IT TOOLS To study the architectural and | Literature and document | Tntemet, Secondary design aspects of the museum. | study of museum, about their | data and Literature design aspects Study To study the _ visitors | Questionnaires and Case study, experience and circulation | Observation of movement _| Questionnaires and patter in museum, pattern of visitors in museum. | Observations To study the ergonomics of | Literature study of exhibits | Case study and the exhibitions and display | and display unit about | Literature study of art units in art gallery and | dimension, placement and | gallery and display museum. management. units, To study the techniques and| Analysis of different | Case study of, impacts of lighting in | techniques and their impact of | artificial and natural museum. both natural and artificial | lighting lighting in museum, EE National Museum of Architecture, New DelhiCHAPTER 2: CASE STUDYCase Study : Introduction | 2018 TRODUCTIO. “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 practice _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 space 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. Madhya Pradesh Tribal Museum, Bhopal and National Museum, New Delhi is the case studies for the project to understand how museum are different in their own way. While Solomon R Guggenheim Museum, New York and Bihar Museum, Patna is chosen for the literature analysis to understand the standards of museum planning 1.1 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 Tribal Museum, Bhopal is one of the best examples of exhibiting art and story of human kind in a different and interesting way, while the National Museum, New Delhi shows the Importance of circulation and zoning of the spaces in a museum, The Bihar Museum, Patna designed by Maki Associates is one of the modem marvels of the modern design exhibiting the glorious past of Bihar. Every case study and literature study in the report has its own unique feature which makes them one of their kinds. Solomon R. Guggenheim Museum is one of the world most famous and controversial museum, a building more famous for its design than its exhibitions, designed by F. L Wright 1.2 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 programming, activity pattern and design capacity is needed to frame out the design requirements 5. American Institute of Architecture. 2016. Case studies in the study and practice in Architecture. Vol Ls. Page 7Case Study : Introduction | 2018 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.Case Study | 2018 MADHYA PRADESH TRI MUSEUM, BHO 1, INTRODUCTION: “Sometime in the year 2011, at a meeting of bureaucrats, archaeologists, anthropologists and sociologists at Bhopal, Bhil painter Bhuriba asked, “Shouldn’t a tribal museum be made by the wribal’s themselves?” In response Shriram Tiwari, Director, Culture Department, Madhya Pradesh, formed a team of tribal scholars and artistes, determined to build something rooted in the tribal imagination, instead ofa monotonous display of classified artefacts, without context. With grants mostly from the State, but also from the Central Government, the Madhya Pradesh Tribal Museum has taken shape. Not as a storehouse of dead objects, but with the labours of a thousand tribal artistes arriving in batches, from every part of MP, recasting myth and life in amazing visuals, out of traditional materials like wood, iron, jute, mud, clay, straw, hemp and leaves, as well as canvas, acrylic and glass, Such is the sense of ownership of these tribal artisans, that when recently rains flooded the ‘museum the residing tribal didn't wait for instructions but salvaged everything themselves.” ® ‘The Museum of Tribal Heritage at Bhopal was commissioned by the Government of Madhya Pradesh in 2004. The Museum is designed to create a built fabric which the tribal communities could identify with, extend, and evolve, to represent them and express their own ideas and way of life with ease and spontaneity. While the architecture of the Museum is inspired by tribal rhythms, geometries, materials, forms, aesthetics and spatial consciousness, these very qualities are now acting as points of inspiration for the display materials being created by tribal artisans, supported by anthropologists, sociologists and social workers and designed by Delhi based architect firm Kamath Design Studio under head architect Revathi Kamath. 7 I.1RELEVANCE: “Meaning does not exist in advance, but is created and exists by virtue of the existence of the specific museum.” Quoted by Hillier, B ‘The Tribal museum in Bhopal is very thoughtfully planned and the entire campus is theme based right from its entrance, Every art work has some meaning to it which is beautifully depicted. This museum provides a new museum’s vision, the visitor experience and an organizational 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 an orthodox museum. 6. Bhopal Tribal Museum. 2015, [http:/hwww-bhopale.convplace/bhopal-tribal-museum). Accessed July 17,2018, 7. Khare, Rajnish 2016. Tribal Museum, [https //bhopal info/explore/museums/tribal-museum/] Accessed July 18, 2018, Madhya Pradesh Tribal Museum, Bhopal Page 9Case Study | 2018 Best thing about the tribal museum, Bhopal was its way of displaying tribes and different cultures, People can actually touch the sculptures. They can feel the material. All the sculptures and other show casing things were created by the tribal people themselves using the basic and old techniques ‘The way of exhibiting and depicting every art work is unique and tells its own story, a place where everyone, with or without qualification, can enter and be inspired by the stories of these tribes. Fig. 1.1 (i) Tribal life displayed in Tribal Museum, Bhopal 1.2 SITE: ‘The museum is built on a site of seven acres; the galleries are raised above the ground on columns, forming a continuous, multileveled veranda, following the contours of the sloping, rocky terrain of Shyamala Hills of Bhopal, Madhya Pradesh. Latitude: 23° 14° 3.8868" N Longitude: 77° 23! 5.0712" E. Conneetivit > 69 km away from Bhopal Bus Stand > 8.0 km away from Bhopal Railway Junction > 14.2 km away from Raja Bhoj International Airport Fig. 1.2 (i) Site Connectivity Madhya Pradesh Tribal Museum, BhopalCase Study | 2018 Climate: Macro-Climate: Hot & Dry Average Temperature: 25.1 °C Maximum Temperature: 40.8 °C Minimum Temperature: 10,7 °C Annual Precipitation: 1132 mm Prevailing Wind Direction: 12km/h South-West Fig. 1.2 (i) Sun Path Diagram —_Fig. 1.2 (iii) Prevailing Wind Direction 13 SCALE: ‘The museum is amongst the best designed museum in India. It is designed over a space of 28000 sq metres. Visitors from all around the country come to visit this architectural masterpiece. The museum consists of six main exhibition galleries, an auditorium, an open air theatre and other amenities such as library, restaurant, ete, The different galleries exhibit life style, art work, cultural diversity, sports, aesthetics, and beliefs of these tribes. Seven major tribes of Madhya Pradesh (MP) Gond, Bhil, Baiga, Kol, Korku, Sahariya, and Bhariya— have recorded their fast disappearing traditions in the tribal museum in Bhopal, transforming the oral narratives into huge paintings and sculptures. Baiga artist Ladlibai insists, “This is not a sangrahalay (museum), but our ghar (home). Things are changing in villages. But here, our children and grandchildren will know what our culture, past and present, means. Fig, 1.3 (i) Seale of exhibits in Tribal Museum 8. Bhopal Tribal Museum. 2015, [http://www bhopale.convplace/bhopal-tribal-museum). Accessed July 17. 2018, Madhya Pradesh Tribal Museum, Bhopal Page 112. AREA PROGRAMM. Case Study | 2018 2.1 AREA CHART: ‘Area (in sq. m) Design Capacity ENTRANCE 0 Entrance Lobby 100 Reception 20 Back Office 2 ADMINISTRATION Staff Office 60) Director General's Chamber 20 ‘Curator Office 12 Meeting Room 40 Staff Rest Room 40 Security Monitoring Room 20 Server Room 20 Staff Toilet (M/F) 10 Store 40, Pantry 40 WORKSHOP Wood Workshop 400 Metal Workshop ‘400 Terracotta Workshop 400 Store 120 Store Props 40 EXHIBITION GALLERY North Zone Gallery East Zone Gallery South Zone Gallery West Zone Gallery Photography Gallery Sports Gallery Reserve Collection LIBRARY Librarian's Office ‘Cyber Room AUDITORIUM Projection Room Green Room AMENITIES Restaurant Madhya Pradesh Tribal Museum, BhopalCase Study | 2018 Museum Shop Seminar Hall Dormitory Water Fountain Toilet (M/F) SERVIC Maintenance Janitor Room Store Housekeeping Centre High Tension Control Room HVAC Room PARKING VIP Parking Staff Parkin; OPEN SPACES ‘Courtyard Central Amphitheatre ‘Open Air Theatre TRANSITION AREA (30% of Total Build up Area) TOTAL AREA 10,286 Sq.M 2.2 USER ACTIVITY: USER ACTIVITY SPACE VISITOR Visual Experience North Zone Gallery East Zone Gallery South Zone Gallery West Zone Gallery Photography Gallery Sports Gallery Auditorium Shopping Museum Shop Reading Library Cyber Room Parking Parking Area Sanitation Toilet Madhya Pradesh Tribal Museum, BhopalCase Study | 2018 Beverage & Food Restaurant Water Fountain ADMINISTRATION & SERVICE STAFF Official Work & Monitoring Office Server Room Services Maintenance Janitor Room Store Housekeeping Centre High Tension Control Room HVAC Room Meeting Meeting Hall Seminar Hall Retiring Staff Rest Room Beverage & Food Pantry Sanitation Staff Toilet WORKER STAFF Restoration Workshop Store Store Props Reserve Collection 2.3 AREA DISTRIBUTION: SITE DISTRIBUTION ‘= BUILT UP SPACE LANDSCAPE Im TRANSITION SPACE 1m PARKING OPEN SPACE Chart 2.3 (i) Site Distribution AREA DISTRIBUTION] |. auiuistrarion 10% 5% WORKSHOP '§ EXHIBITION GALLERY LIBRARY AUDITORIUM AMENITIES im SERVICES Chart 2.3 (ii) Site Distribution Madhya Pradesh Tribal Museum, BhopalCase Study | 2018 3. ARCHITECTURAL DRAWINGS: 3.1 CONCEPTUAL PLAN: ‘The Museum is designed to create a built fabric which the tribal communities could identify with, extend, and evolve, to represent them and express their own ideas and way of life with ease and spontaneity Fig, 3.1 () Concept development 3.2 SITE PLAN: Fig, 3.2 (i Site Plan of Tribal Museum Madhya Pradesh Tribal Museum, BhopalCase Study | 2018 ‘The site is developed on the contours of Shyamala hills, Bhopal. The staff and visitors area has been segregated and the main entry was designed at first floor. Fig 3.2 (ii) Entrance and Exit of Tribal Museum. 3.3, CIRCULATION PLAN: At entrance a person has 2 choices whether fo go to the museum display or to the warchouse. After entering the main museum circulation path has been defined to make visitors go to through the same passage and experience the whole museum as shown in Fig. 3.3 (ii). A separate passage way has been defined for the peoples with the office related work as shown in Fig, 3.2 (i). Special care has been taken for the movement of the physically challenged visitors. A central area for seating for the fatigue. Central area was created around the small manmade lake with ducks which makes the view quite relaxing oa ae integration in State and ‘Tribal Museum Madhya Pradesh Tribal Museum, BhopalCase Study | 2018 3.4. ZONING: The museum is segregated between public and administrative spaces. Continuity of the spaces is maintained to integrate spaces throughout horizontal zoning. Administrative and workshop is placed at lower levels while public area like exhibitions galleries, auditorium and restaurants are placed at upper level in vertical zoning Fig. 34 (i) Zoning of Tribal Museum 3.5. FLOOR PLANS: The well planned campus is divided into 6 galleries depicting Cultural Diversity, Tribal Life, Tribal Art, Tribal Mythology, and Tribal’s of Chhattisgarh and Tribal Games. It also has Art Exhibition Gallery and Open Air Theatre. All the artefacts in Galleries are majorly taken from 7 major and most important tribes of state namely Gond, Bheel, Korku, Kol, Bharia, Baiga and Saharia. The ‘main entrance was at First floor and it connect Ground floor through ramps Fig. 3.5 (i) First Floor Plan Madhya Pradesh Tribal Museum, BhopalCase Study | 2018 Fig. 3.5 (iv) Ground Floor Plan Madhya Pradesh Tribal Museum, Bhopal Page 18Case Study | 2018 Fig. 35 (9) Ramp connecting First loor & Ground floor 3.6 ELEVATIONS: ‘The museum’s elevation has been beautifully depicted through tribal paintings and carvings to relate it to the tribal huts. Fig. 3.6 (i) Sectional Elevation of Gallery Fig. 3.6 (iv) East Side Section Madhya Pradesh Tribal Museum, Bhopal Page 19Case Study | 2018 3.7 SECTIONS: The contours of the site play an important role in the vertical zoning of the museum. The roof truss is made up of long span stee! structures as shown in Fig. 3.7(ii) Fig. 3.7 (ii) Section of Library Block _ Fig. 3.7 (ii) Section of North Zone Gallery Fig, 3.7 (iv) Section of Entrance Block 3.8 CEILING PLAN: ‘The ceiling of the Tribal Museum has a hut type structure which supports and incorporates the displays in the museum, ‘Madhya Pradesh Tribal Museum, BhopalCase Study | 2018 Fig. 3.8 (i) Inverted Ceiling Plan Fig. 3.8 Gi) Lighting Layout 3.9 DETAILS: Fig, 3.9 (ii) Restaurant Plan Fig, 3.9 (ii) Auditorium Plan ‘Madhya Pradesh Tribal Museum, BhopalCase Study | 2018 4, SITE PHOTOGRAPHS: ae Bae aa ee Fig. 4 (ii) Open Air Theatre Fig. 4 (iil) Tribal Hut Fig. 4 (iv) Art Gallery Fig. 4 (v) Corridor Fig. 4 (vi) Spiritual Gallery Fig. (vii) Tribal Life Gallery Fig. 4 (viiip Deviok Gallery Madhya Pradesh Tribal Museum, Bhopal Page 22Case Study | 2018 5. MATERIALS: The structure is built of steel tubes, castellated girders, and steel rods fabricated into intricate trusses. Steel seemed to be a natural choice in the land & location of ancient Iron Age & Bronze Age civilizations, and the contemporary truck body building industry. Fig. 5 (iil) Use of Stones Fig. S (iv) Wood for Furniture Fig. (v) Plaster of Paris The walls use both local stone left exposed and brick plastered with crushed stone on the outside and mud plaster on the inside. The roofs are made of half-round tiles, galvalume sheets and concrete with a topping of grass and groundcover. 6. LIGHTIN Courtyards puncture the built mass, bringing in light and air, while enabling the roof forms to establish modulated scales and compositions as shown in Fig. 6 (ii). Perforated lighting is also used to illuminate the spaces. Bamboos are used for proving shades in corridor Madhya Pradesh Tribal Museum, BhopalCase Study | 2018 Fig. 6 i) Perforated Lighting Fig. 6 (ii) Courtyard Artificial lighting is used strategically in the tribal museum. Spot lighting and task lighting is used particularly rather than ambient lighting. To balance shadows and luminance is easily checked by artificial lighting in the museum. 7. OBSERVATION: ‘The architecture of the museum, integrates seamlessly into a continuum, the outside with the inside, the natural with the human construct, the tribal with the urban and the viewer with the viewed ‘The landscape is designed to collect and store rain water, to be used for both cooling and irrigating the green roof, and gardens. The plant material is composed of largely local forest species.ith the viewed. However, the landscape is not such design that visitors can use the area The workshop and administrative are is not properly segregated and any visitor can reach these area. Local available materials are used to exhibits the tribal life Madhya Pradesh Tribal Museum, BhopalCase Study | 2018 8. DESIGN ANALYSIS: Spaces have been integrated according to the user need and activities; the display area has been designed at the upper level while the administrative area workshop area is placed at the lower level. Main entrance is also placed at upper level while the exit is at the lower level. Balance between natural and artificial lighting is well maintained, Natural lighting has been checked through shading devices. Artificial lighting is also designed strategically, ‘The Museum is designed to create a built fabric which the tribal communities could identify with, extend, and evolve, to represent them and express their own ideas and way of life with ease and spontaneity. While the architecture of the Museum is inspired by tribal rhythms, geometries, materials, forms, aesthetics and spatial consciousness. 9. CONCLUSION Best thing about the tribal museum, Bhopal was its way of displaying tribes and different cultures. People can actually touch the sculptures. They can feel the material. All the sculptures and other show casing things were created by the tribal people themselves using the basic and old techniques ‘As there were no rare things in displays, so there was no requirement of the conservation lab Instead of conservation lab there was a warehouse made for the restoration of the displays and the sculptures, Large and bigger halls provide the sufficient space to display big things and yet making the circulation easy Madhya Pradesh Tribal Museum, BhopalCase Study | 2018 NATION MUSEUM, NEW DELHI 1, INTRODUCTIO! The National Museum in New Delhi is one of the largest museums in India, It holds variety of articles ranging from pre-historic era to modern works of art .It was established on August 15, 1949 in the Darbar Hall of Rastrapati Bhavan. It functions under the Ministry of Culture, Government of India, ‘The museum is situated on the comer of Janpath and Maulana Azad Road. The blue-print of the National Museum had been prepared by the Gwyer Committee set up by the Government of India in 1946, The museum has around 200,000 works of art, both of Indian and foreign origin, covering over 5,000 years It also houses the National Museum Institute of History of Arts, Conservation and Museology on the first floor which was established in 1983 and now is a Deemed University since 1989, and runs Master’s and Doctoral level courses in History of Art, Conservation and Museology 4I.1RELEVANCE: ‘The National Museum is one of the largest and well designed museums in India, also the museum is situated near to the site of the proposed thesis project, which make it selection important to understand the design feature of the area and issue faced. Also, as it is the National Museum of India, it selection becomes more important in reference to understand the design of the context and aspects of museum planning. Having a wide range of masterpieces of sculptural art in such medium: stone, terracotta, stucco, bronze gold, silver, ivory, bone, spanning a period of over two millenniums, from the 3rdcentury BC to the 19th century AD, one of the longest in the history of world’s art-heritage, the Department of Archaeology make this museum a relevance choice for understanding the design context of the museum planning. Fig. 1.1 (i Displays in National Museum National Museum, New DelhiCase Study | 2018 1.2SITE: ‘The museum is situated on the corner of Janpath and Maulana Azad Road over an area of 7.5 acres, with a build up area of about 18,000 sq. m. Latitude: 28° 36° 42.4764" N Longitude: 77° 13" 10.1748" E Connect > 1.2 km away from Central Secretariat Metro Station > 3.8 km away from New Delhi Railway Station > 14.5 km away from Indira Gandhi international Airport > Nearest stops : National Museum Bus Stop Climate: Macro-Climate: Humid Subtropical Average Temperature: 25.0 °C Maximum Temperature: 47.0 °C Minimum Temperature: -2.2 °C Annual Precipitation: 886 mm Prevailing Wind Direction: 18km/h North-West i) Sun Path Diagram Fig. 1.2 (ji) Prevailing Wind Direction 1.3SCALE: “Ifyou spent only one minute with each piece in the National Museum's collection, it would take three years, nine months and twenty-three days to view every item. Recognizing that 2,00,000 sculptures, paintings, coins, decorative arts, textiles, arms and armours, ‘manuscripts and anthropological objects can overwhelm even most enthusiastic visitor. It has about 25 main art gallery sections for encapsulating the diversity of the museum. The museum also encompasses a grand library and auditorium which make this museum one of the largest and well designed museums in India. 9. Published by National Museum, 2018, The Museum in 90 minutes. Vol. 2 National Museum, New DelhiCase Study | 2018 2. AREA PROGRAMME: 2.1AREA CHART: Sr. Space Area Design No. (in sq.m) _| Capacity 1 | ENTRANCE 100 Entrance Hall 250 Reception 30 Back Office 20 ADM. RATION Staff Office Director General's Chamber Curator Office Meeting Room Staff Rest Room Security Monitoring Room Server Room Staff Toilet (M/F) Store Staff Canteen WORKSHOP Wood Workshop Metal Workshop Terracotta Workshop Store Store Props EXHIBITION GALLERY Harapan Civilisation Gallery Mauryan Gallery Gupta Gallery Terracotta Gallery Bronze Gallery Medieval Art Gallery Buddhist Art Gallery Jewellery Gallery Decorative Art Gallery Miniature Painting Gallery Textile Gallery Western Art Gallery Copper Gallery Wood Carving Gallery Tribal Art Gallery Music Instrument Gallery Arms & Armour Gallery ‘Asian Antique Gallery National Museum, New DelhiCase Study | 2018 Ethnic Art Gallen ‘Coins Indian Wall Painting Gallery Manuscript Gallery Maritime Heritage Gallery ‘Ajanta Paintin; Thanjavur Painting Gallery Special Exhibition LIBRARY Librarian’s Office ‘Cyber Room AUDITORIUM Projection Room Green Room AMENITIES Restaurant Museum Shop Seminar Hall Toilet (M/F) SERVICES Maintenance Tanitor Room Store Housekeeping Centre High Tension Control Room HVAC Room LABORATORY 300) OPEN SPACES ‘Courtyard 100 ‘Central Amphitheatre = 100 Open Air Theatre 50 PARKING 500) VIP Parking 100) Staff Parkin; 100) TRANSITION AREA (30% of Total Build 4000 up Area) TOTAL AREA 18,500 National Museum, New Delhi2.2 USER ACTIVITY: Case Study | 2018 USER ACTIVITY SPACE VISITOR Visual Experience Shopping Reading Parking Sanitation Beverage & Food Harapan Civilisation Gallery Mauryan Gallery Gupta Gallery Terracotta Gallery Bronze Gallery Medieval Art Gallery Buddhist Art Gallery Jewellery Gallery Decorative Art Gallery Miniature Painting Gallery Textile Gallery Westen Art Gallery Copper Gallery Wood Carving Gallery Tribal Art Gallery Music Instrument Gallery ‘Arms & Armour Gallery ‘Asian Antique Gallery Ethnic Art Gallery Coins Indian Wall Painting Gallery Manuscript Gallery Maritime Heritage Gallery Ajanta Painting ‘Thanjavur Painting Gallery Special Exhibition Auditorium Museum Shop Library Cyber Room Parking Area Toilet Restaurant Staff Canteen ADMINISTRATION & SERVICE STAFF (Official Work & Monitoring Services Office Server Room Maintenance Janitor Room Store Housekeeping Centre National Museum, New Delhi Page 30Case Study | 2018 High Tension Control Room HVAC Room Meeting Meeting Hall Seminar Hall Retiring Staff Rest Room Beverage & Food Pantry Sanitation Staff Toilet WORKER STAFF Restoration Restoration Laboratory Store Reserve Collection 2.3 AREA DISTRIBUTION: SITE DISTRIBUTION sai —e | — 2 z Chart 2.3 (i) Site Distribution AREA DISTRIBUTION 2% 3% = ADMINISTRATION WORKSHOP ‘= EXHIBITION muaraRy mAuoIToRIUM AMENITIES se senvices = LABORATORY ART & CRAFT CENTRE Chart 2.3 (ii) Site Distribution ‘National Museum, New DelhiCase Study | 2018 3. ARCHITECTURAL DRAWINGS: 3.1CONCEPTUAL PLAN: Building was designed such that it merges with the site surrounding. It was the first planned museum at the National level. Building comprises of four storied with a basement. Basic plan of the building is fan shaped with a circular courtyard in between surrounded by a covered Veranda ‘Wings are linked with the courtyard according to different requirements and need. Hence, one’s find that after watching the exhibits one finds himself again in the same place from where he/she started, Fig. 3.1 () Concept development of the museum 3.2SITE PLAN: ‘The site is not well designed as there is no segregation of spaces. There is no proper parking facility and the landscape area is not designed well. Parking facilities are provided at the adjacent building. Fig. 32 (i Site Plan of National Museum National Museum, New DelhiCase Study | 2018 3.3CIRCULATION PLAN: The Ideology behind the circulation pattern was that every section of exhibition can be experienced by the visitors and no section is left untouched. GROUND FLOOR FIRST FLOOR SECOND FLOOR Fig. 33 (i) Circulation Plan of National Museum, 3.4 ZONING: ‘The zoning of the museum is done horizontally as well as vertically. Administration and other staff related spaces are placed at the basement of the museum. Services like HVAC, electrical and other are also placed at the basement, Exhibitions are placed at the upper level. Horizontally, the museum is zoned into open, transition and exhibition spaces. Such zoning makes this museum a nice itor’s experience. Fig. 3.4 (i) Horizontal zoning of National Museum, 3.5FLOOR PLANS: Exhibition halls are interconnected with one another with a centre circulation court 6m wide Separate entrance for VIP and physically handicapped is present. Basement consists of AC plan room, staff cafeteria, and workshop. National Museum, New DelhiCase Study | 2018 Fig 3.5 () Basement Plan Fig. 3.5 (i) Ground Floor Plan Harapan Civilisation Gallery, Mauryan Gallery, Gupta Gallery, Terracotta Gallery, Bronze Gallery, Medieval Art Gallery, Buddhist Art Gallery, Jewellery Gallery, Decorative Art Gallery, Miniature Painting Gallery, Auditorium and Library are placed at Ground Floor. Coins, Indian Wall Painting Gallery, Manuscript Gallery, Maritime Heritage Gallery, Ajanta Painting, Thanjavur Painting Gallery, Special Exhibition are placed at First Floor. Textile Gallery, Western Art Gallery, Copper Gallery, Wood Carving Gallery, Tribal Art Gallery, Music Instrument Gallery, Arms & Armour Gallery, Asian Antique Gallery, Ethnic Art Gallery are placed at Second Floor. Fig. 35 (ii) First Floor Plan Fig. 3.5 (iv) Second Floor Plan National Museum, New DelhiCase Study | 2018 3.6 ELEVATIONS: Fig. 3.6 () Courtyard Fig, 3.6 (i) Model of National Museum Front Elevation 3.7DETAILS: Fig. 3.7 () Special Exhibition Plan National Museum, New Delhi Page 35Case Study | 2018 Fig. 3.7 (ii) Special Exhibition Plan 4. MATERIALS: Fig. 4 () Use of Aluminium & Wood in National Museum Interiors are done with the help of Wood, Glass and Stone. Flooring used is marble and Wood, Different wall colour and rendering is done to avoid monotony. Aluminium is also used in many sections such as Bronze and Coin Gallery. Building is made using high strength R.C.C. and red sandstone. Temporary structures are provided around the building. 5. LIGHTING: Each display has its own focussed light, diffused light. Lights are used in false ceilings or hanged by steel section. No natural light are used inside the museum. Artificial lighting is done with day light exhibits kept to minimum, Natural lighting is only used in centre circulation court, Well played with focused lights with the use of concave and convex lenses different places. In jewellery section the gallery was dark and recessed pockets were made with minimal lighting. The whole structure is based around the central rotunda which lights up the entire corridor. National Museum, New DelhiCase Study | 2018 Fig. 5 (i) Effective use of Spot Lighting 6. OBSERVATION: ‘The collection consists broadly of nine thousand six hundred objects, aesthetic and votive representing different themes — likeness of royal ladies, singers, dancers, kings, scenes of court-life and even animal figures representing aesthetic aspect of art, and myths, legends, narratives or deity images representing its religious aspect. ‘The ideology of circulation pattem in the museum is one a greater aspect in the museum, the ideology to make visitor experience each and every gallery and in a chronological sequence. Proper parking facility was not there for visitor, Archaeological survey of India building was used for parking. Only front fagade was articulated, rear fagade was only plastered, Placement of toilet ‘was not proper, entry was from the landing of staircase. Fire exits were hidden and in case of emergency it is difficult to come out of the place. 7. DESIGN ANALYSIS: The Department has showcased its objects in different galleries, all on the ground floor. Though scholastic Approach might always present a different perception, the objects displayed in each gallery have been properly classified, the basis being dynastic, stylistic, chronological and religious Although ramp runs throughout the museum but still the design is not universal ‘The use of artificial lighting inside the gallery balancing with shadows is one major design aspect of the museum, to prevent sculptures and exhibits from harsh sunlight, The internal courtyard is placed to light up the corridors 8. CONCLUSION: Having a wide range of masterpieces of sculptural art in such medium: stone, terracotta, stucco, bronze gold, silver, ivory, bone, spanning a period of over two millenniums, from the 3rdcentury BC to the 19th century AD, one of the longest in the history of world’s art-heritage, the Department of Archaeology make this museum a relevance choice for understanding the design context of the museum planning. The museum has its merits and demerits. Its zoning and circulation pattern has National Museum, New Delhi Page 37Case Study | 2018 one of the major merits while on the other hand due to lack or space, landscape is not developed at optimum level. Use of materials and some new sections are designed from contemporary styles ‘The segregation of spaces, temporary and permanent exhibitions is one of the best design aspects of the museum. National Museum, New DelhiLiterature Study | 2018 SOLOMON R. GUGGENHEIM MUSEUM, NEW YORK 1, INTRODUCTION: “Swelling out towards the city of Manhattan, the Solomon R. Guggenheim Museum was the last ‘major project designed and built by Frank Lloyd Wright between 1943 until it opened to the public in 1959, six months after his death, making it one of his longest works in creation along with one of his most popular projects. Completely contrasting the strict Manhattan city grid, the organic curves of the museum are a familiar landmark for both art lovers, visitors, and pedestrians alike.” The Solomon R. Guggenheim Museum, often referred to as The Guggenheim, is an art museum. located at 1071 Fifth Avenue on the comer of East 89th Street in the Upper East Side neighbourhood of Manhattan, New York City. It is the permanent home of a continuously expanding collection of Impressionist, Post-Impressionist, early Modern and contemporary art and also features special exhibitions throughout the year. The museum was established by the Solomon R. Guggenheim Foundation in 1939 as the Museum of Non-Objective Painting, under the guidance Of its first director, the artist Hilla von Rebay. It adopted its current name after the death of its founder, Solomon R. Guggenheim, in 1952. 1,1 RELEVANCE: Rebay conceived of the space as a "temple of the spirit” that would facilitate a new way of looking at the modern pieces in the collection. She wrote to Wright that "Each of these great masterpieces should be organized into space, and only you ... would test the possibilities to do so. ... ! want a temple of spirit, a monument!" Wright held that a building should be a product of its place and its time, intimately connected to a particular moment and site—never the result of an imposed style. It is one of the best examples of art gallery around the world and design on basis of modern contemporary style Fig. 1.1 ( Solomon R. Guggenheim Museum, New York 10, Peres, Adelyn. 2010. AD Classics: Solomon R. Guggenheim Museum / Frank Lloyd Wright https: /Avwv.archdaily.com/60392/ad-classies-solomon-r-guggenheim-muscumefrank-lloyd-wright]. Accessed July 19, 2018 ‘Solomon R. Guggenheim Museum, New York Page 39Literature Study | 2018 1.2 SITE: ‘The Solomon R. Guggenheim Museum, often referred to as The Guggenheim, is an art museum located at 1071 Fifth Avenueon the corner ofEast 89th Street in the Upper East Side neighbourhood of Manhattan, New York City. Latitude: 40° 46' 58.728" N Longitude: 73° 57' 32.2956" W Conneetivit > 5.1 km away from Grand Central > 6.0 km away from Pennsylvania Station > 29.2 km away from J. F. Kennedy International Airport Climate: Macro-Climate: Humid Continental Average Temperature: 12 °C Maximum Temperature: 27 °C Minimum Temperature: -18 °C Annual Precipitation: 1600 mm Prevailing Wind Direction: 15km/h North-West wun Path Diagram — Fig. 1.2 (ii) Prevailing Wind Di 1.3 SCALE: “The project is one thee master piece is one of the greatest architect of the known world. The ‘museum is one of the best designed museums in the world. F. L. Wright's design philosophy makes this project one of its kind, The project covers about 4700 sq. m of gallery space, 1400 sq. m of office space, theatre, and retail space. 28m tall atrium topped with expansive glass dome and main ramp coils upward 6 floors, more than half a kilometre.” '' 11. Byrne, Steven. 2011. Guggenheim Modern Art Muscum, NY. hitp:/faculty arch tamu edu/medialcms page media/4433/GuggenheimMuseum pd]. Accessed July 19, 2018. ‘Solomon R. Guggenheim Museum, New York Page 40Literature Study | 2018 2. AREA PROGRAMME: 2.1 AREA CHART: Sr. Space Area Design No. (in sq.m) _|__ Capacity 1 | ENTRANCE 100 Entrance Lobby 300 Reception 30 Back Office 20 ADM. RATION Staff Office Director General's Chamber Curator Office Meeting Room Staff Rest Room Security Monitoring Room Server Room Staff Toilet (M/F) Restoration Laboratory Pani EXHIBITION GALLERY Level 1 Gallery Level 2 Gallery Level 3 Gallery Level 4 Gallery Level 5 Galler Level 6 Gallery Level 7 Gallery LIBRARY Librarian’s Office Cyber Room AMENITIES Restaurant I Museum Shop 1 Seminar Hall 1 Toilet (M/F) 10/10 SERVICES Maintenance Tanitor Room Store Housekeeping Centre High Tension Control Room HVAC Room ‘Solomon R. Guggenheim Museum, New York Page 41Literature Study | 2018 PARKING Staff Parkin, OPEN SPACi Atrium up Area) TRANSITION AREA (40% of Toial Build TOTAL AREA 11,200 Sq. M 2.2 USER ACTIVITY: USER ACTIVITY SPACE VISITOR Visual Experience Shopping Reading Parking Sanitation Beverage & Food Level | Gallery Level 2 Gallery Level 3 Gallery Level 4 Gallery Level 5 Gallery Level 6 Gallery Level 7 Gallery Museum Shop Library Cyber Room Parking Area Toilet Restaurant Water Fountain ADMINISTRATION & SERVICE STAFF Official Work & Monitoring Services Meeting Retiring Beverage & Food Office Server Room Maintenance Janitor Room Store Housekeeping Centre High Tension Control Room HVAC Room Meeting Hall Seminar Hall Staff Rest Room Pantry ‘Solomon R. Guggenheim Museum, New YorkLiterature Study | 2018 Sanitation Staff Toilet WORKER STAFF Restoration Restoration Lab Store Reserve Collection 2.3 AREA DISTRIBUTION: SITE DISTRIBUTION sm BUILT UP AREA {= TRANSITION SPACE w= PARKING mATRIUM OPEN AREA Chart 2.3 (i) Site Distribution AREA DISTRIBUTION ADMINISTRATION. EXHIBITION = LIBRARY = AMENITIES, SERVICES Chart 2.3 (ii Site Distribution 3. ARCHITECTURAL DRAWINGS: 3.1 CONCEPTUAL PLAN: Wright created the philosophy of “organic architecture,” which maintains that the building should develop out of its natural surroundings. Although the word “organic” usually refers to something that bears the characteristics of plants or animals, for Frank Lloyd Wright the term organic architecture had a separate meaning. For him organic architecture was an interpretation of nature’s principles manifested in buildings that were in harmony with the world around them. Building inspired by Wright’s love for the automobile ~ Planetarium — designed for visitors to drive up the ziggurat-like ramps. ‘Solomon R. Guggenheim Museum, New YorkLiterature Study | 2018 Fig. 3.1 (i) Concept development of the museum 3.2 SITE PLAN: Fig. 3.2 (i Site Plan of Gr 3.3 CIRCULATION PLAN: In the Guggenheim, Wright intended to allow visitors to experience the collection paintings by taking an elevator to the top level then view artworks by descending the central spiral ramp. Museum currently designs exhibits to be viewed walking up the ramp rather than walking down From street, building looks like a white ribbon rolled into a cylindrical shape, slightly wider at the top than at the bottomLiterature Study | 2018 3.4 ZONING: The museum was designed by zoning of spaces into exhibition spaces, administrative space and other amenities. Spaces were zoned vertically rather than horizontal approach. Four floors of exhibition space, three of which are double height, also have office and storage space for mechanical systems. 3.5 FLOOR PLANS: Four floors of exhibition space, three of which are double height, also have office and storage space for mechanical systems. Twelve radial web walls divide the gallery into 70 bays for viewing artwork, A large glass dome covers the entire rotunda, providing natural lighting inside the gallery. Skylights line each level of the rotunda, providing natural light along the periphery. ‘The gallery walls are 9°6” tall and slope slightly outwards at 97 degrees from the floor. Designed to hold paintings, the tilt of the gallery walls was intended to replicate the slope of an easel Fig. 3.5 () Floor Plan of Guggenheim Museum Fig. 3.5 (ii) Guggenheim Museum 3.6 ELEVATIONS: ‘Solomon R. Guggenheim Museum, New YorkLiterature Study | 2018 Fig. 3.6 (i) Front Elevation of Guggenheim Museum Fig. 3.6 (ii) 3D view of Guggenheim Museum 3.7 SECTIONS: 3.7 (i) Section of Gugger Fig. 3.7 (ii) 3D Section of Guggenheim Museum 3.8 DETAILS: A giant spiral ramp circulates up to a giant dome with twelve narrow reinforced concrete partitions that pierce the spiral and serve as stiffeners, The web walls act as shear walls, transferring forces laterally and vertically, while helping resist bending moments. 12 radial web walls around the rotunda, 8” thick and 25° wide at the top were designed. Structural core includes staircase and elevator shafi. Acts as structural anchor and provides an alternate circulation to the ramp ~~ Fig, 3.8 (i) Structural Details of Guggenheim Museum ‘Solomon R. Guggenheim Museum, New YorkLiterature Study | 2018 4, MATERIALS: ‘The Guggenheim is primarily composed of reinforced concrete. Normal weight cast in place conerete is the material of the lower levels, Light weight concrete is the material of the interior radial walls and the ramps. Gunite, or shotcrete, is the material used for the exterior of the spiral curved walls. Wright used gunite to achieve a seamless monolithic fagade. Wright left out expansion joints, which would have created visual vertical breaks. He hoped the application of elastomeric paint, known as the “cocoon” would fill in the cracks formed during construction, The pairing of multiple types of conerete caused visible cracks in the fagade. Steel framed windows, Aluminum skylights were designed. Cement plasters soffits on metal lath. Fig, 4 (i) Materials used in Construction, 5. LIGHTIN Skylights was originally intended to illuminate the painting in natural light, but were changed to artificial to have more controlled lighting, The huge 29m atrium was designed for proper lighting conditions. Luminance ceiling was designed further for more lighting Fig. § () Luminance Ceiling & Atrium for natural lighting 6. OBSERVATION: ‘The exterior of the Guggenheim Museum is a stacked white cylinder of reinforced concrete swirling towards the sky. The museum's dramatic curves of the exterior, however, had an even more ‘Solomon R. Guggenheim Museum, New York Page 47Literature Study | 2018 stunning effect on the interior. Inside Wright proposed "one great space on a continuous floor," and his concept was a success Walking inside, a visitor's first intake is a huge atrium, rising 92! in height to an expansive glass dome. Along the sides of this atrium is a continuous ramp uncoiling upwards six stories for more than one-quarter of a mile, allowing for one floor to flow into another. The ramp also creates a procession in which a visitor experiences the art displayed along the walls as they climb upwards towards the sky. 7. DESIGN ANALYSIS: ‘The design of the museum as one continuous floor with the levels of ramps overlooking the open atrium also allowed for the interaction of people on different levels, enhancing the design in section Although the space within the building is undeniably majestic and the building itself monumental, it ‘was not perfectly successful in terms of function, The curved walls of the interior were intended so that paintings had to be tilted backward, "as on the artist's easel." This was unsuccessful because the paintings were still very difficult to display because of the concavity of the walls, and because of this before its opening 21 artists signed a letter protesting about their display of work in such aspace Many critics also argue that the building competes with the art work that is intended to be displayed, a problem which Museum Director James Johnson Sweeney took seriously, stating, and “This is the most spectacular museum interior architecturally in this country. But my job is to show off @ magnificent collection to its fullest.” Wright also had a problem with Manhattan's building- code administrators who argued with him over structural issues, such as the glass dome that had to be reduced in size and redesigned to include concrete ribs that are extensions of the discreet structural pillars on the exterior walls. 8. CONCLUSION Despite the opinion of critics, there is no doubt that Wright's design for the Guggenheim Museum provides a spatial freedom that is unique to his style. It took Wright 700 sketches and six sets of working drawings to turn his vision into an extraordinary sculpture of a building overlooking Central Park, that in the very least should be acknowledged as one of the most spatially beautiful International-style works of architecture. Wright also embraced new materials, machinery, and technologies. Far from seeing them in ‘opposition to nature, he saw them as allies. Depending upon each other for their integrity, nature would inform and machinery execute a totally new architecture—one where the machine's capacities transformed natural principles into architectural forms ‘Solomon R. Guggenheim Museum, New YorkLiterature Study | 2018 BIHAR MUSEUM, PATNA 1. INTRODUCTION: Patna is a city with a storied past and this land saw the advent of many glorious civilizations. The history of this city unravels like a ball of thread that surprises you with twists and turns as we travel over two millennia, The Patna Museum established in 1917 will soon turn a century old along with the date of discovery of its most cherished and visited artefact ~ the world famous Didarganj Yakshi, a statue of monumental Mauryan vision. In the state of Bihar, the need for a new museum was seriously felt, the Patna Museum having limitations, both in physical space as well as in its design and methods of presentation."” Bihar Muscum is a modem state of the art museum located in Patna. It was partially opened in August, 2015. ‘The children's museum’, the main entrance area, and an orientation theatre were the only parts opened to the public in August 2015. Later, in October 2017 remaining galleries were also opened. More than 100 artefacts were transferred here from Patna Museum. It was planned as a history museum for the state of Bihar, and began construction in Bailey Road, Patna in October 2013 with an estimated budget of 8498 crore (US$74 million). The Museum was planned to bring the region's thousands year history into focus, inspiring local residents and visitors from across the globe to explore Bihar’s rich heritage, historie sites and cultural attractions. 1. 1RELEVANCE: For the design of the Museum building, world renowned architectural firms were invited to submit their proposals and selection was on a competitive basis. Japanese firm, Maki and Associates submitted the winning concept, which they proposed to execute with OPOLIS Architects, based in Mumbai, For the Bihar Museum, Maki outlined a concept that was appealing to the sensory experience, fitting with practical considerations and making provisions for the future growth of the establishment. The architects visualized the Museum as if viewing it through different lenses 10 expand on four different facets. Fig, 1.1 (i) Bihar Museum 2. About Museum, [hitp://biharmuseum.org/more/more-about-museum/}. Accessed July 20, 2018, 13. About Museum. [http //biharmuseum org/more/more-about-museum/]. Accessed July 20, 2018, Bihar Museum, PatnaLiterature Study | 2018 1.2SITE: Department of Art, Culture and Youth, State of Bihar (DACY) proposed a new Museum on Bailey Road on the site west of the Patna Museum. Latitude: 25° 36° 27.7704" N Longitude: 85° 7" 12.9036" E Connectivity: > 3.6 km away from Patna Junetion > 4.5 km away from Mithapur Bus Stand > 4.7km away from Jay Prakash Narayan International Climate: Macro-Climate: Hot & Humid Average Temperature: 27.1 °C Maximum Temperature: 46.0 °C Minimum Temperature: 1.1 °C Annual Precipitation: 1100 mm Prevailing Wind Direction: 6km/h North-East. My dn kg tty oe eopennarérarepeeusn te ice Cope © 26 mmnabentdnaen Fig. 1.2 (i) Sun Path Diagram Fig. 1. (ii) Maximum & Minimum Temperature I.3SCALE: ‘A 25,000 square meters museum and marketplace concept was to be developed, with "G+I" structure and with a very small portion being "Gt4". It is six-storey building spread over 5.6 hectares, having 24,000 square meters of built area ‘The generous 5.3 hectare plot along Paina’s Bailey Road allowed for a variety of site planning approaches, while demanding sensitivity to its low-scale surroundings and prominent tree growth. In response to this context, Maki and Associates conceived the Bihar Museum as a “campus” - an interconnected landscape of buildings and exterior spaces that maintains a modest but dynamic profile, in harmony with existing site conditions." 14, The Bihar Museum / Maki and Associates + Opolis, 2018. [https://www.archdaily com/889978/the-bihar-museum- ‘maki-and-associates-plus-opolis}. Accessed July 20, 2018. Bihar Museum, Patna Page 502. AREA PROGRAMME: Literature Study | 2018 2.1 AREA CHART: Sr. No. Space ‘Area (in sq. m) Design Capacity 1 ENTRANCE 100 Entrance Court 400 Reception 30 Back Office 20 Information Help Desk 20 Ticket Counter 20 Drop off 200 ADMINISTRATION Staff Office 200) Director General's Chamber 30. Curator Office 40 Meeting Room 200 Staff Rest Room 100) Security Monitoring Room 30 Server Room 30 Staff Toilet (M/F) 50. Store 1000 Staff Canteen 200 WORKSHOP Wood Workshop 200 Metal Workshop 200) Terracotta Workshop 200) Store 200 Store Props 100 EXHIBITION GALLERY Bronze Sculpture Store 300 ‘Coins Vault 200) Textile Gallery 300) Miniature Gallery 300 Manuscript Gallery 100 Hindu Art Gallery 200 Buddhist Art Gallery 400 Jain Art Gallery 200 Tribal Art Gallery 600) Terracotta Gallery 300) Children’s Museum 600. Pre Show Displa 200 Post Show Display 100 “Temporary Exhibition 1000 Bihar Museum, PatnaLiterature Study | 2018 LIBRARY, Librarian's Office (Cyber Room AUDITORIUM Projection Room Green Room 30 AMENITIES: Restaurant 250 Museum Shop 1 2 200 Seminar Hall 200) Toilet (M/F) 10/10 50 SERVICES Maintenance 100) Janitor Room 50 Store 200 Housekeeping Centre 100) High Tension Control Room 200 HVAC Room 200 LABORATORY 200 LOADING AREA 400 OPEN SPACI 1000 PARKING 500) VIP Parking 100) Staff Parkin, 100) TRANSITION AREA (40% of Total Build up Area) 4800 TOTAL AREA 17,000 Sq. M 2.2 USER ACTIVITY: USER ACTIVITY SPACE VISITOR Visual Experience Bronze Sculpture Store Coins Vault Textile Gallery Miniature Gallery Manuscript Gallery Hindu Art Gallery Buddhist Art Gallery Jain Art Gallery Tribal Art Gallery Terracotta Gallery Bihar Museum, PatnaLiterature Study | 2018 Children’s Museum Pre Show Display Post Show Display Auditorium ‘Temporary Exhibition Shopping, Museum Shop Reading Library Cyber Room Parking Parking Area Sanitation Toilet Beverage & Food Restaurant Staff Canteen ADMINISTRATION & | Official Work & Monitoring | Office SERVICE STAFF Server Room Services Maintenance Janitor Room Store Housekeeping Centre High Tension Control Room HVAC Room Meeting Meeting Hall Seminar Hall Retiring Staff Rest Room Beverage & Food Pantry Sanitation Staff Toilet WORKER STAFF Restoration’ Restoration Laboratory Store Reserve Collection 2.3 AREA DISTRIBUTIO. SITE DISTRIBUTION 18% BUILT UP SPACE ee EPARKING lm TRANSITION m LANDSCAPE m= OPEN SPACE Chart 2.3 () Bihar Museum, PatnaLiterature Study | 2018 3% AREA DISTRIBUTION ADMINISTRATION m WORKSHOP EXHIBITION musRARY AUDITORIUM AMENITIES SERVICES LABORATORY Chart 2.3 (ii Site Distribution 3. ARCHITECTURAL DRAWINGS: 3.1CONCEPTUAL PLAN: ‘The constant presence of the natural environment within the Museum “campus” ereates a rich, unique experience with each visit, one that changes with the time and seasons. It is hoped that this will encourage repeat visitors, and - together with world-class permanent and temporary exhibits ~ ensure that the Bihar Museum has a lasting educational impact for the children of Bihar and other visitors from across the world Fig. 3.1 () Concept development of the museum 3.2 SITE PLAN: Inspired by the generous site, Fumihiko Maki conceived the Bihar Museum as a campus with interconnected landscape of built-up and open spaces with modest but dynamic profile, in harmony with the land. The campus incorporates primarily four zones ie., entrance, education, exhibition and administration. Each wing has been given a distinct and recognizable form within the complex. Bihar Museum, PatnaLiterature Study | 2018 Fig. 3.2 (i) Site Seetion of Bihar Museum 3.3 CIRCULATION PLAN: ‘The circulation pattern was based on the history of Bihar, starting with Buddhism and Jainism followed by Mauryan and Gupta Empire to Sher Shah Suri and to the Colonial Past to exhibit the great history of Bihar to the Visitors Fig. 33 () Circulation plan of Bihar Museum Bihar Museum, PatnaLiterature Study | 2018 3.4 ZONING: The spaces divide galleries into different specializations, also distinguishing the children’s gallery with its own orientation section. The architecture constantly works to enhance the feeling of wonder and belonging to allow the visitor to explore and discover. The environment is thus envisioned as a learning landscape, a place that creates a sense of calm that is conducive to education Fig. 34 (i) Zoning of Bihar Museum 3.5 FLOOR PLANS: All independent and smaller-scaled wings are linked together via seven open-to sky courtyards, ensuring that all spaces are connected to the surrounding landscape, while remaining sheltered and comfortable throughout the year. Each courtyard has a unique theme, configuration and spatial quality. Some of these courtyards have been strategically located to preserve the existing trees on the site. Fig. 3.5 () Ground Floor Plan of Bihar Museum Bihar Museum, PatnaLiterature Study | 2018 3.6 ELEVATIONS: Most of the external surfaces of the buildings are clad in zero-maintenance Corten steel, whose earthy brown-red colouration subtly contrasted with the surrounding greenery. The Corten steel is offset with Indian granite and sandstone, terracotta, and glass finishes - a modem material palette with clear connections to Bihar’s past and future Fig, 3.6 (ii) Model of Bihar Museum Bihar Museum, PatnaLiterature Study | 2018 3.7SECTIONS: Fig. 3.7 (i) Section of Bihar Museum 4. MATERIALS: ‘The Museum’s exterior is characterized by extensive use of weathering steel, a durable material that complements its context and creates a dignified contrast to the surrounding greenery. The weathering steel symbolizes India’s historical achievements in metallurgy as well as its current prominence within the international steel industry (of which Bihar’s rich natural resources have played a critical role). aad Fig. 4 (Use of different materials in Bihar Museum It is supplemented with stone, terracotta, and glass finishes - a modern material palette with clear connections to Bihar’s past and future. 5. LIGHTING: Lighting is one of the main aspects of any museum, especially natural lighting and the architects has tackled this issue through bay winds, Fagade lighting, luminous walls and a central courtyard. The Atrium at the entrance shows the importance of lighting in museum, Bihar Museum, Patna Page 58