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    Agra Museum

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    Sanchita Garg

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    Lafleur ifsc AGRA HERITAGE MUSEUM : Weaving Heritage into the urban fabric ARCHITECTURAL THESIS - 18 ‘THESIS GUIDE : Ar. TANUJA KANVINDE, Ar. RAHUL SEN VERTIKA KAPOOR THESIS RESEARCH GUIDE : Ar. RAHUL SEN FINAL YEAR I BARCH Uf \ COORDINATORS : Prof. JAVA KUMAR & Prof. ARUNA RAMANI GROVER SPA DELHI THESIS 2078 AGRA HERITAGE MUSEUM: Wong Heritage nt turban fat, declaration The thesis titled ‘Agra Heritage Museum’ has been carried out by the undersigned as a part of the Bachelor's Program in the Department of Architecture, School of Planning and Architec- ture, New Delhi -110002, India under the supervision of Ar. Tanuja Kanvinde (Design Guide) and Ar. Rahul Sen (Research Guide). thereby submit two copies of the report for internal and external evaluation respectively. ‘The undersigned hereby declares that this is her original work and has not been plagerized, in part or full, From any source. Furthermore, this work has not been submitted for any degree in this or any other university. A/2628/2013 Fifth Year B.Arch. Section-B 1g and Architecture, New Dethi nes 018 Jomemermeioininee sists i, TT) certificate We certify that the Thesis titled ‘Agra Heritage Museum : Weaving Heritage into the Urban Fabric by Vertika Kapoor, roll no. A/2628/2013 was guided by us in January - May 2018 and placed in Front of the Jury by the candidate on 24-25th May 2078. On successful completion Of the report in all respects including the last chapter by the candidate and based on the declaration by the candidate hereinabove, we forward the report to the Department to be placed in the library of the School of Planning and Architecture, New Delhi. On successful completion of the course by the candidate | hereby accept this completed report on behalf of the Head of the Department to be placed in the library of the School of Planning and Architecture, New Dethi. Prof. Jaya Kumar (Studio Director) THESIS 2078 AGRA HERITAGE MUSEUM: Wong Hetoge nto turban fatic, acknowledgements The successful completion of this thesis has been one of the most challenging academic assignments faced by me which could not have been accomplished without the support, patience and guidance of the following people. | begin by thanking our thesis mentors, Ar. Tanuja Kanvinde & Ar. Rahul Sen for their guidance throughout the thesis program. | am grateful to my Thesis technology guide, Ar. Uday Kapre for his valuable suggestions and encouragement and Thesis coordinator, Prof. Jaya Kumar for guiding me throughout the program. Iam deeply indebted to my friend Mr. Amrit Tripathy who revived my Faith in the project when Imost needed it. 1am grateful to my Thesis abstract guide, Sakshi Jain for helping me understand and streamline my thoughts when I was struggling with the sea of information. I would like to thank Ms. Shivani Shastri, Architect, Archohm Consultants(Noida) for devoting me her precious time and for providing useful data related to the project. I must record my gratitude to my parents whose constant support, patience and love were the source of my strength. | Found inspiration in trusted friends and mentors, but also in unexpected sources. Thank you everyone, named and unnamed, for keeping me going! abstract Peet eT Rew ee Introduction Se aeseeere ea get eae oc Saleen yeas SEE ees ‘Thesis Proposition _Anioulaon and wansistion of tangle and intangne Hertage of {e.ty of Aaa int arenitecturs There venules to drag as acuta! ht cterahen ne testes he rer as ands ext ne coraty ht Research Outcome(s) oser cag sere ge ome em SES eee Secon am nme Inferences -Case Studies Tye mseun mus be acta hab pomctng commutation. “Aiseus prove be best pec fr eamng cartes ence thy domensate procs! “Reto rmcmay lain te ngtonarce cl ane maaan cmpaio ence ing Heritage into the Urban Fabric 'A/2013/2628 ‘VERTIKA KAPOOR] Site selection and Reading of the site he ty ted et wound (2 an ene ravens ‘he oopsy sat ln, Thee ae Naor Shdecshenion atte ncnert eer ere bt Conceptsand Strategies Design Development The ea waste ave at sche witha dated pooech oth core, pation of ‘ne esno tho te rosa sabe apn space moter sce He alo. % % Desert soeirece earn, eae Space nerd! aocortato ro bulefomm. 2, Aca to congix wih pbc lacus Fine." teatng he mon gs ee Reus Sustoun dagen abpatndaapene ‘Technology rivers ~eaieaet i aomtincatess arte {accartonng bs rowed 9 DAC Broad area program Go Tercetnbaguete tad ———— 5 TS Soe ‘Great opt een ‘Ac Ranul Sen Re uN ee eg Creer Ser) ute Poser een trent eed tars, © Rito ears cae loca eaeh ee as SS SE Sa SLRS ECCT IEE afte wera rege aa ge gt ah ang Ree wr anager eee enw Berar or sarge Rinses Favors quigehrad kana some Avan Sees wee Bivtrranirsers eae arg ee 8 8 ek ee we tS Seep age abe eet not aR water - a sha Sr SBT RS oe Pty SEER rarecemmtes gerne meteesaspre Seer Saar easement eae cee 5 wéertisen te Hieuswone esther srrurroral afte wore oftresen rere eee ——@ @ ® te of Spat beste pra upg de ges geet 2 estes sere me ec SP es: lanseencn } (uityatet sto, Sie Raa iee rete arse sere ererer ster dead an eee tee et eset: Siete et ae Peete eT AGRA HERITAGE MUSEUM : Weaving Heritage into the Urban Fabric Third Floor Plan 2DViews and Model Photographs ‘Ar. Tanuja Kanvinde ‘Ac Rant Sen AGRA HERITAGE MUSEUM : Weaving Heritage into the Urban Fabric Cea ese nes 018 Acanemcrmecrivingiet ses i, TTT) list of figures Figure 1: Map of the city oF Agra,ca 1914. 24 (Source: wikipedia.org) 24 Figure 2: aj Ganj Masterplan by Archohm Consultants. (Sawee:theplani) 27 Figure 3:Jama Masjid. 32 (Sources wntimesmeccom) 22 Figure 4; Itmad-ud-daula garden tomb. 32 (Source: tourismafindiacam) 32 Figure 6: Fatehpur Sikri view from the pavilion. (Source: tourimafindacam/agra) 32 Figure 5: Entrance to the Agra Fort. 32 (Source nateplanet.com/rael-quide/agrortcglorioussymbotf pomerseslience- andstrength-006292 32 Figure 7: Taj Mahal and the river Yamuna aerial view. 32 (Souee:insagramcanyindepecues) 32 Figure 8: Taj Mahal and the river Yamuna aerial view. 33, (Sawee:Badwe 2012) 33 Figure 10: Perspective reconstruction of the scheme of riverfront Agra, based on the Jaipur map as there, the gardens north ofthe fort are shown slightly too Far north, so that they get out of step with the gar- Snevenicimaeret oe Gare, Taratoe pr ‘Gyarah Sidhi ee “Mahtab Bagh (17) a S 'N ac S i maton eet set es os 1 oo prem ey gr sng urd tianscon i (EG cn errice meen vsningioms inset ss 201 21.3. MUGHAL GARDENS Sarcere were very important part of amiccultrand were asvoctted othe Wamic conception ofthe ‘fern poredse Three strands of early Islamic Gardens 1. Arabie- The garden seen as a pleasant alternative to the sandy desert and was usualy enclosed within the courtyard of a house. 2. Persian- The garden was regarded as a place for contemplation. itwas in Persia that the ‘char bagh'was developed, generally understood as @ ‘walled garden with four sections divided by walkways and running water. Flgure 14: Typesof amie Gardens (asce ata ‘Types of Mughal Gardens: 1. In its ideal orm, the Mughal ‘char bagh’ consists oF a square, divided by cross axial paved walkways into four equal parts. The cena ish charged symbolaly, ray be occpiel by s blcig pialyagerden pation Sut ase. tombertys pool The ‘walkways may cantata sunk chaanels, and) atthe points where they meet the garden wal, there may be eal or false gateways. The quadrants may in turn be subdivided into Further squares. The whole composition is enclosed by a wal with towers at Rs corners. 2. The concept ofa garden aid out ona slope nto the landscape. The main buildings are arrayed on ascending teraces along a Fee SHEL Ty s chanted snk ne paved walimay wfac colecs water om aspmy the iehiual erates may be pen econo Four pat form, asin the mperal gardens oF Shaimor in Kashi 3. Ri {tis a variant of the char bagh invented by the Mughals for the specific conditions ofthe Indo-Gangetic plain. Here the main ‘ater source was usually 3 large slow-flowing river, from which the desired running water had to be raied Into the garden. The main bullaing ‘was set on an oblong terrace running along the riverfront. Usually the terrace had rooms below the main building opening onto the river, and Stas leading down to a landing, Is two ends were accentuated by towers. The chahar bagh component lay on the downward side. In this way the garden was turned toward the river, and the main pavilions enjoyed its cooling effect. The scheme presented a carefully composed front to those who saw the garden from a boat or across the river, and from inside, the buildings provided a backdrop forthe garden. 21.4. THE HASHT BIHISHT OR EIGHT PARADISES PAVILION The hasht bihisht design consists typically of a square or @ rectangle, with comers sometimes marked by towers but also sometimes chanfered so as to form an irregular octagon. The hasht bihishtis divided by four intersecting lines into nine parts, comprising a domed chamber in the centre, rectangular open Forehalls in the middle of the Four sides, and two- storeyed, often vaulted, rooms at the comers. Figure 18: The basichasht bihisht Figure 19: radially planned hasht bihisht Figure 20: Plan of the Humayun tomb at Delhi: four design : plan of the pavilion of design: plan of Todar Mal's @aradari at ‘adialy planned hashe bihisht elements are combined ‘Shah Qulikhan at Narnaul Fatehpur Sik. Jinan overall hasht bihisht plan, THESIS 2078 AGRA HERITAGE MUSEUM: Wong Heritage nto the urbanfatic, eae 21.5. SIGNIFICANT ARCHITECTURAL FEATURES OF AGRA WALLED FORTS MAUSOLEUMS AND TOMBS Forts and walled cities with lofty Bastions and Gates have been ‘Mausoleums played a vital role in ‘symbol of power and reign throughout history, Agra holds two brominent wallled palatal cities namely the Red Fort and Fatehpur the islamic culture, and therefore attention fo detallwas a crucial for Sh hese stucres & " 4, maveoleums by Qandtombs ‘. 1D Vitessed tee ven COURTYARDS AND HAVELIS er! ct hve s eeeePime Figure 23: zonametricof the Ta) Mahal Figure 24: sh bi oer Sheng the double dome construction, plan mth acer chamber ‘ar Reso) ferounaed by Sather ce Pek | ‘COURTYARDS Courtyards were a dominant Feature n the traditional Fesidenta religious sentative archecture of arid climate oF the ey. HAVELIS Havelisare usually identified 2 decorative entrance within a high wall which may have mate windows and Balconies Sreokng re tect ate Seip sone aatnat creat miasreabaataaiare §— RORPORMBMIAR I Pavan cantons tenets {ears an remisraglomerton ot coryards ented by more ess amore courtyards. inthe Fragentary colonnades, of various groups of buidings, and oF isolated structures wrtyards 21.6. CRAFTSMENSHIP IN AGRA LEATHER ARTICLES Leather footwear of Agra is known internationally for superb ‘craftsmanship. Completely handmade shoes are a class apart. Garments, purses, walets, belts are other products being made in the city, well known For their craftsmanship and quality, ‘Agra is the largest footwear manufacturing centre in india catering to roughly 65% of the demand in the country. The footwear industry employs 25% of total population of Agra directly or indirectly Shoes are either completely handcrafted or produced with the help ‘oF highend machines. n either case, the production unit would have mainly four departments in which a progressive route s Followed scuteing In this department, the top part ofthe shoe, called vamp’ or ‘upper’, ismade. *closing Here the component pieces are sewn together by hight skilled machinists so as to produce the completed upper. ‘tasting The completed uppers take the shape of a Foot with the help of a "ast. Lasts a plastic or wooden mould that simulates the shape of a foot “Finishing Flour 26: Workers crafting leather shoes ina smal factory. Ekrercaeweamreneneston ne) THESIS 2078 AGRA HERITAGE MUSEUM: Wong Heritage nto turban fatic, STONE INLAY (also known as Pietra Dura) ‘Agra is famous For Parchinkari work wiich is very minute and precise inlay work. The artisans work together as a cooperative, meaning each of them remains an individual artist with complete creative Freedom, but all profits are shared equally Extreme skills required to first saw the stone, such as agate, jasper and heliotrope, into thin pieces of various shapes and sizes, using bow saws with abrasives. ‘Each shape is ground individually and must fit precisely without any ‘gaps. Once a perfect fit has been achieved, the marble plate, into which the oramental pattern willbe integrated, is covered with a layer of henna paint. “The single pieces that make the inlay pattern are laid out on the marble plate and their outlines scratched into the surface, “The orange color serves as an orientation when carving out the individual grooves, into which the semiprecious stone pieces willbe glued ‘Not much has changed in the 363 years since the completion ofthe Taj Mahal: the glve in use's stlla paste made from sugar cane, bees ‘wax, honey, lemon juice, marble dust and lentils grind stone shard is used to smoothen the surface ater the inlays have been inserted. ‘The henna paint i also removed during this smoothening process. The inlay piece is now properly Figure 6: Detalofthe pletraduraonthe integrated into the marble plate, blatformof uppercenctophof Mumtaz ‘ng Nets final nish wg ayer Figure 27: Inlay-workers ina marble cat shop. Manat as imate Me Eanctte mate ete 286 8 sfiwar ZARIZARDOZI (Metal Embroidery) Zarin Persian means gold, while dozi means embroider zardosi can thus be interpreted as sewing with gold and silver threads. Zrii woven into Fabrics, primarily made of silk, Felt or velvet to create intricate patterns Four types of zari are praduced in India, namely, real zari, semi real zat, imitation zari and plastic za *Real zariis made of silver and electroplated with gol. *Semi real zarihas a composition of copper coated with siver and gold electroplating *imitation Zariis made of copper electroplated with silver. *Plastic ari, is manufactured using metalic yarn Other materials Used for making zari include cotton yarn, silkand art silk, Real zaris used in costly product; however, its use i limited ‘compared to imitation and plastic. “The process of zari zardosi begins with the craftsmen drawing the basic layout of the design on a butter paper, which i ater perforated using a needle +He then marks the designs on the Fabric which s stretched on a ‘wooden frame called adda having Four wooden legs Circulation and Zoning ‘Th erulton nthe museum erates Inchronologeal order 2 that he soe ‘costes an atehtectural and historical, tour Thevistors route therefore a dear thresdersanalloo. goes tupfrom thelobby escalator othe ‘Soubleteigh galeses for the Beco Delo; upward again ty escalator to the Parthenon Gallery then back down tothe Roman empire galeries and cut toward the acropole Real. ‘The op lye the Parthenon Gallery, whch mimes the dimensions of he Parthenon ands rotated 23 degrees From the resto the buling to align swith the historic structure, cats Derimeter wal alow seamess views ‘ofthe acropolis ang athens, and the oncrate conte ofthe rom a0 the Parthenon fine preiey a itwas aranged.and orientedinthe orginal, Ionurrent Natural Wht ram the Parthenon Gals iteredhrough'ts Figure 67: Circulation of ‘lssflooted avium tothe floors below. Exhibion. waralti Figure 65: Section AA. Figure 6 section 88, arrcmnae 200 (once Puig 207 THESIS 2078 AGRA HERITAGE MUSEUM: Wong Henitage nto turban fatic, Materials «The building was designed in relation tothe durability and resistance to the passage of time. *The materials were selected For their simplicity and Sobriety. glass, concrete and marble. none = The transparency of glass light Fiters gently through a Mastereatte, “creen printing process 9) Rta the structure reinforced concrete. “The marble floor is diferentiated according to areas ‘ofthe building: black For movement, ight beige For the galeries. Figure 70: Materials. ining aedmerarertsy eatheensewenedintcnract bevwediibecorecrictomspais igekhisedtaphalal eng. Satea bis tera atc 2225. BIHAR MUSEUM, PATNA, BIHAR, INDIA Introduction —— LOCATION : Patna, Bihar, India CLIENT : Department of Art, Culture ‘and Youth (DACY), Government of Bihar. ARCHITECT : Maki & Associates + polis; Lord Cultural Resources YEAR:2017 SIZE: 24,000 SQ.M. Flure 73: Steplan and elevation, Bihar museum. (ave cordnectcut Located in Patna, the capital ity ofthe east Indian state of Bihar, the history museum is intended to display the rich artifacts of the region. situated on an extensive site of 5.6ha, the low-slung building contains 3 complex program while /preserving prominent trees through an organization based on a campus with dispersed buildings. The exhibition space, children’s museum, entry Foyer, and administrative center each have a distinct form, connected in between via arcades and courtyards. +A campus with interconnected landscape of builtup 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 2 within the complex. Flgure 72: Views, har museum. Barer acute es 18 Jcanemermeniiningiip is iaste , TTT) 3122, Layout Figure 75:Ground Foor pln, ihar museum. Sorts ‘allindependent and smaller-scaled wings are inked 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 @ unique theme, configuration and spatial quality. 2.2.3. COMPARISON MATRIX fropic NATIONAL GRAFTS MUSEUM, NEW DELHI, INDIA] HUMAYUN'S TOMB SITE MUSEUM, DELHI INDIA inean con eer 9751990 pois present ARCHITECT Charles Corres Vie Mueller Architects Teno tae Recreational Recreational [SITE AREA 76)000 59. (Grafs Museum) +20700050N. |= (vitage copies) [GROUND FLOOR AREA - [GROUND COVERAGE - F [TOTAL BUILT-UP AREA 0050m saissom FAR. - F [BUILDING HEIGHT a RELEVANCE OF CASE STUDY yhange and craft promotion area, | ‘The nature of expression issimiar as ies Moahal rehtecture era themed bilan, Sequence of spaces along a central si connected courtyards SSS Craft demonstration Exhbiton Space amphitheatre Temporary Exhibition SUbrary Research and conservation Facility village complex [STRUCTURAL SYSTEMS Tartan Grid system employed. Reinforced Concrate, Steel RCC, timber and mild steel construction ae Timber, Sandstone, Thateh, Terracotta, Mild |= steel, Bamboo. [STYLE OF DESIGN Acrnemcrmeniiningieie siete i, TE) [MUSEUM OF ISLAMIC ARTS. DOHA QATAR (NEW ACROPOLIS MUSEUM, ATHENS, GREECE "THE BIHAR MUSEUM, PATNA INDIA IT ai Architect New Yor®) ‘Bernard Techumi Architects ai & Associates + Opole Lord Clbural Resources recreational Recreational Recreational 60,000 50 000 sm sez50 3G - (500050 (approx) 7900080" - 725% (approx) 3 35.500 50% i000 30m 5aT0 SOM arent and simply oF esr. Expression of geomet progression Pay oght and hed mental symbatsm echieved ough simple Response to monumental context. “Casscal Principles infused with contemporary de- Son A museum dedicated to the diy of Patna “Identty Formation Permanent Gallery “Temporary Gallery Seedy Calery SEdvation wing bray Conservation Lab colleion storage “Ausltarum (197 Seat) Restaurant “cite shop -Eshibion Space (5 calles). “eget of pesos! hast, ae oma Sen sTheater(180seat) Cafe, terrace and store Exhibition Space “children's Maseum entry Foyer “aaminieerative Center courtyards Reinforced Concrete, Steel Reinforced Concrete, Steal eeeaeataninmmnonacae Corten Steel Terracota and localnatwils om ‘ihe CHAPTER 3: READING THE PROGRAM 3.1, PROGRAM COMPONENTS “The Following would be the main features of the Museum: 1.Galleries 2. Exhibition 3. Workshop and Research Center 4. Library Services 5. Convention Facilities 6.office Hospitality ‘Administrative and Management ‘Support. 1. Galleries Purpose: The purpose of modern ‘museums to collect, preserve, interpret and display items of artistic, cultural or scientific significance For the education of the public. Galleries prove themselves to be an effective ‘medium of showcasing collections For the masses to view. The museum is conceptualized to house three large galleries dedicated to display the city’s historical and cultural heritage, present and probable Future developments istrcal and contemporary Attack spay Galeres/ Museums/ Temporary ‘and Other Visual Hertage ‘iibition ‘at and Cat unique tothe ty Tralning/ Exhibiting Workshops Classes/ Exhibition Spaces/ Retail Performing Arts Hertage Performances ‘Auditorium Conary Heritage Food Exhibition (ale Food Court Restaurant Administrative and Management Management Offices and logit operations Support Research nd Development Resear and tody Colaborative easroams, research Tacity andoces ‘Uterature Werk and Information Reading Ubrar/Reaing rea GALLERIES CULTURAL HERITAGE GALLERY HISTORICAL LEGACY GALLERY CONTEMPORARY AND. CITY FUTURE GALLERY nes 018 Jomememmcionit sists i, TTT) 2. Exhibition ‘The word “exhibition” is usually, but not always, used for a collection of EXHIBITION items made available to an audience. The museum would showcase 2 considerable portion of both temporary (inked with the workshop and research center to showcase related developments) and permananet exhibition spaces which would house exhibits For long durations (ea quarterly or half yearly basi) 3. Workshop and Research Center (WRC) PERMANENT EXHIBITION TEMPORARY EXHIBITION The museum is visualized to develop asa learning center altogether ‘SPACE ‘SPACE ‘with educational Facilities and programmes intended to closely study the city’s transformation and revive the dying arts and crafts that are Unique to the city. The WRC would serve asa space to learn, research, experiment and develop. ‘WORKSHOP AND RESEARCH CENTER: sTupIos | RESEARCH AND MATERIAL SUPPORT AND LECTURE DEVELOPMENT | PROTOTYPING ADMINISTRATIVE HALLS LABS IN-CHARGE FACILITIES. (ER oe errsce meen vsningions ino vtn sv 201 4. Library Services ‘This would contain a large number of books and volumes relating to all aspects of human endeavour. It would be 2 repository ofall information on the subject, wherever available, printed Form, or on the internet. 5. Convention Facilities These would be on the patter of those available ‘elsewhere and would be available to organizations ‘hin would carry out debates/ discussions/ seminars ‘on relevant subjects. they would not be available For commercial or marketing events, These Facities ‘would be state of the art and would be designed For ‘gatherings of $0 to 250 people. 6. Office “The museum would house small branch offices oF bodies and corporations dedicated to the city’s study, survey and management and conceptualizing related future proposals. This would help facilitate

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