NATIONAL WAR MUSEUM THESIS REPORT

CHAPTER 1

Introduction ntroduction

This Section introduces the project and provides an overview of the location, the goals and objectives, the project requirements, the scope and the detailed building program as well as the spatial requirement of each space.

[1]

1. INTRODUCTION Our motherland, India has gone through many rise and falls in its ancient time, the land has witnessed the establishment of first human civilization and at the same time this ancient civilization has struggled a lot to retain its own existence. Indian history has seen many dreadful wars. 

We fought for our freedom.



The country has faced many foreign invasions from time to time.



We faced many terrorist attacks as horrible that we can’t imagine those pictures.

But every time we responded back, all those awful moments are commerated due to various courageous and brave souls of our country who sacrificed their lives for other’s good. Truly said, India has always been the birth place of many heroic and brave warriors. Though these wars priced father of many infants, husbands of many newlyweds, loving brothers of many sisters and darling sons of many mothers.

But this great sacrifice of Indians for their motherland was noteworthy and that is why Indian historical wars became important aspects for any person interested in Indian history.

[2]

Fig. 1.0

1.1.MAJOR INDIAN WARS The Indian Army in WORLD WAR I An estimated 1.3 million men from India served in the first World War(1914-1918) and approximately 43,000 soldiers were killed and 65,000 were wounded.

Fig. 1.1

The Indian Army in WORLD WAR II At the outbreak of world war II, the Indian army numbered only 205,000 men. Later during the war, it became the largest all volunteer force in history, rising to over 2.5 million men in size which included tank, artillery and airborne forces. More than 87,000 Indian soldiers lost their lives during

Fig. 1.2

the conflict which began in 1939 and ended in 1945.

1948- WAR WITH PAKISTAN War broke over the disputed territory of Kashmir. The first test of the Indian armed forces came shortly after independence with the first Indo-Pak Conflict (19471948). In all, 1, 500 shoulders died on each side during the war.

Fig. 1.3

[3]

1962-WAR WITH CHINA India lost brief border war with China.

Fig. 1.4

1965 - WAR WITH PAKISTAN Second war broke with Pakistan over Kashmir,

Indian

military

causalities:

3,000 killed; at least 175 tanks and 65-70 aircraft destroyed.

Fig. 1.5 1999 - KARGIL WAR Indian forces scored grand victory over Pakistan

army

and

Pakistan

supported

mercenaries in a conflict in the Kargil sector of Jammu and Kashmir.

The operation was

called ‘Operation Vijaya’. The Indian forces cleared Kargil of all Pakistani elements.

Fig. 1.6

2001 – CEASEFIRE VIOLATION BY PAKISTAN India fires on Pakistan military posts in the heaviest firing along the dividing line of control in Kashmir almost a year.

Fig. 1.7 [4]

1.2 WHAT IS WAR ?

WAR IS AN ORGANISED AND OFTEN PROLONGED CONFLICT THAT IS CARRIED OUT BY STATES OR NON-STATES ACTORS .GENERALLY CHARACTERISED BY EXTREME VIOLENCE ,SOCIAL DISCRUPTION AND AN ATTEMPT AT ECONOMIC DESTRUCTION. 1.3 WHAT IS A WAR MUSEUM ?

A WAR MUSEUM IS A PLACE THAT CARRIES (CONSERVE) A COLLECTION OF WAR EQUIPMENTS AND OTHER OBJECTS RELATED

TOWARDS

AND

MAKES

THAT

VALUABLE

THROUGH PUBLIC VIEWING EXHIBITS THAT MAY BE A PERMANENT OR TEMPORARY Fig. 1.8 1.4 WHAT IS WAR MEMORIAL ?

A WAR MEMORIAL IS A BUILDING MONUMENT, STATUE OR OTHER EDIFICE TO CELEBRATE A WAR ORVICTORY OR TO COMMEMORATE THODE WHO DIED OR WERE INJURED IA A WAR .A WAR MEMORIAL IA A BUILDING, MONUMENT ,STATUE ,OR TO COMMEMORATE THOSE WHO DIED OR WERE INJURD IN A WAR

[5]

1.5 AIM - To spread the journey of glory, courage, sacrifice and patriotism.

- To give more respect to the armed forces and their achievements in national security.

- To create a bond between youth and security forces of trust, courage and national pride.

1.5.1 OBJECTIVE - A connection between land, sea and air as a representation of all Indian armed services.

- The names of the fallen heroes must be included.

- War history information and education through movie, photographs and weapons which were used at that time.

- To show the dedication of other supporting branches of the armed forces like DRDO and its work in national security.

- To increase the interaction of Indian youth with Indian armed forces and to bridge the gap between them.

1.6 SCOPE - Enhancing the achievements of Indian Armed Forces.

- Youth awareness about the Indian Armed Forces by which people can know their responsibility towards the Nation.

- To know their principles, ethics and work methodology. Show common people where they stand in society.

[6]

1.7 WAR In modern days, ‘War’ can be defined as a state of armed conflict between societies and It is generally characterized by extreme aggression, destruction, and mortality, using regular or irregular military forces.

War is waged by political entities, nations or, earlier, city states in order to resolve political or territorial disputes and are carried out on the battlefield by armies comprised of soldiers of the contending nations or by mercenaries paid by a government to wage battle.

1.8 INDIAN ARMED FORCE The Indian Armed Forces are the military forces of the Republic of India. It consists of three professional uniformed services: the Indian Army, Indian Navy, and Indian Air Force.

Additionally, the Indian Armed Forces are supported by three paramilitary organizations: Assam Rifles, Indian Coast Guard and Special Frontier Force.

The Indian Armed Forces are the military forces of the Republic of India. It consists of three professional uniformed services: the Indian Army, Indian Navy, and Indian Air Force.

Additionally, the Indian Armed Forces are supported by three paramilitary organizations: Assam Rifles, Indian Coast Guard and Special Frontier Force.

The President of India is the Supreme Commander of the Indian Armed Forces. The Indian Armed Forces are under the management of the Ministry of Defense (MoD) of the Government of India.

With strength of over 1.4 million active personnel, it is world's 3rd largest military force and has the world's largest volunteer army.

[7]

Military Personnel Ranking

Military Strength Ranking

Fig. 1.9 INDIAN ARMED FORCE DIVISIONS

Fig. 1.10

Fig. 1.11 [8]

1.9 Museums in India India is a large Country and there are more than 250 local and national museums spreaded all over the Country

No of museums in major states in graph Fig. 1.12

No of museums in major states in graph [9]

Fig. 1.13

Fig. 1.14

The table above shows the number of Major museums in India and the number of museums distributed state wise all over India.

From the graph, it is clear that National capital Delhi hosts maximum number of museums.

There is an abundance of Archaeological & Heritage sites in India, and so does Museums of that category.

Fig. 1.16 Also there are many art, science and Biographical Museums and one can find museums with this category easily at major cities all over India.

While the Museums with other categories are also equally Important.

Common people will remain unaware about the fields that have comparatively less museums then Heritage, Art, Science, etc.

Types of museum in india in graph [10]

Fig. 1.17

Since Independence, Indian armed forces had been engaged in total of five major Wars with neighboring countries and have taken part in various Peace keeping operations organized by UN. In doing so, our armed forces has sacrificed many soldiers.

In order to honor their sacrifice India does not have particular Institution or Museum and that too will tells us the story of Heroic deeds, strategies used, and military equipments used for/of these wars.

MAP SHOWING WAR MEMORIAL AND MUSEUM IN INDIA

Chandigarh war memorial

Darjeeling war memorial

India Gate memorial Tawang war memorial Jaiselmer war museum

Tank Museum

Dehradun war memorial

Indian war memorial museum

Naval aviation museum

Fig. 1.18 [11]

1.10 PRSENT SCENARIO KIRKEE WAR CEMETRY, Pune Commemorates nearly 2000 who died during wars fought in the first World War. Their graves are currently located in various locations in India and Pakistan.

Fig. 1.19

WAR MEMORIAL, Chandigarh Dedicated to nearly 8459 deceased soldiers from Army, Air force and Navy who laid their life defending the country since independence.

Fig. 1.20

KARGIL

WAR

MEMORIAL,

DRAS(J&K) In honour of Operation Vijay’s heroes. In all 527 soldiers from the Indian Armed forces who sacrificed their lives in the war.

Fig. 1.21

[12]

INDIA GATE, New Delhi All Indian War memorial landmark which commemorates

90,000

soldiers

of

the

erstwhile British Indian Army who lost their lives fighting for the Indian Empire.

Fig. 1.22

WAR MEMORIAL, Bangalore Spread over 7.5 acres of land, this war memorial honours names of about 22,000 brave martyrs who lost their lives protecting our nation. Its boast of India’s tallest flag mast with the country’s largest flag on it.

Fig. 1.23

[13]

1.11 NEED OF A WAR MUSEUM Since Independence, our armed forces have protected the borders and sovereign territory of India, and many soldiers have laid down their lives protecting and defending the country in a number of wars, insurgencies, and even during times of peace.

Indian armed forces have lost close to 25,000 soldiers in various wars and operations such as the Indo-Pak wars of 1947, 1965, and 1971; the Indo-China war of 1962; the Kargil war of 1999, besides the peace keeping operations in Sri Lanka, counter insurgency operations, and internal conflicts within the country.

The country is proud of these soldiers and salutes their sacrifice. Hence, these glorious history of protecting the nation should be reflected.

At present, India has different monuments and memorials in different places dedicated to different achievements of the Armed Forces. These are: 1. India Gate 2. India War Memorial Museum, Red Fort, Delhi 3. Cavalry Tank Museum, Ahmednagar 4. Air Force Museum, New Delhi 5. Jaiselmer War Museum 6. Naval Aviation Museum, Goa 7. War Memorial, Darjeeling And there are many more war memorials in India located at different places.

But India do not have any monument or museum reflecting the whole history of Wars fought

by Indian Armed Forces until now.

India Gate is an iconic monument and memorial for all Indian soldiers who laid their lives during World War II. However all the ceremonies to honor martyrs takes place at India Gate.

[14]

CHAPTER 2

Literature Study

This section provides a broad overview of the topic studied in order to create a solid base of knowledge upon which the further exploration of thesis topic would develop.

[15]

2. LITERATURE STUDY 2.1 GALLERY CIRCULATION AND PLANNING The layout of public areas in a museum may be based on a simple concept of free circulation around a single open-plan exhibition space or no more complex concepts related to generic interpretive structures.

2.2 DISPLAY TECHNIQUES Exhibits may be of four basic types:

Hanging or wall mounted, Like a, b, c.

Fig. 2.1

Free standing and open exhibits, Like d, e.

Fig. 2.2

Contains exhibits and display cases. Like f, g, h.

Fig. 2.3

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Each of the Exhibit types may have any combination of the following elements. a) Item or Items from the collection. b) Fixing amount. Support or Plinth. c) Preservation protection of vulnerable or removal parts, lock, alarm, barrier glazing thermo hydrometer(Contained exhibit may have buffering material against changes in relative humidity). a) Lighting. b) Interpretive material label, graphic information, Sound, audio-visual, Kinetic device, interactive device.

Interpretive information in the form of : Passive Communication: Label, Graphic information.

Active Communication: Automatic/Continuous soundtrack, animated graphic, audio-visual presentation or kinetic device.

Reactive Communication: User activated (Push button, pressure pad, Proximity Switch), sound animation, audio-visual or Kinetic.

Interactive Communication: Educational Technology, microprocessor controlled device, on line data bases etc.

[17]

2.3 LIGHTING TECHNIQUES GALLERY LIGHTING Planning display Lightings Effective display lighting depends as much on darkness as on illumination. Objects will stand out only if they look significantly brighter than their surroundings. Brightness has two aspects: (a) Illuminance: to appear noticeably brighter the Illuminance on a surface should be at least three times the background Illuminance. (b) Reflectance: If an object has an lower reflectance than its background it will respond much less to an increase in Illuminance; spotlighting may well be inappropriate, and the profile of the beam may need careful trimming to the profile of the target.

2.3.1 Lighting Options Down Light Fittings A small surface mounted, trumpet style Downright, Supplied with a fixing bracket.

Fig. 2.4

2.4 SERVICES 2.4.1 HVAC Apart from the physical security and state of restoration of the collection, maintaining the actual environment within the building is one of the greatest challenges of the museum.

The

major component affecting the environment is the Heating, Ventilating and Air Conditioning [18]

(HVAC) System. The quality of the air being delivered to the environment by an HVAC System is measured by parameters that include temperature, humidity, dust particles and odours. The presence of high concentrations of CO2 and other gases can also be detrimental to certain museum artifacts.

Factors that can affect stored collections and typical museum HVAC design guidelines follow: 

Temperature – a rise in temperature of approximately 14◦F doubles the deterioration rate of organic products.



Recommendations-Maintaining temperature between 65◦ and 75◦F throughout the year, allowing seasonal fluctuations between the two extremes, but holding daily fluctuations to ±5◦F.



Humidity – is most often associated with an increased probability of mild growth and other forms of bio-deterioration. Levels at 60% Relative Humidity (RH) should be considered the threshold for damage.



Gaseous Contaminants- such as oxides of nitrogen and sulphur dioxide can attack organic materials by conversion to acids, while ozone is a powerful oxidant, severely.



Particulate Content-Affects preservation, Particulates are common hosts for mold, are often abrasive, and may permanently soil collections. Particulates also increase user discomfort and increase maintenance costs.

2.4.2 FIREFIGHTER Fire is the most serious threat in the museums as it causes loss not only to life, but also to the museum collection and building. The causes of fire can be electrical, mechanical (failure of equipments), chemical (from the conservation laboratories) or manual (human negligence).

Following are some of the new techniques used to curb fire.

[19]

Smoke Detection New air-sampling units have been developed that use tiny tubes which are easy to hide, and yet are extra sensitive and provide early warning. Multi-sensor units with a combination of photo-electric, ionization, thermal, gas detection allow better fire detection and screening of false signals.

Inert Gas Extinguishing Agents As a replacement of Halon because of its ozone depletion potential, Inert gas systems such as Inergen and Agronite has been developed for total Flooding systems. These are environmentally inert and fairly inexpensive, and require no clean up after accidental di

2.5 ELECTRIC SERVICES The electric services from the service lines to the building can be broken down into four

major

parts:

Transformers,

Switchgears, Panel boards and Switch boards.

Transformers Transformers are used to step used to step down voltage from the high voltage terminal

of

an

electrical

distribution

systems to the low voltage terminal for the end user’s electrical system, etc. A typical Pad mount transformer enclosure includes a tank for holding the core/coil assembly of the pad mount transformer immersed in oil or the like, and the wiring cabinet having high and low voltage wiring compartments for enclosing the high and low voltage bushings, respectively, of the transformer,

[20]

Fig. 2.5

Switchgears The term switchgear, used in association with the electric power system, or grid, refers to the combination of electrical disconnects, fuses or circuit breakers used to isolate electrical equipment.

Switchgear is used both to de-energize equipment to allow work to be done and to clear faults downstream.

Fig. 2.6

Panel Boards and Switch Boards An electric switch board is a device that directs electricity from one source to another. It is an assemble of panels, each of which

contains

switches

that

allow

electricity to be re-directed..

Fig. 2.7

[21]

CHAPTER 3

The Site

This section deals with the introduction of the site, the location and the macro analysis of the site in terms of the on-site and off-site site factors.

[22]

3. WHY NEW DELHI? 

New Delhi is the headquarter of Indian Defence forces.



Delhi is a global tourist destination.



It has a perfect blend of a rich past and vibrant present.



It is well connected to the rest of the world and all corners of the country by road, rail and

air. 

In 2010, Delhi ranks 3rd among states in India with respect of foreign tourist arrivals.



It has been already proposed since a long time that the national capital needs a National

War Museum. 

It has a good amount of military mobilization.



There are many military academies in North India; Will act as an inspiration to the

visitors as well as our soldiers.

3.1 ABOUT NEWDELHI New Delhi is the capital of India. It is also the headquarters of the Indian Defence Forces. With a population of 22 million in 2011, Delhi metropolitan region is the world’s second most populous city and the largest city in India and is also one of the largest city in the world in terms of area.

After Mumbai, it is also the wealthiest city in India and has the second highest GDP of any city of South, West or Central Asia.

[23]

Fig. 3.1

3.2 HISTORY According to Indian folklore, Delhi was the site of the magnificent and opulent Indraprastha, capital of the Pandavas in the Indian epic Mahabharata, founded around 3500 BC. Extensive coverage of Delhi’s history begins with the onset of the Delhi Sultanate in the 12 th Century.

Since then, Delhi had been the seat of Islamic and British rulers until India’s independence in 1947.

Delhi dating to the British rule in India.Whatever

records

exist

of

Delhi- in the form of Scriptures or archaeological evidence, they crown Delhi as the capital city of some empire or the other all through, with minor random breaks in between, making Delhi one of the longest serving Capitals and one of the inhabited cities in the world.The foundation stone of New Delhi was Fig. 3.2

laid by George V. Emperor of India during the Delhi Durbar of 1911. It was designed by British architects.

In 1956, Delhi was converted into an union territory and eventually the Chief Commissioner was replaced by a Lieutenants Governor. constitution

The

(Sixty-ninth

Amendment) Act, 1991 declared the Union Territory of Delhi to be formally known as National Capital Territory of Delhi.

Fig. 3.3 [24]

3.3 ECONOMY New Delhi today is one of the fastest growing city in both India and the world. It is

the

government,

commercial

and

financial center of India. Governmental employees represent a large portion of city’s workforce. While much of the rest of the city’s population is employed in the expanding

service

industries

in

sector.

New

information

The

Delhi

main include Fig. 3.4

technology,

telecommunications and tourism.

3.4 CULTURE With a lot of historic association and Delhi being the capital of India it has a rich cultural heritage which is very much evident by the number of monuments in the capital. Factors like multi-ethnic and multi-cultural bureaucracy and political system of India paved away for the cosmopolitan lifestyle of the people of the Delhi. The largest mosque of India namely the Jama Mashed and the Red Fort was constructed with beautiful architecture by the Mughals and the Turkic Rulers. The Fig. 3.5

people of Delhi take the pride of owning the three world heritage sites namely the Red Fort, Qutab Minar and Humayun’s Tomb.

[25]

3.5 Site Study, Princess Park - Delhi

Fig. 3.6 Location :

Princess Park, New Delhi

Major Landmarks :

India Gate (South) Baroda House (West) Hyderabad House (West) Patiala House (East) National Stadium (East)

Linkages :

Copernicus Road (West) Tilak Marg (East) C-Hexagon (South)

Site Area :

57844.32 M2

Part A

33,200 M2

Part B

24,634 M2

Historic background :

Princess Park has served as officers residence and hostel during World War I & II [26]

3.6 Site selection criteria New Delhi is National capital.

- All India War Memorial also known as India Gate is located there, which hosts the names of 82,000 Indian soldiers who took part in World War I & II as British Indian Army, and laid their lives.

- Hence, in order to honor the spirit of all the soldiers who fought for Independent India and laid their lives, the museum must be somewhere near India Gate.

- Princess park which served as Officers quarters and hostel during World War I & II is now an abandoned and unused place and also the buildings in this site are in extremely bad condition.

- Also Princess Park links with main hexagonal road, which has India Gate at its center.

- In order to revive this place and it has strong context of India Gate and many other buildings designed by Sir Edwin Lutyens and his team, proposition of War Museum at this site is possible.

Fig. 3.7

[27]

3.7 Immediate context Baroda House : Baroda House was the residence of the Maharaja of Barodain Delhi.It is located on Kasturba Gandhi Marg.Presently it is being used as the Zonal Headquarters Office of Northern Railways.

Hyderabad House: Hyderabad House is a building in New Delhi, India. Originally a royal residence of the Nizam of Hyderabad, it is currently owned and used by the Government of India for banquets and meetings for visiting foreign dignitaries.

Patiala House: The Patiala House is the former residence of the Maharaja of Patiala in Delhi. It is situated near India Gate in central Dehi,India.

It has been used by District Courts of India as one of its five courts in Delhi and is known as the Patiala House Courts Complex.

India Gate: The India Gate, originally called the All India War Memorial, is a war memorial located astride the Rajpath. India Gate is a memorial to 82,000 soldiers of the undivided Indian Army who died in the period 1914–21 in the First World War.

Fig. 3.8

[28]

3.8 Surrounding land-use & Site Approach

Fig. 3.9

Residential Public/semi-public Recreational

Fig. 3.10

Connecting roads & pathways Entry / Exit points

[29]

3.9 Sunpath and climatic Analysis

SUNPATH DIAGRAM EXISTING SITE

SUNPATH DIAGRAM EXISTING SITE

Fig. 3.11

Delhi has an extreme climate. It is very much hot in summer and cold in winter

Fig. 3.12 [30]

3.10 Existing Site Plan , Flora & fauna

Fig. 3.13 [31]

3.11 VIEWS OF EXISTING SITE

Fig. 3.14

Strength

- New Delhi has maximum number of tourist visiting both national and international, as it is the national capital and also contains various monuments.

- The site is located near famous monuments like India Gate, Jantar Mantar, Jaipur House, etc., which can attract maximum number of visitors.

- The site is well connected with major roads and landmarks; hence public transportation is also easily available.

Opportunities - An opportunity to educate people of India as well foreigners about the goods and bads of Wars fought by Indian armed forces after becoming an independent nation.

- Also to carry out historic research works about Wars fought, and to generate income through visitors.

- The site is well connected with roads due to which carrying artifacts will be easy task.

- Site contains many trees and plats which will help in creating not only a building but an environment.

[32]

CHAPTER 4

Case Study

This section deals with the data collection through deal systematic research, research analysis and reporting of various buildings of the same type. Some data has been collected by personally visiting the sites and most of it has been collected from the World Wide Web. [33]

4.1 Virasat-e-Khalsa 4.1.1 INTRODUCTION Virasat-e-Khalsa is a museum of Sikhism, located in the holy town, Anandpur Sahib, near Chandigarh, the capital of the state of Punjab.

Fig. 4.1

The museum celebrates 500 years of the

Sikh history and the 300th anniversary of the birth of Khalsa,based on the scriptures written by the tenth and last human guru, Guru Gobind Singh.

There are two complexes at each side of a ravine, connected by a ceremonial bridge: The smaller western complex includes an entrance plaza, an auditorium with 400 seating-capacity, two-story research and reference library, and changing exhibition galleries.

The eastern complex contains a round memorial building as well as extensive, permanent exhibition space, consisting of two clusters of galleries that try to evoke the fortress architecture of the region (most evident in a nearby Gurudwara) and form a dramatic silhouette against the surrounding cliff terrain. The gathering of the galleries in groups of five reflects the Five Virtues, a central tenet of Sikhism.

The buildings are constructed of poured-in-place concrete; some beams and columns remain exposed, though a great deal of the structures will be clad in a local honey-colored stone. The rooftops are stainless steel-clad and exhibit a double curvature: they gather and reflect the sky while a series of dams in the ravine create pools that reflect the entire complex at night.

[34]

Fig. 4.2 Anandpur sahib was founded by Guru Gobind singh baptized his first five ‘pyaras’ coming from different regions and belonging to different castes and established the order of khalsa.Sri anandpur sahib, the holy city of bliss is one of the five important sacred places.Anandpur sahib is situated on the lower spurus of the shivaliks and has a picturesque view of Naina Devi.this town is subdivision of roopnagar district of punjab situated along the highway connecting Chandigarh and bhakra nangal power and irrigation complex. By roadit is 80km from Chandigarh, 35 km from Ropar and 21 km from Nangal. Road leads toNaina devi which is 18 km away. It is also linked by railway line running almost parallel tothe highway there by making Anandpur sahib well connected with prominent cities.

Location Map

Fig. 4.3 [35]

4.1.2 SPECIFICATION Location :

Anandpur sahib

Architect :

Moshe Safdie & Associates , Boston, USA

Associate Architect :Ashok Dhawan, New Delhi Museum design :

National Institute of Design, Ahmedabad

Construction :

Larsen & Tourbo limited, India

Client :

Anandpur sahib Foundation Trust

Accessibility :

Fom main highway approx.1/2 km and about 1/2km from Gurudwara Kesgarh Sahib.

Inception date :

1998-01-01

Completion date : 2010-04-13 Total area :

100 acre

Built up area :

40 acre

Project cost :

Total estimate cost including exhibits 224 crores

[36]

4.1.3 HISTORICAL SIGNIFICANCE • This area was originally the ruins

of

an ancient place known as Makhowal named after thedemon makho. It was later Shri Guru Teg Bahadur purchased this place and renamed

Fig. 4.4

Anandpur in 1664. It signified the banishment of all evil and ushering in an era of blissful joy. Guru Gobind Singh ji succeded Guru Teg Bahadur and establishes Anandpur fort and stayed here for 25 years. Based here he fought many wars against the Mughal Empire.He constructed number of forts to defend people. They were keshgarh , Anandgarh,Fatehgarh, Lohgarh. • Anandpur Sahib is sandwiched between Kiratpur Sahib another sacred township of the sikhs and Naina devi-a place for pilgrimage for punjabi hindus. Hence this area is held sacred by all Punjabis. Where as Anandpur Sahib is a natural halting for pilgrims going to their pilgrimage to Kiratpur sahib.

[37]

4.1.4 ABOUT THE COMPLEX • Khalsa Heritage Complex is a new museum of the sikh people located on a 100acre site in the holycity of Anandpur sahib. • The museum celebrates 500 years of sikh history and the 300 th anniversary of the khalsa , the scriptures written by the last and tenth Guru Gobind Singh, founder of the modern sikh faith.

Fig. 4.5

Fig. 4.6 [38]

• The complex is located on a plateau and situated on a 75-acre site, straddles two sides of a ravine and overlooks the ancient fort of Guru Gobind Singh,the second holiest temple to Amritsar.

• The 23.225 sq.m museum complex, which rises 20m on either side of the ravine, is organized into two main buildings that are connected via a pedestrian bribge.

• As far as possible,the natural landscape has been left untouched and the structure has been ‘fitted’ into the natural topography.

• Another feature affecting the siting of the building was the presence of the Gurudwara in the vicinity of the structure.

• As a result, the complex had to be sited in such a way so as not to become too overpowering in relation to the surrounding monuments.

Façade using limestone

Fig. 4.7

View point from nearby hill

Fig. 4.8

[39]

4.1.5 FACILITY PROVIDED The zones have been divided as: 

Complex A



Complex B



Complex C

Fig. 4.9

• COMPLEX – A 

Auditorium



Library



Temporary exhibit gallery



Meeting rooms



Mechanical rooms

• COMPLEX – B 

Cafeteria



Kitchen

• COMPLEX – C 

Permanent exhibit building



Heritage building



Petal building



Office areas



Stores

Fig. 4.10

[40]

Fig. 4.11 [41]

4.1.6 FEATURES 

A public restaurant is planned within the bribge structure.



The floor of the ravine forms the centrepiece of the complex



The buildings are to be clad in buff coloured sandstone and roofed in stainless steel that



reflect the southern sunlight towards the Gurudwaras..



Strong geometric forms of walls, which include curved and rectangular shapes, contrast



with the amorphous forms of the surrounding cliffs.

Buff colored sandstone façade

Fig. 4.12

Stainless steel roofing

Fig. 4.13 [42]

Fig. 4.14

Fig. 4.15

Fig. 4.16

Fig. 4.17

[43]



The pedestrian bridge is carefully designed by the architect by placing the canopy on the



opposing direction of the southern sunlight.



While walking on the bridge, 70%of the complex is clearly seen and 30%of the complex



is obstructed by the canopy.



The architect designed the canopy by taking the concept of interest in mind rather than

the shelter from the south sun. 

Fig. 4.18

[44]

4.1.7 Complex A (western complex) 

The western complex forms the gateway



from the town of Anandpur sahib to the



museum.



The north wing bridges a second ravine and



accommodates changing exhibition

galleries 

and meeting rooms.



The arcade along the inside or eastern face



of the complex leads to the auditorium



building.



On the other side of the piazza is a two



level library building.

Fig. 4.19

Fig. 4.20

Fig. 4.21 [45]



The structure of the complex is made up of concrete bearing walls and virendeel trusses.



The walls ascending from the ravine level also clad with weather resistant sandstone.



The library having a covered area of 2230sq.m



The 400 seated auditorium having covered area 1980 sq.msplit into three levels.



The organization who want to put up their exhibitions for short durations shall be offered



space in temporary exhibit gallery having a covered area of 1373 sq.m



Lower floor Plan of complex a has, library/reading (room which is also a audio room),



electrical room, mechanical, switch gear room, receiving area,, loading unloading area,



stores, green room an toilets

Fig. 4.22

[46] Fig. 4.23

4.1.8 Complex B • It mainly consist of pedestrian bridge, cafeteria and kitchen block • The 165m long end wide pedestrian bridge, which is connecting complex A & C, primarily consists of four independently tied arches (three 33m long and one 27m long).

• Cafeteria and kitchen blocks consist of cafeteria of covered area as 1424 sqm. The founding level of café dining is 316.4 m.

Fig. 4.24

Fig. 4.25 View of cafeteria from complex C Fig. 4.26

[47]

4.1.9 Complex C (Eastern Complex) 

Entry



Entrance lobby



Exhibits



Grand stair



Reception



Gift/bookshop



Offices



Conference rooms



Lounge



Workshop/storage



Rest rooms

Fig. 4.27 

Arcade



Open terrace



Heritage museum



Media exhibit building



Permanet exhibit building



Mechanical rooms



Electrical rooms



Reception



Storage space



Workshops



Lecture and meeting space



Book storage

UPPER LVL PLAN

Fig. 4.28

[48]



Gift shops



Permanent, exhibit building which is also called crescent, building, heritage museum,



media exhibit i.e the petal shape building and entrance lobby



The covered area for the building is 17, 151 sqm.



Foundation level is 311.5m and top level of highest roof is 356.15m.



This complex has a total no. of 3 lifts.

Fig. 4.31

Fig. 4.29 

Fig. 4.30

The structure consists of arcade, receiving dock, mechanical/electrical room, reception,



storage space, workshops, labs, lecture and meeting space, book store, gift shops, offices,



toilets, exhibit galleries, planters and grand stairs.



The whole building is divided into 3 levels:



lowest level- 319m



then at level-324m



the highest floor level is at- 330m [49]

Level 330 Level 324 Level 319

Fig. 4.32 

The petals in the crescent building will cover the lifespans of Guru Hargobind, Guru



Harrai, Guru Harkrishan, Guru Tegbahadar, Guru Gobind Singh and Gurta Gaddi.



The galleries at the lower level (324 floor lvl) will chronicle the trails, tribulations and

triunphs of the khalsa.

Fig. 4.33

[50]

Fig. 4.44 [51]



Heritage museum, also known as boat building has plan area 1780 sqm



It consists of a ramp which start from 321m and goes up till 327.60m



The long span of the building shall be filled with water to get the reflecting effect.



The structure is RCC shear wall with inside ramp of prestressed concrete.



The foundation lvl is 308.5 m and the top of roof is 330.6 m.



The concept behind giving water body on the ground floor level is that it will be reflected

in the ceiling which is made of glass thus making a visitor clueless about the actual height of the building.

Fig. 4.45

Fig. 4.46 [52]



Visitors entering the museum by crossing the bridge may spend sometime in a small open



courtyard dotted with human scale manikins with embedded sound that provide a glimpse



into the lives of the sikh Diaspora across the globe.



The foyer , open on all sides , is the hub of the arriving and departing visitors.



Large plasma screens orient visitots in three languages on how to derive the maximum



benefit from the museum.



The information centre here is a pivotal point to orient visitors to the museum complex.



It also provides various facilities such as multilingual audio and printed gallery guides.

Fig. 4.47

[53]

4.1.10 Technical features 

The structure is designed to cover all the seismic aspects which are applicable for India.

•

Columns and beams- fair faced concrete casted in single.

•

Columns- no shuttering joints.

•

Beams – limited, only in pattern shuttering ply imported from finland for more

length,thickness and smoothness.

•

Electricity from 132 kv sub station of PSEB

Expansion joints covers from USA to ensure complete leak proofing.

Fig. 4.48

Fig. 4.49

Fig. 4.51 [54]

Fig. 4.50

Fig. 4.52

[55]

4.1.11 INFERENCE: 

The museum as a whole complex is very well designed.



Spaces of the complex have been worked out beautifully.



The concept of the design does not lack in one’s interest from the subject.



The natural beauty of the location have been used at its fullest.



Water bodies create a different environment for the visitors.



The function and esthetics together have been developed very well.

[56]

4.2 INDIAN AIRFORCE MUSEUM (IAF) 4.2.1 INTRODUCTION : The IAF Museum, Palam is the first ever Aerospace museum of India.The IAF Museum has the largest collection of aircrafts.It showcases the achievements of IAF since 1930. it is built on the property of Northern Air Command. The museum offers an insight not only i nto the history of the Indian Air Force but a complete picture of Military aviation in India. Starting from the initial days when Indian aviators flew for the Royal Flying Corps during the First W orld War, right up to the days of the Kargil Operations. The visitor is regaled with pictures, mementoes, souvenirs, models, and the actual aircraft themselves.

Fig. 4.53

[57]

4.1.2 Project Details : Established : 1955 Location : Palam, New Delhi.

Access : The Museum is situated next to Technical Area Gate of Air Force Station Palam.

It is appx. 8 km from Dwarka, Sec-9 metro station and only 1.5 km from airport.

Client :The Indian Air Force Area : Around 4 acres.

[58]

4.1.3 DESIGN ANALYSIS : Site Planning & Circulation : • The site is irregular in shape and flat with an area of around 4 acres.

• It is approached from Palam road 15 m wide with entrance at a setback of 5 m from the road.

• As the museum is entered, a black ceramic tiled walkway with hedges on both sides, leads to the War memorial towards right.

• Further ahead lies the entrance to the museum block with indoor gallery space that opens up further to the large hangar at the end.

• On the left lies the museum office and the cafeteria.

• The outdoor exhibits are not very much distributed except for two parts of the site with outdoor displays as most of the aircrafts are accommodated within the hangar.

• The site orientation is such that the outdoor galleries open up towards south sun.

[59]

Fig. 4.55

Individual Spaces : Indoor Gallery-1 : • The museum houses two display galleries. First gallery, single storeyed, is entered as the visitor crosses the war memorial. It has a reception counter and adjoins the hangar.

• The indoor gallery-1 exhibits photographs and uniforms along with various small models divided into various sections like the Air Chiefs Section, the Roll of Honour section etc.

• The gallery area is very small with respect to the adjoining hangar.

• The circulation pattern is linear and exhibits are placed along it in glass cases that define the walkway.

• The proportion of the gallery with lower ceiling, smaller width and great length makes it uncomfortable to move within the space.

• Once the gallery is entered the visitor has to walk the entire length of the space to reach to a small door that leads to the big hangar.

Fig. 4.56

[60]

Indoor Gallery-2 & 3 : • The second indoor gallery lies in one corner of the site along the boundary.

• The block is single storeyed and houses documents and weaponry preserved over a course of wars.

• The block has circulation directed due to the U-shaped building profile along which the exhibits are being placed.

• Most of the display boards are vacant.

• Same linear pattern of exhibiting is followed without any surprises which does not attract visitor’s attention.

Fig. 4.57 [61]

Mikoyan-Gurevich Mig – 21 Fighter Jet Length : 12.2 m Wingspan : 7.1 m Height : 4.1 m

ANTONOV AN –12 Transport Aircraft Length : 33.1 m Wingspan : 38 m Height : 10.5 m

Fig. 4.58

Fig. 4.59

Fig. 4.60

[62]

Hangar • After crossing the entire length of Gallery-1, a door leads to the hangar that exhibits around 30 aircrafts along with few portraits and memorials.

• The hangar space measures 50m x 75 m and is a vast area with enough circulation space.

• The displays also include a vintage car used

by Air Chief Marshall along with a statue of Flg. Off. Nirmal Jit Singh Sekhon.

• The circulation is not restricted linearly like the indoor galleries. They rather have a loop formation hence giving a 360 degree efficient view of the aircrafts and other exhibits.

• To designate the circulation ,ropes are used along the walkway and aircrafts are placed along it.

Area –77 x 44 = 3388 sq.m.

• A viewing platform is provided to have overall view of the hangar, however insufficient height makes it impossible to view far off exhibits.

mezzanine platform

Flg. Off. Nirmal Jit statue

3.2 m wide walkways

Hangar exit

Fig. 4.61 Outdoor Gallery : • There were certain aircrafts like bombers and transport vehicles which could not be accommodated inside the hangar due to their large size. Hence these are displayed in outdoor galleries.

• The outdoor gallery also showcases tanks and crashed aircrafts, helicopters and armory captures from Pakistan during the Indo-Pak war 1971.

•The information boards are not placed in coordination with the exhibits.

[63]

• The outdoor exhibit spaces are not designed harmoniously

Lighting :

Fig. 4.62

• The museum has insufficient lighting both artificial and natural.

• Indoor gallery-1 has no voids in the building to let daylight in, hence artificial lighting is required for all day long.

• The artificial lighting quality and quantity is also poor. The lights used have low intensity hence do not create the ambience that a museum requires.

• The hangar is provided with day lighting through slit opening in the structure but is inefficient for the large space.

• In gallery-2 there are windows for natural light along with the artificial lights but this does not highlight the exhibits.

• Spot lights and ceiling mounted fluorescent lamps are used in gallery-1.

• Incandescent bulbs are used to illuminate the exhibits inside the showcase embedded in the wooden case.

• Fluorescent tube lights are also used to illuminate the photographs and other wall based showcases to give an effect of diffused lighting/cove lighting.

[64]

Structure :

Fig. 4.63 • The structural system involved in the construction of large span hangar is portal frame made out of rolled steel sections bolted together. • The total span of frame is 45 m and are placed at a distance of 8 m centre to centre. • If the beams and columns have a rigid joint between them then the structure so formed will be a portal frame. It has stability against lateral forces.

Fig. 4.64

[65]

Materials : • All the buildings on the site display their formal military character and hence fail to stand out as a unique built structure.

• The walkway to the museum from the entrance is paved with concrete paving blocks.

• War memorial and the pathway to it are made of black marble Indoor Gallery : • The main building with indoor galleries are brick-built having their exteriors painted white and blue. The interiors have white walls too.

• The indoor galleries have white false ceilings with linear lines pattern along its length.

• The floors are of white ceramic tiles.Hangar and Outdoor Gallery : • The hangar and other outdoor exhibits have concreted ground.

• Walls and roof are made up of blue corrugated steel sheets supported by steel sections and Trusses columns

Fig. 4.65

[66]

Inference : • The building has no architectural expression in its envelope and internal spaces, hence fails to attract tourist.

• The circulation inside the galleries is linear and dull. It does not define patterned movement hence few exhibits are always out of general view.

• The lighting is very dull and inappropriate, with no natural lighting in indoor gallery-1.

The illumination maintained in indoor gallery2 with natural lighting does not highlight exhibits.

• The outdoor spaces are not planned as could have been regarding large spaces for display.

• The viewing platform in hangar does not prove to be effective as only few aircrafts at certain distance can be viewed.

Fig. 4.66

[67]

4.3 CHANDIGARH WAR MEMORIAL 

One of the very new War memorials of the country, designed by two students of

Chandigarh College of Architecture. 

It is dedicated to the Army, Air Force and the Navy, all three services at one place.



It commemorates nearly 8500 names of the martyrs carved on the stone.

It is a part of the Bougainvillea Garden in sector 3 of Chandigarh. 

Two golden spiral putting together form the enclosure.

Fig. 4.67

Fig. 4.68 [68]

Fig. 4.69

Fig. 4.70

Fig. 4.71

4.3.1 MATERIALS 

Metal Sculpture at the center



Concrete walls with voids



Flooring – PCC, Paver tiles, Agra red Stone



Black granite on concrete walls for name carving.

4.3.2 Inference: 

The main attraction is the landscape pattern which draw attention.



By playing with the landscape planning we can provide buffer zones for the visitors

which will also guide the users.

[69]

4.4 Imperial War Museum, Manchester Imperial War Museum North is a museum in Greater Manchester, England.

- One of five branches of the Imperial War Museum, it explores the impact of modern conflicts on people and society.

- The museum building was designed by architect Daniel Libeskind and opened in July 2002, receiving 4,70,000 visitors in its first year of opening.

- It was recognised with awards or prize nominations for its architecture and is a prime example of Deconstructivist architecture.

Fig. 4.73 - The museum features a permanent exhibition of chronological and thematic displays, supported by hourly audiovisual presentations which are projected throughout the gallery space.

- The museum also hosts a programme of temporary exhibitions in a separate gallery.

- As part of a national museum, Imperial War Museum North is financed by the Department for Culture, Media and Sport and by self-generated income.

4.4.1 CONCEPT: Philosophy: Building should engage all senses of the visitor and convey meaning.

Building should address the cultural context in which they are built.

There should be meaning/ a metaphor behind the design of buildings.

Deconstructivist ideas with fragmented and intersecting volumes convey meaning in buildings.

Fig. 4.74 [70]

Communication Ideas: Metaphor of the world being broken into three shards by conflict.

Air, water, and land shards, which represents the three forms of warefare, intersect to create the shape of museum.

Deconstructivist architecture of this building represents the destruction of war.

Fragmentation is used in the design of the museum through the idea fragmentation of the earth caused by warefare.

Fig. 4.75

Functional arrangement of three elements

The three elements together complete the museum.

Interconnected parts accomplish with the three shard Air , Water and Soil.

Fig. 4.76

[71]

Architect’s Concept Architect Libeskind envisaged a 'constellation composed of three interlocking shards’. With each shard being a remnant of an imagined globe shattered by conflict. These shards in turn represented air, earth and water, and each formed a functionally distinct part of the museum.

The 55 m high air shard, provides the museum's entranceway and a viewing balcony (now closed to the public) above the Manchester Ship Canal with views of the Manchester skyline.

The construction of the tower leaves viewers exposed to the elements and one reviewer considered that it reflected "the aerial perspective of modern warfare and the precariousness of the life below”. The earth shard houses the museum's exhibition spaces, while the water shard accommodates a cafe with views of the canal.

Fig. 4.77 The Entrance to Imperial War Museum North, at Fig. 4.78

the base of the air shard tower.

Wreckage from the September 11 attacks on New York's World Trade Center in the museum's main room.

[72]

Fig. 4.79

Functional Organisation Permanent exhibitions are housed in the museum's first-floor main gallery space within the earth shard. These consist of a chronological display which runs around the gallery's 200-metre (660 ft) perimeter and six thematic displays in "silos" within the space. As part of the earth shard, the 3,500 m2 floor of the gallery is curved, gradually dropping away

like

the curvature

of

the

Earth from a nominal "North Pole" near the gallery's entrance. Within this hall, described as cavernous and dramatic, a number of large artifacts are displayed; they

include

a

Russian T-34tank,

a United States Marine Corps AV-8B Harrier jet and a 13-pounder field gun which fired the British Army's first shot of the First World War. Around the Fig. 4.80 gallery, a number of vertical mechanical conveyors called "timestacks" display selections of smaller artefacts, some of which can be handled by visitors.

Area statement with pie chart

[73]

Fig. 4.81

4.4.2 Inferences: This study majorly helped me for conceptual derivation and for deriving form for my Museum.

It also helped me

knowing the area

distribution and functional organization of program in Museum.

The huge and small artifacts are displayed inside the building, and use of protection for display of digit changing information and motion images too.

It explores the impact of modern conflicts on

people and society.

Fig. 4.82

[74]

CHAPTER 5

Design Program

The design development stage included the attribute of design at every step – planning, form, structure and performance level is shown first and then the idea generated from the early process and the zoning is explained.

[75]

5.1 REQUIREMENTS Gallery: Gallery is the primary requirement while designing museum. It houses various important documents, strategical models, weapons, artifacts, etc,.

Administration: In order to manage and handle the museum, it is also prime necessity to be fulfilled. Administration is the control of whole system/process.

Visitor services: It will provide information and guide visitors. Also provide with facilities like Cafeteria, Retail shop and restroom.

Education Center: In order to provide detailed information to history lovers or students, this will be very helpful. Also this will provide opportunity for historians to carry out research on documents and amours present in the exhibits. The same will help other people gain knowledge from researches carried out.

Collection & Management: This will host collection of variety of war documents, weapons, equipments, and many other things that are in future going to be displayed in the gallery.

It also restores the damaged weapons or objects which are related to historic wars .

Functional Hierarchy Primary

Secondary

Tertiary

Administration

Library

Kitchen

Indoor Display

Cafeteria

Storages

Outdoor Display

Retail Shop

Toilet

Auditorium

Workshop

Collection & Maintenance

Research

Table 1 Activities 

Learning from displays and exhibits.



Research on War documents & Weapons.



Leisure & Recreation.



Restoration of damaged artifacts or weapons.



Movies & documentaries on wars fought by armed forces.

[76]

USER TYPOLOGY

Program diagram

Fig. 5.1

Fig. 5.2

[77]

5.2 BUILDING PROGRAMME Space

Area

Nature

No. of Users

of Space

Staff

Description Visitors

Members Entrance Reception Desk/

15 Sq.

Semi Open /

Information Area

m.

Public

2-3

12

Will provide visitors the information about the museum

Waiting Area

300

Semi Open /

Sq. m.

Public

85 Sq.

Semi Open /

m.

Public

Luggage/Cloak

12 Sq.

Closed /

Room

m.

Public

Total Area

412 Sq. m.

Ticket Window

50

Visitors can wait in waiting areas during rush hours

12

50

This will provide the visitors a ticket to enter into the museum

2

30

Administration Directors Office Assistant Director

60 Sq.

Semi Closed

m.

/ Private

60 Sq.

Semi Closed

m.

/ Semi

2 2

Private Gallery Curator

70 Sq.

Semi Closed

m.

/ Semi

Main Office area for Head of

Private

department

Education Program

60 Sq.

Semi Closed

Coordinator/s

m.

/ Semi

Account & Finance

30 Sq.

Semi Open /

m.

Private

30 Sq.

Semi Closed

m.

/ Semi

7

5

Public

Visitors Service

3 3

Public Public

30 Sq.

Semi Closed

Relation/Marketing

m.

/ Semi

Conference Rooms

98 Sq.

Closed /

m.

Private

3

Public

Total Area

12

438 Sq. m.

[78]

Administrative Staff

and

Gallery Historic Background

Semi Closed 67 sq.m

2

150

2

150

2

150

but well lit/ Public

Indo-Pak War of 1947

Semi Closed 105 sq.m

but well lit/ Public

Sino-China War of 1962

Semi Closed 105 sq.m

Indo-Pak War of 1965 Indo-Pak War of 1975

but well lit/

will provide the visitors with

Public

all the information about the

Semi Closed 105 sq.m

2

150

Wars, by the means of written

but well lit/

documents,

Public

equipments,

Semi Closed 105 sq.m

An informative area which

2

150

2

150

5

100

scaled

models,

artifacts, audio

visual arcades, etc.

but well lit/ Public

Kargil War of

Semi Closed

1999

105 sq.m

Auditorium

64 sq.m

Memorial Hall

54 sq.m

Total Area

710 sq.m

but well lit/ Public Closed / Public Semi Closed / Public

Collection & Maintenance Conservation Lab/

30 Sq.

Semi Closed

Office

m.

/ Private

2

This Section will provide with Restoration facility to damage artifacts & weapons.

Restoration

Semi Closed

Workshops

/ Private

Collection

7

40 sq.m

Storages Semi Closed Main Storage

41 sq.m

1

/ Private

Extra

/

New

artifacts,

documents, weapons, etc. will be stored here before going to main gallery.

Documents and Paper Storage

Closed / 35 Sq. m.

Equipments

1

Private Closed /

30 Sq. m.

1

Private

[79]

Miscellaneous Total Area

20 Sq.

Closed /

m.

Private

1

199 sq.m

Education & Research Learning Center Education portal 98 Sq. m.

Semi Closed

2

50

/ Public

This

section

will

educate

visitors by engaging them to various fun activities related to wars forced by Armed forces.

Studio

Semi Closed 75 Sq. m.

Interactive zone (Kids & Adults)

Semi Open / 105 Sq. m.

Open air Theatre

50

7

70

2

70

Public Open /

22 sq.m

2

/ Public

Public

Extra

/

New

artifacts,

documents, weapons, etc. will be stored here before going to main gallery.

Research Facilities Archives

Semi Closed 30 Sq. m.

3

60

/ Public

This section will allow the historians, visitors and students with the facts and documents.

Library

70 Sq. m.

Total Area

420 Sq. m.

Semi Closed

3

60

/ Public

Public Facilities & Interactions Cafeteria Dining Kitchen Wet Areas Storage Souvenier shop Services

60 Sq.

Semi Open /

m.

Public

18 Sq.

Semi Closed

m.

/ Private

8 Sq.

Semi Open /

m.

Private

8 Sq.

Closed /

m.

Private

25 Sq.

Semi Closed

m.

/ Public

12

40

Refreshment Area

20

Visitor can collect / buy

6 3

2

memories.

Closed /

30

Public Parking

5

[80]

Visitors Parking

241 sq.m

Can either be

This section will allow the

fully Closed

Staff Parking

60 sq.m

200

historians, visitors and

or Semi-

students with the facts and

Closed

documents.

Can either be fully Closed

30

or SemiClosed Total Area

420 Sq. m.

Table 2

[81]

5.3 DESIGN METHODOLOGY

[82]

CHAPTER 6

Zoning & Concept

This section explains the evolution of “idea� which is based on the fact factss and research from the earlier stages.

[83]

6.1 CONCEPT EVOLUTION & DESIGN DEVELOPMENT An abstract idea or a mental symbol built from other characteristic units based on sensation and perception is what we called “Concept”. This section explains the evolution of “idea” which is based on the facts and research from the earlier stages. An initial zoning on a board.

The design development stage included the attribute of design at every step – planning, form, structure and performance level is shown first and then the idea generated from the early process and the zoning is explained.

6.1.1 PRIMARY DESIGN IDEAS 

BEAUTY OF THE PROJECT COULD

BE ENHANCED

BY MODERN

LANDSCAPING AND PATHWAYS AS A BASIC FORM OF TRANSITIONS FROM ONE

PLACE

TO

ANOTHER

WITH

PROPER

CONNECTIVITY

AND

CORRELATION 

PROPER DISTURBUTION OF THE LAND ACCORDING TO PROPER ZONNING & COMBINATION OF OPEN AND

SEMI

OPEN

SPACES WILL BE

INCORPORATED 

DAY LIGHTINING FACTOR (ILLUMINATION) THE WAR MUSEUM.



OPTIMUM USE OF LAND.

[84]

IS TO BE INCORPORATED IN

6.2 CONCEPT EVOLUTION 6.2.1 HIGHLIGHTS 

The National War Museum has been designed in a way which embarks an architectural journey

for the visitors into the life of a soldier. 

The museum helps visitors to get acquainted with the war history of India and the tough life of

the soldier. 

The exhibition space has been divided into permanent and temporary spaces. The museum houses

the permanent exhibits while there is another space of temporary exhibits. 

There are various important corners of remembrance and tribute playing throughout the site.

Some are located inside the museum while others positioned along the site Like the lotus memorial 

There are various elements for emotional healing placed throughout the sight.



There is a knowledge center which includes Library/Archives and Seminar halls.



War Trophies like Old Helicopters, Fighter Planes and tanks have been placed in the site which

maintain the glory of the museum as well as educate the visitors about their history. 

For Special Ceremonial days like Independence Day and Republic Day, a Parade ground is

provided.

6.2.2 ZONING During initial stages of Thesis, there was just a block consisting of all the building spaces with Convocation hall, the Knowledge center etc. As we continued to explore the areas, Spaces became more well-defined. It was realized that the total volume of the single block is too much as compare to the site. Since the site is very large, it will be feasible to use each and very space as possible.

The total site is divided into two parts from which the first part is private zone where research and labs are situated .And the major part which is part B of the site is granted for the construction of the museum and memorial.

Fig. 6.1

[85]

6.2.3 ZONING ACCORDING TO SITE After considering the positive and negative scenario of the different zones of the site, all the spaces have been cluster accordingly and positioned in different zone.

Fig. 6.2

6.2.4 ZONING ACCORDING TO CIRCULATION It’s always a most important concept to define the circulation path for visitors so that they can understand the soldier’s life and undergo with various emotional and psychological changes as per the design.

The Aim of the design is to take people through a journey that will make them realize and know about the supreme sacrifices made by the Indian soldiers of our Motherland.

Fig. 6.3

[86]

6.3 PHILOSOPHY Architecture is theprocess of planning, designing buildings and nonbuilding structures. And each structure has some special emotion attached to it. For example, when we see the symbol of a Plus (+), automatically we think of a Church. Likewise, there are many symbols and forms that remind us a type of building. After looking at these examples we can say “Form follows Function�.

represents

Represents

CHURCH

HOUSE

Symbols are attached according to the function of the building and architecture is all about giving emotions to that symbols. Using these similar techniques, we can create a space with a combination of Architecture and Symbols which will together construct an architectural journey showing people the life, struggle and sacrifice of brave soldiers.

6.4 CONCEPT A War Museum is a place where the soldiers who lost their lives while protecting their country are remembered. The museums are visited by the family members, friends, relatives and common public.

Museum act as a self-healing place for people who have lost their dear ones while serving the country.

The memorials carry deep psychological meaning to them.

The main challenge of building a war museum is to make visitors realize that the nation has lost some of the bravest souls to the wars.

[87]

6.5 GENERATION OF CURIOSITY THROUGH DESIGN In the below picture, a man keeps walking past a building without even having a second glance at it because there is nothing else to see, the entire faรงade is out in the open.

Fig. 6.4

But the moment a row of trees covers the faรงade of the building, the man wants to see more of the building because now parts of it is covered by the branches and leaves of the trees. A person starts to feel that he needs to see the complete design of the building.

This is one of the way to create curiosity through design.

Fig. 6.5 Similarly, for the design of the war museum we will use this technique to attract attention of the visitors to the structure.

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6.6 SPACE RELATIONSHIP

Interrelation of spaces between themselves and their connectivity

6.7 FORM DERIVATION

Basic stage Sorting together

Cropping & clipping Preliminary output

Final Output Fig. 6.7

[89]

6.8 SPACE DERIVATION

Fig. 6.8 Relationship of volume and anthropometry to various displayed items

Fig. 6.9 Amphitheatre vs. human figure proportion

Fig. 6.10 Elements and Equipments vs human figure propotion [90]

6.9 CONCEPT

Fig. 6.11

War is a state of armed conflict between states or societies. It is generally characterized by extreme aggression, destruction, and mortality, using regular or irregular military forces. An absence of war is usually called "peace".

6.9.1 DESIGN MOTIVATION

Fig. 6.12 In contrast to war, war surrounding and the emotion of war the design is postpone to give the natural feeling of war .A simple form is derivated with an abstract form (symbolic destruction) to get an interesting form full of emotions.

[91]

6.10 CONTROLING HUMAN BEHAVIOUR

Slant wall can give feeling of fear

Narrow passages can give feeling of depression

Dead Ends can give anxiety

Fig. 6.13



Emotion in architecture can often be linked to how well an architecture exudes a “sense

of place” where the emotion experienced of a particular architecture can be shaped by its “sense of place”. Often, “sense of place” can help an architecture take on a type of personality and this personality can serve to trigger emotion in its building occupants because it connects with them. 

Human behaviour and feelings can be triggered by design aspects providing favourable

elements and construction style .

[92]

6.11 THE TIMELINE GALLERY

Fig. 6.14 Conceptual Schematic diagaram of the Time line Gallery

The Timeline Gallery shows the map of war history india had taken part.

Fig. 6.15 The Timeline Gallery have an zic- zac pattern and both of the sides can be used for exhibitions purpose.

Fig. 6.16

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CHAPTER 7

Design Proposal

This section helps out to set out the scope of proposed work as well as the details and develop sketches, plans or drawing.

[94]

7. THE PROJECT 7.1 National war Museum A War Museum is a place to honour its Armed Forces and memorialize armed forces members martyred in war.

Generally war memorials are erected by local communities or groups associated with those remembered such as regiments companies, social clubs or churches.

7.1.1 AIM To assist Indian to remember, interpret and understand and creating awareness about the Indian experience the war and its endurance impact on Indian Society.

7.1.2 CLIENT 

Ministry of Defence (Govt. Of India)



Ministry of Tourism (Govt. Of India)



Ministry of Culture (Govt. Of India)

Fig. 7.1

Fig. 7.2

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Fig. 7.3

7.2 ITS IMPORTANCE “ Home of the free, because of the brave. “ At least one soldier loses his life every three days on our frontier battling for the peace and security that we are experiencing right now. Isolated from their loved ones, these fearless men show immense courage and determination to bind the country together. Despite all their efforts, do we really empathize our soldiers? Do we know how it’s like to live every single minute of our life like it’s our last? And yet, the soldiers bravely surge forward with determination of protecting their beloved nation, not asking questions, not expecting answers.

For every breathe we take, a soldier gets injured out there. Hundreds of soldiers died because of ambushes and we don’t even know about it. It’s a matter of shame that we hardly know if such an incident occurs, let alone the name of the martyrs.

Museums play a significant role in commemoration. Their displays confer legitimacy on specific interpretations of history, and attribute significance to particular events (Noakes 1997).

This dissertation aims to consider the extent to which museums of war act as memorials to those that were killed or served in war. Who exactly do they commemorate, and why do they take a commemorative approach to interpretation? Are military museums using outdated commemorative imagery and narratives of glory and sacrifice, which are no longer widely accepted by society?

War museums have often been accused of sanitising or glamorising war, for example through their depiction of "heroes" and their portrayal of death. The museum's interpretation of technology can also play a part in creating a sanitised version of the past, and its portrayal of former enemies can reinforce wartime attitudes, both of which are part of traditional patterns of commemoration.

[96]

7.3 SCOPE The project tries to explore role of architecture in the creation and dissemination of knowledge. The factors of primary importance in the design process are – 

To identify and understand, the issues and the problem involved in the design and find

solutions. 

Concept development towards creation of an organic whole with latest inputs from

various sectors. 

To create a dialogue between the building and the landscape that fosters understanding

of the environment. 

Observing user behavioural approach in detailing out all the building spaces.



War museum is a design of public space through monumental architecture and statuary.



A lot can be done with the building form, having no restriction upon it.



Use of metaphors and symbolism in the design to bring out psychological effects on the

minds of the visitors. 

Use of distinctive landscape and monumental characteristic s together that individually

have historical importance. 

Making the design instructive and interpretive in nature.



The main intention is to design a space dedicated to all events over a period of time

together rather than going for individually for particular event or particular time. 

Climatic analysis and inputs.



Circulation pattern in and around the building including parking.

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7.4 REQUIREMENTS Gallery: Gallery is the primary requirement while designing museum. It houses various important documents, strategical models, weapons, artifacts, etc,.

Administration: In order to manage and handle the museum, it is also prime necessity to be fulfilled. Administration is the control of whole system/process.

Visitor services: It will provide information and guide visitors. Also provide with facilities like Cafeteria, Retail shop and restroom.

Education Center: In order to provide detailed information to history lovers or students, this will be very helpful. Also this will provide opportunity for historians to carry out research on documents and amours present in the exhibits. The same will help other people gain knowledge from researches carried out.

Collection & Management: This will host collection of variety of war documents, weapons, equipments, and many other things that are in future going to be displayed in the gallery.

It also restores the damaged weapons or objects which are related to historic wars

[98]

CHAPTER 8

Structure & Services

This section consists of the type of structures and type of services implemented in the proposed design.

[99]

8.1 STRUCTURES Height of building structures:   

Most of the buildings are single story.

8-10m height is provided in most of structures.

War exhibiton and Auditorium are building with maximum height.

Gallery ,cafeteria are single storied with height approximately 4 m

Materials to be use in the structures:          

Materials for walls:Concrete cast Sustainable Concrete Crushed glass,wooden chips or slag can be added to make it.

Materials for flooring:Stone Marble Materials for roofing:RCC Terracotta tiles Steel for spaceframe

Foundations:Sloping Foundation 1m deep for 3m height For Gallery  

Raft foundation Pile foundation

[100]

8.1.1 GALLERY STRUCTURE DIAGRID FRAME STURCTURE The Diagrid frame structure is a framework of diagonally intersect metal, concrete and wooden beams that are used in the construction of buildings and roofs.

Tall commercial buildings give intense pressure on the land. Advances in materials, construction technology, analytical methods and structural systems for analysis and design accelerated the development of tall structures.

The lateral loading due to wind and earthquake is the major factor that causes the design of high-rise buildings. These lateral loads are resisted by exterior structural system or interior structural system. Thus the diagrid framework structure helps to overcome this.

Fig. 8.1 Triangular Diagrid Module

Fig. 8.2

A diagrid structure is modelled as a vertical cantilever beam on the ground, and subdivided longitudinally into modules according to the repetitive diagrid pattern.

Each Diagrid module is defined by a single level of diagonals that extend over ‘n’ stories. The geometry of the single module plays a major role in the internal axial force distribution.

Optimum angle range is usually is 60 to 70 degrees.

[101]

Node construction for diagrid structure The nodes are the important part of the design of the diagrid system. All the diagonal sections are connected to each other by the help of nodes. These nodes are designed for two types of loads, vertical load and horizontal shear. These nodes are joined to the other sections by welding or bolting.

Both the engineering and fabrication of the joints are more complex than for an orthogonal structure, and this incurs additional cost. • Due to the triangular configuration of the diagrid structural system, rigid connections are not necessary at the nodes, and pin connections using bolts can be made more conveniently at the jobsite. • In order to reduce jobsite work, prefabrication of nodal elements is essential.

Fig. 8.3

Fig. 8.4

[102]

Pros 

The Diagrid structures have mostly column free exterior and interior, hence free and

clear, unique floor plans are Possible. 

The Glass facades allow generous amounts of day lighting into the structure.



The use of Diagrids results in roughly 1/5th reduction in steel as compared to Braced

frame structures. 

Sustainability: - energy efficiency - low environmental cost - efficient use of available

resources. 

The Diagrids makes maximum exploitation of the structural Material.



The diagrid Structures are aesthetically dominant and expressive.

Cons 

Lack of availability of skilled workers having experience in Diagrid Construction.



As of yet, The Diagrid Construction techniques are not thoroughly explored.



Erection of nodes is a difficult process.



Both the engineering and fabrication of the joints are more complex than for an

orthogonal structure, and this incurs additional cost. 

It is hard to design windows that create a regular language from floor to floor.



The number of storeys directly depends upon the primary module height.

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Conclusion 

One of the best structural system for high rise buildings especially irregular shaped

(tilted, twisted, freeform etc.) 

The majority of the published research has been conducted within the University setting

and has focused primarily on idealized optimization, leaving the applied realities of the practising professionals, hidden or internalized. 

Using Diagrid we can built skyscrapers even without inner core providing vast floor area.

The Leaden hall Building in London is the first skyscraper without a bearing inner core 

Diagrids help in sustainable development as amount of construction material required is

less and energy is saved due to less obstruction to incoming light at the periphery of building. 

The diagrid Structures are aesthetically dominant.

[104]

CHAPTER 9

Conclusion

This section consists of the key facts from background research to help explain the results needed. State whether the results support or contradict the hypothesis.

[105]

as

9. CONCLUSION 

India do not have any monument or museum reflecting the whole history of Wars fought

by Indian Armed Forces until now. India Gate is an iconic monument and memorial for all Indian soldiers who laid their lives during World War II. However all the ceremonies to honor martyrs takes place at India Gate that is why it is the best place for a WAR MUSEUM to be constructed. 

Indian armed forces have lost close to 25,000 soldiers in various wars and operations

such as the Indo-Pak wars of 1947, 1965, and 1971; the Indo-China war of 1962; the Kargil war of 1999, besides the peace keeping operations in Sri Lanka, counter insurgency operations, and internal conflicts within the country. The country is proud of these soldiers and salutes their sacrifice. Hence, these glorious history of protecting the nation should be reflected through an WAR MUSEUM. 

To deliberate the great and noble dids and sacrifice of Indian soldiers a war museum is

necessary to the society. 

To create and develop interaction of normal people with Indian army war museum plays

a major role. 

The strength of Indian Army is somehow pledge by war museum.



The form and structure and elements of the developed War museum must be such that it

can trigger the human emotions and blend it towards Indian Army history and dedications 

To design a War museum is an opportunity to create a marginal and a recreational

environment. Where users can feel enthusiastic, relaxed, happy economically independent, intellectual and somehow devoted to Nation.

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10. BIBLIOGRAPHY & REFERENCES

BOOKS 1.Museum Builders II(Laura Hourstan Š2004 John Wiley & Sons Ltd.) 2. Architecture: Form, Space & Order (Francis D.K. Ching) 3. Arts, museums and new development – A standard charge approach.

STANDARDS 1.NBC and Delhi byelaws WEBPAGE 1.

http://en.wikipedia.org

2.

http://maps.google.com

3.

http://www.weather-and-climate.com

4.

http://lightingformuseums.com/

5.

http://indiaculture.nic.in/indiaculture/minutes_museum.html

6.

http://www.oklahomacitynationalmemorial.org/secondary.php?section=2

7.

http://defenceforumindia.com/forum/military-multimedia/14578-war-memorials-

india.html 8.

https://abc.net.au/local/videos/2013/04/24/3744171.html

9.

http://defence.pk/threads/feel-the sacrifice-the Indian-martyrs-who-died-today-for-our-

tomorrow.62217/ 10. http://www.vvmf.org/vietnam-memorial-wall-design 11. https://www.behance.net/gallery/7350297/War-Museum-Identity-Design The logo of War memorial is extracted from the above website ,from a logo design contest this has been awarded for nomination of top three.

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TABLE OF FIGURES FIGURE NO.

Pg.No

Fig. 1 – War Pictures..............................................................................................................02 Fig.1.1 – World War I (1914-1918)........................................................................................03 Fig.1.2 – World War II...........................................................................................................03 Fig.1.3 - 1948 War with Pakistan...........................................................................................03 Fig.1.4- 1962 War with China................................................................................................04 Fig.1.5 – 1965 War with Pakistan..........................................................................................04 Fig.1.6 – 1999 Kargil War......................................................................................................04 Fig.1.7 – 2001 Cease Fire Violation by Pakistan..................................................................04 Fig.1.8 – Timelines of War fought.........................................................................................05 Fig 1.9 – Military Personnel Ranking...................................................................................06 Fig 1.10 – Indian Armed Force divisions..............................................................................06 Fig 1.11 – Different Armed force divisions...........................................................................06 Fig.1.12 – Total numbers of museum in India......................................................................09 Fig.1.13 – Museums in India..................................................................................................09 Fig 1.14 –Graph showing museums in India........................................................................09 Fig 1.16 - Museums in Delhi...................................................................................................10 Fig 1.17 – Graph showing types of museums in Delhi.........................................................10 Fig 1.18 – Map showing war memorial and museums in India..........................................11 Fig 1.19 – Kirkee War Cemetry, Pune.................................................................................11 [108]

FIGURE NO.

Pg.No

Fig 1.20 – War Memorial, Chandigarh.................................................................................11 Fig 1.21 – Kargil War Memorial (J & K).............................................................................11 Fig 1.22 – India Gate, New Delhi...........................................................................................12 Fig 1.23 – War Memorial, Bangalore....................................................................................12 Fig 2.1 – Exhibits type 1..........................................................................................................16 Fig 2.2 – Exhibits type 2..........................................................................................................16 Fig 2.3 – Exhibit type 3...........................................................................................................16 Fig 2.4 – Down Light Fittings.................................................................................................17 Fig 2.5 – Transformer.............................................................................................................19 Fig 2.7 – Switch gears.............................................................................................................19 Fig 2.8 – Panel Boards and Switch Boards...........................................................................19 Fig 3.1 – Red Fort, New Delhi................................................................................................20 Fig 3.2 – History of New Delhi...............................................................................................21 Fig 3.3 – Archaeological Monuments....................................................................................21 Fig 3.4 – Picture showing Delhi economy.............................................................................22 Fig 3.5 - Lotus temple, New Delhi..........................................................................................22 Fig 3.6 – Site Study, Princess Park – Delhi...........................................................................23 Fig 3.7 – Site Selection area....................................................................................................24 Fig 3.8 – Immediate Context..................................................................................................25 [109]

FIGURE NO.

Pg.No

Fig 3.9 – Surrounding Land-Use...........................................................................................26 Fig 3.10 – Site Approach........................................................................................................26 Fig 3.11 – Sun Path and Climate analysis.............................................................................27 Fig 3.12 Climate analysis of New Delhi.................................................................................27 Fig 3.13 Existing Site Plan......................................................................................................28 Fig 3.14 – Views of Existing Site............................................................................................29 Fig 4.1 – Virasat – e – Khalsa.................................................................................................31 Fig 4.2 – Location Map...........................................................................................................32 Fig 4.3 – Google Location Map .............................................................................................32 Fig 4.4 – Picture showing Historical Significance................................................................36 Fig 4.5 – Virasat – e – Khalsa Complex................................................................................37 Fig 4.6 – Rooftops of the Museum.........................................................................................38 Fig 4.7 – Facade using Limestone..........................................................................................38 Fig 4.8 – Museum view from nearby hill...............................................................................38 Fig 4.9 – Different zones of Virasat – e – Khalsa.................................................................39 Fig 4.10 – Pictures showing Different Complex...................................................................40 Fig 4.11 - Different zones detailed picture............................................................................42 Fig 4.12 – Buff colored sandstone facade.............................................................................43 Fig 4.13 – Stainless Steel Roofing..........................................................................................43 Fig 4.14 – Fig 4.17 – Key Plan................................................................................................43 [110]

FIGURE NO.

__

Pg.No

Fig 4.18 – Obstructed Area and clear vision Area...................................................................44 Fig 4.19 – Fig 4.23 – Complex A pictures.............................................................................44-45 Fig 4.24 – Fig 4.26 – Complex B pictures..................................................................................46 Fig 4.27 – Fig 4.47 – Complex C pictures.............................................................................47-52 Fig 4.48 – fig 4.52 – Picture showing technical features..........................................................54 Fig 4.53 – Indian Airforce Museum, New Delhi.......................................................................56 Fig 4.55 – Site Planning and Circulation...................................................................................58 Fig 4.56 – Fig 4.62 – Individual Spaces of AIF....................................................................59-62 Fig 4.63 – Fig 6.65 - Structure and materials of IAF...............................................................64 Fig 4.66 - Architecture inside the gallery.............................................................................65-66 Fig 4.67 – Fig 4.72 – Chandigarh War Memorial pictures......................................................67 Fig 4.73 – Imperial War Museum, Manchester.......................................................................69 Fig 4.74 – Fig 4.75 – Communication Ideas..............................................................................70 Fig 4.76 – Functional arrangement of three elements..............................................................70 Fig 4.77 – Fig 4.79 – Architect’s concept...................................................................................71 Fig 4.80 – Fig 4.82 – Functional Organization and Inferences................................................72 Fig 5.1 – User Topology...............................................................................................................75 Fig 5.2 – Program Diagram.........................................................................................................76 Fig 6.1 – Zoning ..........................................................................................................................85 Fig 6.2 – Zoning according to site...............................................................................................85 [111]

FIGURE NO.

__

Pg.No

Fig 6.3 – Zoning according to circulation................................................................................85 Fig 6.4 – Fig 6.5 – Generating curiosity through design........................................................87 Fig 6.6 – Space Relationship.....................................................................................................88 Fig 6.7 – Form Derivation.........................................................................................................89 Fig 6.8 – Fig 6.10 – Space Derivation.......................................................................................89 Fig 6.11 – War Concept.............................................................................................................90 Fig 6.12 – Design Motivation.....................................................................................................91 Fig 6.13 – Controlling human behaviour.................................................................................92 Fig 6.14 – Fig 6.16 – The timeline gallery ...............................................................................93 Fig 7.1 – Ministry of Defence....................................................................................................96 Fig 7.2 – Ministry of Tourism...................................................................................................96 Fig 7.3 – Ministry of Culture.....................................................................................................96 Fig 8.1 – Fig 8.2 – Building with diagrid frame structure.....................................................101 Fig 8.3 – Node construction of diagrid frame structure........................................................102 Fig 8.4 – Pre-fabrication of nodal element.............................................................................102 TABLE NO._________________________________________________________PAGE NO. Table 1 – Functional Hierarchy........................................................................................... 75-76 Table 2 – Building Programme.............................................................................................77-80

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CHAPTER 13

APPENDIX

This section contains the proposed work in sheet formats i.e plans ,drawings, sections ,elevations and 3D views [113]