Thesis Report on National Museum of Architecture

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THESI SREPORT

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Table of Content 2018

TABLE OF CONTENT Sr. No.

Topic Chapter 1: Introduction to Thesis

Page/Sheet No. 1-6

1.

Introduction 1.1 Architectural Museum 1.2 Need of the study 1.3 Project justification 1.4 Scale of project 1.5 Why museum as thesis project?

1-2 1 1 2 2 2

2.

Project Description

2-3

3.

Site Context 3.1 Site Description 3.2 Site Justification

3-5 3-4 4-5

4.

Hypothesis

5

5.

5.1 5.2 5.3 5.4 5.5

5 5 5 6 6

Aim Objective Scope Limitation Methodology

Chapter 2: Case Study 1.

Introduction 1.1 Selection Criteria 1.2 Aspects

2.

Madhya Pradesh Tribal Museum, Bhopal 2.1 Introduction 2.1.1 Relevance 2.1.2 Site 2.1.3 Scale 2.2 Area Programme 2.2.1 Area Chart 2.2.2 User Activity 2.2.3 Area Distribution 2.3 Architectural Drawings 2.3.1 Conceptual Plan 2.3.2 Site Plan 2.3.3 Circulation Plan 2.3.4 Zoning 2.3.5 Floor Plan

7-8 7 8 9-25 9-11 9-10 10-11 11 12-14 12-13 13-14 14 15-21 15 15-16 16 17 17-19

Table of Content 2018 2.3.6 Elevation 2.3.7 Section 2.3.8 Ceiling Plan 2.3.9 Details 2.4 Site Photograph 2.5 Materials 2.6 Lighting 2.7 Observation 2.8 Design Analysis 2.9 Conclusion

19 20 20-21 21 22 23 23-24 24 25 25

3.

National Museum, Delhi 3.1 Introduction 3.1.1 Relevance 3.1.2 Site 3.1.3 Scale 3.2 Area Programme 3.2.1 Area Chart 3.2.2 User Activity 3.2.3 Area Distribution 3.3 Architectural Drawings 3.3.1 Conceptual Plan 3.3.2 Site Plan 3.3.3 Circulation Plan 3.3.4 Zoning 3.3.5 Floor Plan 3.3.6 Elevation 3.3.7 Details 3.4 Materials 3.5 Lighting 3.6 Observation 3.7 Design Analysis 3.8 Conclusion

26-38 26-27 26 27 27 28-31 28-29 30-31 31 32-36 32 32 33 33 33-34 35 35-36 36 36-37 37 37 37-38

4.

Solomon R. Guggenheim Museum, New York 4.1 Introduction 4.1.1 Relevance 4.1.2 Site 4.1.3 Scale 4.2 Area Programme 4.2.1 Area Chart 4.2.2 User Activity 4.2.3 Area Distribution 4.3 Architectural Drawings 4.3.1 Conceptual Plan 4.3.2 Site Plan 4.3.3 Circulation Plan 4.3.4 Zoning 4.3.5 Floor Plan 4.3.6 Elevation 4.3.7 Section

39-48 39-40 39 40 40 41-43 41-42 42-43 43 43-46 43-44 44 44 45 45 46 46

Table of Content 2018 4.3.8 Details 4.4 Materials 4.5 Lighting 4.6 Observation 4.7 Design Analysis 4.8 Conclusion

46 47 47 47-48 48 48

5.

Bihar Museum, Patna 5.1 Introduction 5.1.1 Relevance 5.1.2 Site 5.1.3 Scale 5.2 Area Programme 5.2.1 Area Chart 5.2.2 User Activity 5.2.3 Area Distribution 5.3 Architectural Drawings 5.3.1 Conceptual Plan 5.3.2 Site Plan 5.3.3 Circulation Plan 5.3.4 Zoning 5.3.5 Floor Plan 5.3.6 Elevation 5.3.7 Section 5.4 Materials 5.5 Lighting 5.6 Observation 5.7 Design Analysis 5.8 Conclusion

49-60 49-50 49 50 50 51-54 51-52 52-53 53-54 54-58 54 54-55 55 56 56 57 58 58 58-59 59 59 59-60

6.

Comparative Study

61-62

7.

Conclusion

63-64

Chapter 3: Understanding the Site 1.

2.

Introduction 1.1 Location 1.2 Site Area 1.3 Accessibility 1.4 Site Context

65-67 65 65-66

Natural Factors 2.1 Geology 2.1.1 Soil Type 2.1.2 Soil Texture 2.1.3 Soil Characteristic 2.2 Geomorphology 2.2.1 Soil Contour 2.2.2 Soil Topography 2.2.3 Soil Slope

68-77

66 67

68-69 68 68 69 69-71 69 69-70 70

Table of Content 2018 2.2.4 Drainage 2.2.5 Seismic Zone 2.3 Hydrology 2.3.1 Surface Water 2.3.2 Ground Water 2.3.3 Flood Level 2.4 Vegetation 2.4.1 Indigenous Vegetation 2.4.2 Site Existing Condition 2.5 Climate 2.5.1 Temperature 2.5.2 Precipitation 2.5.3 Wind Direction 2.5.4 Sun Path 2.5.5 Climatic Zone 2.5.6 Thermal Comfort Zone 2.5.7 Sciography

70 71 71-72 71 72 72 72-73 72-73 73 73-77 74 74 74-75 75 76 76 77

Social and Cultural Factors 3.1 Existing Land use 3.2 Traffic and Transport 3.3 Density 3.4 Social & Economical Factor 3.5 Site Services 3.5.1 Electrical Services 3.5.2 Water Supply 3.5.2 Drainage 3.5.2 Strom Water Calculation 3.6 Historical Factor 3.6.1 Importance 3.6.2 Impact 3.6.3 Design Element

77-84

Aesthetic Factors 4.1 Natural Feature 4.2 Spatial Feature 4.3 Visual Resources 4.4 Scale 4.5 Skyline

85-87

5.

Building Bye Laws

87-88

6.

Analysis & Zoning 6.1 Accessibility 6.2 Foundation 6.3 Drainage and Sewer Line 6.4 Built Form & Orientation 6.5 Bye Laws 6.6 Zoning 6.7 S.W.O.T.

88-92

3.

4.

77-78 78-79 79 80 80-82 80 81 81 82 82-84 82-83 83 84

85 85-86 86 86 87

88 89 89-90 90 90 91 91-92

Table of Content 2018

Chapter 4: Standards and Area Programming 1.

Standards for Museum

93-98

2.

Area Programming

99-101

Chapter 5: Design Ideology 1.

Introduction 1.1 Elements of Architecture 1.2 Lines as Basic Elements of Architecture 1.3 Types of Lines 1.4 Motion of Expression

102102-103 103 103-104 104

2.

Form Developement

104-105

3.

Design Consideration

105

4.

Climatic Consideration

106

5.

Structural Consideration

107

6.

Material Detail

107-108

Chapter 6: Design Translation 1.

2.

3.

4.

5.

6.

7.

8.

9.

10.

Site Plan Ground Floor Plan First Floor Plan Second Floor Plan Basement Plan Grid Plan Elevation Section Detail Views

Chapter 7: Bibliography

01 02 03 04 05 06 07 08 09-10 10

Table of Content 2018

LIST OF FIGURES Chapter No.

Figure No.

Content

1

Fig. 3.1 (i) Fig. 3.1 (ii) Fig. 3.1 (iii) Fig. 3.1 (iv) Fig. 3.1 (v)

Proposed Site Connectivity Proposed Site & Existing Condition Sun Path Diagram Prevailing Wind Direction

2.2

Fig. 1.1 (i) Fig. 1.2 (i) Fig. 1.2 (ii) Fig. 1.2 (iii) Fig. 1.3 (i) Fig. 3.1 (i) Fig. 3.2 (i) Fig. 3.2 (ii) Fig. 3.3 (i) Fig. 3.3 (ii)

Tribal life displayed in Tribal Museum, Bhopal Site Connectivity Sun Path Diagram Prevailing Wind Direction Scale of exhibits in Tribal Museum Concept development Site Plan of Tribal Museum Entrance and Exit of Tribal Museum Spatial integration in State and Tribal Museum Circulation Plan

Fig. 3.4 (i) Fig. 3.5 (i)

Zoning of Tribal Museum First Floor Plan

Fig. 3.5 (ii) Fig. 3.5 (iii) Fig. 3.5 (iv) Fig. 3.5 (v) Fig. 3.6 (i) Fig. 3.6 (ii) Fig. 3.6 (iii) Fig. 3.6 (iv) Fig. 3.7 (i) Fig. 3.7 (ii) Fig. 3.7 (iii) Fig. 3.7 (iv) Fig. 3.8 (i) Fig. 3.8 (ii) Fig. 3.9 (i) Fig. 3.9 (ii) Fig. 3.9 (iii) Fig. 4 (i) Fig. 4 (ii) Fig. 4 (iii) Fig. 4 (iv) Fig. 4 (v) Fig. 4 (vi) Fig. 4 (vii)

Entrance faรงade of Tribal Museum Reception Counter & Museum Shop Ground Floor Plan Ramp connecting First floor & Ground floor Sectional Elevation Side Elevation Sectional Elevation of Gallery East Side Section Site Section Section of Library Block Section of North Zone Gallery Section of Entrance Block Inverted Ceiling Plan Lighting Layout Structural Truss Detail Restaurant Plan Auditorium Plan Tribal Painting Open Air Theatre Tribal Hut Art Gallery Corridor Spiritual Gallery Tribal Life Gallery

Table of Content 2018 Fig. 4 (viii) Fig. 5 (i) Fig. 5 (ii) Fig. 5 (iii) Fig. 5 (iv) Fig. 5 (v) Fig. 6 (i) Fig. 6 (ii) Fig. 6 (iii)

Devlok Gallery Clay pot for display Use of Bamboo for shading Use of Stones Wood for Furniture Plaster of Paris Perforated Lighting Courtyard Artificial Lighting

2.3

Fig. 1.1 (i) Fig. 1.2 (ii) Fig. 1.2 (iii) Fig. 3.1 (i) Fig. 3.2 (i) Fig. 3.3 (i) Fig. 3.4 (i) Fig. 3.5 (i) Fig. 3.5 (ii) Fig. 3.5 (iii) Fig. 3.5 (iv) Fig. 3.6 (i) Fig. 3.6 (ii) Fig. 3.6 (iii) Fig. 3.7 (i) Fig. 3.7 (ii) Fig. 4 (i) Fig. 5 (i)

Displays in National Museum Sun Path Diagram Sun Path Diagram Prevailing Wind Direction Concept development of the museum Site Plan of National Museum Circulation Plan of National Museum Horizontal zoning of National Museum Basement Plan Ground Floor Plan First Floor Plan Second Floor Plan Courtyard Model of National Museum Front Elevation Special Exhibition Plan Special Exhibition Plan Use of Aluminium & Wood in National Museum Effective use of Spot Lighting

2.4

Fig. 1.1 (i) Fig. 1.2 (ii) Fig. 1.2 (iii) Fig. 3.1 (i) Fig. 3.2 (i) Fig. 3.3 (i) Fig. 3.4 (i) Fig. 3.5 (i) Fig. 3.5 (ii) Fig. 3.6 (i) Fig. 3.6 (ii) Fig. 3.7 (i) Fig. 3.7 (ii) Fig. 3.8 (i) Fig. 4 (i) Fig. 5 (i)

Solomon R. Guggenheim Museum, New York Sun Path Diagram Prevailing Wind Direction Concept development of the museum Site Plan of Guggenheim Museum Circulation Plan of Guggenheim Museum Vertical zoning of Guggenheim Museum Floor Plan of Guggenheim Museum Guggenheim Museum Front Elevation of Guggenheim Museum 3D view of Guggenheim Museum Section of Guggenheim Museum 3D Section of Guggenheim Museum Structural Details of Guggenheim Museum Materials used in Construction Luminance Ceiling & Atrium for natural lighting

2.5

Fig. 1.1 (i) Fig. 1.2 (ii) Fig. 1.2 (ii) Fig. 3.1 (i) Fig. 3.2 (i)

Bihar Museum Sun Path Diagram Maximum & Minimum Temperature Concept development of the museum Site Plan of Bihar Museum

Table of Content 2018

3.

Fig. 3.2 (ii) Fig. 3.3 (i) Fig. 3.4 (i) Fig. 3.5 (i) Fig. 3.6 (i) Fig. 3.6 (iii) Fig. 3.7 (i) Fig. 4 (i) Fig. 5 (i)

Site Section of Bihar Museum Circulation plan of Bihar Museum Zoning of Bihar Museum Ground Floor Plan of Bihar Museum Bihar Museum Elevation of Bihar Museum Section of Bihar Museum Use of different materials in Bihar Museum Natural Lighting in Bihar Museum

Fig. 1.1 (i) Fig. 1.2 (i) Fig. 1.2 (i) Fig. 1.3 (i) Fig. 1.3 (ii) Fig. 1.3 (iii)

Site Location Map Proposed Site Map Proposed Site Dimension Proposed Site is 1.1 Km away From Qutub Metro Station Proposed Site is 17.6 Km from New Delhi Railway Station away Proposed Site is 24.5 Km away from ISBT Kashmere Gate

Fig. 1.3 (iv)

Proposed Site is 11.6 Km away from Indira Gandhi International Airport Delhi Master Plan 2021 Site Surrounding Current Land Use Parent Soil at Proposed Site Soil Particles at Proposed Site Surface Form at Proposed Site Surface Form at Proposed Site Soil Depth at Proposed Site Soil Depth at Proposed Site Proposed site Contour Plan Proposed Site Topography Site Sectional Profile (Latitudinal Site Sectional Profile (Longitudinal)

Fig. 1.4 (i) Fig. 1.4 (ii) Fig. 1.4 (iii) Fig. 2.1 (i) Fig. 2.1 (ii) Fig. 2.1 (iii) Fig. 2.1 (iii) Fig. 2.1 (iv) Fig. 2.1 (iv) Fig. 2.2 (i) Fig. 2.2 (ii) Fig. 2.2 (iii) Fig. 2.2 (iv) Fig. 2.2 (v) Fig. 2.2 (vi) Fig. 2.2 (vii) Fig. 2.2 (viii) Fig. 2.3 (i) Fig. 2.3 (ii) Fig. 2.3 (iii) Fig. 2.3 (iv) Fig. 2.4 (i) Fig. 2.4 (ii) Fig. 2.4 (i) Fig. 2.4 (iv) Fig. 2.4 (v) Fig. 2.4 (vi) Fig. 2.4 (v) Fig. 2.4 (vi) Fig. 2.5 (i) Fig. 2.5 (ii) Fig. 2.5 (iii)

Site Slope (0.5% to -1.9%) Drainage in Delhi Slope of Proposed Site Proposed Site is in Seismic Zone 4 Surface Water in Delhi Water Quality in Delhi Pre Monsoon Groundwater Level Post Monsoon Groundwater Level Neem Tree Babul Tree Banyan Tree Chakunda Shrub Gohkru Shrub Anjan Weed Site Existing Condition Site Top View Maximum & Minimum Temperature of Delhi Annual Precipitation of Delhi Numbers of days of Rainfall

Table of Content 2018 Fig. 2.5 (iv) Fig. 2.5 (v) Fig. 2.5 (vi) Fig. 2.5 (vii) Fig. 2.5 (viii) Fig. 2.5 (ix) Fig. 2.5 (x) Fig. 2.5 (xi) Fig. 2.5 (xii) Fig. 2.5 (xiii) Fig. 2.5 (xiv) Fig. 2.5 (xv) Fig. 2.5 (xvi) Fig. 2.5 (xvii) Fig. 3.1 (i) Fig. 3.2 (i) Fig. 3.2 (ii) Fig. 3.2 (iii) Fig. 3.3 (i) Fig. 3.3 (ii) Fig. 3.3 (iii) Fig. 3.3 (iv) Fig. 3.4 (i) Fig. 3.4 (ii) Fig. 3.5 (i) Fig. 3.5 (ii) Fig. 3.5 (iii) Fig. 3.5 (iv) Fig. 3.5 (v) Fig. 3.5 (vi) Fig. 3.6 (i) Fig. 3.6 (ii) Fig. 3.6 (iii) Fig. 3.6 (iv) Fig. 3.6 (v) Fig. 3.6 (vi) Fig. 3.6 (vii) Fig. 4.1 (i) Fig. 4.2 (i) Fig. 4.3 (i) Fig. 4.4 (i) Fig. 4.5 (i) Fig. 4.5 (ii) Fig. 5 (i) Fig. 5 (ii) Fig. 6.1 (i) Fig. 6.2 (i) Fig. 6.2 (ii) Fig. 6.3 (i) Fig. 6.3 (ii) Fig. 6.4 (i)

Wind Rose (Jan-Apr) Wind Rose (May-Aug) Wind Rose (Sep-Dec) Annual Wind Rose 8 AM 10 AM 12 PM 3 PM India’s Climatic Zones Delhi Thermal Comfort Zone 9 AM 12 PM 3 PM 5 PM Delhi Land use Road Connectivity Qutub Complex near Proposed Site Footfall of Qutub Complex Population Density Urban Growth Religion wise Population Sex Ratio GDP Growth Economic Sector in NCR Electrical layout of Delhi Proposed site under BRPL Water Supply Line of Delhi Aquifers in Delhi Drainage Direction of the site Mehrauli Drain to Shahdara STP Qutub Complex Qutub Complex Iron Pillar Qutub Minar Qutub Minar Section Remains of Hindu Temples Arched Gateway Natural Features of Proposed Site Site Geometry and Spatial feature Visual Impact of Qutub Complex in West Side of Proposed Site Scale of Buildings in North Direction wrt Proposed Site Delhi Skyline Qutub Complex Skyline Fire Fighting Bye Laws Parking Bye Laws Main Accessible Road Pile foundation preferred in Alluvial Soil Pile Foundation Detail Drainage Plan Stromwater Collection Through Landscape Orientation

Table of Content 2018 Fig. 6.4 (ii) Fig. 6.5 (i) Fig. 6.6 (i) Fig. 6.6 (ii)

Built Form Site plan according to Bye Laws Site Zoning Vertical Zoning

4.

Fig. 1.1 (i) Fig. 1.1 (ii) Fig. 1.1 (iii) Fig. 1.1 (iv) Fig. 1.1 (v) Fig. 1.1 (vi) Fig. 1.1 (vii) Fig. 1.1 (viii) Fig. 1.1 (ix) Fig. 1.1 (x) Fig. 1.1 (xi) Fig. 1.1 (xii) Fig. 1.1 (xiii) Fig. 1.1 (xiv) Fig. 1.1 (xv) Fig. 1.1 (xvi) Fig. 1.1 (xvii) Fig. 1.1 (xvii)

Components of Museum Diffuse and Focus Light Viewing angels towards Exhibition Minimum distance to view Exhibition Viewing angels towards Exhibition Vertical and Horizontal Field of View Minimum Distance Requirements of Museum Minimum Stair width in Museum Minimum Stair width in Museum Minimum walking distance in Museum Offices in Museum Auditorium in Museum Material used in Museum Lights Luminance level and Colour Renderation Lights Luminance level in Museum Lighting Techniques and Installation in Museum Display Techniques and Installation in Museum Activity Chart

5.

Fig. 1.1 (i) Fig. 1.1 (ii) Fig. 1.1 (iii) Fig. 1.1 (iv) Fig. 1.2 (i) Fig. 1.3 (i) Fig. 1.4 (i) Fig. 2 (i) Fig. 2 (ii) Fig. 3 (i) Fig. 4 (i) Fig. 4 (ii) Fig. 4 (iii) Fig. 5 (i) Fig. 5 (ii) Fig. 6 (i) Fig. 6 (ii)

Point as an architectural element Line as an architectural element Shape as an architectural element Form as an architectural element Lines used in architectural drawings Types of Lines Lines can be used to express motion of expressions Lines are used to create the faรงade Building envelope developed from the Site Design consideration Low E-Glass North faรงade is designed with Low E-Glass South faรงade is designed with Wooden braced frame Structural elements used in museum Wooden Faรงade Planters and Luminous Backlight Wooden Faรงade Bracing

1

Introduction to Thesis 2018

NATIONAL MUSEUM OF ARCHITECTURE 1.

INTRODUCTION:

A museum is a place where everyone, with or without qualification, can enter and be inspired by the stories of our past and present. Museum is the way forward to develop mankind. A museum is an institution that cares for (conserves) a collection of artifacts and other objects of artistic, cultural, historical, or scientific importance. Many public museums make these items available for public viewing through exhibits that may be permanent or temporary.

“Museum is an institution that tells the story of human kind. Education is one of most important criteria for development and one of the fundamental objectives of museum is to educate.” 1 There are many types of museums, including art museums, natural history museums, science museums, war museums, children's museums and architectural museum. Architecture of any museum tells its own story through circulation, density, lighting, backgrounds, arrangement, and labels.

1.1 ARCHITECTURAL MUSEUM: Architecture Museum is a unique repository of architects’ and allied professionals’ records and a dynamic hub of research into architectural and built environment history. The Architecture Museum is a facility for the acquisition, preservation and management of architecture and related records.

1.2 NEED: Before my under graduation , when I asked my father that I wanted to opt for Architecture as my career, my father was in shock for a moment as he said, “Architecture is a part of Civil. Isn’t it?”

Even the well educated people don’t know enough about the course and its importance.

Architecture is an ancient discipline, and the result of its thinking and endeavor provide us with some of the most lasting examples of our culture. It is to bridge this gap in understanding between the profession and society that’s why National Museum of Architecture is needed.

“To develop urban area and society, architecture is the most important criteria to for the infrastructure. The National Museum of architecture will allow us to imagine our future in a way that benefits the majority, which is a great challenge facing us today in the development of our buildings and cities.” 2

1. Merriman, N. J. 1968. The role of Museums. ARCHAEOLOGY – Vol. II: 4-7.

2. Zaman, Rana Siddiqui.

2014.

Idea of architecture museum [https://www.thehindu.com/news/cities/Delhi/idea-of-architecture-museummooted/article6454416.ece]. Accessed July 16, 2018.

National Museum of Architecture, New Delhi

mooted.

Page 1

Introduction to Thesis 2018

1.3 PROJECT JUSTIFICATION: “In India, architecture along with architects is not celebrated and appreciated by people. They are unaware, how important architect’s contribution is in developing the society. There is no place in India where multiple architect’s work is preserved, researched and exhibited on a permanent basis thus providing the need to facilitate an architectural museum where students, architects and common people can understand, study and analyse these works.” 3 A museum is normally a building which houses objects and information packaged in different ways.

Since architecture is the subject of the museum being proposed, and architecture deals primarily with building, it is necessary to re-imagine the form of a museum of architecture.

1.4 SCALE: The museum is going to be designed in the heart of the national capital and will have a huge number of local as well as foreigner spectators that will determine the scale and extend of the project. The annual footprint of national Museum Delhi is more than a million which shows the amount of scale and stretch of the architectural museum.

1.5 WHY MUSEUM AS THESIS PROJECT? The National Museum of Architecture can provide the matrix for motivation and inspiration to emerge from a deep understanding of the history of our own architecture and its relevance and place in contemporary conditions.

Museum Planning is an opportunity to describe a new museum’s vision, the visitor experience and an organizational plan for a new institution, or one undergoing a major expansion or change in focus.

The project will provide me a better opportunity for my academics and to pursue Urban or Regional planning further in my post graduation.

2.

PROJECT DISCRIPTION:

The proposal for instituting a Museum of Architecture has been under discussion for a few years.

GREHA, a registered society, working in the field of architecture, environmental design, and development of human habitat, took on the responsibility of conceiving a Museum of Architecture, which will raise public awareness of this discipline, which affects our lives in significant ways on a daily basis.

“The first architectural museum of India which will represents the works of famous architects of India as well as of the world. Organizations such as Council of Architecture (COA), Indian Institutes of Architects (IIA) and Indian National Trust for Art and Cultural Heritage (INTACH) are coming together with GREHA for this proposal.” 3 3.

Kulkarni, Nirmal.

2016.

The National Museum of [https://architexturez.net/doc/az-cf-182220]. Accessed July 16, 2018.

National Museum of Architecture, New Delhi

Architecture.

Page 2

Introduction to Thesis 2018 Project consists of spaces like       

Art gallery, Exhibitions, Library, Open Air Theatre, Landscape, Administrative and Public amenities spaces.

3. SITE CONTEXT: 3.1 SITE DESCRIPTION: “7.3 acres, vacant institutional site, belonging to the Delhi Development Authority (DDA) has been identified. This is located in Lado Sarai, close to the Qutub Complex and the Indian Institute of Technology, Delhi with good access from the Mehrauli Badarpur Road.” 4

Fig. 3.1 (i) Proposed Site

Location: 28.521196 N, 77.198624 E

Fig. 3.1 (ii) Connectivity

Kulkarni, Nirmal.

2016.

The National Museum [https://architexturez.net/doc/az-cf-182220]. Accessed July 16, 2018.

4.

National Museum of Architecture, New Delhi

of

Architecture.

Page 3

Introduction to Thesis 2018 Connectivity:    

2.1 km away from Qutub Metro Station 12 km away from Indira Gandhi International Airport Terminal 3 14.9 km away from New Delhi Railway Junction 20.1 km away from ISBT Kashmere Gate

Fig. 3.1 (iii) Proposed Site & Existing Condition

Climate:      

Macro-Climate: Humid Subtropical Average Temperature: 25.0 °C Maximum Temperature: 47.0 °C Minimum Temperature: -2.2 °C Annual Precipitation: 886 mm Prevailing Wind Direction: 18km/h North-West

Fig. 3.1 (iv) Sun Path Diagram

Fig. 3.1 (v) Prevailing Wind Direction

3.2 SITE JUSTIFICATION: The site is situated in the national capital of India which makes it a perfect site for people from all over the country to come and understand the importance of architecture. The site is also situated National Museum of Architecture, New Delhi

Page 4

Introduction to Thesis 2018 near to the Qutub complex, which itself is a architectural masterpiece. People visiting Qutub complex will surely access the museum especially the tourists.

The site is also situated near the urban village of Lado Sarai and Hauj Khas which are urban centre as well as heart of art galleries.

4.

HYPOTHESIS:

The central hypothesis of the project is to create a built environment which possesses a quality of expression of space and architecture, where everyone, with or without qualification; can be inspired by architecture.

Some other hypothesis of the project is to create a space to encourage scholarly architecture and to foster innovative design practices. It is to create public awareness of the role of architecture and design in everyday life and on society and to uplift architecture and architectural practices.

5.1 AIM: 

To develop an architectural museum to bridge the gap between architecture and society.

5.2 OBJECTIVE:    

To study the architectural and design aspects of the museum.

To study the visitors experience and circulation pattern in museum.

To study the ergonomics of the exhibitions and display units in art gallery and museum.

To study the techniques and impacts of lighting in museum.

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

Interior of a museum is as important as the exterior of the museum, so interior details are very important aspect of the museum design. Interior details will be the part of the scope of work.

Landscaping and site planning is also one of the aspect which makes a boring museum into a living being, so landscaping is one the major scope of work which can be exhibited through Site plan and landscape details. These scopes of work can identify the limitation of work.

National Museum of Architecture, New Delhi

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Introduction to Thesis 2018

5.4 LIMITATION: The project does not caters about the deep analysis of structural system and structural detail as these details are not the main aspects of design. The project also doesn’t caters about the costing and estimation of the project because it’s an academic project.

5.5 METHODOLOGY: OBJECTIVE

HOW TO ACHIEVE IT

TOOLS

To study the architectural and Literature and document Internet, Secondary design aspects of the museum. study of museum, about their data and Literature design aspects.

Study

To study the visitors Questionnaires and experience and circulation Observation of movement pattern in museum. pattern of visitors in museum.

Case study, Questionnaires and Observations.

To study the ergonomics of the exhibitions and display units in art gallery and museum.

Case study and Literature study of art gallery and display units.

Literature study of exhibits and display unit about dimension, placement and management.

To study the techniques and Analysis of different Case study of impacts of lighting in techniques and their impact of artificial and natural museum. both natural and artificial lighting. lighting in museum.

National Museum of Architecture, New Delhi

Page 6

2

Case Study : Introduction 2018

INTRODUCTION “The case study method addresses the importance of learning how to learn as an essential element of continuous professional growth. Case studies provide orientation to the complexity of practice for the novice and perspective for the seasoned professional.” 1 The main aim of the case study and literature study is to understand the different design aspects and design requirements of the museum. Every space has its own importance and every space plays an important role in making a place alive. Case study and literature study is required to frame out these spaces and their design aspects.

Madhya Pradesh Tribal Museum, Bhopal and National Museum, New Delhi is the case studies for the project to understand how museum are different in their own way. While Solomon R. Guggenheim Museum, New York and Bihar Museum, Patna is chosen for the literature analysis to understand the standards of museum planning.

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

The Tribal Museum, Bhopal is one of the best examples of exhibiting art and story of human kind in a different and interesting way, while the National Museum, New Delhi shows the Importance of circulation and zoning of the spaces in a museum. The Bihar Museum, Patna designed by Maki Associates is one of the modern marvels of the modern design exhibiting the glorious past of Bihar.

Every case study and literature study in the report has its own unique feature which makes them one of their kinds. Solomon R. Guggenheim Museum is one of the world most famous and controversial museum, a building more famous for its design than its exhibitions, designed by F. L. Wright.

1.2 STUDY SCOPE: The different aspects was based on different design requirements, scale of the project, site of the project, their relevance to the thesis project, and other architectural aspects. Architectural aspects such as concept evolution, site planning, zoning, circulation attern, and planning are covered. Other requirements like area programming, activity pattern and design capacity is needed to frame out the design requirements.

5. American Institute of Architecture. 2016. Case studies in the study and practice in Architecture. Vol. I: 5.

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Case Study : Introduction 2018 Structural aspects such as structural details, materials, services are also an integrated part to understand the design aspect of the project. Lighting is one of the main aspects of museum planning and is covered out to understand different lighting system used in different spaces.

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Case Study 2018

MADHYA PRADESH TRIBAL MUSEUM, BHOPAL 1. INTRODUCTION: “Sometime in the year 2011, at a meeting of bureaucrats, archaeologists, anthropologists and sociologists at Bhopal, Bhil painter Bhuriba asked, “Shouldn’t a tribal museum be made by the tribal’s themselves?”

In response Shriram Tiwari, Director, Culture Department, Madhya Pradesh, formed a team of tribal scholars and artistes, determined to build something rooted in the tribal imagination, instead of a monotonous display of classified artefacts, without context.

With grants mostly from the State, but also from the Central Government, the Madhya Pradesh Tribal Museum has taken shape.

Not as a storehouse of dead objects, but with the labours of a thousand tribal artistes arriving in batches, from every part of MP, recasting myth and life in amazing visuals, out of traditional materials like wood, iron, jute, mud, clay, straw, hemp and leaves, as well as canvas, acrylic and glass. Such is the sense of ownership of these tribal artisans, that when recently rains flooded the museum the residing tribal didn’t wait for instructions but salvaged everything themselves.” 6 The Museum of Tribal Heritage at Bhopal was commissioned by the Government of Madhya Pradesh in 2004. The Museum is designed to create a built fabric which the tribal communities could identify with, extend, and evolve, to represent them and express their own ideas and way of life with ease and spontaneity. While the architecture of the Museum is inspired by tribal rhythms, geometries, materials, forms, aesthetics and spatial consciousness, these very qualities are now acting as points of inspiration for the display materials being created by tribal artisans, supported by anthropologists, sociologists and social workers and designed by Delhi based architect firm Kamath Design Studio under head architect Revathi Kamath. 7

1.1 RELEVANCE: “Meaning does not exist in advance, but is created and exists by virtue of the existence of the specific museum.” Quoted by Hillier, B. The Tribal museum in Bhopal is very thoughtfully planned and the entire campus is theme based right from its entrance. Every art work has some meaning to it which is beautifully depicted. This museum provides a new museum’s vision, the visitor experience and an organizational plan which make it one of its kinds. The exhibition and display units are creatively developed through unique design ideology which separates this museum from an orthodox museum.

6. Bhopal Tribal Museum. 2015. [http://www.bhopale.com/place/bhopal-tribal-museum]. Accessed July 17, 2018.

7. Khare, Rajnish. 2016. Tribal Museum. [https://bhopal.info/explore/museums/tribal-museum/]. Accessed July 18, 2018.

Madhya Pradesh Tribal Museum, Bhopal

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Best thing about the tribal museum, Bhopal was its way of displaying tribes and different cultures.

People can actually touch the sculptures. They can feel the material. All the sculptures and other show casing things were created by the tribal people themselves using the basic and old techniques.

The way of exhibiting and depicting every art work is unique and tells its own story, a place where everyone, with or without qualification, can enter and be inspired by the stories of these tribes.

Fig. 1.1 (i) Tribal life displayed in Tribal Museum, Bhopal

1.2

SITE:

The museum is built on a site of seven acres; the galleries are raised above the ground on columns, forming a continuous, multileveled veranda, following the contours of the sloping, rocky terrain of Shyamala Hills of Bhopal, Madhya Pradesh.

Latitude: 23° 14' 3.8868'' N Longitude: 77° 23' 5.0712'' E Connectivity:  6.9 km away from Bhopal Bus Stand  8.0 km away from Bhopal Railway Junction  14.2 km away from Raja Bhoj International Airport

Fig. 1.2 (i) Site Connectivity

Madhya Pradesh Tribal Museum, Bhopal

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Case Study 2018 Climate:      

Macro-Climate: Hot & Dry Average Temperature: 25.1 °C Maximum Temperature: 40.8 °C Minimum Temperature: 10.7 °C Annual Precipitation: 1132 mm Prevailing Wind Direction: 12km/h South-West

Fig. 1.2 (ii) Sun Path Diagram

1.3

Fig. 1.2 (iii) Prevailing Wind Direction

SCALE:

The museum is amongst the best designed museum in India. It is designed over a space of 28000 sq. metres. Visitors from all around the country come to visit this architectural masterpiece. The museum consists of six main exhibition galleries, an auditorium, an open air theatre and other amenities such as library, restaurant, etc. The different galleries exhibit life style, art work, cultural diversity, sports, aesthetics, and beliefs of these tribes.

Seven major tribes of Madhya Pradesh (MP) Gond, Bhil, Baiga, Kol, Korku, Sahariya, and Bhariya— have recorded their fast disappearing traditions in the tribal museum in Bhopal, transforming the oral narratives into huge paintings and sculptures. Baiga artist Ladlibai insists, “This is not a sangrahalay (museum), but our ghar (home). Things are changing in villages. But here, our children and grandchildren will know what our culture, past and present, means.” 8

Fig. 1.3 (i) Scale of exhibits in Tribal Museum

8. Bhopal Tribal Museum. 2015. [http://www.bhopale.com/place/bhopal-tribal-museum]. Accessed July 17, 2018.

Madhya Pradesh Tribal Museum, Bhopal

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2. AREA PROGRAMME: 2.1 AREA CHART: Sr. No. 1.

2.

3.

4.

Space

ENTRANCE Entrance Lobby Reception Back Office ADMINISTRATION Staff Office Director General’s Chamber Curator Office Meeting Room Staff Rest Room Security Monitoring Room Server Room Staff Toilet (M/F) Store Pantry WORKSHOP Wood Workshop Metal Workshop Terracotta Workshop Store Store Props

No. of Units

Area (in sq. m)

Design Capacity 40

1 1

100 20 12

5 1 1 1 1 1 1 1/1 1 1

60 20 12 40 40 20 20 10 40 40

50

300 1 1 1 3 1

400 400 400 120 40

EXHIBITION GALLERY North Zone Gallery East Zone Gallery South Zone Gallery West Zone Gallery Photography Gallery Sports Gallery Reserve Collection

1 1 1 1 1 1 1

400 400 400 400 200 200 100

5.

LIBRARY Librarian’s Office Cyber Room

1 1

120 12 12

50

6.

AUDITORIUM Projection Room Green Room

1 1

340 20 40

200

7.

AMENITIES Restaurant

1

200

50

Madhya Pradesh Tribal Museum, Bhopal

500

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Case Study 2018 Museum Shop Seminar Hall Dormitory Water Fountain Toilet (M/F)

1 1 5 5 5/5

100 200 50 10 25

50

SERVICES Maintenance Janitor Room Store Housekeeping Centre High Tension Control Room HVAC Room

1 1 5 1 1 1

50 20 100 20 200 200

100

9.

PARKING VIP Parking Staff Parking

-

300 100 100

60

10.

OPEN SPACES Courtyard Central Amphitheatre Open Air Theatre

5

8.

11.

-

TRANSITION AREA (30% of Total Build up Area) TOTAL AREA

400 400 1000 400 2370

10,286 Sq. M

2.2 USER ACTIVITY: USER VISITOR

ACTIVITY Visual Experience

SPACE North Zone Gallery East Zone Gallery South Zone Gallery West Zone Gallery Photography Gallery Sports Gallery Auditorium

Shopping

Museum Shop

Reading

Library Cyber Room

Parking

Parking Area

Sanitation

Toilet

Madhya Pradesh Tribal Museum, Bhopal

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Case Study 2018 Beverage & Food Official Work & Monitoring

ADMINISTRATION & SERVICE STAFF

Restaurant Water Fountain Office Server Room

Services

Maintenance Janitor Room Store Housekeeping Centre High Tension Control Room HVAC Room

Meeting

Meeting Hall Seminar Hall

Retiring

Staff Rest Room

Beverage & Food

Pantry

Sanitation Restoration

Staff Toilet Workshop Store Store Props Reserve Collection

WORKER STAFF

2.3 AREA DISTRIBUTION:

SITE DISTRIBUTION 22%

BUILT UP SPACE LANDSCAPE

8%

TRANSITION SPACE

61%

PARKING

9%

OPEN SPACE

2%

Chart 2.3 (i) Site Distribution

AREA DISTRIBUTION 10%

10%

5%

3%

WORKSHOP 25%

9%

AMINISTRATION

38%

EXHIBITION GALLERY LIBRARY AUDITORIUM AMENITIES SERVICES

Chart 2.3 (ii) Site Distribution

Madhya Pradesh Tribal Museum, Bhopal

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3. ARCHITECTURAL DRAWINGS: 3.1 CONCEPTUAL PLAN: The Museum is designed to create a built fabric which the tribal communities could identify with, extend, and evolve, to represent them and express their own ideas and way of life with ease and spontaneity.

Fig. 3.1 (i) Concept development

3.2

SITE PLAN:

Fig. 3.2 (i) Site Plan of Tribal Museum

Madhya Pradesh Tribal Museum, Bhopal

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Case Study 2018 The site is developed on the contours of Shyamala hills, Bhopal. The staff and visitors area has been segregated and the main entry was designed at first floor.

Fig. 3.2 (ii) Entrance and Exit of Tribal Museum

3.3

CIRCULATION PLAN:

At entrance a person has 2 choices whether to go to the museum display or to the warehouse. After entering the main museum circulation path has been defined to make visitors go to through the same passage and experience the whole museum as shown in Fig. 3.3 (ii). A separate passage way has been defined for the peoples with the office related work as shown in Fig. 3.2 (i). Special care has been taken for the movement of the physically challenged visitors. A central area for seating for the fatigue. Central area was created around the small manmade lake with ducks which makes the view quite relaxing.

Fig. 3.3 (i) Spatial integration in State and Tribal Museum

Madhya Pradesh Tribal Museum, Bhopal

Fig. 3.3 (ii) Circulation Plan

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3.4

ZONING:

The museum is segregated between public and administrative spaces. Continuity of the spaces is maintained to integrate spaces throughout horizontal zoning. Administrative and workshop is placed at lower levels while public area like exhibitions galleries, auditorium and restaurants are placed at upper level in vertical zoning.

Fig. 3.4 (i) Zoning of Tribal Museum

3.5

FLOOR PLANS:

The well planned campus is divided into 6 galleries depicting Cultural Diversity, Tribal Life, Tribal Art, Tribal Mythology, and Tribal’s of Chhattisgarh and Tribal Games. It also has Art Exhibition Gallery and Open Air Theatre. All the artefacts in Galleries are majorly taken from 7 major and most important tribes of state namely Gond, Bheel, Korku, Kol, Bharia, Baiga and Saharia. The main entrance was at First floor and it connect Ground floor through ramps.

Fig. 3.5 (i) First Floor Plan

Madhya Pradesh Tribal Museum, Bhopal

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Fig. 3.5 (ii) Entrance faรงade of Tribal Museum

Fig. 3.5 (iii) Reception Counter & Museum Shop

Fig. 3.5 (iv) Ground Floor Plan

Madhya Pradesh Tribal Museum, Bhopal

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Fig. 3.5 (v) Ramp connecting First floor & Ground floor

3.6

ELEVATIONS:

The museum’s elevation has been beautifully depicted through tribal paintings and carvings to relate it to the tribal huts.

Fig. 3.6 (i) Sectional Elevation

Fig. 3.6 (ii) Side Elevation

Fig. 3.6 (iii) Sectional Elevation of Gallery

Madhya Pradesh Tribal Museum, Bhopal

Fig. 3.6 (iv) East Side Section

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3.7

SECTIONS:

The contours of the site play an important role in the vertical zoning of the museum. The roof truss is made up of long span steel structures as shown in Fig. 3.7(ii).

Fig. 3.7 (i) Site Section

Fig. 3.7 (ii) Section of Library Block

Fig. 3.7 (iii) Section of North Zone Gallery

Fig. 3.7 (iv) Section of Entrance Block

3.8

CEILING PLAN:

The ceiling of the Tribal Museum has a hut type structure which supports and incorporates the displays in the museum.

Madhya Pradesh Tribal Museum, Bhopal

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Fig. 3.8 (i) Inverted Ceiling Plan

3.9

Fig. 3.8 (ii) Lighting Layout

DETAILS:

Fig. 3.9 (i) Structural Truss Detail

Fig. 3.9 (ii) Restaurant Plan

Madhya Pradesh Tribal Museum, Bhopal

Fig. 3.9 (iii) Auditorium Plan

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4. SITE PHOTOGRAPHS:

Fig. 4 (i) Tribal Painting

Fig. 4 (iii) Tribal Hut

Fig. 4 (vi) Spiritual Gallery

Fig. 4 (ii) Open Air Theatre

Fig. 4 (iv) Art Gallery

Fig. 4 (vii) Tribal Life Gallery

Madhya Pradesh Tribal Museum, Bhopal

Fig. 4 (v) Corridor

Fig. 4 (viii) Devlok Gallery

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5. MATERIALS: The structure is built of steel tubes, castellated girders, and steel rods fabricated into intricate trusses. Steel seemed to be a natural choice in the land & location of ancient Iron Age & Bronze Age civilizations, and the contemporary truck body building industry.

Fig. 5 (i) Clay pot for display

Fig. 5 (iii) Use of Stones

Fig. 5 (ii) Use of Bamboo for shading

Fig. 5 (iv) Wood for Furniture

Fig. 5 (v) Plaster of Paris

The walls use both local stone left exposed and brick plastered with crushed stone on the outside and mud plaster on the inside. The roofs are made of half-round tiles, galvalume sheets and concrete with a topping of grass and groundcover.

6. LIGHTING: Courtyards puncture the built mass, bringing in light and air, while enabling the roof forms to establish modulated scales and compositions as shown in Fig. 6 (ii). Perforated lighting is also used to illuminate the spaces. Bamboos are used for proving shades in corridor.

Madhya Pradesh Tribal Museum, Bhopal

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Fig. 6 (i) Perforated Lighting

Fig. 6 (ii) Courtyard

Artificial lighting is used strategically in the tribal museum. Spot lighting and task lighting is used particularly rather than ambient lighting. To balance shadows and luminance is easily checked by artificial lighting in the museum.

Fig. 6 (iii) Artificial Lighting

7. OBSERVATION: The architecture of the museum, integrates seamlessly into a continuum, the outside with the inside, the natural with the human construct, the tribal with the urban and the viewer with the viewed.

The landscape is designed to collect and store rain water, to be used for both cooling and irrigating the green roof, and gardens. The plant material is composed of largely local forest species.ith the viewed. However, the landscape is not such design that visitors can use the area.

The workshop and administrative are is not properly segregated and any visitor can reach these area. Local available materials are used to exhibits the tribal life.

Madhya Pradesh Tribal Museum, Bhopal

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8. DESIGN ANALYSIS: Spaces have been integrated according to the user need and activities; the display area has been designed at the upper level while the administrative area workshop area is placed at the lower level.

Main entrance is also placed at upper level while the exit is at the lower level.

Balance between natural and artificial lighting is well maintained. Natural lighting has been checked through shading devices. Artificial lighting is also designed strategically.

The Museum is designed to create a built fabric which the tribal communities could identify with, extend, and evolve, to represent them and express their own ideas and way of life with ease and spontaneity. While the architecture of the Museum is inspired by tribal rhythms, geometries, materials, forms, aesthetics and spatial consciousness.

9. CONCLUSION: Best thing about the tribal museum, Bhopal was its way of displaying tribes and different cultures.

People can actually touch the sculptures. They can feel the material. All the sculptures and other show casing things were created by the tribal people themselves using the basic and old techniques.

As there were no rare things in displays, so there was no requirement of the conservation lab.

Instead of conservation lab there was a warehouse made for the restoration of the displays and the sculptures. Large and bigger halls provide the sufficient space to display big things and yet making the circulation easy.

Madhya Pradesh Tribal Museum, Bhopal

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Case Study 2018

NATIONAL MUSEUM, NEW DELHI 1. INTRODUCTION: The National Museum in New Delhi is one of the largest museums in India. It holds variety of articles ranging from pre-historic era to modern works of art .It was established on August 15, 1949 in the Darbar Hall of Rastrapati Bhavan. It functions under the Ministry of Culture, Government of India. The museum is situated on the corner of Janpath and Maulana Azad Road. The blue–print of the National Museum had been prepared by the Gwyer Committee set up by the Government of India in 1946. The museum has around 200,000 works of art, both of Indian and foreign origin, covering over 5,000 years.

It also houses the National Museum Institute of History of Arts, Conservation and Museology on the first floor which was established in 1983 and now is a Deemed University since 1989, and runs Master’s and Doctoral level courses in History of Art, Conservation and Museology.

1.1 RELEVANCE: The National Museum is one of the largest and well designed museums in India, also the museum is situated near to the site of the proposed thesis project, which make it selection important to understand the design feature of the area and issue faced. Also, as it is the National Museum of India, it selection becomes more important in reference to understand the design of the context and aspects of museum planning.

Having a wide range of masterpieces of sculptural art in such medium: stone, terracotta, stucco, bronze gold, silver, ivory, bone, spanning a period of over two millenniums, from the 3rdcentury BC to the 19th century AD, one of the longest in the history of world’s art-heritage, the Department of Archaeology make this museum a relevance choice for understanding the design context of the museum planning.

Fig. 1.1 (i) Displays in National Museum

National Museum, New Delhi

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1.2 SITE: The museum is situated on the corner of Janpath and Maulana Azad Road over an area of 7.5 acres, with a build up area of about 18,000 sq. m.

Latitude: 28° 36' 42.4764'' N Longitude: 77° 13' 10.1748'' E Connectivity:    

1.2 km away from Central Secretariat Metro Station 3.8 km away from New Delhi Railway Station 14.5 km away from Indira Gandhi international Airport Nearest stops : National Museum Bus Stop

Climate:      

Macro-Climate: Humid Subtropical Average Temperature: 25.0 °C Maximum Temperature: 47.0 °C Minimum Temperature: -2.2 °C Annual Precipitation: 886 mm Prevailing Wind Direction: 18km/h North-West

Fig. 1.2 (ii) Sun Path Diagram Fig. 1.2 (iii) Prevailing Wind Direction

1.3 SCALE: “If you spent only one minute with each piece in the National Museum’s collection, it would take three years, nine months and twenty-three days to view every item.

Recognizing that 2,00,000 sculptures, paintings, coins, decorative arts, textiles, arms and armours, manuscripts and anthropological objects can overwhelm even most enthusiastic visitor. It has about 25 main art gallery sections for encapsulating the diversity of the museum. The museum also encompasses a grand library and auditorium which make this museum one of the largest and well designed museums in India.” 9

9. Published by National Museum. 2018. The Museum in 90 minutes. Vol. I: 2.

National Museum, New Delhi

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Case Study 2018

2. AREA PROGRAMME: 2.1 AREA CHART: Sr. No. 1.

2.

3.

4.

Space

No. of Units

Area (in sq. m)

1 1

250 30 20

ADMINISTRATION Staff Office Director General’s Chamber Curator Office Meeting Room Staff Rest Room Security Monitoring Room Server Room Staff Toilet (M/F) Store Staff Canteen

10 1 2 2 1 1 1 5/5 5 1

120 30 20 100 40 20 20 50 200 100

WORKSHOP Wood Workshop Metal Workshop Terracotta Workshop Store Store Props

1 1 1 3 1

200 200 200 120 80

ENTRANCE Entrance Hall Reception Back Office

EXHIBITION GALLERY Harapan Civilisation Gallery Mauryan Gallery Gupta Gallery Terracotta Gallery Bronze Gallery Medieval Art Gallery Buddhist Art Gallery Jewellery Gallery Decorative Art Gallery Miniature Painting Gallery Textile Gallery Western Art Gallery Copper Gallery Wood Carving Gallery Tribal Art Gallery Music Instrument Gallery Arms & Armour Gallery Asian Antique Gallery

National Museum, New Delhi

Design Capacity 100

50

200

4000 1 1 1 1 1 1 1 1 3 1 1 1 1 1 1 1 1 4

300 60 300 300 400 400 300 400 600 300 200 200 200 200 400 300 300 1000 Page 28

Case Study 2018 Ethnic Art Gallery Coins Indian Wall Painting Gallery Manuscript Gallery Maritime Heritage Gallery Ajanta Painting Thanjavur Painting Gallery Special Exhibition

1 1 1 1 1 1 1 1

200 400 300 60 300 200 300 1000

5.

LIBRARY Librarian’s Office Cyber Room

1 1

200 20 30

50

6.

AUDITORIUM Projection Room Green Room

1 1

500 20 30

250

7.

AMENITIES Restaurant Museum Shop Seminar Hall Toilet (M/F)

1 1 1 10/10

250 100 200 50

60 25 50

8.

SERVICES Maintenance Janitor Room Store Housekeeping Centre High Tension Control Room HVAC Room

1 1 5 1 1 1

50 20 100 20 200 200

9.

LABORATORY

4

200

10.

LOADING AREA

-

400

11.

ART & CRAFT CENTRE

-

300

12.

OPEN SPACES Courtyard Central Amphitheatre Open Air Theatre

4 -

100 100 50

13.

PARKING VIP Parking Staff Parking

-

500 100 100

14.

TRANSITION AREA (30% of Total Build up Area) TOTAL AREA

National Museum, New Delhi

50

50 100

100

4000

18,500 Sq. M Page 29

Case Study 2018

2.2 USER ACTIVITY: USER VISITOR

ADMINISTRATION & SERVICE STAFF

ACTIVITY Visual Experience

Shopping

Museum Shop

Reading

Library Cyber Room

Parking

Parking Area

Sanitation

Toilet

Beverage & Food

Restaurant Staff Canteen Office Server Room

Official Work & Monitoring

Services

National Museum, New Delhi

SPACE Harapan Civilisation Gallery Mauryan Gallery Gupta Gallery Terracotta Gallery Bronze Gallery Medieval Art Gallery Buddhist Art Gallery Jewellery Gallery Decorative Art Gallery Miniature Painting Gallery Textile Gallery Western Art Gallery Copper Gallery Wood Carving Gallery Tribal Art Gallery Music Instrument Gallery Arms & Armour Gallery Asian Antique Gallery Ethnic Art Gallery Coins Indian Wall Painting Gallery Manuscript Gallery Maritime Heritage Gallery Ajanta Painting Thanjavur Painting Gallery Special Exhibition Auditorium

Maintenance Janitor Room Store Housekeeping Centre Page 30

Case Study 2018 High Tension Control Room HVAC Room

WORKER STAFF

Meeting

Meeting Hall Seminar Hall

Retiring

Staff Rest Room

Beverage & Food

Pantry

Sanitation Restoration

Staff Toilet Restoration Laboratory Store Reserve Collection

2.3 AREA DISTRIBUTION:

SITE DISTRIBUTION 40%

BUILT UP SPACE

48%

LANDSCAPE TRANSITION SPACE PARKING

9%

OPEN SPACE 2% 2% Chart 2.3 (i) Site Distribution

AREA DISTRIBUTION ADMINISTRATION 2% 3% 5% 4%

5%

5%

WORKSHOP 7% EXHIBITION

2%

LIBRARY AUDITORIUM AMENITIES 67%

SERVICES LABORATORY ART & CRAFT CENTRE

Chart 2.3 (ii) Site Distribution

National Museum, New Delhi

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3. ARCHITECTURAL DRAWINGS: 3.1 CONCEPTUAL PLAN: Building was designed such that it merges with the site surrounding. It was the first planned museum at the National level. Building comprises of four storied with a basement. Basic plan of the building is fan shaped with a circular courtyard in between surrounded by a covered Veranda.

Wings are linked with the courtyard according to different requirements and need. Hence, one’s find that after watching the exhibits one finds himself again in the same place from where he/she started.

Fig. 3.1 (i) Concept development of the museum

3.2 SITE PLAN: The site is not well designed as there is no segregation of spaces. There is no proper parking facility and the landscape area is not designed well. Parking facilities are provided at the adjacent building.

Fig. 3.2 (i) Site Plan of National Museum

National Museum, New Delhi

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3.3 CIRCULATION PLAN: The Ideology behind the circulation pattern was that every section of exhibition can be experienced by the visitors and no section is left untouched.

Fig. 3.3 (i) Circulation Plan of National Museum

3.4 ZONING: The zoning of the museum is done horizontally as well as vertically. Administration and other staff related spaces are placed at the basement of the museum. Services like HVAC, electrical and other are also placed at the basement. Exhibitions are placed at the upper level. Horizontally, the museum is zoned into open, transition and exhibition spaces. Such zoning makes this museum a nice visitor’s experience.

Fig. 3.4 (i) Horizontal zoning of National Museum

3.5 FLOOR PLANS: Exhibition halls are interconnected with one another with a centre circulation court 6m wide.

Separate entrance for VIP and physically handicapped is present. Basement consists of AC plan room, staff cafeteria, and workshop.

National Museum, New Delhi

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Fig. 3.5 (i) Basement Plan

Fig. 3.5 (ii) Ground Floor Plan

Harapan Civilisation Gallery, Mauryan Gallery, Gupta Gallery, Terracotta Gallery, Bronze Gallery, Medieval Art Gallery, Buddhist Art Gallery, Jewellery Gallery, Decorative Art Gallery, Miniature Painting Gallery, Auditorium and Library are placed at Ground Floor.

Coins, Indian Wall Painting Gallery, Manuscript Gallery, Maritime Heritage Gallery, Ajanta Painting, Thanjavur Painting Gallery, Special Exhibition are placed at First Floor.

Textile Gallery, Western Art Gallery, Copper Gallery, Wood Carving Gallery, Tribal Art Gallery, Music Instrument Gallery, Arms & Armour Gallery, Asian Antique Gallery, Ethnic Art Gallery are placed at Second Floor.

Fig. 3.5 (iii) First Floor Plan

National Museum, New Delhi

Fig. 3.5 (iv) Second Floor Plan

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3.6 ELEVATIONS:

Fig. 3.6 (i) Courtyard

Fig. 3.6 (ii) Model of National Museum

Fig. 3.6 (iii) Front Elevation

3.7 DETAILS:

Fig. 3.7 (i) Special Exhibition Plan

National Museum, New Delhi

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Case Study 2018

Fig. 3.7 (ii) Special Exhibition Plan

4. MATERIALS:

Fig. 4 (i) Use of Aluminium & Wood in National Museum

Interiors are done with the help of Wood, Glass and Stone. Flooring used is marble and Wood.

Different wall colour and rendering is done to avoid monotony. Aluminium is also used in many sections such as Bronze and Coin Gallery. Building is made using high strength R.C.C. and red sandstone. Temporary structures are provided around the building.

5. LIGHTING: Each display has its own focussed light, diffused light. Lights are used in false ceilings or hanged by steel section. No natural light are used inside the museum. Artificial lighting is done with day light exhibits kept to minimum. Natural lighting is only used in centre circulation court. Well played with focused lights with the use of concave and convex lenses different places. In jewellery section the gallery was dark and recessed pockets were made with minimal lighting. The whole structure is based around the central rotunda which lights up the entire corridor.

National Museum, New Delhi

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Fig. 5 (i) Effective use of Spot Lighting

6. OBSERVATION: The collection consists broadly of nine thousand six hundred objects, aesthetic and votive representing different themes – likeness of royal ladies, singers, dancers, kings, scenes of court-life and even animal figures representing aesthetic aspect of art, and myths, legends, narratives or deity images representing its religious aspect.

The ideology of circulation pattern in the museum is one a greater aspect in the museum, the ideology to make visitor experience each and every gallery and in a chronological sequence.

Proper parking facility was not there for visitor, Archaeological survey of India building was used for parking. Only front façade was articulated, rear façade was only plastered. Placement of toilet was not proper; entry was from the landing of staircase. Fire exits were hidden and in case of emergency it is difficult to come out of the place.

7. DESIGN ANALYSIS: The Department has showcased its objects in different galleries, all on the ground floor. Though scholastic Approach might always present a different perception, the objects displayed in each gallery have been properly classified, the basis being dynastic, stylistic, chronological and religious.

Although ramp runs throughout the museum but still the design is not universal.

The use of artificial lighting inside the gallery balancing with shadows is one major design aspect of the museum, to prevent sculptures and exhibits from harsh sunlight. The internal courtyard is placed to light up the corridors.

8. CONCLUSION: Having a wide range of masterpieces of sculptural art in such medium: stone, terracotta, stucco, bronze gold, silver, ivory, bone, spanning a period of over two millenniums, from the 3rdcentury BC to the 19th century AD, one of the longest in the history of world’s art-heritage, the Department of Archaeology make this museum a relevance choice for understanding the design context of the museum planning. The museum has its merits and demerits. Its zoning and circulation pattern has National Museum, New Delhi

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Case Study 2018 one of the major merits while on the other hand due to lack or space, landscape is not developed at optimum level. Use of materials and some new sections are designed from contemporary styles.

The segregation of spaces, temporary and permanent exhibitions is one of the best design aspects of the museum.

National Museum, New Delhi

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Literature Study 2018

SOLOMON R. GUGGENHEIM MUSEUM, NEW YORK 1. INTRODUCTION: “Swelling out towards the city of Manhattan, the Solomon R. Guggenheim Museum was the last major project designed and built by Frank Lloyd Wright between 1943 until it opened to the public in 1959, six months after his death, making it one of his longest works in creation along with one of his most popular projects. Completely contrasting the strict Manhattan city grid, the organic curves of the museum are a familiar landmark for both art lovers, visitors, and pedestrians alike. “10 The Solomon R. Guggenheim Museum, often referred to as The Guggenheim, is an art museum located at 1071 Fifth Avenue on the corner of East 89th Street in the Upper East Side neighbourhood of Manhattan, New York City. It is the permanent home of a continuously expanding collection of Impressionist, Post-Impressionist, early Modern and contemporary art and also features special exhibitions throughout the year. The museum was established by the Solomon R. Guggenheim Foundation in 1939 as the Museum of Non-Objective Painting, under the guidance of its first director, the artist Hilla von Rebay. It adopted its current name after the death of its founder, Solomon R. Guggenheim, in 1952.

1.1 RELEVANCE: Rebay conceived of the space as a "temple of the spirit" that would facilitate a new way of looking at the modern pieces in the collection. She wrote to Wright that "Each of these great masterpieces should be organized into space, and only you ... would test the possibilities to do so. ... I want a temple of spirit, a monument!"

Wright held that a building should be a product of its place and its time, intimately connected to a particular moment and site—never the result of an imposed style. It is one of the best examples of art gallery around the world and design on basis of modern contemporary style.

Fig. 1.1 (i) Solomon R. Guggenheim Museum, New York

10. Perez, Adelyn. 2010. AD Classics: Solomon R. Guggenheim Museum / Frank Lloyd Wright. [https://www.archdaily.com/60392/ad-classics-solomon-r-guggenheim-museum-frank-lloyd-wright]. Accessed July 19, 2018.

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1.2 SITE: The Solomon R. Guggenheim Museum, often referred to as The Guggenheim, is an art museum located at 1071 Fifth Avenue on the corner of East 89th Street in the Upper East Side neighbourhood of Manhattan, New York City.

Latitude: 40° 46' 58.728'' N Longitude: 73° 57' 32.2956'' W Connectivity:  5.1 km away from Grand Central  6.0 km away from Pennsylvania Station  29.2 km away from J. F. Kennedy International Airport Climate:      

Macro-Climate: Humid Continental Average Temperature: 12 °C Maximum Temperature: 27 °C Minimum Temperature: -18 °C Annual Precipitation: 1600 mm Prevailing Wind Direction: 15km/h North-West

Fig. 1.2 (ii) Sun Path Diagram

Fig. 1.2 (iii) Prevailing Wind Direction

1.3 SCALE: “The project is one thee master piece is one of the greatest architect of the known world. The museum is one of the best designed museums in the world. F. L. Wright’s design philosophy makes this project one of its kind. The project covers about 4700 sq. m of gallery space, 1400 sq. m of office space, theatre, and retail space. 28m tall atrium topped with expansive glass dome and main ramp coils upward 6 floors, more than half a kilometre.” 11

11. Byrne, Steven. 2011. Guggenheim Modern Art Museum, NY. [http://faculty.arch.tamu.edu/media/cms_page_media/4433/GuggenheimMuseum.pd]. Accessed July 19, 2018.

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2. AREA PROGRAMME: 2.1 AREA CHART: Sr. No.

No. of Units

Area (in sq. m)

1 1

300 30 20

ADMINISTRATION Staff Office Director General’s Chamber Curator Office Meeting Room Staff Rest Room Security Monitoring Room Server Room Staff Toilet (M/F) Restoration Laboratory Pantry

5 1 1 1 1 1 1 5/5 1 1

60 20 12 40 40 20 20 30 200 40

EXHIBITION GALLERY Level 1 Gallery Level 2 Gallery Level 3 Gallery Level 4 Gallery Level 5 Gallery Level 6 Gallery Level 7 Gallery

1 1 1 1 1 1 1

200 400 800 800 800 400 200

5.

LIBRARY Librarian’s Office Cyber Room

1 1

150 20 30

60

7.

AMENITIES Restaurant Museum Shop Seminar Hall Toilet (M/F)

1 1 1 10/10

200 100 200 50

50 40 50

1.

2.

3.

8.

Space

ENTRANCE Entrance Lobby Reception Back Office

SERVICES Maintenance Janitor Room Store Housekeeping Centre High Tension Control Room HVAC Room

Solomon R. Guggenheim Museum, New York

Design Capacity 100

50

50

700

1 1 5 1 1 1

200 50 200 200 200 200 Page 41

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9.

PARKING Staff Parking

-

10.

OPEN SPACES Atrium

-

11.

TRANSITION AREA (40% of Total Build up Area) TOTAL AREA

200 100

40

250

900 3200

11,200 Sq. M

2.2 USER ACTIVITY: USER VISITOR

ADMINISTRATION & SERVICE STAFF

ACTIVITY Visual Experience

SPACE Level 1 Gallery Level 2 Gallery Level 3 Gallery Level 4 Gallery Level 5 Gallery Level 6 Gallery Level 7 Gallery

Shopping

Museum Shop

Reading

Library Cyber Room

Parking

Parking Area

Sanitation

Toilet

Beverage & Food

Restaurant Water Fountain Office Server Room

Official Work & Monitoring

Services

Maintenance Janitor Room Store Housekeeping Centre High Tension Control Room HVAC Room

Meeting

Meeting Hall Seminar Hall

Retiring

Staff Rest Room

Beverage & Food

Pantry

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WORKER STAFF

Sanitation Restoration

Staff Toilet Restoration Lab Store Reserve Collection

2.3 AREA DISTRIBUTION:

SITE DISTRIBUTION 20% 46%

7%

BUILT UP AREA TRANSITION SPACE PARKING

3%

25%

ATRIUM OPEN AREA

Chart 2.3 (i) Site Distribution

AREA DISTRIBUTION 18%

9% ADMINISTRATION

EXHIBITION

LIBRARY

AMENITIES

9%

4%

60% SERVICES

Chart 2.3 (ii) Site Distribution

3. ARCHITECTURAL DRAWINGS: 3.1 CONCEPTUAL PLAN: Wright created the philosophy of “organic architecture,” which maintains that the building should develop out of its natural surroundings. Although the word “organic” usually refers to something that bears the characteristics of plants or animals, for Frank Lloyd Wright the term organic architecture had a separate meaning. For him organic architecture was an interpretation of nature’s principles manifested in buildings that were in harmony with the world around them. Building inspired by Wright’s love for the automobile – Planetarium – designed for visitors to drive up the ziggurat-like ramps.

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Fig. 3.1 (i) Concept development of the museum

3.2 SITE PLAN:

Fig. 3.2 (i) Site Plan of Guggenheim Museum

3.3 CIRCULATION PLAN: In the Guggenheim, Wright intended to allow visitors to experience the collection paintings by taking an elevator to the top level then view artworks by descending the central spiral ramp.

Museum currently designs exhibits to be viewed walking up the ramp rather than walking down.

From street, building looks like a white ribbon rolled into a cylindrical shape, slightly wider at the top than at the bottom.

Fig. 3.3 (i) Circulation Plan of Guggenheim Museum

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3.4 ZONING: The museum was designed by zoning of spaces into exhibition spaces, administrative space and other amenities. Spaces were zoned vertically rather than horizontal approach. Four floors of exhibition space, three of which are double height, also have office and storage space for mechanical systems.

Fig. 3.4 (i) Vertical zoning of Guggenheim Museum

3.5 FLOOR PLANS: Four floors of exhibition space, three of which are double height, also have office and storage space for mechanical systems. Twelve radial web walls divide the gallery into 70 bays for viewing artwork. A large glass dome covers the entire rotunda, providing natural lighting inside the gallery.

Skylights line each level of the rotunda, providing natural light along the periphery. The gallery walls are 9’6� tall and slope slightly outwards at 97 degrees from the floor. Designed to hold paintings, the tilt of the gallery walls was intended to replicate the slope of an easel.

Fig. 3.5 (i) Floor Plan of Guggenheim Museum

Fig. 3.5 (ii) Guggenheim Museum

3.6 ELEVATIONS:

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Fig. 3.6 (i) Front Elevation of Guggenheim Museum

Fig. 3.6 (ii) 3D view of Guggenheim Museum

3.7 SECTIONS:

Fig. 3.7 (i) Section of Guggenheim Museum

Fig. 3.7 (ii) 3D Section of Guggenheim Museum

3.8 DETAILS: A giant spiral ramp circulates up to a giant dome with twelve narrow reinforced concrete partitions that pierce the spiral and serve as stiffeners. The web walls act as shear walls, transferring forces laterally and vertically, while helping resist bending moments. 12 radial web walls around the rotunda, 8� thick and 25’ wide at the top were designed. Structural core includes staircase and elevator shaft. Acts as structural anchor and provides an alternate circulation to the ramp

Fig. 3.8 (i) Structural Details of Guggenheim Museum

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4. MATERIALS: The Guggenheim is primarily composed of reinforced concrete. Normal weight cast in place concrete is the material of the lower levels. Light weight concrete is the material of the interior radial walls and the ramps. Gunite, or shotcrete, is the material used for the exterior of the spiral curved walls. Wright used gunite to achieve a seamless monolithic façade. Wright left out expansion joints, which would have created visual vertical breaks. He hoped the application of elastomeric paint, known as the “cocoon” would fill in the cracks formed during construction. The pairing of multiple types of concrete caused visible cracks in the façade. Steel framed windows, Aluminum skylights were designed. Cement plasters soffits on metal lath.

Fig. 4 (i) Materials used in Construction

5. LIGHTING: Skylights was originally intended to illuminate the painting in natural light, but were changed to artificial to have more controlled lighting. The huge 29m atrium was designed for proper lighting conditions. Luminance ceiling was designed further for more lighting.

Fig. 5 (i) Luminance Ceiling & Atrium for natural lighting

6. OBSERVATION: The exterior of the Guggenheim Museum is a stacked white cylinder of reinforced concrete swirling towards the sky. The museum's dramatic curves of the exterior, however, had an even more Solomon R. Guggenheim Museum, New York

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Literature Study 2018 stunning effect on the interior. Inside Wright proposed "one great space on a continuous floor," and his concept was a success.

Walking inside, a visitor's first intake is a huge atrium, rising 92' in height to an expansive glass dome. Along the sides of this atrium is a continuous ramp uncoiling upwards six stories for more than one-quarter of a mile, allowing for one floor to flow into another. The ramp also creates a procession in which a visitor experiences the art displayed along the walls as they climb upwards towards the sky.

7. DESIGN ANALYSIS: The design of the museum as one continuous floor with the levels of ramps overlooking the open atrium also allowed for the interaction of people on different levels, enhancing the design in section.

Although the space within the building is undeniably majestic and the building itself monumental, it was not perfectly successful in terms of function. The curved walls of the interior were intended so that paintings had to be tilted backward, "as on the artist's easel." This was unsuccessful because the paintings were still very difficult to display because of the concavity of the walls, and because of this before its opening 21 artists signed a letter protesting about their display of work in such a space.

Many critics also argue that the building competes with the art work that is intended to be displayed, a problem which Museum Director James Johnson Sweeney took seriously, stating, and “This is the most spectacular museum interior architecturally in this country. But my job is to show off a magnificent collection to its fullest.” Wright also had a problem with Manhattan's buildingcode administrators who argued with him over structural issues, such as the glass dome that had to be reduced in size and redesigned to include concrete ribs that are extensions of the discreet structural pillars on the exterior walls.

8. CONCLUSION: Despite the opinion of critics, there is no doubt that Wright's design for the Guggenheim Museum provides a spatial freedom that is unique to his style. It took Wright 700 sketches and six sets of working drawings to turn his vision into an extraordinary sculpture of a building overlooking Central Park, that in the very least should be acknowledged as one of the most spatially beautiful International-style works of architecture.

Wright also embraced new materials, machinery, and technologies. Far from seeing them in opposition to nature, he saw them as allies. Depending upon each other for their integrity, nature would inform and machinery execute a totally new architecture—one where the machine’s capacities transformed natural principles into architectural forms.

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BIHAR MUSEUM, PATNA 1. INTRODUCTION: Patna is a city with a storied past and this land saw the advent of many glorious civilizations. The history of this city unravels like a ball of thread that surprises you with twists and turns as we travel over two millennia. The Patna Museum established in 1917 will soon turn a century old along with the date of discovery of its most cherished and visited artefact – the world famous Didarganj Yakshi, a statue of monumental Mauryan vision. In the state of Bihar, the need for a new museum was seriously felt, the Patna Museum having limitations, both in physical space as well as in its design and methods of presentation.12 Bihar Museum is a modern state of the art museum located in Patna. It was partially opened in August, 2015. 'The children's museum', the main entrance area, and an orientation theatre were the only parts opened to the public in August 2015. Later, in October 2017 remaining galleries were also opened. More than 100 artefacts were transferred here from Patna Museum.

It was planned as a history museum for the state of Bihar, and began construction in Bailey Road, Patna in October 2013 with an estimated budget of ₹498 crore (US$74 million). The Museum was planned to bring the region's thousands year history into focus, inspiring local residents and visitors from across the globe to explore Bihar’s rich heritage, historic sites and cultural attractions.

1.1 RELEVANCE: For the design of the Museum building, world renowned architectural firms were invited to submit their proposals and selection was on a competitive basis. Japanese firm, Maki and Associates submitted the winning concept, which they proposed to execute with OPOLIS Architects, based in Mumbai. For the Bihar Museum, Maki outlined a concept that was appealing to the sensory experience, fitting with practical considerations and making provisions for the future growth of the establishment. The architects visualized the Museum as if viewing it through different lenses to expand on four different facets. 13

Fig. 1.1 (i) Bihar Museum 12. About Museum. [http://biharmuseum.org/more/more-about-museum/]. Accessed July 20, 2018.

13. About Museum. [http://biharmuseum.org/more/more-about-museum/]. Accessed July 20, 2018.

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1.2 SITE: Department of Art, Culture and Youth, State of Bihar (DACY) proposed a new Museum on Bailey Road on the site west of the Patna Museum.

Latitude: 25° 36' 27.7704'' N Longitude: 85° 7' 12.9036'' E Connectivity:  3.6 km away from Patna Junction  4.5 km away from Mithapur Bus Stand  4.7 km away from Jay Prakash Narayan International Airport Climate:      

Macro-Climate: Hot & Humid Average Temperature: 27.1 °C Maximum Temperature: 46.0 °C Minimum Temperature: 1.1 °C Annual Precipitation: 1100 mm Prevailing Wind Direction: 6km/h North-East

Fig. 1.2 (ii) Sun Path Diagram

Fig. 1.2 (ii) Maximum & Minimum Temperature

1.3 SCALE: A 25,000 square meters museum and marketplace concept was to be developed, with "G+1" structure and with a very small portion being "G+4". It is six-storey building spread over 5.6 hectares, having 24,000 square meters of built area.

The generous 5.3 hectare plot along Patna’s Bailey Road allowed for a variety of site planning approaches, while demanding sensitivity to its low-scale surroundings and prominent tree growth.

In response to this context, Maki and Associates conceived the Bihar Museum as a “campus” - an interconnected landscape of buildings and exterior spaces that maintains a modest but dynamic profile, in harmony with existing site conditions.14

14. The Bihar Museum / Maki and Associates + Opolis. 2018. [https://www.archdaily.com/889978/the-bihar-museummaki-and-associates-plus-opolis]. Accessed July 20, 2018.

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2. AREA PROGRAMME: 2.1 AREA CHART: Sr. No. 1.

2.

3.

4.

Space

ENTRANCE Entrance Court Reception Back Office Information Help Desk Ticket Counter Drop off ADMINISTRATION Staff Office Director General’s Chamber Curator Office Meeting Room Staff Rest Room Security Monitoring Room Server Room Staff Toilet (M/F) Store Staff Canteen WORKSHOP Wood Workshop Metal Workshop Terracotta Workshop Store Store Props EXHIBITION GALLERY Bronze Sculpture Store Coins Vault Textile Gallery Miniature Gallery Manuscript Gallery Hindu Art Gallery Buddhist Art Gallery Jain Art Gallery Tribal Art Gallery Terracotta Gallery Children’s Museum Pre Show Display Post Show Display Temporary Exhibition

Bihar Museum, Patna

No. of Units

Area (in sq. m)

Design Capacity 100

1 1 1 2 1

400 30 20 20 20 200 50

10 1 2 2 1 1 1 5/5 5 1

200 30 40 200 100 30 30 50 1000 200 200

1 1 1 1 1

200 200 200 200 100 1500

1 1 1 1 1 1 1 1 1 1 1 1 1 1

300 200 300 300 100 200 400 200 600 300 600 200 100 1000 Page 51

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LIBRARY Librarian’s Office Cyber Room

1 1

300 20 30

100

6.

AUDITORIUM Projection Room Green Room

1 1

300 20 30

100

7.

AMENITIES Restaurant Museum Shop Seminar Hall Toilet (M/F)

1 2 1 10/10

250 200 200 50

50 50

8.

SERVICES Maintenance Janitor Room Store Housekeeping Centre High Tension Control Room HVAC Room

1 1 1 1 1 1

100 50 200 100 200 200

9.

LABORATORY

4

200

10.

LOADING AREA

-

400

11.

OPEN SPACES

-

1000

250

12.

PARKING VIP Parking Staff Parking

-

500 100 100

100

13.

TRANSITION AREA (40% of Total Build up Area)

50

50

TOTAL AREA

4800

17,000 Sq. M

2.2 USER ACTIVITY: USER VISITOR

Bihar Museum, Patna

ACTIVITY Visual Experience

SPACE Bronze Sculpture Store Coins Vault Textile Gallery Miniature Gallery Manuscript Gallery Hindu Art Gallery Buddhist Art Gallery Jain Art Gallery Tribal Art Gallery Terracotta Gallery Page 52

Literature Study 2018 Children’s Museum Pre Show Display Post Show Display Auditorium Temporary Exhibition

ADMINISTRATION & SERVICE STAFF

WORKER STAFF

Shopping

Museum Shop

Reading

Library Cyber Room

Parking

Parking Area

Sanitation

Toilet

Beverage & Food

Restaurant Staff Canteen Office Server Room

Official Work & Monitoring

Services

Maintenance Janitor Room Store Housekeeping Centre High Tension Control Room HVAC Room

Meeting

Meeting Hall Seminar Hall

Retiring

Staff Rest Room

Beverage & Food

Pantry

Sanitation Restoration

Staff Toilet Restoration Laboratory Store Reserve Collection

2.3 AREA DISTRIBUTION:

SITE DISTRIBUTION BUILT UP SPACE

18% 4% 64%

10% 6%

PARKING TRANSITION LANDSCAPE OPEN SPACE

Chart 2.3 (i) Site Distribution

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3%

AREA DISTRIBUTION

9% 4%

18%

7%

WORKSHOP 9%

5%

ADMINISTRATION EXHIBITION LIBRARY AUDITORIUM AMENITIES

47%

SERVICES LABORATORY

Chart 2.3 (ii) Site Distribution

3. ARCHITECTURAL DRAWINGS: 3.1 CONCEPTUAL PLAN: The constant presence of the natural environment within the Museum “campus” creates a rich, unique experience with each visit, one that changes with the time and seasons. It is hoped that this will encourage repeat visitors, and - together with world-class permanent and temporary exhibits ensure that the Bihar Museum has a lasting educational impact for the children of Bihar and other visitors from across the world.

Fig. 3.1 (i) Concept development of the museum

3.2 SITE PLAN: Inspired by the generous site, Fumihiko Maki conceived the Bihar Museum as a campus with interconnected landscape of built-up and open spaces with modest but dynamic profile, in harmony with the land. The campus incorporates primarily four zones i.e., entrance, education, exhibition and administration. Each wing has been given a distinct and recognizable form within the complex.

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Fig. 3.2 (i) Site Plan of Bihar Museum

Fig. 3.2 (ii) Site Section of Bihar Museum

3.3 CIRCULATION PLAN: The circulation pattern was based on the history of Bihar, starting with Buddhism and Jainism followed by Mauryan and Gupta Empire to Sher Shah Suri and to the Colonial Past to exhibit the great history of Bihar to the Visitors.

Fig. 3.3 (i) Circulation plan of Bihar Museum

Bihar Museum, Patna

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3.4 ZONING: The spaces divide galleries into different specializations, also distinguishing the children’s gallery with its own orientation section. The architecture constantly works to enhance the feeling of wonder and belonging to allow the visitor to explore and discover. The environment is thus envisioned as a learning landscape, a place that creates a sense of calm that is conducive to education.

Fig. 3.4 (i) Zoning of Bihar Museum

3.5 FLOOR PLANS: All independent and smaller-scaled wings are linked together via seven open-to sky courtyards, ensuring that all spaces are connected to the surrounding landscape, while remaining sheltered and comfortable throughout the year. Each courtyard has a unique theme, configuration and spatial quality. Some of these courtyards have been strategically located to preserve the existing trees on the site.

Fig. 3.5 (i) Ground Floor Plan of Bihar Museum

Bihar Museum, Patna

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3.6 ELEVATIONS: Most of the external surfaces of the buildings are clad in zero-maintenance Corten steel, whose earthy brown-red colouration subtly contrasted with the surrounding greenery. The Corten steel is offset with Indian granite and sandstone, terracotta, and glass finishes - a modern material palette with clear connections to Bihar's past and future.

Fig. 3.6 (i) Bihar Museum

Fig. 3.6 (iii) Elevation of Bihar Museum

Fig. 3.6 (ii) Model of Bihar Museum

Bihar Museum, Patna

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3.7 SECTIONS:

Fig. 3.7 (i) Section of Bihar Museum

4. MATERIALS: The Museum’s exterior is characterized by extensive use of weathering steel, a durable material that complements its context and creates a dignified contrast to the surrounding greenery. The weathering steel symbolizes India’s historical achievements in metallurgy as well as its current prominence within the international steel industry (of which Bihar’s rich natural resources have played a critical role).

Fig. 4 (i) Use of different materials in Bihar Museum

It is supplemented with stone, terracotta, and glass finishes - a modern material palette with clear connections to Bihar’s past and future.

5. LIGHTING: Lighting is one of the main aspects of any museum, especially natural lighting and the architects has tackled this issue through bay winds, Façade lighting, luminous walls and a central courtyard. The Atrium at the entrance shows the importance of lighting in museum.

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Fig. 5 (i) Natural Lighting in Bihar Museum

6. OBSERVATION: The Museum as a symbol of Bihar penetrates the visitor’s consciousness by its uniquely juxtaposed forms and building materials. Iron has links to India’s ancient civilizations that thrived in this land and Maki has used weathering steel, also known as Cor-ten Steel, to enhance this symbolic connect with iron, industry and progress.

The architecture of the Museum thus works as a constructive shell for ordering the exhibits and to guide the visitor through a holistic process of learning and journeying through an expansive ground to discover the history of India and for each individual to connect with the greater symbolism.

Landscape of the Bihar Museum is designed beautifully, integrating the spaces through dynamic landscape. Landscape is one of the major aspects of any museum planning. Maki and Associates conceived the Bihar Museum as a “campus” - an interconnected landscape of buildings and exterior spaces that maintains a modest but dynamic profile, in harmony with existing site conditions.

7. DESIGN ANALYSIS: All the built-up blocks have been strategically located in consonance with the configuration of the site. These blocks are linked together by cloisters which are characterised by deeply recessed openings and modern versions of traditional jaali screens.

These screens allowed natural light to enter, while shielding the spaces from heat, and providing relief from the vast black-box exhibition spaces. Spatial depth and layering - channelling the Japanese concept of 'oku' are used throughout, creating a sense of anticipation that culminates in the meditative Buddha courtyard.

8. CONCLUSION: In the words of Fumihiko Maki, "As the building took shape, I came to see it as an extension of my ideas on the group form concept, which emphasizes linkages. Taking advantage of the elongated site in Patna, the museum complex could be called a 'chained group form', where heterogeneous elements are effectively linked by outdoor courts, plazas, and cloisters into a single complex. Because of the large site Bihar Museum, Patna

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Literature Study 2018 and extensive programme, this was the first opportunity in my long career to realize this kind of 'chained group form'."

The museum is well designed and one of the most innovative museum in the present era, encompassing every aspect of design.

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Comparative Study 2018

COMPARATIVE STUDY TRIBAL MUSEUM, BHOPAL

Selection Criteria

NATIONAL MUSEUM, NEW DELHI

GUGGENHEIM MUSEUM, NEW YORK

To understand the To understand the To understand the new way of architectural conceptual and exhibition and new respond to the issue structural aspects visitor’s experience faced in Delhi of museum

BIAHR MUSEUM, PATNA To understand the design of a museum dedicated to a particular identity India

Location

India

India

Year of Completion Architect

2011

1949

United States of America 1952

Kamath Design Studio Madhya Pradesh State Government

Gywer Committee

F.L. Wright

Indian Central Government

Site Area Ground Coverage Built Up Area F.A.R Maximum Height Concept

28,000 sq. m.

25%

30,000 sq. m.

25%

Solomon R. Guggenheim Foundation 20,000 sq. m.

40%

10,300 sq. m.

18,000 sq. m.

11,200 sq. m.

25,000 sq. m.

0.6 -

0.6 -

0.7 -

0.44 18 m

Tribal Life

Form

Integration of Circle Museum & Exhibition

Chronological Circulation Rotunda

Organic Architecture Golden Section

Integrated Campus Linear

Museum & Educational College To make visitor experience each and every gallery Artificial Lighting is used mostly except the inner courtyard to provide the light in corridors Sandstones to resemble the heritage of India

Museum & Art Gallery

Museum

Circular ramp covering the entire museum Atrium in the centre provides natural light to optimize the building efficiency White marble at exterior to make it simple and a divine holy palace of

Linear integration of spaces

Ownership

Function Circulation

To depict different stages of tribal life

Lighting

Use of both natural and artificial lighting strategically

Facade

Tribal Paintings and Carving with a typical Tribal hut type Structure

2017 Maki Associates Opolis Bihar State Government 56,250 sq. m.

33%

Highly efficient design with optimum use of natural lighting

Corten sheets which shows the rich history of Iron in the state

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Comparative Study 2018

Landscape

Not properly developed

Not properly developed

Visitor’s Opinion

A new visitor’s experience rather than boring museum Create a new visitor’s experience

A typical Museum

Merits

A new way of exhibitions

Demerits

Use of local materials The workshop and administrative are is not properly segregated and any visitor can reach these area.

knowledge No space for Landscaping Building form is more attractive than Exhibits

Circulation and zoning is designed in such a way that visitor can experience each and every gallery

Conceptual evolution of design

Although ramps has been provided everywhere but not a universal design

It was not perfectly successful in terms of function, in hanging Paintings.

Use of structural integration

Well integrated Landscape planning A modern & contemporary vision of museum Integration of Spaces Use of natural lighting

Linear integration of space

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Conclusion 2018

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

The Tribal museum in Bhopal is very thoughtfully planned and the entire campus is theme based right from its entrance. Every art work has some meaning to it which is beautifully depicted. This museum provides a new museum’s vision, the visitor experience and an organizational plan which make it one of its kinds. The exhibition and display units are creatively developed through unique design ideology which separates this museum from an orthodox museum. Best thing about the tribal museum, Bhopal was its way of displaying tribes and different cultures. People can actually touch the sculptures. They can feel the material. All the sculptures and other show casing things were created by the tribal people themselves using the basic and old techniques.

The National Museum is one of the largest and well designed museums in India, also the museum is situated near to the site of the proposed thesis project, which make it selection important to understand the design feature of the area and issue faced. Also, as it is the National Museum of India, it selection becomes more important in reference to understand the design of the context and aspects of museum planning. The ideology of circulation pattern in the museum is one a greater aspect in the museum, the ideology to make visitor experience each and every gallery and in a chronological sequence.

The Solomon R. Guggenheim Museum, often referred to as The Guggenheim, is an art museum, Wright held that a building should be a product of its place and its time, intimately connected to a particular moment and site—never the result of an imposed style. It is one of the best examples of art gallery around the world and design on basis of modern contemporary style. The design of the museum as one continuous floor with the levels of ramps overlooking the open atrium also allowed for the interaction of people on different levels, enhancing the design in section.

Bihar Museum is a modern state of the art museum located in Patna. A 25,000 square meters museum and marketplace concept was to be developed, with "G+1" structure and with a very small portion being "G+4". It is six-storey building spread over 5.6 hectares, having 24,000 square meters of built area.

The generous 5.3 hectare plot along Patna’s Bailey Road allowed for a variety of site planning approaches, while demanding sensitivity to its low-scale surroundings and prominent tree growth.

In response to this context, Maki and Associates conceived the Bihar Museum as a “campus” - an interconnected landscape of buildings and exterior spaces that maintains a modest but dynamic profile, in harmony with existing site conditions. All the built-up blocks have been strategically located in consonance with the configuration of the site. These blocks are linked together by cloisters which are characterised by deeply recessed openings and modern versions of traditional jaali screens.

These screens allowed natural light to enter, while shielding the spaces from heat, and providing relief from the vast black-box exhibition spaces. Spatial depth and layering - channelling the Japanese concept of 'oku' are used throughout, creating a sense of anticipation that culminates in the meditative Buddha courtyard.

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Conclusion 2018 The Tribal Museum, Bhopal is one of the best examples of exhibiting art and story of human kind in a different and interesting way, while the National Museum, New Delhi shows the Importance of circulation and zoning of the spaces in a museum. The Bihar Museum, Patna designed by Maki Associates is one of the modern marvels of the modern design exhibiting the glorious past of Bihar.

Every case study and literature study in the report has its own unique feature which makes them one of their kinds. Solomon R. Guggenheim Museum is one of the world most famous and controversial museum, a building more famous for its design than its exhibitions, designed by F. L. Wright.

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UNDERSTANDING THE SITE 1. INTRODUCTION: The proposal for instituting a Museum of Architecture has been under discussion for a few years.

GREHA, a registered society, working in the field of architecture, environmental design, and development of human habitat, took on the responsibility of conceiving a Museum of Architecture, which will raise public awareness of this discipline, which affects our lives in significant ways on a daily basis.

1.1 LOCATION: 7.3 acres, vacant institutional site, belonging to the Delhi Development Authority (DDA) has been identified. This is located in Lado Sarai, close to the Qutub Complex and the Indian Institute of Technology, Delhi with good access from the Mehrauli Badarpur Road.

Fig. 1.1 (i) Site Location Map

1.2 SITE AREA:

N

Fig. 1.2 (i) Proposed Site Map

National Museum of Architecture, New Delhi

Fig. 1.2 (i) Proposed Site Dimension

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Understanding the Site 2018 The proposed site is situated near the Qutub Minar and urban village of Lado Sarai. The site area is about 7.3 acres with two major connecting roads from North & West direction. Site has also a service road from East side. The proposed site is polygonal in shape. The proposed site coordinates are 28.520752 N Latitude & 77.192056 E Longitude.

1.3 ACCESSIBILITY: The proposed site is located in one of the main area of the national capital region and well connected through:    

1.1 km away from Qutub Metro Station 11.6 km away from Indira Gandhi International Airport 17.6 km away from New Delhi Railway Station 24.5 km away from ISBT Kashmere Gate

Fig. 1.3 (i) Proposed Site is 1.1 Km away From Qutub Metro Station

Fig. 1.3 (iii) Proposed Site is 24.5 Km away from ISBT Kashmere Gate

National Museum of Architecture, New Delhi

Fig. 1.3 (ii) Proposed Site is 17.6 Km away from New Delhi Railway Station

Fig. 1.3 (iv) Proposed Site is 11.6 Km away from Indira Gandhi International Airport

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1.4 SITE CONTEXT: The proposed site is zoned under the public area in the master plan of Delhi for 2021. The site has a great historical, architectural and urban context. The Qutub Minar and Mehrauli Archaeological Complex are just 200 metres away from the site. The site is also situated near the urban village of Lado Sarai and Hauz Khas which optimise the site potential. The site is currently left barren with few indigenous vegetation

Fig. 1.4 (i) Delhi Master Plan 2021

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Fig. 1.4 (ii) Site Surrounding

National Museum of Architecture, New Delhi

Fig. 1.4 (iii) Current Land Use

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2. NATURAL FACTORS: 2.1 GEOLOGY: Geology is the science which deals with the physical structure and substance of the earth, their history, and the processes which act on them. Geology is a very important aspect of site analysis to understand the soil typology, texture and characteristics of the proposed site.

2.1.1 SOIL TYPE: The proposed site has alluvial soil with some undifferentiated soil. The alluvial soil is formed due to the Yamuna river basin near to the site. The soil particles have a mixture of both coarse and fine loamy soil. The soil has also an abundant amount of silt contained in it.

Fig. 2.1 (i) Parent Soil at Proposed Site

Fig. 2.1 (ii) Soil Particles at Proposed Site

2.1.2 SOIL TEXTURE:

Fig. 2.1 (iii) Surface Form at Proposed Site

National Museum of Architecture, New Delhi

Fig. 2.1 (iv) Soil Depth at Proposed Site

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2.1.3 SOIL CHARACTERISTICS: Alluvial soil is rich in nutrients and may contain heavy metals. These soils are formed when streams and rivers slow their velocity. The suspended soil particles are too heavy for the decreasing current to carry and are deposited on the riverbed. The finest particles are deposited at the mouth of the river, forming a delta.

Loam is a mixture of sand, silt and clay. In fact, several variations of loam exist and can be used to grow different types of plants and vegetables. Loam soil appears rich and dark brown and is usually moist to the touch. It has a very well drainage quality.

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

2.2.1 SITE CONTOUR: The proposed site has a gentle topography with maximum elevation of 246 metres and lowest of 241 metres. The site has a gentle valley in north direction of about maximum of 6 metre of slope.

Fig. 2.2 (i) Proposed site Contour Plan

Fig. 2.2 (ii) Proposed Site Topography

2.2.2 SITE TOPOGRAPHY:

Fig. 2.2 (iii) Site Sectional Profile (Latitudinal)

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Fig. 2.2 (iv) Site Sectional Profile (Longitudinal)

The longitudinal and the latitudinal sectional profiles show that the site has a slope topography in the direction of North-East with a maximum slope of 1.9% to -3.1% and 0.5% to -1.9% of average slope.

2.2.3 SITE SLOPE:

Fig. 2.2 (v) Site Slope (0.5%

to -1.9%)

2.2.4 DRAINAGE: The nearest water treatment plant is the Eastern Yamuna Canal where the sewage of South Delhi is drained out. The proposed side has a slope of 0.5% to -1.9% in the North-East direction which can be used for all drainage purpose related to the project.

Fig. 2.2 (vi) Drainage in Delhi

National Museum of Architecture, New Delhi

Fig. 2.2 (vii) Slope of Proposed Site

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Understanding the Site 2018 2.2.5 SESMIC ZONE: The proposed site is situated on the Gangatic tectonic plate, which makes the site a Seismic Zone 4 prone area with a high risk of earthquake. Earthquake resistance techniques are used to tackle such issues.

Fig. 2.2 (viii) Proposed Site is in Seismic Zone 4

2.3 HYDROLOGY: In 90% of the land in Delhi fresh water is available up to 60 m depth and the quality of water is also all right i.e. in drinkable condition. Only some 10 % of the area comprises the ridge and some has saline and brackish waters.

2.3.1 SURFACE WATER: The proposed site has no surface water resource on the site however, it is situated on the Gangatic plains near the Yamuna River but the river is one of the most polluted rivers in the world and surface water quality is very bad.

Fig. 2.3 (i) Surface Water in Delhi

National Museum of Architecture, New Delhi

Fig. 2.3 (ii) Water Quality in Delhi

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Understanding the Site 2018 2.3.2 GROUND WATER: The Depth to water level recorded Delhi during pre monsoon ranges from 1.20 to 62.22 metres below ground level (mbgl). It is observed that 50% wells of South Delhi have shown water level more than 40 mbgl and around 19% wells had water level in the range of 20 to 40 mbgl. There is an 13% to 19% increase post monsoon in the water level.

Fig. 2.3 (iii) Pre Monsoon Groundwater Level

Fig. 2.3 (iv) Post Monsoon Groundwater Level

2.3.3 FLOOD LEVEL: The average annual rainfall in Delhi is 886 mm, three-fourths of which falls in July, August and September. Heavy rainfall in the catchment areas of the Yamuna can result in a dangerous flood situation for the city. The proposed site has a water level of between 20-40 meters in Pre Monsoon, and increases with a 13% level up Post Monsoon. The Proposed highly unlikely to be water prone area with less chances of flood prone.

2.4 VEGETATION: Vegetation is important for any site analysis to understand the natural ecology of the site. It is one of the most neglected aspects of site analysis; however, it helps to understand a better design context of site and landscape.

2.4.1 INDEGINOUS VEGETATION: The natural vegetation consists of trees, herbs and shrubs. The common trees are Acacia arabica Wild (Babul). Butea monosperma (Pales); Dalbergia sisoo; Ficus bengalensis Linn. (Banyan); F. religiosa Linn. (Peerul); Morus alba L. (Saitoot); Zizyphus jujube Lank. (Ber); and Azadirachta indica (Neem).

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Understanding the Site 2018 The herbs and shrubs include Anogeissus pondula; Cassia fistula L. (Chakunda); Euphorbia antiguorum; Salvadora persica; Tribulus terrestris L. (Gohkru); and Tizyphus numelaria.

The common weeds occurring in this area are Hyena fatual (Wild oat); Cenchrus spp. (Anjan); Cyperus rotundus L. (Motha); Erianthus ravennae Beauv. (Dolser, Dolu); Phalaris minor Katz.

(Chiraya Bajra); Saccharum, soontaneum Linn. (Kans); S. Munja; Anagalis arvensis (Krishna neel); Euphorbia hirta (Bari Duddhi); Fumaria indica (Gajri); Lathyrue sativus (Khesari); Parthenium hysterophorus (congress grass); Phyllanthns niruri (Hazardana); and Solanum nigrum (Makoi).

Fig. 2.4 (i) Neem Tree

Fig. 2.4 (iv) Chakunda Shrub

Fig. 2.4 (ii) Babul Tree

Fig. 2.4 (i) Banyan Tree

Fig. 2.4 (v) Gohkru Shrub

Fig. 2.4 (vi) Anjan Weed

2.4.2 SITE EXISITING CONDITION:

Fig. 2.4 (v) Site Existing Condition

Fig. 2.4 (vi) Site Top View

2.5 CLIMATE: The climate of the area is semi-arid. Both summer and winter are severe. Delhi comes under the Composite climatic zone.

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Understanding the Site 2018 2.5.1 TEMPERATURE: June is generally the hottest month and January, the coldest. The average temperature of the proposed site is about 25.0 °C. Maximum temperature of the proposed site is raises up to 47.0 °C in the month of May and June. Minimum Temperature drops downs to -2.2 °C in the end of December or in the beginning of January.

Fig. 2.5 (i) Maximum & Minimum Temperature of Delhi

2.5.2 PRECIPITATION: The average annual rainfall in Delhi is 886 mm, three-fourths of which falls in July, August and September. Heavy rainfall in the catchment areas of the Yamuna can result in a dangerous flood situation for the city.

Fig. 2.5 (ii) Annual Precipitation of Delhi

Fig. 2.5 (iii) Numbers of days of Rainfall

2.5.3 WIND DIRECTION: The prevailing wind direction is 18km/h with 24% of annual wind rose.

Fig. 2.5 (iv) Wind Rose (Jan-Apr)

Fig. 2.5 (v) Wind Rose (May-Aug) Fig. 2.5 (vi) Wind Rose (Sep-Dec)

National Museum of Architecture, New Delhi

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Fig. 2.5 (vii) Annual Wind Rose

2.5.4 SUN PATH:

Fig. 2.5 (viii) 8 AM

Fig. 2.5 (ix) 10 AM

Fig. 2.5 (x) 12 PM

Fig. 2.5 (xi) 3 PM

National Museum of Architecture, New Delhi

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Understanding the Site 2018 2.5.5 CLIMATIC ZONE: The proposed site comes under the Composite Climate with having both summer and winter severe.

Fig. 2.5 (xii) India’s Climatic Zones

2.5.6 THERMAL COMFORT ZONE:

Fig. 2.5 (xiii) Delhi Thermal Comfort Zone

National Museum of Architecture, New Delhi

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Understanding the Site 2018 2.5.7 SCIOGRAPHY: Sciography is a branch of science of the perspective dealing with the projection of shadows, or delineation of an object in perspective with its gradations of light and shade.

Fig. 2.5 (xiv) 9 AM

Fig. 2.5 (xv) 12 PM

Fig. 2.5 (xvi) 3 PM

Fig. 2.5 (xvii) 5 PM

3. SOCIAL & CULTURAL FACTORS:

3.1 EXISTING LANDUSE: The total geographical area of the Delhi Territory is 1,47,488 ha of which nearly 70 percent i.e. 103, 328 ha is rural while the remaining 30 percent i.e. 44.160 ha is urban. Detailed data on land use are given in Fig. 3.1 (i).

From the table it is seen that 51.4 percent of the total geographical area of the Territory is net area sown. There has been a gradual decrease in the cultivated area, which may be due to rapid rate of urbanisation, land leased for brick making, etc National Museum of Architecture, New Delhi

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Fig. 3.1 (i) Delhi Land use

3.2 TRAFFIC & TRANSPORT: The proposed site at the junction of Crescent Road and Mehrauli-Badrapur Road, which makes it one of the busiest sites of South Delhi. The site is also situated near the Qutub Complex and urban village of Lado Sarai which have more than 1000 visitors per day.

Fig. 3.2 (i) Road Connectivity

National Museum of Architecture, New Delhi

Fig. 3.2 (ii) Qutub Complex near Proposed Site

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Fig. 3.2 (iii) Footfall of Qutub Complex

3.3 DENSITY: Delhi is home to over 17 million people per the 2011 census. A 2014 UN report declared Delhi to be the second most populous city after Tokyo. The overall population density of Delhi has increased from 9,340 persons per km2 in 2001 to 11,320 persons per km2 in 2011, which is the highest in India. Delhi’s population has grown at a very rapid pace, recording over 30% decadal growth for the past few decades.

Fig. 3.3 (i) Population Density

Fig. 3.3 (iii) Religion wise Population

National Museum of Architecture, New Delhi

Fig. 3.3 (ii) Urban Growth

Fig. 3.3 (iv) Sex Ratio

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3.4 SOCIAL & ECONOMIC FACTOR: With the rapid pace of urbanization the rural area of Delhi is shrinking. The number of rural villages has decreased from 314 in 1921 to 165 in 2001 census. The percentage of rural population of Delhi has also declined from 47.24% in 1901 to 6.99% in 2001.

Delhi is among the top three States/Union Territories in terms of per capita income (Rs. 38864 in 2000-01), current prices. More than 80% of the state income is from the tertiary sector. However, with the continuous inflow of labourers and unemployed persons, the number of people living in substandard areas is increasing.

ECONOMICAL SECTORS 3%

12%

2%

MANUFACTURING 20%

18%

SERVICES LABOUR

45%

AGRICULTURE INDUSTRY OTHER

Fig. 3.4 (i) GDP Growth

Fig. 3.4 (ii) Economic Sector in NCR

3.5 SITE SERVICES: Site services are one of the most important aspects of site planning which determines the services availability on the site to understand a better site context.

3.5.1 ELECTRICAL SERVICES:

Fig. 3.5 (i) Electrical layout of Delhi

National Museum of Architecture, New Delhi

Fig. 3.5 (ii) Proposed site under BRPL

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Understanding the Site 2018 3.5.2 WATER SUPPLY: Delhi Jal Board (DJB) is the government agency responsible for supply of potable water to the most of the National Capital Territory region of Delhi, India. Delhi Jal Board was constituted on 6 April 1998 through an Act of the Delhi Legislative Assembly incorporating the previous Delhi Water Supply and Sewage Disposal Undertaking. DJB is also responsible for treatment and disposal of waste water.

Fig. 3.5 (iii) Water Supply Line of Delhi

Fig. 3.5 (iv) Aquifers in Delhi

3.5.3 DRAINAGE: The proposed site has its near drainage and sewage treatment plant at Shahdara Sewage Treatment Plant which is one the main Sewage Treatment Plant of Delhi. It discharges the water into Yamuna River. The Mehrauli drainage system connects the site to Tughlakabad drain and finally to Shahdara Sewage Treatment Plant.

Fig. 3.5 (v) Drainage Direction of the site

National Museum of Architecture, New Delhi

Fig. 3.5 (vi) Mehrauli Drain to Shahdara STP

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Understanding the Site 2018 3.5.4 STROMWATER CACULATION: Stormwater, also spelled storm water, is water that originates during precipitation events and snow/ice melts. Stormwater can soak into the soil (infiltrate), be held on the surface and evaporate, or runoff and end up in nearby streams, rivers, or other water bodies (surface water). It can be calculated by, Q = 10 C*I*A = 10 * 0.35 * 100* 0.25 = 87.5 m3/hr Where ‘Q’ is the runoff in m3 /hr; 'C' is the coefficient of runoff; 'I' is the intensity of rainfall in mm/hr and 'A' is the area of drainage district in hectares.

3.6 HISTORIC FACTOR: The site has a great historical influence as it is situated just near to the famous Qutub Minar, an architectural masterpiece which justifies the site selection for the National Museum of Architecture.

The site is also near to the modern urban villages of Lado Sarai and Hauj Khas and archaeological site of Mehrauli.

3.6.1 IMPORTANCE: The Qutub complex is an array of monuments and buildings at Mehrauli in Delhi, India. The construction of Qutub Minar was intended as a Victory Tower, to celebrate the victory of Mohammed Ghori over Rajput king, Prithviraj Chauhan, in 1192 AD, by his then viceroy, Qutbuddin Aibak. Qutub Minar is perhaps the tallest brick minaret in the world, inspired by the Minaret of Jam in Afghanistan. It is an important example of early Afghan architecture, which later evolved into Indo-Islamic Architecture.

Today, the adjoining area spread over with a host of old monuments, including Balban's tomb, has been developed by the Archaeological Survey of India (ASI) as the Mehrauli Archaeological Park, and INTACH has restored some 40 monuments in the Park.

The iron pillar is one of the world’s foremost metallurgical curiosities. The pillar, 7.21-metre high and weighing more than six tonnes, was originally erected by Chandragupta II Vikramaditya (375– 414 AD) in front of a Vishnu Temple complex at Udayagiri around 402 AD, and later shifted

by Anangpal in 10th century CE from Udaygiri to its present location.

The tomb of the Delhi Sultanate ruler, Iltutmish, a second Sultan of Delhi (r. 1211–1236 AD), built 1235 CE, is also part of the Qutb Minar Complex in Mehrauli, New Delhi. The central chamber is a 9 mt. sq. and has squinches, suggesting the existence of a dome, which has since collapsed. The main cenotaph, in white marble, is placed on a raised platform in the centre of the chamber. The facade is known for its ornate carving, both at the entrance and the interior walls. The interior west wall has a prayer niche (mihrab) decorated with marble, and a rich amalgamation of Hindu motives into Islamic architecture, such as bell-and-chain, tassel, lotus, diamond emblems.

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Fig. 3.6 (i) Qutub Complex

3.6.2 IMPACT: Qutub Minar is the most visited tourist spot of India after Taj Mahal. The site is visited by approximately 4 million visitors annually. The design feature and architecture has a major impact on whole Indo Islamic architecture. Qutub Minar is perhaps the tallest brick minaret in the world.

Fig. 3.6 (ii) Qutub Complex

National Museum of Architecture, New Delhi

Fig. 3.6 (iii) Iron Pillar

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Understanding the Site 2018 3.6.3 DESIGN ELEMENTS: As the rulers from slave dynasty planned their buildings, they were short of raw material. By demolishing the majestic temples, they served another very important purpose. To ensure stronghold, it was important that the backbone of religion prevailing in conquered land is crushed.

Destroying temples meant that the new Islamic Invaders had no respect for the religion being practiced by locals. They were in such hurry of completing the job, that they were not able to deface the statues properly. Even today, the remains of temples can be seen within the Qutub Complex.

Today, the eastern gateway marks the entrance to the mosque enclosure, which was part of the innermost structure of the three nested rectangular layouts. The arched doorway gives the first example of such an amalgamation of Indo-Saracen architecture.

Built into the heavy low lintels under the arched gateway, stands out a plaque with a line written in curiously sharp and angular Arabic fonts. Its striking characteristics are the long strokes, shooting out from the line of text below. This typical Kufi script that is named after a place in Southern Iraq called Kufa where it originated.

Use of local available red sandstone and burnt clay brick is used. Heavy ornamentation and calligraphy made this minaret, one of the most famous minarets of the globe.

Fig. 3.6 (iv) Qutub Minar

Fig. 3.6 (vi) Remains of Hindu Temples

National Museum of Architecture, New Delhi

Fig. 3.6 (v) Qutub Minar Section

Fig. 3.6 (vii) Arched Gateway

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4. AESTHETIC FACTORS: 4.1 NATURAL FEATURE: The propose site is situated at a junction of historical site of Qutub Minar and Urban village of Lado Sarai. The site is adjacent to the Butterfly Park which makes the site more of ecological site. The site blends with the history and contemporary nature of Delhi. The site has a great visual, spatial, and aesthetic nature.

Fig. 4.1 (i) Natural Features of Proposed Site

4.2 SPATIAL FEATURE:

Fig. 4.2 (i) Site Geometry and Spatial feature

National Museum of Architecture, New Delhi

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Understanding the Site 2018 The site has a polygonal geometry with two major artisan road in north & south direction. Also, a service road is attached in the east side of the site. The site is placed at the junction of Mehrauli & Saket area which increases its potential.

4.3 VISUAL RESOURCES: Qutub complex in the West side of the site plays an important character in visual persona of the site.

The site justifies itself for being proposed for architectural museum with such visual resource as this architectural masterpiece.

Fig. 4.3 (i) Visual Impact of Qutub Complex in West Side of Proposed Site

4.4 SCALE: As the site is proposed near Saket, an industrial hub, the site is covered with the tal apartments and industries with high population density.

Fig. 4.4 (i) Scale of Buildings in North Direction wrt Proposed Site

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4.5 SKYLINE: The skyline of the city is filled with the masterpiece of Indo –Islamic architecture such as Qutub Complex and Red Fort. However, new modern day marvels like Lotus Temple and India Gate add the contemporary texture to the city.

Fig. 4.5 (i) Delhi Skyline

Fig. 4.5 (ii) Qutub Complex Skyline

5. BUILDING BYE LAWS: For an area more than 10000 sq. m.:           

Front Set Back: 15 m Rear Set Back: 9 m Side Set Back: 9 m Floor Area Ratio: 1.20 Ground Coverage: 30% Permissible Height: 26 m Master plan Land use: Public & Recreational Area Parking: 11.25 sq. m. of parking area per 92.93 sq. m (6 m turning radius) Minimum Clearance Height: 2.4 m Minimum Slope: 1:7 Lift(s) shall be provided in all buildings having a habitable floor at a height above 13.5 m from the plinth level. Lifts and escalators shall also meet fire prevention and safety requirements.

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Understanding the Site 2018  Rain water shall not be discharged onto a street at a height > 1.0 m from the level of the street.

Fig. 5 (i) Fire Fighting Bye Laws

Fig. 5 (ii) Parking Bye Laws

6. ANALYSIS & ZONING: 6.1 ACCESSESIBILITY:

Fig. 6.1 (i) Main Accessible Road

National Museum of Architecture, New Delhi

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6.2 FOUNDATION:

Fig. 6.2 (i) Pile foundation preferred in Alluvial Soil

Fig. 6.2 (ii) Pile Foundation Detail

6.3 DRAINAGE & SEWER LINE:

Fig. 6.3 (i) Drainage Plan

National Museum of Architecture, New Delhi

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Fig. 6.3 (ii) Stromwater Collection Through Landscape

6.4 BUILT FORM & ORIENTATION:

Fig. 6.4 (i) Orientation

Fig. 6.4 (ii) Built Form

6.5 BYE LAWS:

Fig. 6.5 (i) Site plan according to Bye Laws

National Museum of Architecture, New Delhi

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6.6 ZONING:

Fig. 6.6 (i) Site Zoning

Fig. 6.6 (ii) Vertical Zoning

6.7 S.W.O.T.:

National Museum of Architecture, New Delhi

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National Museum of Architecture, New Delhi

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4

Standards and Area Programming 2018

STANDARDS FOR MUSEUM

Fig. 1.1 (i) Components of Museum

Fig. 1.1 (ii) Diffuse and Focus Light

Fig. 1.1 (iii) Viewing angels towards Exhibition

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Fig. 1.1 (iv) Minimum distance to view Exhibition

Fig. 1.1 (v) Viewing angels towards Exhibition

Fig. 1.1 (vi) Vertical and Horizontal Field of View

Fig. 1.1 (vii) Minimum Distance Requirements of Museum

National Museum of Architecture, New Delhi

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Fig. 1.1 (viii) Minimum Stair width in Museum

Fig. 1.1 (ix) Minimum Stair width in Museum

Fig. 1.1 (x) Minimum walking distance in Museum

Fig. 1.1 (xi) Offices in Museum

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Fig. 1.1 (xii) Auditorium in Museum

Fig. 1.1 (xiii) Material used in Museum

Fig. 1.1 (xiv) Lights Luminance level and Colour Renderation

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Fig. 1.1 (xv) Lights Luminance level in Museum

Fig. 1.1 (xvi) Lighting Techniques and Installation in Museum

National Museum of Architecture, New Delhi

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Fig. 1.1 (xvii) Display Techniques and Installation in Museum

Fig. 1.1 (xvii) Activity Chart

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Standards and Area Programming 2018

AREA PROGRAMMING Sr. No. 1.

2.

3.

Space

No. of Units

Area (in sq. m)

Design Capacity

ENTRANCE Drop Off Entrance Court Reception Information Help Desk Ticket Counter Back Office Security Check In/ Check Out Security Monitoring Room Business Centre

520 100 250 30 20 30 20 25 25 20

100

1 1 1 4 1 1/1 1 1

ADMINISTRATION Director General’s Chamber Curator Office Executive Staff Office Staff Rest Room Meeting Room Smart Conference Room Waiting Area File Record Room Server Room BMS Room IT Workroom CCTV Monitoring Room Toilet (M/F) Store

600 30 20 100 80 60 60 20 10 30 30 50 30 30 50

50

1 2 10 2 1 1 1 1 1 1 1 5/5 1

1500

1 1 1

7000 300 300 1000

EXHIBITION GALLERY Elements of Architecture Gallery Principle of Architecture Gallery History of Architecture Gallery  Indian Architecture  Indus Valley Civilization  Rock Cut Architecture  Temple Architecture  Indo-Islamic Architecture  Colonial Architecture 

Western Architecture  Mesopotamian Civilization  Egyptian Civilization  Greek Roman Civilization  Renaissance Architecture  Gothic Architecture

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Standards and Area Programming 2018  Baroque Architecture  Modern Architecture Architectural Drawing Gallery  Conceptual  Planning  Working Detail

4.

5.

6.

7.

8.

300

Landscape Architecture Gallery Interior Design Gallery Building Engineering Gallery  Mechanical  Electrical  Plumbing  Construction  Structural

1 1 1

300 200 300

Urban Design Gallery Architectural Model Gallery Product Design Gallery Conservation Gallery Non-Objective Gallery Indian Architect’s Gallery World Architect’s Gallery Illustration & Graphic Design Gallery Futuristic Gallery NASA’s Convention Gallery COA & IIA Gallery Special Exhibition

1 1 1 1 1 1 1 1 1 1 1 1

300 300 300 300 300 300 300 300 300 300 300 1000

WORKSHOP Wood Workshop Metal Workshop Terracotta Workshop Store Store Props

800 200 200 200 120 80

50

1 1 1 3 1

LABORATORY Store

200 40

20

1

AUDITORIUM Green Room Projection Room

100

1 1

350 30 20

LIBRARY Librarian’s Office Cyber Room

250 20 30

50

1 1

AMENITIES Restaurant

1

1200 250

National Museum of Architecture, New Delhi

50 Page 100

Standards and Area Programming 2018       

Sitting Lounge Reception Waiter’s Lounge Preparation Area Store Hot Kitchen Cold Store

Museum Shop Staff Canteen Toilet (M/F) Portable Water Facility Refuse Bin Security Lockers Lost & Found First Aid Centre VIP Lounge Dormitory Multi-Purpose Hall

1 1 20/20 20 10 1 1 1 1 5 1

200 100 100 40 10 100 20 30 100 100 150

SERVICES Maintenance Janitor’s Closet Housekeeping Centre High Tension Control Room HVAC Room Store Machine Room Strong Room Stack Room Loading Area

1 10 1 1 1 5 1 1 1 -

1700 100 150 50 200 200 400 200 100 100 200

10.

ART & CRAFT CENTRE

-

300

11.

OPEN SPACES Central Amphitheatre Open Air Lounge Open Air Theatre

1 1 1

300 150 100 50

4

6750 500 100 30

-

4000

9.

12.

13.

PARKING Staff Parking VIP Parking Security TRANSITION AREA (30% of Total Build up Area) TOTAL BUILT UP AREA

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50

50

500

16,200 SQ. M.

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Design Ideology 2018

DESIGN IDEOLOGY 1. INTRODUCTION: The Museum of Architecture is somewhat different from other museum for designing. The basic concept and ideology of the design is to connect the society and architecture and bridge the gap between them. So, the design development has to be started from the basic elements of architecture so, visitor can feel the essence of it.

1.1 ELEMENTS OF ARCHITECTURE: The Museum of Architecture IS expressed as a process of design, planning and construction of structures which are reflecting functional, technical, social, environmental and aesthetic considerations. Design Elements are essential tools in creating art.

POINT: A dot is a mark that is shows the beginning of a work or the end of it. It is the very basic element whereby an art work or a design starts. Nothing will be done without the dots.

Fig. 1.1 (i) Point as an architectural element

LINE: A line is a combination of a series of dots that are continuous, with an exact distance in between each dot.

Fig. 1.1 (ii) Line as an architectural element

SHAPE: Shape is the creation when the end of a line meets the start of that line itself. Shape can be just a flat plane that is surrounded by outer line and does not hold any mass. Shape is perceived as an idea of the form or how it looks.

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Fig. 1.1 (iii) Shape as an architectural element

FORM: From the evolution of dot, to lines, and to shape; it evolved from 1 dimension (dot &line) to 2 dimensions (shape) and form is the 3 dimensional combinations of the previous products.

Fig. 1.1 (iv) Form as an architectural element

1.2 LINES AS BASIC ELEMENNT OF ARCHITECTURE: What is a Line?

Line is probably the most fundamental of all the elements of design. It is the starting place for most artistic creation whether one is starting a fine drawing or painting or even sketching ideas for a sculpture. Most design begins with line. So what is line?

A math teacher would say that line consist of only one dimension, length. In the real world of creating art though a one dimensional line would not be practical. A more usable definition might be that line is the path of a dot, point etc. through space and that is always has more length than thickness. Lines are not all the same, especially in art.

Fig. 1.2 (i) Lines used in architectural drawings

1.3 TYPES OF LINES: Vertical lines: are straight up and down and perpendicular to horizontal lines Horizontal lines: are straight up and down and perpendicular to vertical lines Diagonal lines: are lines that straight in any direction except vertical or horizontal Zigzag lines: are a series of diagonal lines joined end to end National Museum of Architecture, New Delhi

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Design Ideology 2018 Curved lines: are lines that bend in any amount of degree; they may be gently wavy to tightly wound spirals

Fig. 1.3 (i) Types of Lines

1.4 MOTION OF EXPRESSION:

Fig. 1.4 (i) Lines can be used to express motion of expressions

2. FORM DEVELOPEMENT: Line is the most basic element of architecture. The form of the architectural museum is developed from the concept of “lines create Volume”. Different types of lines are used together forming a building envelope. Mass & Void is used for shading and climatic consideration.

The main design ideology is to represent the basic elements of architecture as well merge it with the Mehrauli archaeological complex.

An observation deck was designed for the view of Qutub complex. The main ideology was to create a new visual experience for visitors. The main drop off porch is designed with the columns creating a perspecti8ve of merging of society and architecture within. The gardens and courtyards were designed on the different architectural landscape themes throughout the History of Architecture.

Fig. 2 (i) Lines are used to create the façade

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Fig. 2 (ii) Building envelope developed from the Site

3. DESIGN CONSIDERATION: The main design consideration is to create a new visual experience for the users and visitors. The drop of porch was designed such that it creates a perspective representing the merger of society and architecture. As landscape is one of the most important design considerations for museums, the museum has four gardens and a plaza with a central courtyard which representing famous landscaping through the history of architecture. These gardens also helps in the natural light for the museum.

Fig. 3 (i) Design consideration

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4. CLIMATIC CONSIDERATION: Low-e glass contains a thin, microscopic layer, or layers of metallic oxide particles applied on the surface of the glass pane, which, if properly fabricated, appears completely transparent.

Low-e glass is a type of modern glass developed to control heat flow across it, which is an issue with ordinary glass. Ordinary glass also poses the problem of allowing a lot of heat inside during the daytime, causing overheating, while at night it transmits all of this heat outside, leading to undesirable cooling.

Fig. 4 (i) Low E-Glass

Fig. 4 (ii) North faรงade is designed with Low E-Glass

Fig. 4 (iii) South faรงade is designed with Wooden braced frame

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5. STRUCTURAL CONSIDERATION: At the main entry, a series of column is designed which represents the basic element of architecture.

Such entrance also creates a new visual experience for visitors. These columns also create a perspective of lines merging at a point.

The main porch is covered with the same architectural element which also resembles to the old Delhi’s and New Delhi’s architecture.

Fig. 5 (i) Structural elements used in museum

Wooden bracing is attached to the wall’s façade in south and west side. The horizontal, vertical and curve bracing represents the basic design element. It also helps into less heat gain.

Fig. 5 (ii) Wooden Façade

6. MATERIAL DETAIL: The facade of the building is made out of wooden bracing. While the concrete is used as main element for structure in south and west side for less heat gain. In north side low e-glass is used.

Planters are used for terrace and green roofing. Luminous backlight is used for lighting.

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Fig. 6 (i) Planters and Luminous Backlight

Fig. 6 (ii) Wooden Faรงade Bracing

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Bibliography 2018

BIBLIOGRAPHY 1. Merriman, N. J. 1968. The role of Museums. ARCHAEOLOGY – Vol. II: 4-7.

2. Zaman, Rana Siddiqui. 2014. Idea of architecture museum mooted. [https://www.thehindu.com/news/cities/Delhi/idea-of-architecturemuseummooted/article6454416.ece]. Accessed July 16, 2018 3. Kulkarni, Nirmal. 2016. The National Museum of Architecture. [https://architexturez.net/doc/azcf-182220]. Accessed July 16, 2018.

4. Kulkarni, Nirmal. 2016. The National Museum of Architecture. [https://architexturez.net/doc/azcf-182220]. Accessed July 16, 2018.

5. American Institute of Architecture. 2016. Case studies in the study and practice in Architecture.

Vol. I: 5.

6. Bhopal Tribal Museum. 2015. [http://www.bhopale.com/place/bhopal-tribal-museum]. Accessed July 17, 2018.

7. Khare, Rajnish. 2016. Tribal Museum. [https://bhopal.info/explore/museums/tribal-museum/].

Accessed July 18, 2018.

8. Bhopal Tribal Museum. 2015. [http://www.bhopale.com/place/bhopal-tribal-museum]. Accessed July 17, 2018.

9. Published by National Museum. 2018. The Museum in 90 minutes. Vol. I: 2 10. Perez, Adelyn. 2010. AD Classics: Solomon R. Guggenheim Museum / Frank Lloyd Wright. [https://www.archdaily.com/60392/ad-classics-solomon-r-guggenheim-museum-frank-lloydwright]. Accessed July 19, 2018 11. Byrne, Steven. 2011. Guggenheim Modern Art Museum, NY. [http://faculty.arch.tamu.edu/media/cms_page_media/4433/GuggenheimMuseum.pd]. Accessed July 19, 2018.

12. About Museum. [http://biharmuseum.org/more/more-about-museum/]. Accessed July 20, 2018.

13. About Museum. [http://biharmuseum.org/more/more-about-museum/]. Accessed July 20, 2018.

14. The Bihar Museum / Maki and Associates + Opolis. 2018. [https://www.archdaily.com/889978/the-bihar-museummaki-and-associates-plus-opolis]. Accessed July 20, 2018.

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