Glimpses Complex (Thesis Report on Multan)

䜀䰀䤀䴀倀匀䔀匀

䌀伀䴀倀䰀䔀堀

唀渀椀琀礀 吀栀爀漀甀最栀 䐀椀瘀攀爀猀椀琀礀

䴀礀 䘀甀渀挀琀椀漀渀 椀猀 琀漀 倀爀攀猀攀渀琀 漀氀搀 洀愀猀琀攀爀瀀椀攀挀攀猀 椀渀 琀漀 䴀漀搀攀爀渀 䘀爀愀洀攀

Muhammad Ghulam Mustafa Joyia 11011505-119

Guidance of GOD

Allah wants to lighten for you; and mankind was created weak.(27-AN-NISA)

Dedication

This report is dedicated to my beloved parents may Allah bestow them with longer and happier life who waited a lot for this moment.

Acknowledgements

All praise and than ks be to Allah, Lord of all beings. I would like to thank my professors at the School of Architecture and Design University of Gujrat for providing me with the knowledge to develop my research. In particular, I am indebted to my advisor Prof. Dr. Abdur Rehman, and teachers for their tremendous support, guidance, and encouragement during all my studies.

After that, I am very grateful to my Family for their support, specially my Parents and brothers and my wife. I thank them for always believing in me and praying for me.

My special thanks to all of my friends who gave their precious time and suggestion to me specially my best friends.

There are many people to thank. Space, time, and memory prevent me from mentioning all of these individuals; I shall express my gratitude to everyone who has helped along the way providing intellectual, physical, or emotional support. I am profoundly grateful to all.

(JazakAllah)

Abstract

Culture relics are the best manifestation of the corporate life. For centuries Multan has been the meeting place of many divers culture and civilization.

As such people of south Punjab have developed their life step by step by the passing of date their remarkable way of life through centuries which developed a civilization.

Multan is the most dominant over more than thousand years with it is political vision created a society beyond the limits of tribe. They were most civilized people. Those civilizations have their own languages, scripts of that time which where laterally developed into Arabic and other “Alphabet�.

The development of socio economic tradition in formed arts, craft and trade. Therefore, they had monopoly of expensive luxury item exported to other civilization.

The culture, the rich heritage, the great tradition and the unmatchable craftsman- ship of Multan needs recognition, representation and exhibition.

Many historical objects were found in Multan region. These artifacts have remained veiled because there is no space to place and preserve them.

Therefore, there is a need of a project for exhibition of this treasure. There is no specific platform for the exhibition and study of these objects for Multan region and also a platform for craftsmanship to promote the regional handicrafts.

GUIDANCE OF GOD.............................................................................. 2 DEADICATION..................................................................................... 3 ACKNOWLEDGEMENT.......................................................................... 4 ABSTRACT......................................................................................... 5 TABLE OF CONTENTS........................................................................... 6 LIST OF FIGURE................................................................................... 7 LIST OF CHART................................................................................... 8 1.CHAPTER-1 INTRODUCTION................................................................ 9 1.1 Project Significance 1.2 Aim adn objectives 1.3 User of Project 1.4 Site/Client 1.5 Scope of work 1.6 Research procedure 1.7 Conclusion

Table of contents

2.CHAPTER-2 HISTORY OF MULTAN...................................................... 12 2.1 Analysis of Spaces 2.2 Conclusions 3.CHAPTER-3 THE MUSEUM................................................................ 17 3.1 Museum Debaits 3.2 New Trends in Museum 3.3 Museum Complex 3.4 Museum in Pakistan 4.CHAPTER-4 PROJECT UNDERSTANDING............................................. 21 4.1 Lahore Museum 4.2 LoakVirsa complex 4.3 National museum(saudi Arabia) 4.4 National museum (Bahrain) 4.5 Conclusion 5.CHAPTER-5 DESIGN CONSIDERATION................................................. 44 5.1 Light as a Design Determinant 5.2 Visualization and Depiction of Space 5.3 Major issues 5.4 Display details 6.CHAPTER-6 PROJECT REQUIRMENTS................................................. 65 6.1 The Requirments 6.2 Program contents 7.CHAPTER-7 SITE INFORMATION......................................................... 71 7.1 Site Data and Conclusion 8.CHAPTER-8 DESIGN BRIEF............................................................... 83 8.1 Architecture Brief 8.2 Technical aspect 9.CHAPTER-9 BIBLIOGRAPHY.............................................................. 88 History Literature Review Design Consideration Program Requirments Sources of Material for Museum Data about site Standreds and Design ideology Process and Design Advise

List of figures

Fig.1.1 Resarch Procedure Fig.2.1 Empty Fig.3.1 Museum Layought Fig.3.2 Museum Concept Fig.3.3 Guggnheim Museum Fig.3.4 Guggnhem Master Plan Fig.3.5 Guggnhem Plan Fig.3.6 Guggnhem Section Fig.3.7 Guggnhem Elevation Fig.4.1 Museum Building Fig.4.2 Circulation Plan Fig.4.3 Master Plan Fig.4.4 Library zone Fig.4.5 Auditorum Fig.4.6 Pakistan Movement Gallery Fig.4.7 Entrance Lobby Fig.4.8 Main Entrance Fig.4.9 Paintinf Gallery Fig.4.10 Buddhist Gallery-1 Fig.4.11 Buddhist Gallery-2 Fig.4.12 Master Plan Fig.4.13 Part of Project For Case Study Fig.4.14 Main Entrance Fig.4.15 Entheology Installations Fig.4.16 Museum Plan Fig.4.17 Museum Circulation Fig.4.18 Museum Building Fig.4.19 Museum Master Plan Fig.4.20 Museum Plan Fig.4.21 Archology site wall installation Fig.4.22 Museum Circulation Fig.4.23 Archies Corridore in front of Display Fig.4.24 Old Urban Street House Fig.4.25 Street Scape of Arab village Fig.4.26 Reception hall Fig.4.27 Man And universe hall Fig.4.28 The prophet Mission Hall Fig.4.29 Arab Kingdoms Hall Fig.4.30 Jahiliyya Era Hall Fig.4.31 Islam and Arabian Hall Fig.4.32 First and second saudi state hall Fig.4.33 The hajj and tow holly Mosque Hall Fig.4.34 Gallery Layought Fig.4.35 Plan detail Fig.4.36 Museum Building Fig.4.37 Building Circulation Fig.4.38 Museum Section Fig.4.39 Master plan Fig.4.40 Story Telling Installation Fig.4.41 Display Coartyard Fig.4.42 Centralise display Technique Fig.4.43 Ethnologu Display Fig.4.44 Ethnologu Display Fig.4.45 Sculpture Courtyard Fig.5.1 Display Tec. Fig.5.2 Object Display Fig.5.3 Panels Display Fig.5.4 Model Display Fig.5.5 Holograms Display Fig.5.6 Simulation Display Fig.5.7 Audio Visual Display Fig.5.8 Viewing Fig.5.9 Vision Fig.5.10 Vision Angle Fig.5.11 Viewing Height Fig.5.12 Circulation Pattren

Fig.5.13 Handicapped Fig.5.14 Visual Languge Fig.5.15 Natural Light Fig.5.16 Types of Light Profile Fig.5.17 Side Light System Fig.5.18 Modren Side Light Fig.5.19 Clerestory System Fig.5.20 Combined Side System Fig.5.21 Prismatic System Fig.5.22 Light shelf System Fig.5.23 Variable light shelf Fig.5.24 Roof Monitor ,Saw Tooth Fig.5.25 Light Pipe System Fig.5.26 Artificial Light System Fig.5.27 Rule Of Light System Fig.7.1 Fort Area Map Fig.7.2 Site Map Fig.7.3 Fort 1872 Map Fig.7.4 Fort1849Map Fig.7.5 Site Surronding Fig.7.6 Fort With Site Fig.7.7 Multan City Map Fig.7.8 Road Map Fig.7.9 Site Area Fig.7.10 Site Topography Fig.7.11 Site Context Fig.7.12 Site Circulation Fig.7.13 Site Zoneing Fig.7.14 Site Utilities Fig.7.15 Natural Feature Fig.7.16 Man Made Feature Fig.7.17 Negetive Patterns Fig.7.18 Site Sensory

List of Charts

Cha.3.1 Performance attribute Cha.4.1 Lahore Museum detail Cha.4.2 Hierarchy of spaces Cha.4.3 Space Relation Cha.4.4 Hierarchy of Spaces Cha.4.5 Space Relation Cha.4.6 Space Relation Cha.4.7 Hierarchy of Spaces Cha.4.8 Space Relation Cha.4.9 Hierarchy of Spaces Cha.7.1 Wind Cha.7.2. Temprature Cha.7.3.

Rainfall

Chapter No:1 Introduction

Chapter No:1 INTRODUCTION:

It is stated that we are growing up as a country which have culture identity, that we take pride in our culture, that we are actually elevating it officially recognizing it and presenting it in a treasure house or mosque etc.

We are asserting that we are proud many civilization way and we are displaying our regional heritage for the rest of the world to view it as well.

The reason of selecting this topic based on five-year experience of architecture and visiting the historical monuments, places in different region of Pakistan such as Indus valley civilization Museums and also the sites of civilization in cholistan taxila and Sahiwal etc. I thought this thesis is the best to elaborate the hidden historical value of south Punjab. which it is unforgotten Architecture Historic Monuments beside to save the runs of National and international value of mankind and his life from spreading out.

Lastly I hope this thesis report will fulfil the requirements and will be valuable collection on a words about Multan history, Museum study for the university of Gujrat library and will encourage other to find their thesis.

1.1. PROJECT SIGNIFICANCE:

The unforgettable movement of different period like mehargarh the old city of south Asia Multan which have lot of mausoleums, mosques and temples we cannot ignored the richness of Islamic period.For such region of its art craft heritage and civilization of more than 5000year in different flex. It’s necessary to design a Museum to house the landmark of our history and culture which become a vital especially after evaluating of the existing structure of site surrounding. Also because of loss and theft of important documents, precious antiques and other heritage. Which is presented at the different European museum. While excavation project carried out in Multan last few dec-ades.

Southern Punjab is a large area with population more than thirty million this area has a rich cultural heritage and people have awareness toward social gathering, so this requires a show place of their heritage and trend. While looking at the artists working in Lahore, we find that about 30% of then are from Southern Punjab. If they will find an Platform in their area, they don’t need to come to Lahore, and also to show the local art and craft history platform need a complex to represent Multani rich Culture.

——Cultural Identity: Many historical objects were found in Multan region. These artifacts have remained veiled because there is no space to place and preserve them. Therefore, there is a need of a project for exhibition of this treasure.

There is no specific platform for the exhibition and study of these objects for Multan region and safeguarding for the future generations.

1.2. AIMS AND OBJECTIVES:

The objective is to promote awareness and intrest in History by providing delightful learning experiences to visitors. this will be achived by the provision of exhibition galleries on the various themes of archeology , organization of opical exhibitions and educational programs that enhance the awareness, appreciation and understanding of hearitage in community.

——To recognize and exhibit the great culture, the unique craftsmanship and various Archaeological things of Multan. to inform and educate.

——To establish a building design that is attractive to visitor.

——Educate and inspire the visitors about the display the building will hold.

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——Create a lively public place where people feel content and happiness to visit.

——To deepen our understanding of man and his environment.

——Enhance a sense of personal achievement in learning.

1.3. USERS OF PROJECT:

1.Local and International Tourists and Visitors Visitor.

2.School, colleges and Universities students within 250 km radius for one-day trip and from more distance for study trip.

3.Local people from Rahim Yar khan district, Bahawalpur and Multan district, Vehari district, Lodhran district, Muzaffargarh and Sindh.

4.Researchers and archeologists from Pakistan and all over world coming by travelling through road train or by air.

1.4. SITE:

Site located in Multan Punjab Pakistan near to the fort and shrine of Bahawal din zikria multani.

Client are Multan Development Authority (MDA),Department of Archaeology.

1.5. SCOPE OF WORK:

The scope of work for the project includes: 1.Museum:Galleries,Monuments,artgalleries 2.AmphTheater 3.Library 4.Monument Research Conducting research on the various aspects of the project which will lead to a conclusive design concept.

Site Analysis A study and analysis of the site,its features and surrounding envoirnment.

Planning and design Master planning and layout of program on the site with reference on the research and site analysis followed by space relationship study eventually leading to detailed planning and design of organized spaces within the program.

1.6. RESEARCH PROCEDURE:

Research Methodology is a way of solving the research problems systematically. Following are the steps 1-Literature Review • Culture and History of south Punjab.

• Artifacts of South Punjab.

2-Regarding museums, art and craft center and Multan artifacts.

3-Case studies of similar projects in Pakistan and other countries having similar climatic profile 4-Study of ancient architecture culture in Multan.

5-Study of climate profile of Multan and Multan architecture.

6-Books,Newspapers,Articles,Journals 7-Discussion with client and director of Archology 8- Questioners

1.7. Conclusion

Archaeology and art museum contains comprehensive information about the Archaeological history and art and craft of area exhibiting the remains and ruins of previous civilizations, showing way of living, textile, jewelry, pottery, traditions, architecture and culture. The project would be depicting all these features in temporary and permanent galleries along with Amphitheatre and Craft center.

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Chapter No:1 Introduction

1.8. Work Procedure

work start form the client brief an according to client research out from literature and then study the project nation wide and international and analyse the conclude the points and then after understanding the project hit some site and program base analysis and devolped the program and apply concept and define zone of site to plan the program.

M.D.A Archeology

Literature Rivew Site Analysis

Case Study

Access Utilities Environment

Library Internet Standards Thesis Report Books,Journals

analysis Function Relationship

Project Understanding Program devolpment Study Of Display Research Techniques

Design Concept Utilities services

Fig.1.1 Resarch Procedure

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Program Zoning

Planning

Multan Glimpses

Chapter No:2 History of Multan

Chapter No:2 Brief history of Multan:

The living city of Multan is reputed to be at least 5000 years old with a recorded history of about 2500 years. The history of Multan prior to the arrival of Arabs in the 8th century A.D is obscure. Alexander is said to have passed through the district in about 325-326 B.C, but his route cannot be traced. It is probable that Multan was the city of Malli which Alexander stormed and where he was wounded.

About 327 B.C. the Macedonians were ousted by Chandragupta and the Maurya dynasty remained in power till the beginning of the second century A.D. From 30 B.C to 470 A.D., the Kushan dynasty ruled over the area, and from 470 A.D to 550 A.D. At the time the Arabs first came to Sindh, the country was ruled by Raja Chach, a Brahmin. Multan was conquered by Arabs under Muhammad Bin Qasim in 712 A.D. after defeating Raja Dahir, a descendant of Chach.

Thereafter, the town remained for the three centuries the outpost of Islam in India, under the caliph of Baghdad. It remained nominally subject to the Lodhies, Ghaznavids and Muhammad Ghauri upto the end of 12th century. From the beginning of the 13th century for the next three centuries, the history of Multan is practically the history of the incursions from western and central Asia.

In 1397 came the invasion by Taimur, whose troops occupied Uch and Multan, sacked Tulamba, and raided the Kohkhars of Ravi and past across Biass to Pakpattan and Delhi. In 1528, comes the peace full transfer of the province of Multan to the emissaries of the Mughal Emperor Babar. Under the Mughal Emperors, Multan enjoyed a long period of peace between 1528-1748 and was known as Dar-ul-Aman.

In 1752 Multan became a province owing allegiance to Afghan kings. It was then ruled by Pathan governors and Daud Putra chiefs of Bahawlpur for some time. After 1771, Multan witnessed continued warfare between Sikhs and the Nawabs of Multan. Between 1818 and 1845, it remained under the Sikh rule and finally came under the British rule in 1849.

Architectural Style: Multan and its environs possess numerous grand edifies representing different faiths, Hindu, Muslim, Sikh and Christian. The architecture of the Buddhist era is no longer in existence and only some idea could be conceived through the travelogues and accounts left by the travelers and historians.

It should be asserted here that the architecture of Multan is essentially and mainly an outcome of the religious faith f its people. Secular traditions, though had some impact but they did not divert the focus of the builders in building for secular purposes, with as much interest as they look in building manifesting their religious faiths. This is also true for the other faiths that prevailed in this era.

• Hindu Period:

The most important center of Shivite worship inn northern India, with perhaps the biggest temple of Sun god to which devotees flocked from all corners of subcontinent. The temple of Sun god was famous as repository of gold and riches. Although no traces of its structural remains exists now, its antiquity may be estimate to the early centuries of the Christian era.

• Early Muslim Period:

The style began with Baha-ud-Din Zakariya and culminated into the tomb of Shah Rukn-i-Alam which has been admired as one of the most splendid memorials ever erected in honor of the dead.” These two memorials served as perfect models for the future architect, who continued imitating them for well over six hundred years.

The Multan Style, though a local and almost independent development, however indicates strong influences of the tomb architecture in Central Asia and Euphrates Valley. A fact quite easily understood due to the fact

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Chapter No:2 History of Multan

that the exponent of this style Baha-ud-Din Zakariya himself belonged to and had proceeded to Bakhara, Mawar-al-Nahr and Madina to complete his religious education and then to Bagded to get spiritual training under the guidance of the great Shahb-al-Din Suharwardi. Due to repeated destruction of this city by the invaders no ancient structures prior to the first half of the 12th century AD have survived however more than two dozens of them are still standing on the soil of Pakistan to how the vigor and popularity of the style.

• Moghul Period:

The Moghuls ruled Multan from 1526 A.D. During this period a number of mosques and royal building were erected of which few exists to testify the Moghul supremacy. There is no imperial Moghul building in Multan.

The Eidgah, Wail Muhammad Mosque, Sawi Mosque, Am-khas Bagh belong to local schools or are the building build by the Governor of Multan. Now we will discuss the Moghul buildings separately.

• Sikh Period:

During the sikh period destruction and damages to the monuments and other buildings has been immense.

The Sikhs. As described earlier, converted several tombs and mosques in to gurdvaras and store houses and mosques magazines. The bombardment was so heavy and severe that almost half of the tomb of Hazrat Baha-ud-Din Zakariya collapased. Sikh rule over Multan lasted only forty years. During this period Darbar was in Lahore, while in Multan was a state. The influence of Sikh Architecture can only be seen in the elements of the walled city as they did not build any building.

• Colonial Period:

The British after the conquest of Multan took possession of the building which existed. They converted them into the residences, headquarters of their administrative bodies. The next step was the construction of cantt for the defense; as it was customary of the colonials. They linked the central walled city with a road on this road a number of public as well as administrative buildings such as Town Hall, Kachehry, the G.O.R, Clubs, were erected. Railway station was built in the Cantt in order to have a link with the center of city for the military purposes.

2.1 Analysis of Spaces: • Walled city of Multan:

The walled city of Multan is located on mound, believed to the formed of debris of buildings demolished during the centuries of its existence and is unto 6-meter-high flour the surrounding Hussain Agahi and circular roads. The walled city is the bearer of a rich heritage in terms of significance number of historic buildings, an important example of Islamic Urbanism which unlike many Islamic cities has to date retained most of its original characteristics.

Layout and street pattern Besides a huge number of small openings, the walled city in entered into from six gates four of them still retained this traditional form. The gates are ——Daulat Gate ——Delhi Gate ——Pak Gate ——Haram Gate ——Bohar Gate There are six main routes. These primary or main routes terminate into secondly routes. Important places were carefully planned along the main routes (Masjid Wali Muhammad in the center of Chowk Bazar in a landmark). It seems that the organic growth was also a definite pattern, so that the inner street network proved to be confusing for stranger on the other hand, it presents definite cues to the passerby to orient himself. The curvilinear, narrow meandering street offers an interesting serial vision. With strategically placed lighting niches at every curve. It is told by the elders, houses of Sikhs and Hindus were lit in the night by lamps placed in niches.

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Multan Glimpses

Hierarchy of spaces: The street narrows down to a few feet and suddenly up presenting a hierarchy of space. The high skyline casting deep shadows over the street caters to comfortable movement. The junctions of streets are provided with landmarks. Such as a well, large tree or some religious buildings (mostly a mosque). Most of the traffic is pedestrian and also dedicate the character of architecture of walled city. Only the main route (the gates of the city) are wide enough to accommodate the vehicular traffic. These main routed open into squares (chowks) from which originate the secondary streets. From these tertiary streets spring, which open in the Deuhri (Varanda) or in some cases a flights of steps called Uthala, due to the topography of walled city. The squares of open spaces such developed offered the sense of enclosure, facilitate the activity going on. Mandies (markets) and Bazars are strategically placed mostly along the main routes. The occasional spaces and katras (cul-de-sec) acted as a small, intimate communal spaces.

The street scape: The street scape presents a multitude of viual scenes in floor wall or roof. The brick street floor has a small raised platform. (Thiarra) adjacent to the man entrances, also offered a side silting space along the route, adding life to the street space, a characteristic of our cultural heritage variety of geometrical pattern offered and visual interest. The raised platform along with the roadside offers social space. Although, the provision of basic amenities of life, like water, electricity etc., have changed the street shape with high tension wire running close to the balconies and street tank lights projecting out. The projections jhrokas, the balconies along with their delicate carvings and beautiful curved wooden doors add the beauty of the facade.

Fort: The Multan Fort a military installation, was a landmark of Indian defense and architecture. According to some estimates the original fort was built between 800 to 1000 Bc. It was built near the city of Multan, in Punjab province, on a hillock separated from the city by the Ravi River. The fort was destroyed by British forces during the British occupation of India.

Origins of the Multan Fort arc not known. It was built on a detached, rather high mound of earth separated from the city by the bed of an old branch of the Ravi.The walls of the fort were flanked by 30 towers and enclosed numerous houses, mosques and shrines whose beauty was damaged by the guns of Ranjit Singh in 1818. A beautiful panoramic view of Multan city can be had from Damdama, the biggest point of fort.

There is no Fort now as it was destroyed by the British Garrison.

2.2. Conclusions: • Characteristics of the Style:

Masolumen is most old structure so that am conclude it first Three ‘story’ with circumambulation gallery a top the first story.Sloping wall often strengthened with corner turrets. A high and pronounced drum surmounted by turrets. Naked brick surface, both from the exterior as well as interior, which is embellished with faience r faience-mosaic. Wood courses or wood framing used within the brick core for the purpose of resilience.

The Philosophy of Blue Color: Color was derived from precious stones, lapis lazuli and the day time color of the sky. In the Sassaron Period, blue was a nerved color and was considered the royal color. Courtiers were different shades of blue to show their ranks. Torquoise was used by the nobles of the highest rank in the realm and the next rank was marked by lapis lazuli. The throne of Khusraw- II called ‘Takt-e-Taqdees (Throne of Holiness) was in two shades of blue. Later, in 1000-1100 AD, when islam took roots, blue was prominently used in the expressions of other arts and craft, especially in architecture and pottery. In the 14th and 15th century these arts reached their zenith. This tradition traveled Multan and Sindh areas of Pakistan with the advent of Islam, when many saints came from Iran to settle in the northern parts of Pakistan. These men preferred blue, as is explained, because they saw in it a realm, of emotion and mystic experience, which led them to metaphysi-

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Chapter No:2 History of Multan

cal transcendence.

Study of blue with earthen color in Multan Architecture: To cool down this warm and full effect in the eye of viewer blue is added to building as a part of decoration.

In the arabesque decoration turquoise blue and cobalt blue have been used. The overall earthy brown color of the buildings creates an organic relation with the ground (on which the building stands). Maximum glazed blue decoration is provided on the upper parts of the buildings. The pyramidal form of the building take the vision upward, where the blue color decoration create very strong relation with clear blue sky. (Building seems to blend with the sky).

• Decoration and Ornamentation:

Enameled Tile Intrasia work: It is a manner old producing different geometrical decorative designs by inlaying different glazed or unglazed tiles into a background of brick tile wall. These tiles are composed in such a way that the whole design gives a high relief on the arabesque Intrasia is a type of mosaic work, but the scale of the component is comparatively large.

Carved and Cut Brick Work: Carved and cut brick work have been extensively used in the arabesque decoration of Multan architecture. In this type of decoration brick tile is carved, cut and well-dressed according to the need of design composition.

Filigree Work: It is kind of mosaic work in its appearance but more delicately intricate. The gaps and holes of larger components are filled with small and tiny components. Filigree work have been extensively provided on the spandrel of the main doorway arches of the vestibule and the front façade of the tomb chamber.

Turn Wheel(kharadi) Timber Ornament Work: Turn wheel is a term used for timber ornament work. The interiors of the mausoleum of Baha-ud-Din Zakariya and Shah Rukn-e-Alam have been richly ornamented with turn wheel decoration then have done on the structural shisham(sisu) wood, horizontally or vertically embedded in masonry. Turn wheel decoration also appears on the door frames. Most of the mtifs have been taken from the Hindu architectural traditions.

Lacquer Work: Lacquer work is a term to describe of wood or ornaments that have been treated with lacquer in one form or another. The base of the dome (of the mausoleum of Rukn-I-Alam) has been provided with a well ornamental ring of lacquer work.

Gilding Work: The laying of gold leaf or cover on to a fram or object is known as gilding work. The pinnacles (of the mausoleum of Hazrat Baha-ud-Din Zakariya and Shaikh Rukn-I-Alam had been originally gilded with gold.

• Mausoleum:

1. Multan is an ancient city and its history dates back to 5,000 years having the characteristics of the Indus valley.

2. There are more than a dozen tombs of the Muslim saints. These surviving religious buildings which represent the historical back-ground and architectural techniques materials, components and motifs of decoration and their era.

3. The mausoleum of Hazrat Baha-ud Zakriya and his grandson Hazrat Shah Rukn-i-Alam are representative buildings of their age. They have the characteristics of Turko Persian Architecture combined with the extension of local techniques having indigenous material.

4. The tombs belong to the saints of Surhrwardia silsila, were made during the reign of Sultnate of Delhi (Khilji and Tughlaq) having the Turko Persian architectural style combined with an improved extension of the local one; has served as Base for the ensuring tomb architecture in the subcontinent.

5. The mausoleum have vast walled courtyard. This boundary wall creates the sense and feeling if piety and holiness and from outside one can only see the supreme top of the dome with alternative and shining band of glazed tiles-projecting the dome and the upper of the second story. This semi hidden tomb by the boundary wall, simulates the viewer’s instinct of the curiosity to see the tomb closely.

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Multan Glimpses

Sloopping walls: Slopping structural walls are provided due with many charities which are given below.

Structural Reasons: Slope in the walls are given to strengthen and stabilize the overcoming, structure. The solid slopping turrets divide and transfer the counter thrust of the structures.

Visual Impact: The slopping walls determine the angle of the viewer’s vision and takes it along the wall to an imaginary vanishing point in the space. It gives a perspective impact and adds the feeling of the grandeur massiveness and magnificence.

Organic Impact: Both the tombs have been made of naked burnt brick of brown earthly Color which creates a strong organic relation with the earth underneath.

Color Impact: Extensive, artistic and aesthetic use of glazed blue tile on both the tombs, especially the second story and dome takes the vision to the sky. it seems as the building is a part of the sky and the building seems to be dissolving in the sky. • Wooden beam:

embedded in masonry (Dhajji Work) Structural reason: The thick wooden beams and planks have been embedded in the masonry to reinforce the overall structure wooden beams have been provided.

Visual Impact: The horizontal wooden beams have been provided in the exposed brick masonry to soften the feeling of massiveness.

Openings: four centered arches with the ratio of 3:2have been provided. Some of them are blind.

Decoration Motifs: Many decorative motifs like sunflower, lotus, swastika have been adopted from the Hindu temples and mythology. They are visible on both of the tombs.

Other Decoration: many motifs like zingera, flower vases and diamond have been provided in running horizontal friezes.

Local Material: locally available shesham wood which is the best one, is used in the construction and decoration of these two tombs.

Form: the pyramidal form of the tombs, pointed arches and slopping turrets with dividing pinnacles harmonies the overall composition of mausoleum.

High Mound: Both the tombs are situated on a high mound old Multan fort. The prestigious location reflects their position of supremacy and ascendance and it be little the viewer indee This imposing impact of height on top of a mound is magical and bewitching.

Sequences of spaces: excellent sequence of spaces i.e. entrance vestibule to courtyard to mausoleum entrance vestibule and finally to mausoleum.

Entrance: Entrance to mausoleum is always from the south. Openings are provided on the north and the eastern side for light and air. Wooden perforated screen is provided in openings to cut down glare and heat. Mehrab is provided on the west side.

Ventilators: ventilators are provided on multi story level.

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Multan Glimpses

Chapter No:3 The Museum:

Museum is an institute which perform all or most of the following function, collecting, keeping in custody inclusive of fostering and exhibiting materials concerning, history fine art, ethnic customs, industries, natural science etc. so that they are offered for public user under educational care, and of conducting necessary business to serve the people’s culture attainments, research, survey, recreation, etc., and of making research and survey pertaining to such materials.

Museum is an institute developed by modern society to save off, as long as possible, the deterioration and loss of object treasured for their culture value. In other word it is a repository for the collection preservation, exhibition, and study of object of artistic, scientific, historic, and interest.

The society does not collect these object merely to board them but for educational purpose. Furthermore, it is treasure valuable items for culture enrichment. The museum helps us to recapture a sense of magic and beauty of natural world and the genius and skill for our ancestry. It helps us to understand man in its true nature and helps develop in man a sense of self-realization because the true man is not only what he is but what he was, past provides the brick work of present. Further museum provides us with a keener sensitivity which is the hall mark of civilization. Love of knowledge, virtue and good are the fundamental needs of higher man and the museum act as catalysts in furthering among the populace a higher sense of culture.

A part from the historical records of the existence of museum, there is no evidence that the earlier buildings were solely designed to serve the purpose of museums. Mostly palaces, temples and public building were used for housing museums.

——Origin of term museum The English “museum” comes from the Latin word, and is pluralized as “museums”. It is originally from the Ancient Greek Mouse-ion, which denotes a place or temple dedicated to the Muses (the patron divinities in Greek mythology of the arts), and hence a building set apart for study and the arts.

——Purpose of museums A common language that conveys the complex reality of current social and cultural values–ethical, aesthetic, scientific and technological is the key purpose for those in charge of transmitting a message to society, particularly in the field of museology.

The purpose of modern museums is to collect, preserve, interpret, and display items of cultural, artistic, or scientific significance for the education of the public. The purpose can also depend on one’s point of view. To a family looking for entertainment on a Sunday afternoon, a trip to a local history museum or large city art museum could be a fun, and enlightening way to spend the day. To city leaders, a healthy museum community can be seen as a gauge of the economic health of a city, and a way to increase the sophistication of its inhabitants. To a museum professional, a museum might be seen as a way to educate the public about the museum’s mission, such as civil rights or environmentalism. Museums are, above all, storehouses of knowledge.

——Change in museum Early museums began as the private collections of wealthy individuals, families or institutions of art and rare or curious natural objects and artifacts. These were often displayed in so-called wonder rooms or cabinets of curiosities.

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Public access to these museums was often possible for the “respectable”, especially to private art collections, but at the whim of the owner and his staff. The first “public” museums were often accessible only by the middle and upper classes. It could be difficult to gain entrance.

——Old Museum: The buildings used as museums had monumental exterior, and dark gloomy palatial and ornamental interior which were in themselves symbol of culture rather then centers of culture, Keventh Hundson in his survey give his views about it. “Many of them are cursed with nineteenth century building which defy even the most ingenious attempts to make them suitable for present day purposes. Those who planned museums four or five generations ago had an instinct for installing the collections, usually of painting, sculpture and antiquities, either in a superannuated palace in a new building designed to look a place. There were magnificent stair cases, vast rooms with high ceilings, and as much marble, carving mural-painting and mosaic as the budget would allow”. It was grant inflexible, expensive and intimidating”.

——New Museum: These characteristics should definitely be avoided in modern museum building which have now more specialized, functional building with changing concepts i.e. which should have a friendlier atmosphere and should be inviting to share their hospitality.

The growing demand for more information more communication, more interpretation and more activity. The museum seems to be in the process of transformation itself from a display and conservation center to a cultural center.

3.1 Museum Debate: ——“The classic museum is structured as follows: four walls, light from above, two doors; one for entrance and other for exit”.

Now this single line tells us a lot about what a classical museum is supposed to be. It gives us the picture of what is the standard for design a museum. In this case the main focus is on the exhibit housed in those four walls and there is no emphasis on the building itself. This is one of the main change which came with the ‘modern era of museums’. Another way of looking at it would be the minimalist and deconstructive. Museum architecture is an extreme variation of the current trend of creating museums design in close collaboration and dialog with visual arts.

——“S. Baxia” museum architect says: “it will be center for all kind of cultural activities like theatrical performance, lectures, concerts, exhibitions and meetings, and these amenities will have to be provided on large scale than needed only as accessories for museum activities, then she continues”. “the style of the building should be represented of its age should be at least contemporary, if not ultramodern. The interior of the exhibiting galleries as well other related rooms should be architecturally pleasing, but should not be a center of attraction and should be subordinate to the purposes in view.

Many people believe that the museum building should imposing, solemn and monumental, this is achieved normally by restoring to the methods of traditional building and adapting archaic style. This should not be al lowed by any contemporary thinkers. Old style was dependent on old methods and material of construction”.

——Professor “Lehmbruck” says “since one cannot forecast what the changes in felling that thinking of the next fifty or so years are going to be, one can only anticipate them but designing highly flexible building. Ideally, the museum building should be nothing more than a shell a shelter, with in which all division, floors stairs and lifts can be easily rearranged as new need arise”. He calls it an “over generalized building”

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3.2 New trends in museum

Over the period of time, a lot of changes have been taken place. Modern trends in museology have broaden the range of subject. Museums are truly a masterpiece of architecture. Museum buildings have brought a major change in terms of form and structure. These days many new dynamic form and structure are being constructed. Iconography is making the building to act like landmark of the city.

Museum interiors have gone through many changes. The way exhibits are displayed enable people to learn and maintain the interest of visitors. Natural lighting is also considered making the interior more enjoyable and adding to energy efficiency.

Museums have introduced many interactive exhibits which give the public the opportunity to make choices and engages in activities that may vary the experience from person to person. Education through interact and multimedia activities is one of the trends these days in museums of the world.

•With the advent of internet there are growing number of virtual exhibits •Audio visual media is now a days incorporated with in the museum building for two reasons In order to increase education effectiveness beyond the level attained by traditional display methods To keep pace with the rapidly developing technology of our time.

——Education New demand are being made on the museum building as it evolves into popular r entrainment center that also educates fed feeds merchandise providing a social as well as spiritual experience. Program for the public may consist of lectures or tutorials by the museum facility or the field expert films musical or dance performance and technology demonstration ——Role of museum • Entertainment • Education and learning • Developing of society and community • Employment of people • Attract tourist • Encourage new business • Promote culture

fig.3.3 Concept diagram

fig.3.2 Museum Concept

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3.3 Museum complex:

Function of museum complex is art, architecture and anthropology in the devolving countries may be tabulated as follow.

• Function:

i-To maintain and display a representative collection illustrating the arts, crafts and cultures of devolving region from the earliest human occupation down to recent times. ii-To provide the necessary material and facilities for appropriate research. iii-To set international standard of presentation and general museum technique. iv-To provide authoritative guidance to the local general public and foreigners in matter relating to the region heritage. v-To provide guidance and technical assistance to regional and local small museums. vi-To provide publications for the information of both the general public and scholars. vii-To maintain and circulate loan collection amongst the educational and other appropriate institutions particularly in those districts and towns lacking a museum of their own.

3.4 Museums in Pakistan:

On independence Pakistan inherited seven museums, out of which Museums at Lahore and Peshawar were run by the Provincial Governments while site museum of Harappa, Mohenjo-Daro, Taxilla and the Armory Museum in Lahore Fort were looked after by Central Government through its Department of Archaeology.

Immediately after independence plans were taken in hand to establish National Museum of Pakistan. It was on 17th April 1950 that the National Museum of Pakistan was inaugurated replacing the defunct Victoria Museum.

—Museum — performance attribute with respect to object, observe environments: Preservation

Display

Security The route.

Fatigue factor Educational aspect

Sensible

Humidity

Object and environment.

Light,Temperature,Humidity.

Air pollution,Dust proofing.

Fire proofing,Life safety.

Object and its back ground.

Light.

Housing the exhibits.

Security arrangements.

Theft control.

Object and space.

The route.

Physical fatigue.

Psychological fatigue.

Psychological and educational aspects functions and sequence.

Esthetic Illumination Ventilation.

Effects of people on R.H. and temperature.

Cha.3.1 Performance Attribute

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National level Program Study

Chapter No:4

4.1. Lahore Museum:

Lahore museum Designed by Bhai Ram Sing location of museum Mall road Lahore Punjab Pakistan structure Red bricks double story structure and use of traditional style of architecture and one of the oldest and largest museum of Pakistan. It is the largest and one of the top ten museum of south Asia. The museum was establishing in 1855. Bhai Ram sing Architect of museum.

Museum located on the mall road Lahore beside National College of Arts, building is compound in a distinct 2-story structure containing an auditorium and library, which was once referred to as the Technical institute.

This building built in red bricks and ground floor is utilized as an auditorium while the first floor houses one of the finest antiquarian libraries in Pakistan. On the south facing the Mall, Lahore Museum, commonly referred to as the “Ajaib ghar�.

fig.4.0 Lahore Museum Plan

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Name of Architect Bhai Ram sing

Name of Building Lahore Museum

Location Structure The Mall ,Lahore, Punjab Red bricks Double Story Pakistan Structure

cha.4.1Lahore Museum Detail

fig.4.1 Museum Building

Admin Public

fig.4.2 Circulation plan

fig.4.3 Master plan

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Certain areas which had a mezzanine level were lacking in ventilation, which led one to feel claustrophobic. It is obvious that this was a fault in the design, and not an international insertion.

fig.4.4Library zone

fig.4.5 Auditorum

fig.4.7 Entrance lobby

fig.4.8.Main Entrance

fig.4.10 Buddhist Gallery 1

fig.4.11 Buddhist Gallery 1,2 After the renovation of the museum, the space has become much better than what is used to be. The lighting details are very good and the galleries are large with ample room for display.

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Buddhist Jain gallery

fig.4.6Pakistan Movement Gallery

CRAFT BRIDGE

COINS MEDALS

ETHOLOGICAL 2,3 FABRIC

Library

ADMIN LOBBY + MANDAR

PAKISTAN MOVEMENT STAMPS, ARMS

SADEQUAIN ETHOLOGICAL-1

JAIN

BUDDHIST JAIN HINDO

LOBBY + MINIATURE

T

ISLAMIC

Stair case MANUSCRIPTS CALLIGRAPHIE

GENERAL

SHOP

VIP ENTRANCE

BOOK SHOP

SOUVENIR

Offices

T

AUDITORIUM

Shops

LIBRARY

SECURITY INFORMATION

CAFÉ

Gallery 3

Upper Gallery

Main hall

ENTRANCE TO LIBRARY MAIN ENTRANCE

Gallery 2 Gallery 1

Gallery 4

DOMED VESTIBULE

T

Auditorum

Gallery 5

CONTEMPORARY

GANDHARA

PHOTO HISTORY

Mosque

Mandar

MASJID

Entrance

Check in Ticket Area Security

Café Main Gate

cha.4.3 Space Relation

cha.4.2 Hierarchy of spaces Given the fact that it is a colonial building, the small details the large galleries are worthy of mention.

fig.4.9 Painting Gallery

fig.4.9 Painting Gallery

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Chapter No:4 Project Understanding

linear path and corner cabnits in center only few of carpits display which not visible completely due to rasied platform and museum have much items which persorme story or for athnlogical display technique but they don’t use the oppertunity doors and islamic qaliens display on the wall which uncomfortable for visitor due to frot face lighting well which place at the same place above on the display. fig.4.13 Jain Gallery

fig4.12 Islamic Gallery The museum place in the urban fabric is also of importance at is surrounded by institution which promote education, culture and knowledge and are of historic value.

4.1.1. Conclusion:

Museum spaces must be designed keeping the relation between the display areas and the visitors in mind.

Window on the gallery areas should be places in such a way that the light does not affect the display areas.

The display areas should have indirect lights for better visibility.

Color scheming in the galleries helps a lot therefore the scheming should be properly determined Location of museum is importance as it reflects on the building itself.

The building itself has very grand felling, welcoming feeling of grand entrance.

The lobby is very pleasing to look at as the dome above it is painted and have multi levels so it provides moment of from floor to roof.

The museum generally tends to exhaust the viewer as there is lacking of seating space.

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4.2. LokVirsa Complex:

The lok virsa museum also known as the Folk Heritage museum Designed by Parvaiz Associates Bhatti Associates and Naqvi Siddiqi location of project is garden ave, Shakar Parian Hills, Islamabad Structure detail is different according to culture envoirnment runs by the National Institute of Folk & Traditional Heritage. The Heritage museum is the first state museum of ethnology in Pakistan which present the history and living traditions of the people of Pakistan both from the mainstream and the remotest regions of country. The location of this landmark achievement at Islamabad enriches the federal capital and adds to its attraction.

This is a museum for the people of Pakistan who are the real bearers of our Cultural Traditions. The museum has a covered area of 60000 sq.ft. featuring exhibit halls, making it the largest museum in Pakistan. Traditional architectural Facades exhibiting such skills as fresco, mirror work. Lok Virsa (The National Institute of Folk & Traditional Heritage) works towards creating an awareness of cultural legacy by collecting, documenting, disseminating and projecting folk & traditional heritage. Surveys and documentation of traditional culture is central to the objectives of the institute.

Lok Virsa is an affiliate member of UNESCO, The World Craft Council, International Council of Music, The Asian Cultural Centre for UNESCO, The International Council of Museums and similar other world organizations for the dissemination of art products abroad.

Toilets

Food stalls Museum

Museum

Museum

Extension Resarch block

Museum

Extension

Open Air Theater

Pavilion Media Studios

Transport Store

Telecasting

Admin

Craft Bazaar

fig.4.12Master Plan

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Chapter No:4 Project Understanding

Name of Architect Name of Building Location Structure Parvaiz Associates, LokVirsa Complex, Garden Ave, Shakar- Contextual material Bhatti Associates and Garden Ave. parian Hills, Islamab according to culture Naqvi Siddiqui

4.2.1. Project Spaces:

The project comprises of following blocks Pakistan National Museum of Ethnology/Heritage Museum • Virsa Media Centre • Virsa Publishing House • Virsa College of Arts • Virsa cafe • Heritage Library • Video and Sound Archives • Artisan Shops • Artisan at Work Festival • National Institute of Cultural studies (NICS) LokVirsa also known as the National institute of Folk and traditional Heritage is famous for documenting and preserving valuable information on the cultural and traditional heritage through filming and surveys. It preserves and display the rich cultural heritage of Pakistan.

fig.4.13Part of project for Casestudy.

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fig.4.16Museum Planing Fig.5.15 Entheology Installations

Built a complete story through the history and use of materiality and element of the civilization this type of space leave impact on mind permanently.

Complete story of a Muslim marriage with all traditional elements of like dresses Dhool etc.

Use of ramp and proper floor which guide public as a museum guider a complete continue strip of visitor circulation.

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Concept The LokVirsa lacks the uniformity which becomes an important part of a building complex, a uniformity and repetition of elements that set up a language of design. However, in case of LokVirsa the design concept evolves from the diversity in the culture and architecture of Pakistan by using different architectural elements for different buildings.

• Crafts shops:

These crafts shops provide the local handmade crafts and promotes the our local cultural. The craft shop provides the opportunity from all over Pakistan artist to exhibit their crafts at this point.

• Museum flow:

Use of display techniques create very interesting series of installation of ethology. also the use of path for visitor to full educate the public about history series of time line of we say that creating a story from past to present quit interesting.

Exit Gallery Reading Library Exit Store Exit Gallery Shop

Gallery

Hall 5

Gallery

GALLERY

Exit

Hall 4

GALLERY

Gallery EME.EXIT

Wash Room Video Area

GALLERY

LOBBY

EME.EXIT

STROAGE

GALLERY

Shopping Arcade

Entrance VIP Room

EME.EXIT LIBRARY

GALLERY

Stage

Hall 1

LOBBY

LOBBY

Gallery

Hall 2

GALLERY

HALL OF CHANGING

TOILET

GALLERY

SHOPPING ARCADE

Ticket

TICKET

VIP

MAIN ENTRANCE

cha.4.4 Hierarchy of spaces

Fig.5.2 Main Entrance

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Cha.4.5 Space Relation

Multan Glimpses

Spaces:

Block 1 Porch VIP/Ticket Shopping Arcade Hall of Changing Gallery Display Block 2 Gallery Display Museum Store Toilets Block 3 Library Gallery Display Block 4 Gallery Display

fig.4.17 Museum Circulation Hall of Changing Regional Gallery Library Civilization Gallery Art and Craft

• Galleries of museum:

The different galleries show the different color of the culture of the Pakistan. The path way f the museum are very defined and the circulation of the culture is as per sequence.

The interior of museum depicts culture and color of Pakistan in a fascinating way. The Galleries of museum exhibits live environment. For exhibition in galleries instead of placing of individual model are incorporated in a group from to exhibit the whole environment. The traditional architectural techniques incorporate working of crafts workers which makes the display interesting. • Heritage library:

Heritage library is devoted to provide assistance to scholars, students, common citizen on folklore and cultural heritage by accumulating field research and collecting cultural studies.it houses a large collection of books on anthropology, folk music , culture , arts , crafts and history

4.2.1 Conclusion:

Museum is a single space which represent all region of Pakistani culture and traditional art and craft. but is outside of the museum spaces with fake entrances and multiple door who show only identity of the different Wald cities and culture but people confuse to find the right place like amphitheater and cafeteria, also the outdoor land scape not well planned and space segregation. Lacks diversity in the depiction of architectural styles and crafts. Weak linkages are there between different functions. unplanned open spasce no parking facility within the complex six entrance gates create confusion and pose a security threat. Use of local material and built local depiction of village life amazing sculpture play in outdoor.

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National level Program Study

4.3. National Museum Saudi Arabia:

Riyadh Museum deigned by Raymond Moriama National Museume Saudi Arabia museum location Riyadh city Museum structure mostly use of stone and r.c.c and create masses and then internal lay ought to build by the partition walls and different kind of blinders.

Concept inspired by the form and colors of the sand dunes of the “Red Sands” just outside Riyadh.The west facade along Murabba’ Square resembles the soft contour of a sandune with its layout forming a crescent pointing towards Mecca.The west facade opens into a large lobby, that also opens to a smaller square in the east that separates the main bodies of the museum to the north and south, each arranged around a small internal courtyard.

The concept for the didactic design of the exhibitions is somewhat different from the traditional approach of the classic museums. There is less emphasis on individual exhibits displayed out of their cultural context as objects of great value. There are a great many replicas and life size dioramic displays, illustrating and educating about certain points and issues. As such it is sometimes difficult to identify certain specific pieces and even tell replicas from originals. The idea behind this is not to focus on individual pieces in their own right but rather use them as examples to highlight the general ideas or concepts they represent.

Gtound floor

First floor

fig.4.20Museum Plan

fig.4.34 Gallery Layought

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fig.4.34 Gallery Layought

Multan Glimpses

Name of Architect Raymond Moriyama

Name of Building National Museum

Location Saudi Arabia

Structure Concrete structure Double Story Structure

GALLERY

GALLERY

GALLERY

BRIDGE

GALLERY

GALLERY

GALLERY

STAIR

GALLERY

GALLERY

GALLERY

fig.4.18Museum Building RESTAURANT

ATRIUM

ADMIN

CAFÉ

THEATER

SHOP

MAIN ENTRANCE

MOSQUE

cha.4.6. Space Relation

Entrance Café Admin Gallery Gallery Temporary

fig.4.19 Master plan Mosque Shop Theater

Main Hall

Restaurant

Gallery Gallery Gallery

fig.4.26Recption Hall Stair case Bridge Gallery

Gallery

Gallery

cha.4.7 Hierarchy of spaces fig4.25Street Scape

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fig.4.24 Street houses facade

Chapter No:4 Project Understanding

fig.4.21 Archology site walls installation

fig.4.22 Museum Circulation

fig.4.23 Archies coridore in front of display

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fig.4.27 Man and Universe Hall

The first hall, Man and Universe, leads to other galleries and, with a total area of 1,500 square meters, is located on the ground floor. It features: Changes in the earths surface and the impact on humans.

Various patterns of life in different geological ages, such as animals and fossilized trees.

Movement of continents and continental drift.

Minerals, rocks, and fossils that indicate millions of years of geological fluctuations.

A model of the Tuwaiq Mountain range is display inside a small cave.

The model features different types of metallic and nonmetallic minerals and stones.

Different types and forms of petroleum are on display.

Models of extinct animals of different sizes that settled the ancient Arabian Peninsula, such as the model of a Mastodon that once roamed the Arabian Peninsula 12 million to 17 million years ago.

Natural soils of the Arabian Peninsula.

There is a section that features the primitive techniques and tools used by prehistoric man. The Hall also includes pottery objects belonging to one of the oldest civilizations the so-called Obaid Civilization, five thousand years BC -- which flourished in east of the Arabian Peninsula, in southern Mesopotamia, and some of the ancient Near East.

Visitors can also see an ancient human handprint carved in a rock found in Najran, in the southern part of the Kingdom.

There are also artifacts, models and rock-drawings from the prehistoric period reflecting how the first man coped with the environment, and the old stone tools he manufactured.

fig.4.28 The Prophet’s Mission Hall

The fourth hall features a total area of 350 square meters and is located on the first floor. It highlights the life of Prophet Mohammad -- peace be upon him -- including his lineage, family, marriage, and major events from his birth in Makkah until his migration to Madinah. The exhibited materials include manuscripts of the holy Quran, paintings, and road maps of his migration to Madinah

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fig. 4.30 Jahiliyya Era Hall

Peninsula and its people, including important cities, industries and markets from that period. The displays also show the trade route before the advent of Islam, as well as the important cities at that time and their pilgrimage practices. Some of the major cities in the pre-Islamic era, which played active cultural and economic roles, in addition to Makkah: A - Jerash: Located in the Asir region, Jerash gained economic importance due to its location along major trade routes.

Trade commodities included agricultural products such as fruits, grains, and vegetables, in addition to industrial products such as weapons, leather, and minerals.

B - Khayber: Located in the Hejaz region and surrounded by volcanic rocks, Khayber was an important caravan-stopping point. Its people pioneered the cultivation of the oasis and accumulated considerable wealth by growing date palm trees, as well as through commerce and craftsmanship. Trade commodities included industrial products such as shields, swords and spears.

C - Najran: Najran was a focal point of the incense route, because all caravans that left ancient Yemen to the north or west had to meet at Najran, where well-developed paths branched into two general directions; one leading north through the Hejaz towards Egypt and the Levant and those leading northwest, to the Persian Gulf.

D - Yathrib: Known from the begining of Islam as Madinah, the oasis city originally known as Yathrib and dated as far back as the sixth century BC. It was inhabited by two main Arab tribes, the Aus and the Khazraj, among others.

E - Hajar Al-Yamamah: Hajar Al-Yamamah was built in Wadi Hanifa before the advent of Islam, and was originally governed by the Kingdom of Kindah. The area was then settled by the Hanifa tribes, who scattered through a valley that become home to a flourishing city and market place for Arabs. Archeologists suggest that the bulk of the city ruins are still under the modern city of Riyadh.

F- Dawmat al - Jandal: Located in the north-west of the Arabian Peninsula, Dawmat al - Jandal was a flourishing city before Islam and an important stopping center for caravans heading to the Levant markets. Its most important archaeological sites include the Majed castle, the Dawmat al - Jandal Wall, and the Rajajil Pillars.

The hall also highlights the emergence of Arabic writing and displays samples of the oldest alphabets in history: the Ugarit and the Phoenician alphabet. It also shows how Nabataean and modern Arabic writing are developed from the Aramaic and the Phoenician alphabets. The hall includes replicas of Arabic poetry, markets in the pre-Islamic era. The Arabian peninsula› fame was not limited to trade but also was renowned as a political, cultural, and commercial forum that gathered poets and preachers from different tribes. The most famous market known in that period were the Okaz Market in Taif, AlMajaz in Makkah, Dawmat al - Jandal, Najran, Habasha, and Mushqaer in Hajer.

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fig.4.31 Islam and the Arabian Hall

The fifth hall at the museum covers an area of 1,200 square meters.

The first section of this hall highlights the era of Islam, which begins with the arrival of the Prophet -- peace be upon him -- to Madinah, and ends with the beginning of the Umayyad period. There is a small room portraying the Prophet›s major battles: Badr, Ohod, and Al Khandaq.

The second section highlights the era of the Umayyad Caliphate, which ends with the beginning of the Abbasid era.

The third section includes three rooms: the first exhibits some of the industries that Muslims excelled in such as pottery, medicine, and astronomy. The second room shows a film detailing Arab contributions to science. The third room includes samples of Islamic calligraphy carved in stones of different sizes.

The fourth section consists of two rooms, the first of which features discoveries from a number of important Islamic sites in Saudi Arabia, such as Ar-Rabadha and Al Mabiyat. The second room screens an short film on Ar-Rabadha set during the Islamic era.

The fifth section highlights the Abbasid period, until the emergence of small states, and the Mamluk era. The main exhibits feature coins, pottery, glass, woodwork, and metal.

The sixth and final section highlights the Ottoman period. It includes a model of the largest Ottoman castle, which is located Muwaylih along the main pilgrimage route from Egypt.

fig.4.32Exhibition Hall of the Kingdom’s

Covering an area of 1,200 square meters, this hall highlights the history of the modern Saudi State from the beginning of the Riyadh captured by King Abdul-Aziz in 1319 AH (1901 AD) until the unification of the Kingdom.

It displays the modern architecture of all the regions, tracking the beginning stages of consolidation and standardization of the Najd and Al Qaseem, the recovery of Al-Ahsa, the restoration and consolidation of Hail and Asir, and then the declaration of the United Saudi Arabia in 1351 AH (1932 AD).

The hall features the Kingdom›s architecture, scripts, weapons, rare books, documents, coins and various utensils -- all of them narrate the story of unification of the Kingdom.

The hall illustrates the administrative system in place during King Abdul-Aziz era, in addition to the state organization and development as well as story of oil›s discovery.

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fig.4.32 Exhibition Hall of First & Second State

The museum›s sixth hall is divided into two sections: Section I Highlights the first Saudi state since its establishment Imam Muhammad bin Saud, who ruled between 1139 AH and 1179 AH (1726 AD and 1765 AD), and the historic meeting with Sheikh Mohammed bin Abdul Wahab in Dirriyah 1157 AH (1744 AD). It also features the Dirriyah foundation of the charter, which covered the consolidation of governance and security until the end of first Saudi state, that followed the surrender of Diriyah in 1233 AH (1818 AD). It also highlights the biography of the Imams who succeeded Imam Muhammad bin Saud in power, including Imam Abdul-Aziz bin Muhammad 1179-1218 AH (1765-1803 AD), Imam Saud Bin Abdul-Aziz 1218-1229 AH (1814-1818 AD). It concludes with the end of first Saudi state after the surrender of Dirriyah 1233 AH (1818 AD).

Section II Highlights the second Saudi state, which was founded by Imam Turki bin Abdullah 1240 AH (1824 AD), who chose Riyadh as his capital, united Al-Ahsa and Najd again, and re-imposed central authority and the rule of law across the peninsula. He remained in power until his assassination in 1249 AH (1834 AD). Imam Faisal bin Turki succeeded his father in 1249 AH (1834 AD) and tried to regain power, but his plans were hampered by the invasion of Muhammad Ali Pasha in 1253AH (1837 AD). The section also features the return of the Imam Faisal and the restoration of government in 1259 AH (1843 AD) until his death 1309 AH (1891AD).

Finally, the Al-Saud, under the leadership of Imam Abdelrahman, left Riyadh in 1309 AH (1891 AD).

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fig.4.29 Arab Kingdoms Hall

This is the second hall at the Museum and covers an area of 1500 square meters. The period it covers extends from the fourth millennium BC to the fourth century AD. The exhibits of this period highlight ancient civilizations that arose in the Arabian Peninsula, Arab Kingdoms of the Middle Ages and late Arab Kingdoms.

Visitors to the Arab Kingdom Hall can first see a model of the Tayma Wall built with natural stones, which were transferred from the wall itself. The history of the Arab kingdoms is displayed on a screen: Early Arab Kingdoms emerged in the east, north, and northeast of the Arabian Peninsula.

On the opposite side of the Tayma Wall, visitors can see a group of stone slabs, four meters in height, which were found at the Khobba site in Tabuk Region. These stone slabs date back to the fourth millennium BC. The hall features a model identifying the history of writing since its beginnings in 3200 BC until the onset of early Arabic script in 1000 BC. The full history of writing is shown on a large screen.

The hall features replicas of old panels with different writings and various symbols. Visitors can also see some of the oldest scripts: Thamudic, Dedanit, Lihyanite, Safaitic, Aramaic, Nabatean, and early Islamic writings. The hall also includes recreations of typical cumulus-shaped graves and examples of the tools that accompanied graves. An Assyrian drawing shows the 853 BC «Qarqar» battle between the Arabs and Assyrians, which is one of the most important battles of the ancient world.

In the first millennium BC, trade relations between the Near East region, East Africa, South Asia, and the Arabian Peninsula were strengthened. The fact that the Arabian Peninsula was located on a major overland trade route helped in creating a number of flourishing Arab kingdoms such as Edom, Lihyan and Kindah. In the south the Saba›, Qataban, Hadhramaut, Minaean, and Awsan kingdoms were established. Trade and agriculture flourished, generating much wealth and prosperity. Trade commodities included agricultural products, spices, textiles, gold, and frankincense.

The hall highlights one of the first civilizations during the early Arab kingdoms era -- known as «Midian» -which was established in the second millennium BC in the northwest of the Arabian Peninsula.

Other exhibits date back to the middle Arab kingdoms, between the eighth and fourth centuries BC. The most famous cities at that time depended on trade and agriculture and included Tayma, Dawmat Jandal, Dedan, and Najran.

Ancient tools and exhibits such as glassware, gold, rollers, combs, and pottery found in Al-Faw, the first capital of the Kingdom of Kindah, are on display.

Artifacts from Madain Saleh and other sites date back to the Nabataean period are on display.

Perhaps the most important discovery from the Arab Kingdom period was the uncovering of the ancient multicultural city of Thaj, which was established in the fourth century BC. Excavations discovered some of Thaj›s oldest minted coins, as well as Thaj Golden Treasure -- otherwise known as The Unknown Princess Treasure -- among other treasures and artifacts. The hall includes a lion’s head and its paw made from bronze, both of which date back to the first century BC, and were found in Najran.

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fig.4.33 The Hajj and the Two Holy Mosques Hall

The eighth and final hall at the museum covers an area of 800 square meters and is located on the ground floor. It highlights Hajj rituals, the role of successive Islamic countries in preserving Hajj rituals, historical routes of pilgrimage, the development of the cities of Makkah and Madinah, and the role of the Saudi state in providing for pilgrims and their rituals. The hall consists of five sections: The first wing includes a large horizontal display model of Makkah and an aerial view that shows the location of Makkah in the Arabian Peninsula. The hall includes a sample from the Kaaba curtain that hangs on the wall and is embroidered with silk and silver. Visitors can also see a Ka’aba door that dates back to the Sultan Murad IV time in 1045 AH (1624 AD) and is made of gold and copper.

The second wing shows old pilgrim routes, featuring road signs, objects left by the pilgrims, and maps illustrating the most important stops along the old Levant, Egyptian and Yemeni pilgrim routes.

The third wing covers the history of the Kaaba and the Grand Mosque, including the second expansion in the era of King Fahd (may Allah have mercy on him).

The forth wing focuses on the city of the Prophet -- peace be upon him -- with a model of Madinah after it was expanded by King Fahd (may Allah have mercy on him). The display includes writing instruments used in teaching writing and reading.

The fifth wing features Hajj rituals through centuries, including the first and second Saudi states. In particular, the display also reviews efforts undertaken by King Abdul-Aziz and his sons in the service of the Two Holy Mosques, and the pilgrims.

4.3.1.Conclusion:

Use of masses and concept from context the architect create great design. Some of the spaces double heighted due to live size installation and some of spaces and divide in 2 level and have small tool and craft display. Segregate the galleries according to the eras and show their culture heritage through there remains and some of antiques. Create a journey from entrance to exit a continues journey of display create interest for the visitor. Use of multiple emergency exit and multiple staircase for upper level did not create congestion, also the size of galleries give the broad field of view to eyes. Excluded vip entrance and space of temporary exhibiting and separate administration also the part of good design of the Riyadh museum. Use of thick walls and cavity in front of windows give the comfortable temperature to the internal environment.

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4.4. National Museum of Bahrain:

krohn & Hartvig design Museum of Bahrain for the collection of archology , ethnology, and fin art Museum reflect Bahrain extensive history and the museum also houses facilities for storage, research and conservation together with visitors facilities such as a lecture room, work shop and cafeteria.Bahrain, situated between such major cultures as Mesopotamia and India, was an important trade Centre. This historic role produced a unique cultural heritage spanning 6000 years, evidenced by the richness of physician remains uncovered recently by international teams of archaeologists. In 1982, the Government of Bahrain decided to replace the existing, inadequate display facilities with a new, purpose built museum.

The museum and its associated administration and research buildings constitute the first stage of a larger civic Centre development which, when complete, will include facilities for conferences and temporary exhibitions, a central library, a planetarium and an aquarium. The museum’s design reflects high international standards in contemporary building - and also honors Islamic architectural traditions. The Arabic preference for geometry and the integration of geometric spatial forms is evident in almost all Islamic architecture; it is rooted in Islam, a religion that to a certain extent has determined the expression of the buildings. The foyer, which connects the four cubic exhibition blocks, is the museum’s central area and from here there is access to all public facilities including the educational sections, a cafeteria at the eastern end and an art gallery at the western end.

1-Main entrance 2-Arcade 3-Natural history and and technology 4-Entrance 5-Fine Arts 6-Tomb and decuments 7-Archaeology 8-Ethnology 9-Cafeteria 10-Administration 11-Research facilities,preservation workshop,collection facilities 12-Future national library 13-Exploratin and excavation 14-Main entrance and directorial offices 15-Personal parking 16-Future civic center 17-Lagoon

fig.4.39Master Plan

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Name of Architect Krohn & Hartvig Rasmussen,Denmark

Name of Building Location Bahrain National Mu- Manamah, Bahrain seum

fig.4.36Museum Building

Public fig.4.37 Building Circulation

fig.4.38Museum Section

fig.4.40 Story Telling Installation

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Structure Concrete structure Double Story Structure

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Elevater

GALLERY GALLERY

GALLERY

Gallery

Gallery

Storage

ELEVATER

GALLERY

Class

Cafeteria Vip Room

Entrance cha.4.9 Hierarchy of spaces

KITCHEN

STORAGE

CLASS

Kitchen

GALLERY

LOBBY

FINE ART

Gallery

Lobby

Fine Arts

GALLERY

Elevater

SECURITY

MAIN ENTRANCE

CAFÉ

VIP ROOM

fig.4.41 Display Courtyard

Cha.4.8 Space Relation

360 Display Technique

Generate Archeologically Environment

fig4.42 Centralise display technique

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Hand loom through Enthology

Craft work Through Enthology

fig.4.44 Ethnology display

Tools display Boards

Old Courtyard a(Sahan) System fig.4.45 Ethnology display

4.4.1.Conclusion:

The entire building scheme is within a square form with the edges drawn up by a peripheral concrete wall on the land side and a sea wall facing the Arabian Gulf. An artificial lagoon has been created to ensure a constant water level independent of tidal variations. The geometric framework is also evident in the use of various diagonally placed square elements of which the central arcade functions not only as a pivotal point but also as a distribution areal, giving access to various parts of the building complex. The main entrance, formed as a symbolic pattern set against a wall of travertine, leads directly into the foyer. The primary access between the four exhibition cubes, which in fact are small independent museums, is indicated by light of varying intensity.

The overall effects that of an open sequence of spaces in which varying ceiling heights and light intensities create a dynamic series of experiences, while at the same time providing optimum means of orientation. The exclusion of daylight is

4.5. Conclusion from case study:

With the help of multiple case study National and International some conclusion derived.

1- Use of time and with the help of time create story for visitor interest and also with the help of different lobby size to create the experience for visitor.

2- Multiple emergency exit at certain distance.

3- Administration is part of museum but placement of administration is almost segregate type like at the entrance the administration has different path and museum have its own.

4- At the entrance huge size of double heighted hall for different purposes like waiting information small activities etc.

5- Use of various lobby to connect the galleries for different experience of spaces.

6- Multi entrance public entrance and V.I.P entrance.

7- Services department close to the cafĂŠ galleries.

8- Eatable library restaurant and rest area mosque and V.I.P protocol is compulsory part of museum.

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Chapter No:5 Design Consideration:

when architects refer to architecture they cast it as a mental activity that is concerned with aspect of form, space, program and materials.For Every Project Some of design and architecture consideration requir.

5.1. Light as a Design Determinant

——Introduction The sun has been man’s primary source of illumination. It reliably provided an abundance of light average of 12 hours per day. The other 12 hours were marked by darkness, which could merely be displaced by fire.

Man’s other source of illumination. As fire could not provide enough illumination to perform visual intensive task, man, being a visually oriented creature, was forced to conduct the majority of his activities when daylight was present. Therefore, man learned to adapt his built environment to effectively utilize daylight. During the late nineteenth century, Man discovered that running an electric current through media such as tungsten or mercury could produce light. As he gradually improved this new form of artificial illumination, he began to celebrate his dominance over darkness as he had with other forces of nature. With an abundance of artificial illumination at his control, man began to disregard the day lighting strategies employed by his predecessors.

Eventually, man realized that there were shortcomings too heavily on artificial illumination. First, it consumed large amounts of energy. This became increasingly important as he realized that the resources on the planet were finite and that he damaged nature every time he worked to become independent from its forces. Not only did his lamps consume energy as they produced light, but they also produced roughly twice the heat per foot-candle than daylight. Man also realized that, despite his efforts, electrically illuminated spaces were not as comfortable as those illuminated with day lighting rendered colors better, creating lively, vibrant spaces.

It also varied throughout the day, due to the sun’s movement and atmospheric conditions. This caused the mood of the spaces to change with the passing of time and the ever changing weather, keeping man in tune with the outside world. Electrically lit spaces were sterile and uncomfortable in comparison.

——Aims & Objectives: This research has two objectives: 1. To understand the subject 2. To make it an educational experience • The Objective 1:

To understand the development of architectural design through the qualitative and quantitative analysis of light.

Here are two basic questions with which I start my research: 1) How can architecture design enhance the functionality of space through the manipulation of natural light?

2) How can the poetic nature of space be influenced by the manipulation of natural light?

——Natural light can be manipulated in order to support the functionality and poetry of space.

In the world in which we live in today, most buildings use sunlight in a basic and uninspired way. Allowing natural light into a building typically deals more with pattern making on the exteriors of the building rather than considering the ways in which the natural light can influence both the functionality and poetry of the building.

Functionally, light can be utilized to illuminate tasks, as well as create order and aid in user understanding of space. Poetically, light can affect the overall atmosphere of space, as in creating awe or mystery.

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fig.5.0 Poetic Nature of Space Through Light

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——How does light move through space?

There is a natural progression in the manipulation of light in space. The progression begins with the sun.

Light emitted from the sun passes through space, crosses through the earth’s atmosphere, and strikes the earth’s surface. In order to affect the interior quality of the space, designers create some type of openings in the building envelope to allow the light to penetrate into the space. Many designers stop at this point, only creating openings to allow random light to enter their spaces. There are two important steps which follow that are necessary if light is to both support the functionality and create a poetic response in the space.

As I have defined it, the quantitative aspects of the light deal with the question how. In this arena, designers must question how light moves through the space, how the geometry of the space affects light. When looking at qualitative aspects, designers focus on the question why. Here designers may ask questions as to why this amount of light enters the space, why this light is appropriate for the space, why this lighting strategy is better for the space than other potential lighting strategies. Through the consideration of how and why, designers can create a cyclical process that can improve the overall design. First, designers create an opening; next they question how the light comes in through this opening; finally, they question why this lighting strategy is or is not appropriate for both the function and the poetry of the space. After completing this process, designers can then return to the stage of creating an opening to further manipulate the opening to fit the desired effects more appropriately. Again, the analysis of quantitative and qualitative behaviors follows to deem the appropriateness of the new opening.

——How does the designed form affect light?

While the pattern of natural light produced by the sun has a very specific path that it follows, once the light penetrates into a designed form, that form plays a dramatic part in the specific lighting qualities of the enclosed space. The geometric form of the space has the ability to reflect, blend, or diffuse the light. The material type, texture of the material, and material color affect the ability of the form to reflect, bend, or diffuse the light. In each of these ways, the design of a particular space plays a key role in creating the lighting quality of the space.

——How can light affect the creation of the designed form?

The natural path of the sun creates a simple logic to the designed of the space. By focusing on how the sun moves through the sky, a designer can manipulate space to take advantage of the sun. Forms textures, materials, and colors can be manipulated to take optimal advantage of the changing light from the sun to further manipulate the opening, to fit the desired effects more appropriately. Again, the analyses of quantitative and qualitative behavior follow to deem the appropriateness of the new opening.

• The Objective 2:

Creating an educational response to the environment of day light as design determinant.

The idea is to create a building that is responsive to the environment. The main focus is to determine how day lighting can influence spaces and form. The idea is then to express these findings into a tangible concept that can show how the building can be a teaching tool for its users.

——Mechanics There are two components to daylight, beam light and sky vault light.

Generally, light from the north and south is desirable because it is relatively glare free. The sun is closest to the horizon in the east and west, meaning that it can become a source of glare in the morning and evening.

——Strategies There are a few simple strategies that can be employed to maximize the benefits of natural illumination while minimizing its negative impacts.

Elongating a building on the east-west axis maximizes access to glare free south and north light while minimizing low angle east and west light. Many indigenous cultures such as the ancient Greeks and Pueblo Indians followed this pattern for development.

Light shelves function by reflecting light through the upper portions of an aperture while shading the lower

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portion. This lowers the level of illumination towards the front of a room while maintaining the level of illumination towards the back of a room, resulting in uniform distribution. This uniform distribution creates the perception of increased levels of illumination.

Vertical louvers can be utilized to shade apertures against low-angle east and west light. Vertical louvers were used by many late modem architects. Separation of apertures into portions for illumination and portions for view results in a good distribution of light, while limiting visual access where privacy is a concern.

Day lighting Techniques and Principles: Basic Principles: The sources I have read all suggest that optimal day lighting is achieved by certain basic principles. The first is that the building should be oriented in an east-west axis to allow the spaces to receive southern and northern light. The next stated that in order for daylight to penetrate deep in the space that a narrow floor plate is suggested. One story buildings are also suggested for optimal conditions to penetrate all spaces. Additional features are recommended in order to create a uniform distribution of the light, to reduce glare, to reflect light deeper in the space and for user control.

• Lighting:

Over and above the psychological aspect, we shall consider light from the psychological point of view. Object and architecture ‘live’ on light, which Picasso described as ‘a measuring instrument in a word of forms’. In a museum, light must performs a double function, since it must serve for the interpretation of both the object and the surrounding space. If either one of these tasks is not fulfilled, unity from the point of view of Gestalt psychology is lost. The ganger lies in partially solving one of the two problems, as well as possible, but without taking the whole into account.

Light is capable of sending out a large number of ‘message’ whose effect may be to guide, inform, separate or bring together, hide or reveal, enlarge or reduce, produce gladness or sorrow. Whilst it is fairly easy to determine how the object should be lighted ideally so as to be psychologically satisfying, this problem raises the greatest difficulties with the regard to architecture. The constancy law apples here too, that is to say the human capacity to see thing (in the light) as they are known to be and not as they appear in reality; thus, a sharp variation in the intensity of light produces either a sudden change of direction or an abrupt deepening.

If the light is unskillfully deployed, the interpretation of space may be distorted since, according the constancy rule an impression of depth is associated with each degree of luminosity.

The (psychological) evaluation of the luminosity of a space results from adaption and contrast. The light should be evenly distributed, so that the museum space can be perceived as a whole. Diffused lighting reduces attention, whereas locally directed lighting increases the force of attraction. One must of course be careful not to overdo it, for the repetition of a striking theatrical effect is tiring. Indeed the museum is very place where accents must be discreetly placed. The manipulation of light should not distort the truth of the original. Similarly, color should not be altered by the use of tinted glass, reflective surface, etc.

——Modern Developments: Present day designs for galleries and museums are based on four main conceptions; the need to see exhibits clearly favorable in surroundings of moderate brightness free from glare; the need to protect them from harmful radiation, the possibility of using artificial to supplement day light, and the need to bring out the individual qualities of the exhibits by the modern methods of display.

Lighting system: • Side windows:

Side windows are divided to low windows and high windows (clerestory). Traditional side windows light mostly the area closest to the windows and the rest of the room is less lit, or even dim when the room is deep. The light is distributed depending on the sky conditions.

• Clerestory system:

A clerestory is also a side window but one that is placed high in the wall. It is usually contained in a part of the building that rises clear of the roof. Generally, it doesn’t provide views towards the exterior but permits

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Fig.5.1Beam light Diagram

Fig.5.2Skyvault Diagram

Fig.5.7Natural Light

fig.5.9 Side Light system

fig.5.8 Types of roof light profile: fig.5.10 Modren Side Light

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a deeper penetration of daylight into the room.

——Combined side-systems: that include a side window and a clerestory provide a more balanced distribution of daylight than does a typical side window or a clerestory window alone. Since daylight levels are additive, we can combine the daylight distribution from the side window with that from a clerestory window • Light shelf system:

A lightshelf is a device designed to capture daylight, particularly sunlight, and redirect it towards the back of the room by reflecting it off the ceiling. lower part that mainly serves the role of providing a view and an upper window that serves to redirect the daylight towards the back of the room away from the window plane.

——Variable area light shelf system: A variation of the static lightshelf system, the variable area lightshelf is designed to be a dynamic system whereby the position of the lightshelf moves to optimize sunlight penetration according to time of day or season A highly reflective film moves between two positions to optimize reflection inside the space. This system can be automated for higher efficiency • Prismatic systems:

to change the direction of incoming sunlight and redirect it by way of refraction and reflection. As a ray of light hits the prism, its direction is changed. Part of the light is then directed towards the ceiling to be later reflected, while the other part comes inside the room directly.

• Top lighting Systems:

The central courtyards or atria of the Roman house, these were open to the sky and rain; and despite providing daylight to the surrounding dwelling space, would not have modified the exterior climate in the manner of a roof light.

——Skylight system: The simplest toplighting strategies. It usually provides a horizontal or slanted opening in the roof of a building and is designed to capture sunlight when the sun is high in the sky.

• Roof monitor and saw-tooth systems:

Saw-tooth systems are toplighting strategies that differ primarily in their shapes. Under these systems, light is captured through vertical or sloped openings in the roof. To capture sunlight at certain times of the day or of the year, depending on the requirements of the building. Roof monitors can be single-sided or two-side ——Light pipe system: Toplighting strategy designed to bring daylight into the lower floors of a multi-story building. The typical components of a light pipe system are a solar collector that gathers sunlight, a concentrator that focuses solar energy onto a smaller area, a transport system, and a distribution system. simple stationary mirror or a sophisticated computerized heliodor that tracks the sun’s movement.

• Atrium and glazing:

Atrium started as the central court of a roman house, admitting light and air to the surrounding space.

The atrium allows the daylight into central areas, modern atriums are most commonly covered by a glazed skylight that monitors the light that reaches the inside while keeping out the rain and reducing the need of air-conditioning. Atrium has many advantages: it gets daylight into deep plans, giving a sense of orientation, information of time, weather and keeping the occupants connected with the outside of the building. Also, atria save energy by helping the ventilation and admitting daylight. Atrium has many advantages: it gets daylight into deep plans, giving a sense of orientation, information of time, weather and keeping the occupants connected with the outside of the building. Also, atria save energy by helping the ventilation and admitting daylight.

Artificial lighting in museum:

Even using daylight as a significant contribution to lighting there remain times when there will be need of

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fig.5.11 Clerestory system

fig.5.12 Combined side-systems

fig.5.13 Prismatic systems

fig.5.14 Light shelf system

fig.5.15 Variable area light shelf system

fig.5.16 Roof monitor and saw-tooth systems

fig.5.17 Light pipe system:

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artificial light. The principal requirement is to create optimum conditions for viewing objects; this does not only include the lighting of the object but also general conditions of visual comfort.Lighting for pictorial display should not come from an angle less than 45 degrees, but the source should be screened against glare.

Conclusion:

The use of daylight is very vital to a design of any good museum: Use natural daylight to light the museum as much as possible and rely as least as possible on artificial lightingDisplay and exhibition galleries in museum need special design as far as light levels are concerned.

A combination of artificial light and daylight, controlled by a variety of methods can provide the appropriate flexibility, to meet the needs of the objects and the visitors.

Fig.5.20 Artificial Ligt system

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Fig.5.18 Rule of Ligt system

fig.5.19 Artificial Lighting Strategies:

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International Case Study Name of Architect Tadao Ando

Name of Building Chichu Art Museum

Location Naoshima Island

Structure Free Face Concrete

Design Philosophy: •Tadao himself says of it: “Darkness rather than the light, blew ground rather than above the Chiehu Art Museum is the most direct expression of this feeling rooted deep inside me.

•Chichu Art Museum, which is sunk into the ground, as the Japanese word Chichu (buried).

•The sunken rooms contain permanent exhibitions of three important artists.

•in this way he manages to preserve the splendid panorama of the Pacific Ocean and picturesque coastal landscape.

•The sunken rooms are each devoted to masterpieces by three artists: •Four waterlily pictures by Claude Monet, •A sculpture by Walter de Maria three •Meditative light installations by James turrell.

•The structure with its basic geometry shapes set into the ground on a rock overhang facing the Seto island sea, is incontestably a masterpiece of museum building.

Light Penetration:

Fig.5.21 Space and Light Impact

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fig.5.22 Museum Building

fig.5.23 Master Plan

Spaces:

1-Entrance lobby / shop 2-Advicer 3-Office 4-Space(Green) 5-Lobby 6-W.C 7-Mechanical room 8-Admin room 9-Square yard 10-James Turrell exhibition 11-Claude Monet exhibition 12-Cafe 13-Ucgen courtyard 14-Foyer 15-Walter de Maria exibition

fig.5.24 Plans

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Light Penetration:

fig.5.25 Penetration • Conclusion:

Creating an educational response to the environment of day light as a design determinant can be made possible by allowing maximum natural light to penetrate the building fabric into the interior space which can enhance the productivity of a space both in terms of its, functional use and the experience of light- meaning to respect the quantitative and qualitative use of the light.

Creative articulation of space and structure can manipulate the quality of light.

Dramatic contrasts of light and shadow can define the space usage.

Building material could be explored for the effect of light required.

Dynamics of light and utility of task to operate accordingly, could be experimented, this could increase its educational value.

Form of the structure using effective natural lighting in it self can make a positive statement towards use of daylight.

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National Case Study Name of Architect Naeem Pasha

Name of Building Location National Art Gallery , Islamabad Pakistan Islamabad

Structure Brick consectruction with orignal finish.

Design Philosophy: •Light is basic element of every art piece because like give 3d feeling architect use nature light from top to ground floor and give natural look with Local material on facade.

•National Art Galery in Islamabad, Pakistan is the country first National art gallery. Built on a small hillock opposite the Majlis-e-Shoora (the Parliament of Pakistan) and the Aiwan-e-Sadr.

•The gallery with a covered area of 1800 square yards, has 14 galleries with adjacent display areas, lecture halls, workshop and storage facilities, laboratories and a library.

•The four-storey gallery has modern facilities, including: •14 Galleries •Auditorium •Theatre •Open air theatre •Library Building:

Interior Views:

Light Penetration:

fig.5.28 Light and Space

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fig.5.26 Gallery Building

fig.5.27 Master Plan

Spaces:

1-Admin 2-Cafe 3-W.c 4-Auditorium 5-V.I.P Loung 6-Board Room 7-Foyer 8-Gift Shop 9-lift 10-Gallery 1 11-Gallery 2 12-Gallery 3 13-Gallery 4 14-Disable Ramp 15-Open Air Theater 16-Gallery 5 17-Gallery 6 18-Library 19-Studio 20-Children Studio 21-Lecture Theater 22-Studio 23-Restoration Lab 24-Photo Studio 25-Roof Terrace 26-Gallery 9 27-Gallery 8 28-Gallery 29-Ground Gallery 2 30-Sculpture Garden 31-Gallery 14 32-Gallery 12 33-Gallery 11 34-Gallery 13 35-Gallery 10 36-Sculptur Gallery

Ground Floor Plan

First Floor Plan

Second Floor Plan fig.5.29 Gallery Plan • Conclusion:

The national art gallery Islamabad as an art gallery is a great design of Sohail and Pasha’s. The design is a combination of traditional and contemporary style. The traditional red brick is used in the exterior and the interior is a contemporary style. The entrance is a huge welcoming space. One gets a feeling of hugeness when entering inside the building. The use of light is so good and that it provides a pleasing effect to the eye. Internal spaces are managed very well. Every gallery has its own uniqueness. There is a proper path which orients the person to every another gallery. The artificial lights are properly used in the displays. The lobbies are well lighted. The gallery itself orients the person to every another space.

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5.2. Visualization and Depiction of Space in Architecture

“Space: that which is not looked at through a keyhole, not through an open does not exist for the eye only; it is not a picture: one wants to door. Space live in it.” El Lissitzky ——Introduction: Architecture is concerned with the physical articulation of space; other disciplines such as painting and sculpture are equally involved with spatial organization but in different terms. Architects must acquire the skill to specialize and scope with the spatial variables of light, surface, shape and form. Unfortunately, we conceive of such spaces merely as a graphic language of design rather than the experiential understanding of space.

——Aims & Objectives: Here the aim is to understand the nature of space supported by a variety of physical and nonphysical spatial concept.

• Sensation of space

Architecture can be considered as a creative expression of the co-existence of space and form on a human scale but its understanding, together with all other concepts, is rooted in the psychological space of our thoughts. Hence, space has become more dynamic and ‘tangible’. Here we attempt to understand the mechanics of perception in order to grasp the understanding of space.

——Architecture as space Our perceived experience of interior and exterior architectural space is primarily a sensual event involving movement. To pass through an environment is to cause a kaleidoscope of transitions between one spatial impression and another. Each experience affects the orchestrated functioning of our senses in a variety of ways — our eyes, ears, nose and skin registering changing stimuli which trigger a flood of brain responses on all levels. For example, imagine walking through a fun fair just by imagining we can remember the colors, the amplified volumes, the shrills the cries, the smell of popcorn, the textures, the exotic mechanics, etc. now imagine a hospital we can feel the muscles tensing, the quite, the somber colors, the cold air, the strong smell of antiseptics, etc. how contrasting are the two images and how it builds up to our experience. Each experience is modified by the prevailing conditions under which it is perceived, be it a midday, light or dusk, the degree of lightness or darkness influencing our perception of spaciousness. Hence architectural space is subjected to a whole series of perceptual overlays.

——Perceptual space As we move through space each body, head and eye movement sets the visual environment in motion. The eyes receive spatial information the eye cannot focus on more than one very small point at any one time.

Visual data outside the focused center becomes progressively less determinate as it ranges out to the blurred outer reaches of our peripheral vision.This visual scanning process is capable of monitoring up to 30 separate images every second. This visual scanning process is an issue oriented operation, and so people with quite separate motives and interest will view the same scene in quite different ways. Despite the importance of vision, we should never ignore the involvement of the other distance receptors; hearing in relation to the acoustic properties of space, and smell in aiding identification and orientation the immediate receptors (skin, membranes and muscles) being more subtle in their sensitivity to the ambient temperature, humidity, texture and shape. Most of all, we can never be free from tactile sensation for we have always the pressure of our bodies on the surface which supports it. The combination of these varied sensory inputs reinforces, elaborates and may even after our visual perception of the environment to give us a complete image which, informs, can be modified by our own personality and motives. As designers, our articulation of space could be far richer if we become only slightly more aware of the tactile sense.

——Multi-sensory Space Design also accentuates the kinesthetic aspect of our tactile appreciation of space, space primarily per-

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ceived through the skin and muscles and in response to our position within or movement through it.

Our bodily contact with the edges of space is central to our awareness of ourselves and our spatial location.

However, in Shibuya, a bustling shopping district of Tokyo, stands one art gallery in the world where visitors are positively encouraged to experience sculpture using the sense of touch This is the Gallery Tom- a touch-me art museum and performance space designed for a hands-on appreciation of sculpture for the blind and partially sighted. Housed in a shell of crusty reinforced concrete, Gallery Tom is a further example of an architecture sensitive to our experience of temperature, texture and acoustics.

The shape of the first floor performance space and gallery is defined by a constantly changing floorscape: from cushioned tatami to polished cedar wood. Echoing the dual symmetries of the plan’s footprint a diagonally sliced rectangle this variegated underfoot experience has two functions it helps locate dancers and singers when used as a performance space and, when used as a gallery, heralds the position of freestanding sculptures to visitors. The upper floor provides a smaller, quieter gallery. Above this the castellated roof is pierced by a row of diagonal strips of clerestory ceiling lights. These create shafts of alternating cool and warm air which are sensed kinesthetically when visitors move about the space In describing Gallery Tom its architect, Hiroshi Naito, acknowledges that although visual sensation provides more information to the brain than do the other senses, a vast amount of knowledge is required to comprehend the substance of our setting. To be visually appreciated, architecture has traditionally been covered with various materials to adorn its surface but, in the non-visual world, this effect is completely lost. This is because the eyes of the blind are always attuned to the world we cannot see: ‘They experience the building by the number of steps, by feeling the light on their skin, they touch the volume of space by sound.

——Perceptual-Psychological Space We place self-imposed limits on our location and movement through space by decisions made within socioeconomic frameworks; decisions which dictate the location of our home, workplace and mode of travel, with additional factors such as length of residence influencing our perception of the urban environment.

Such influences produce various forms of perceptual screening in different kinds of space. For instance, in Name of Architect Hiroshi Naito

Name of Building Gallery Tom- a touch-me

Location Structure Shibuya, district of Tokyo Reinforced concrete

a cathedral people will tend to move more slowly and speak only in whispers. In an overcrowded elevator an individual’s perception of that space will be altered -just as a person experiencing a visually pleasant and thermally comfortable room ‘sees’ the space in a totally different fashion from someone occupying the same room with the heating increased to levels of discomfort. Kenneth Bayes has described two kinds of movements through space: ‘one exploratory through an unknown environment; the other habitual through a known environment. In the first (called ‘tourist’) the architecture is new, prominent and strange; one is exploring, open and receptive, moving and experiencing new things, investigating. In the second (called ‘habitué’) the architecture is in the background, hardly noticed; one moves through it without the awareness of the sur-

fig.5.30 Interior installation roundings, thinking only of a goal.’

One aspect of our spatial experience is perceptual conditioning. Culturally, we live in a rectilinear world - a

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Multan Glimpses

world of space defined by buildings and boxes characterized by straight lines and right angled corners. Even the room-space you now occupy will be created from planes, objects and openings derived from squares

fig.5.31 Plan Facing exterior elevation top and section above the gallery tom and rectangles which have been transferred directly from the designer’s drawing-board. An overexposure to this kind of environment has meant that our vision, being continually bombarded with rectilinear information, has, in a subtle way, developed a highly conditioned and specialized perception. A by-product of this conditioning is that our visual perception can be distorted to experience optical illusions. For example, in Survey a group of young design students were asked to describe the plan of the roof above a ramped corridor. The majority believed that they were perceiving a parallel rectangle when, in fact, the plan was tapered. Such optical distortions are common in our perception of the modern environment, such as the apparent upward thickening of tall apartment blocks and, in two dimensions, our inability to read certain shapes as being flat.

As a means of broadening our perceptual awareness it is, therefore, important that we immerse ourselves consciously in spatial diversity, for our visual conditioning not only influences the formation, externalization and development of ideas but predetermines the nature of a resulting architecture, which in turn conditions the perception of those who inhabit it.

——Conceptual Space As opposed to the psychological dimension of behavioral space and the tactility and measurability of physical space, conceptual space is that which we perceive and visualize. The design of space is, initially, a mental concept and any resultant response is primarily experienced through visual perception. By fixing our vision on the central vase image as object we can apprehend the traditional conception of form in space where the contours defining the vase represent form-orientated thinking; the vase symbolizes an architecture of con tainment. However, if we psychologically switch off to a concentration on the outer areas (the two face profiles) we discover that the surrounding negative transforms into a positive but different entity which not only reflects the nature of the vase but takes on a life and meaning of its own. In our new perception, what was at first void has now become tangible - the vase to faces alternation causes a graphic experience the concept of space as a dynamic presence being redefined by the same contours which had previously described the vase.

In returning to our analogy with architecture, we can begin to understand a positive concept of environmental space in which the space between buildings is just as potent as the space they contain.

——Conclusions: Leonardo da Vinci devised series of games for his junior draftsmen in order to develop their visual accuracy.

For example, in order to develop visual accuracy in judging dimensions, he proposed that a line be drawn on

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Chapter No:5 Design Consideration

a wall and, standing approximately nine meters away, his students attempted to judge its length by cutting a straw- the one who cut his or her straw nearest the actual length won the game.

fig.5.32 Psychological Image

5.3. Major issues:

——Random layout: Display is an important function of a museum and can be designed in a variety of way. In a traditional museum display is an often in a series of galleries of room. Arranged in a random sequence. The objects and pictures may have been acquired in a piece meal way in a accommodated where ever space was available. in a particular large exhibits had go to where they fit .In addition the visitor can come confuse on entering if there is a plethora of sign posts and notices which have been put up at different times. A unified system of guidance should be considered at the planning stage.

——Layout with introductory gallery: An alternative is to be led the visitor from the entrance to an introductory gallery which may contain a display summarizing the themes and subject of the museum. If this eye is taken by one particular subject he is immediately directed to a side gallery which may treats this subject in greater depth. The same principal can be extended in further large museums.

——Arrangement within galleries: the two main circulations patterns sequential circulation is appropriate for a chorological arrangements or where there is a story line that need to be follow from start to finish. The other random pattern is suitable for subjects where browsing at random is called for.

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Multan Glimpses

Artifacts and specimens are used alone and in combination with other exhibit technique at aerospace museums.

Fig.5.33 Object Display Two dimensional panels contain artwork and copy designed to entice and inform the visiting public.

Fig.5.34 Panels Display Model serve as a substitute when the real thing is not available or when a principle, process or operation can be explained better with a three dimensional reproduction.

Fig.5.35 Model Display hologram is a three dimensional image recorded on film. After exposure and development, the film acts like a lens with a memory, focusing light into a 3-D image in the space around it.

Fig.5.36 Holograms Display simulation of an environment can be extremely effective as evidenced by the popularity of full scale dioramas in aerospace museums.

Fig.5.37 Simulation Display The use of audiovisual techniques has accelerated with the participatory movement. Sound and visual methods can extremely be effective.

Fig.5.38 Audio Visuals Display

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Chapter No:5 Design Consideration

——Disabled access: Where the display route involves the level by steps or other difficulties where wheelchair users lifts or rams should be provided as in other public.

5.4 Display details: • Exhibition:

In Museum’s objects can be displayed.

-In show Cases.

-Freestanding on the floor, on plinths or supports.

-on walls.

-on panels.

In art galleries, pictures are displayed on walls and panels, but can also be shown on easels.

The two major aspects of display are the case of viewing and the lighting.

——Types of Exhibits: They can be divided as follows: Static exhibits: These are historic exhibits, reproduction of original objects.

Active exhibits: They are the exhibits which are static till a visitor activates them into producing sound and motion. Working models are the best examples.

Interactive exhibits: They are the most advanced and allow the visitor to activate and give them a multiple choice of options and then give various results. The visitor can accommodate with exhibits. These exhibits allow the visitors to experiment.

——Exhibit techniques in museum: 1-Object Display: 2-Panels Display 3-Model Display 4-Holograms 5-Simulation 6-Audiovisuals ——Classification of exhibits: 1-Permanent exhibits 2-Temporary exhibits The permanent exhibits undergo periodical change from 5-10 years. The changes are minimal but they have permanent effects and goals to achieve.

The temporary exhibits, the museum organizes the exhibition for a limited period and for a specific cause.

They are two spaces internal and external.

——Mode of display: The idea of exhibits considerably changed during years rather than awesome display of exhibits with “do not touch” restriction, the display has formed a team of inactive, active and interactive types. The worLbhop concept (active/interactive) encourages public participation through visual demonstration and the filmshows and lectures are more encouraging and entertaining.

• Measurement:

The approximate eyelevel and the levels of comfortable visibility are given in the figures with little eye movement people usually see and recognize the things which are within an approximately, elliptical come of vision with apex at the cone at eyeball height.

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Studies have shown that in general the adults absorb an area only about one foot above his own eye level to 3 feet below it at an average distance of 24”-48” arraying objects above or below these limits, places a strain on seldom used muscles and produces aching backs, tired feet, burning eyes and stiff necks some large objects such as to temples or dinosaurs will inevitably saw above these viewing limits. The visitors must be permitted space to back away from the object to comprehend it.

Certain general relationships between spaces and such preferred organizations on plan and selection may increase the possible museum user in other words some building forms, but never only one make museum installation easier than others, principally these performances concern the movement of the visitors.

——Vision and viewing: The normal limit of vision without moving the head is a cone of 40, therefore, can only be comfortable viewed as a whole form a distance of about double that diagonal. It is generally accepted, though, that a distance equal to the diagonal will enable the viewer to appreciates the details, of the picture, but he will need to more his head to compass it all.

——Conclusion: Exhibits presentation through various media is a very important aspect in an aerospace museum which can effectively attract and behold the visitors. Only one type of presentation technique can make a visitor bore and he might lose his interest, so a combination should be designed for the presentation of different types of exhibits. The different types of medium presented in a gallery greatly influence the design and planning of a gallery, so the designing principles should be kept in mind while designing galleries. eye level man:5’4” woman:4’11” 7’ 6’-3” 3’-5” 2’ 2’-4”

3’-10”

Measurements of adult and six year old visitor in relation to cases

Difficulties encountered in viewing details more than 3ft below or 1’ above one’s eye level

Fig.5.39 Viewing height

Fig.5.40 Vision Height

Measurements of adult and six year old visitors in relation to cases. Right side picture shows the difficulties encountered in viewing details more than 3ft below or 1ft above one’s eye level.

40

5’-9”

12’

Viewing distance should increase with greater size of object.

10’-3”

5’-9”

3’-2”

Fig.5.42 Cone of view and distance

Fig.5.41 Vision Angle

Viewing distance should increase with greater size of object.

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9’-3”

30

2’-7”

1’-9”

10’-4”

Chapter No:6 Program Requirments

Chapter No:6 Program Requirments:

The areas of the spaces required in the project and their explanations are given below.Statistics on which base the spatial requirements are to be derived: Lok Virsa Cultural museum – Daily 400-500 Weekends and Functions 1500-3500 Lahore Museum – Daily 300-500 Weekends and functions 700-1000 The requirements are categorized in several departments: Schematic sketch and program content of the Museum complex.

6.1 The Requirments: Schematic sketch and program content Pre islamic wing (Culture of early man)

Remarks stone age Early Muslim period

islamic Hearitage wing Wing of Herose

Islamic period Saltanat period from Saltanat time revolutions and independent Movement.

Different Govornorate

Folk Hearitage Traditional Wing

Potential sources of material for museum:

i-the object of national importance of representative nature from the existing site, central and district museum. ii-Object from new and existing excavation. iii-Objects acquired or purchased from private collection. iv-Objects from abroad especially form neighboring countries acquired either through change on permanent bases or for exhibition purposes. v-Object acquired by gift or loan. vi-Object acquired by treasure throne.

• Archaeological Sites

——Pre- Historic Era Till 1 AD Hakra Valley Civilization Pattan Minar Mau Mubarak fort Surwahi Fort Bhutta Wahan Bijnot Fort

——1000 AD To 2000 AD Islamgarh Fort Mojgarh Fort Surdargurh Fort Kundair Fort Lyari Fort Deengurh Fort Baghla Fort Khairgarh Fort Rukanpur Fort Taj Garh Khangarh Fort

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Jamgarh Fort Mirgarh Fort Ahmedpur Lama Fulgi Fort Nawan Kot Fort Ranikot Fort Derawar Fort Marot Fort

Multan Glimpses

6.2 Program Contents: No Spaces

Objects

Area

1

Parking

Parking

128/car 21/bike 480/bus

80x128=10240 300x21=6300 4x480=1920

18460

2

Service Floor

1-Service track 2-Storage 3-Security 4-Utilities

As/Requirement 30% of permanent galleries and 60% of temporary galleries

Track 20’ wide and 20’ head height service parking 11362 load unload area 4870 Temporary store 850 Manager Room 1675 with clerical staff Kitchen store 885 Raw Store 1019 furnisher Store 835 Craft Store 1600 Art Store 744 Commen store 1990 Toilet 600 Maintenance 1220 C.C.T.V monitoring 912 Manager 460 Moniteoring 485 Cargo Dispatch Area 9250 Power Station 1385 with control room H.V.A.C Unit 1950 with control room

42092

3

Lower Ground Floor

1-Admin 2-Craft Center 3-Mosque 4-library 5-workshope 6-Studio 7-Exhibition 8-Main Circulation Space 9-Souvenir

4.3/person

Main Reception 400 Security Watch 120 Mosque + Ablution + toilet 1100 (Prayer Carpet 18 for women Prayer Carpet 36 for men) Workshopr 700 Studio 970 Library (5000 Books 15 Person Setting )1240 Souvenir 500 Main circulation (Locker Waiting etc) 11000 Toilet 450 Admin (Manager Conference Kitchen Toilet waiting ) 1400 Clerical (Waiting Workers Mosque ablution toilet) 2350 Craft center Display 1870 Store 830 cortyard 1565 Rest space 315 (Men& Women)

=24810

4

Galleries 1-(Prehistory)

1-Earth surfaces 2Pattern of life 3-Geological ages 4-Prehistoric environments 5-Rocks 6-Meteorites 7-Minerals 8-Fossils 9-Tools 10-Paintings 11-Manuscripts 12-Method of work 13-Architecture

It reviews the scientific phenomena such as the creation of the universe and the factor affecting the earth’s surface and pattern of the life in the geological ages and en-vironments of prehistor-ic man. It displays sam-ple of rocks and meteor-ites, minerals, fossils and the tools of prehis-toric man and methods of manufacture, devel-opment and models of their dwellings and rock paintings. Stone and climate and bio diversity of Cholastan desert.

Local area people have collection of different ancient antiquities which they find out dur-ing the time of excava-tion of their region.

=7796

Sft

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Sft

Areas Sft

Chapter No:6 Program Requirments

No Spaces

Objects

Area

5

2- (Indus Valley Civilization)

1-Civilization 2-Culture 3-Artifacts 4-Sculpture 5-Photographs 6-Maps 7-Audio/Visuals 8-Relief 9-Terracotta 10-Coins 11-Figurines 12-Con. method 13-Layouts building 14-Systems 15-Tools

Historical period covering the period from the sixth millennium BC on the South Asia Peninsula and the most important components of civilization and culture, including ancient civilization, the region in the middle ages, through a visual display of many of the artifacts, sculpture, photographs, maps accompanied by audio and video, Sculpture, Relief, Terracotta, coins, figurines

=5400

6

3- (Muslim period)

Collection detail: Makhdoom Sahib Jilani 1-(i) Holy Prophet’s footprints (ii) A few chapters of the Holy Quran written

by Hazrat Imam Hussain and (iii) A tooth of Hazrat Awais Qarn Abdul Qayoom Dayo 2-(i) Indo-Greek (ii) Bactrian Greek (iii)Kushshan dynasty (iv)Sasanian (v)Hibari Ghaznavid (vi)Slave dynasty Scythian (Vii)Parthian (Viii)Khilji (ix)Tughlaq (x)Mughal (xi)Lohara dynasty (xii)Chola dynasty (xiii)Arghon (xiv)Tarkhans (xv)Bakhar (xvi)Shikarpur (xvii)Taimor Shah and related various dynasty periods.

In this hall highlights the important period of Is-lamic history form the arrival of the prophet Muhammad (Peace be upon Him). It also dis-plays the expansion and prosperity in the Umay-yad period, as well as the development of civi-lization and science in the period of Ghiyasud-din Tughluq besides of-fering paintings and vis-ual displays, photo-graphs, images, maps, charts, manuscripts, coins, jewelry, carvings and various utensils in addition to the audio and visual presentation on the specific themes.

=6500

7

4- (Mughal Period)

Remains: Mughal Mint Coins Dresses pots and dresses weapons miniature and painting photographs and historical timeline period of mughal.

Maps: (i)Views of Multan before and after attack and capture.

By: William Vincent (ii)Panorama of Multan fort and spaces on fort. by: William Vincent. (iii)Historical maps of Multan early nineteen centuries.

Multan through ages maps (iv)Rulers Maps Antiquities: (v)Antiquities of Multan during alexander (1853) Period on the excavation of well. (vi)Antiquities of Multan fort during excavation of stadium 1988.

BY: Nazir Ahmad Chaudhary book page41 Multan Glimpses.

It represents an important historical period from the date of the Mughal peninsula and the presentation includes paintings photographs, maps models and manuscripts, documents and antique collectibles, like weapons, coins and utensils in addition to the various area of south Punjab.

=4840

8

5-(Sikh Period)

Antiquates: Sikh mint cousin’s stamps Dress-es pots and dresses weapons photographs and historical time-line period of sikh.

Painting art craft and architectural elements also the weapon and their use able things.

=11600

Sft

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Areas Sft

Multan Glimpses

No Spaces

Objects

Area

9

6-(English Period)

Picture Gallery: A series of sketches by John Dunlop , M.D. (i)Fort of multan west (1948) (ii) Inhabitants of Multan (2 sketches) (iii) south vies of Eidgah (1848) (iv)Maj. Edwards infantry (v)Maj Edwards Cavalry. (vi)General court land’s men.

(V) Potraits of Moolraj’z three brother. (vi) in the trenches-hermajesty’s 32nd regiment (vii) the camp followers (viii) Mundee Awa, or the great Mound, Dec.28 1948. (xi)Storming Mundee Awa or Great mound. (x) Battery breaching the Dehli Gate Multan 1849. (xi) Explosion of the power magazine 1848.

Appearance of the Multan fort after explosion. (xii) Capture of two Sikh stand-ards. (xiii) after the fall of Multan 1848.

(Xiv) after the fall of Citadel of Multan 1849. (xv) North east side of the ford wall, and Bastion Breach. (xvi) Moolraj after surrender. (xvii) Funeral of Vans Agnew and Anderson, Multan, 1850.

Antiquates: British mint coins’ crafts and other anthology and maps of their period.

From the beginning of conquest of Multan, the stages of his unification of the kingdom and its organization. The discovery of old civilization including architecture models of the in addition to scripts, weapons like fighter jet 53-1216 British Cannon rare books documents coins and various utensils.

=13153

10

7-(Pakistan Moment)

(i)Picture gallery. (ii)Regional maps (iii)local personalities

Picture gallery and sculpture.

Story line from beginning to present day.

=8672

11

8-(Art craft and Heritage)

Social and culture: (i)Drees (ii)Food and Health (iii)bone and wood carving work (iv)jewelry (v)Sheesha kari mena kari.

Characteristic of the people: (i)Birth (ii)Death (iii)Marriage (iv)Culture (v)Religion Craft and Industry: (i)Glaze tile (ii)Blue tile making (iii)Relief tile making (iv)Leather works (v)Camel Skin Work (vi)Desi jutti (vii)Hand loom weaving (viii)Cotton fabrics (ix)Khais (Sada) (Majnu) (x)Silk fabrics (xi)Durries (xii)Carpets (xiii)Embroidery (xiv)Block Printing A)Kacha Tanka B)Salma Satara C)Gota Kinari D)Tila sazi Craft Ethology: (i)Shoes (Hand Made) (ii)Pots Making (iii)Kashi Kari (iv)Camel skin work (v)Ivory work (vi)Hand loam (vii)Plaster of Paris (viii)Riesling Seen

A vivid description of the Multan and south Punjab peninsula and its inhabitants and the most important areas and architecture, industries and market and commercial and cultural activities during Islam and before Islam. This gallery has the archeological and anthological gallery which consist of Handy crafts: Calligraphy Embroidery Motifs Music Paintings

=20230

Sft

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Sft

Areas Sft

Chapter No:6 Program Requirments

No Spaces 12 9-(Temporary) 16 Cafe’

Objects

Area

Sft

(i)local Display (ii)Artist Workshop

Discription

Sft

Exhibition, and events about history or Heritage of south Punjab region etc.

Areas Sft =25995

1- At the ground level 2- At the Second last floor

2’.5” x 5’ for Back house area consist of a table of six Wet storage people Dry storage Dirty area 1-Cafe’ 5200 Washing area 2-Cafe’ 8890 Utensil area Cooking area

=14090

=39351

18

Amphitheatre

For 500 People Sitted at ground level and 500 people stand on top level

Minimum dimension” (4.5 sqft) T.S.S Ernst / Peter Neufert Page 478

19

View Point

to see the whole city skyline

200 people 25sft for each person clear four side dimension.

Total Area +30% circulation area Grand total coverd area

Backstage and circulation included

=6900

259889 +77966 =337855sqft

Area in Marala =1273

Area in Kannal =63

Area in Acres =7.96

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Multan Glimpses

Chapter No:7 SITE DATA:

Location: The site is located on the heart of the city which form a part of the center of the city integrated with the walled city and the recent one nearby Fort kohana beside a commercial offices of Govt. building, library area at the back and public parking at the side and back.The calculation of requirements is to be carried out and detailed by the architect and archology team to come up with final set of requirement.

Site located in multan city the southern part of the Punjab province. Multan District has a population of over 4.5 million. It is situated on the east bank of the Chenab River, more or less in the geographic centre of the country and about 562 km from Islamabad, 356 km from Lahore, & 966 km from Karachi.

7.1 SITE DATA:

Fig.7.0 World Map Globe City in the state:

Fig.7.1 Fort area map Site neighborhood in the city: Site located near qila kohna qasim bagh multan in the prime center of city. Near Fort Kohna Bahawaldin Zikria Multani masoluem and old multan stadium beside qasim bagh.

Fig.7.2 Site Map

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Chapter No:7 Site Information

Fig.7.1b Multan Map

Fig.7.1a Fort area map

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Multan Glimpses

Fig.7.4 Fort 1849 Map Old fort map 1849 with its boundary walls

Fig.7.3 Fort 1872 Map Site located out side from the the ford area old1872 fort map shown the site location beside the boundary wall Location of the site in the neighborhood:

Bahawal din zakariya masolum

Thana+ Rescue Qasim Bagh

Shah Rukne alam Ghanta Ghar

Damdama

old Stadium Site

Fig.7.5 site Surronding Present Fort map with its surrounding and site:

Fig.7.5 Fort With Site

The site located in the hub where all the cultural activities are present. the site is accessed from tow sides.

1-From the hussain agahi road.

2-From the main clock tower road which bassically for masoluem

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Chapter No:7 Site Information

Fig.7.7 Multan City Map

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Multan Glimpses

Road Map:

Distances between the site: Lari adda:5.8km Ring road Multan:3.9km Multan Art Councel:3.0km Ariport Multan:5.6km Railway station:4.0km Dera adda(Old Bus Stand):2.6km Sher Shah Bypass:21km

䴀愀樀漀爀 一漀爀洀愀氀

Fig.7.7 Road Map In site surrounding major and minor road red road for public traffic and transport road for city and the grey road is minor road and path way for services and pedestrian Global Position of Site: Site location beside fort kohan and old stadium green colour show the site area and also the road which belong to with side front road and side and back road.

Site Availability: The site has proper infrastructure. there are all services present near to the site like gas water sewerage and water supply etc.

Fig.7.9 Site Area

Site Area,shape and Topography:

10’-00”

14’-00”

9’-00” 8’-00” 7’-00” 6’-00”

Major contour and drainage patterns.

Site linked with main traffic road for public and also grey road for site services from back side, also for the vip person or researcher without involvement in museum function.

12’-00”

6’-00”

5’-00”

4’-00”

10’-00” 8’-00” 6’-00” 4’-00”

4’-00”

3’-00” 2’-00”

2’-00”

Fig.7.10 Site Topography

10’-00” 8’-00”

1’-00”

0’-00”

The proposed site has contours. the maximum contour is +10’ The Area of site is 4.25 Acer select according to requirments.

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63 Kannal 1273Marla

170000 Sqft 7.96 Acer

Chapter No:7 Site Information

Over All Context and Site: All site with road and surrounding detail and building.

Fig.7.11 Site Context

In the figure shown above proper circulation and all the data is shown. The site has contours which are shown above and the north direction faces towards the top side of the site. The whole area is on contoured land.

The circulation is defined by pedestrian paths and vehicular paths. Site surronded by three side road the top left and bottom.

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Multan Glimpses

7.2 Site Analysis: Services entry Visitor entry Sun Path

Natural Physical Features: Trees shrubs and bushes a contours Big tree medium trees small trees Man-Made Features:

Rainfall

Utilities:

Hut path way and along path way small medium bunches for sitting Path way

Electrical line Watersupply benches

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Small hut

Fig.7.12 Site Circulation

Fig.7.14 Utilities

Fig.7.15 Natural Feature

Fig.7.16 Man Made Feature

cha.7.1 wind

Wind The wind direction is highly variable and is dominantly from NE in winter and SW in summer direction.

Sewerage line Telephone line Temporary parking

The noise comes from Southside.

Temprature

Chapter No:7 Site Information

Climate:

cha.7.3 Rainfall

cha.7.2 Temprature

Average Rainfall 3.1cm and mostly 2 or 3 day’z in whole year runoff is to much no consediration for rain water sewerage.

Over the course of a year, the temperature typically varies from 19°C to 54°C and is rarely below 19°C or above 42°C.

The length of the day varies significantly over the course of the year. The shortest day is December 21 with 9:55 hours of daylight; the longest day is June 20 with 14:24 hours of daylight.

Size and Zoning

337’

455’

Monument

74’

Theater

568’

Shope Sitting

124’ 158’

Display Learning Garden

Minaret

285’

Museaum

285’

Courtyard Sitting Display Sitting

Memorial

Services Visitor Noise Building

560’ Street rights of way: South side road 60ft Wide West side road 30ft Wide North side road 25ft Wide From Boundary interior set back 20’ from road side.

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151’

Fig.7.13 Site Zoneing

Multan Glimpses

Human and Cultural: The majority of Multan’s residents speak Saraiki, while Haryanvi is the second most spoken language. A good portion of the people are conversant in Urdu. English is understood by the educated. The majority of the people are Muslims. However, the city does have a significant Sikh and Hindu communities within the district.

Multan is generally known as the ‘City of Saints, Sufis and Beggars’. The city is one of the main cities in Southern Punjab province of Pakistan. The city has been the focal point in many religions especially becoming a central abode for Sufism, the mystical side of Islam. The city has attracted Sufi saints from far places of the globe.

Cultural Expression Multan Saraiki: 66.58% (54.23% in the city) Haryanvi: 14.59% (11.01% in the city) Punjabi: 11.14% (09.13% in the city) Urdu: 5.86% (6.64% in the city) Pashto: 0.62% Balochi: 0.10% Sindhi: 0.07% Other: 1.04%

Fig.7.16 A cultural expression Pakistan

Culture of Punjab Negative neighborhood patterns:

on site different kind of people take drugs and it is prime important to save the city centralise are from such kind of activities and site have no proper land scape or a level contours on site and also the contour is not proper level clay mound and shrubs grown on site.

1- save the city centreline space from Drugs elicited.

2- site serve as the educational exhibition and research space so the site is good enough for this project.

Fig.7.17 Negative Patterns

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Chapter No:7 Site Information

Sensory: Following are the views to the site.

D

E

E

A D B

C

B

A

C

Fig.7.18.A Site Sensory

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Multan Glimpses

Following are the views from the site.

D

E

D A C

E

B

A

B

C

Fig.7.18.B Site Sensory

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Chapter No:7 Site Information

Conclusion:

Architecture Approach to maintain the environmental control.

• Mashrabiah

Shading is a necessary strategy to avoid heat in the building during summer. Various shading devices have been used in the region for centuries. Mashrabiah is a wooden screen for covering the window has been used to provide shading and provides occupants with shading at the same time as natural lighting, ventilation, access to outside view and privacy.

• Wind Catchers

wind towers have been used to provide natural ventilation and passive cooling by catching the air at its highest elevation and transferring it into internal spaces of the building • Crossed Ventilation

It is a ventilation system of a space or a run of associated spaces, through openings placed on two opposite walls.

• Chimney Effect

It is a system that makes an air extraction by placing apertures in the top of a room. They can be connected to an exhaust vertical duct. The stack effect is also referred to as the “chimney effect”, and it helps drive natural ventilation and infiltration.

• Wind Tower

Through a wind tower which takes the wind at certain height above the roof, where it is most intense. The air is carried by a tube that can be introduced by the lower part of the premises and even it can incorporate air treatment devices.

Fig.7.19 Courtyards

Fig.7.22 Crossed Ventilation

Fig.7.20 Mashrabiah

Fig.7.23 Chimney Effect

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Fig.7.21 Wind Catchers

Fig.7.24 Wind Tower

Multan Glimpses

Chapter No:8 DESIGN CONCEPT: Client BRIEF:

The Museum Complex is the Project of Antiquities Organization Department of Archaeology and Museum which is responsible to look after country’s region Rich culture Heritage and hope to offer a maximum facility to the Museum complex, which will act as culture center.

The government has given the rest of the Ghanta Ghar area to the antiquity organization latterly. So they suggested a Museum Complex in the hole area with top priority to Museum a new building to be acratic soon and developed the site in such a way that it will remain as important Historical place without demolishing certain important building which has been rest orated.

The site is located on the heart of the city which form a part of the center of the city integrated with the walled city and the recent one nearby Fort kohana beside a commercial offices of Govt. building, library area at the back and public parking at the side and back.

The calculation of requirements is to be carried out and detailed by the architect and archology team to come up with final set of requirement.

Since the acquisition and selection of exhibits for the Museum is almost their so basis can be formed in this stage .So probably a fixed dimensions will be chosen for the hall with provision of flexibility and future extension to accumulate most of the exhibits in a suitable manner.

The client also demands a proper integration of all the buildings in the Museum Complex.

The Museum perceived as National symbol of creative genius and culture attainment of the people of Multan.

The building should be a prominent place in the heart of the historical fort and reflect old generation identity.

The Project Glimpses Complex Multan has assigned to the student Mr.Ghulam Mustafa Joyia to promote the history of the region. His work is the result of thoughtful search. He has considered all the aspects related to the project, (like climate, sun orientation, form, function, services, cost etc.). In his proposed design, the form of the building itself shows the Modren style of the Multan. The functions of the proposed buildings Museum, art galleries, library) are directly related to the Education. They are much effective to exhibit it and locally made handicrafts on national and international level.

8.1 Architecture Brief:

Museum Concept: Objective : To design a new national museum who cater for the thematic exhibition “Permanent exhibition” of history of man from stone age to the modern age. A temporary exhibition, education and research center, Administration, and other services such parking, workshops labs, and proper landscaping and open spaces with respect to the developed museums working together hormonally.

Evaluation of Concept: The new museum’s design reflect international standard in contemporary architecture which represent its time and also honors Islamic pattren tradition adopting the new technology, new material and socioeconomic of the society at the same time special concerned about the function of the museum space from inside-interior function etc.

Taking in consideration the Curators archeologist exhibit and visitor’s nature. The Curators want to store things in dark forever at the same time exhibition wanted to bring art fact into fresh air and light for visitors to enjoy, so the architect have to protect the art facts at the same time exhibition properly.

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Chapter No:8 Design Brief

EXPANSION

EXPANSION

Public Area

Staff Area RESERVE COLLECTION STORAGE

DISPLAY ROOM I RV

PE

SU ON

ENTRANCE

SI

SERVICE

MECH EQUIP & JANITOR

WORK SHOP

WORKER ROOM

SALES COUNTER

OFFICE

EXPANSION

wall or partition require to separate staff from public area

PUBLIC ENTRANCE

LECTURE ROOM

KITCHEN

PARKING

LOBBY

WASH ROOM CLOAK ROOM

CHAIR STORAGE

Fig.8.1 Museum Layought

Conceptual Approach: A.The new museum is connected with the developed section through symbolic element “court of column” the first architecture element to greet and attract visitors B.The museum is constructed from Underground level respect the concept and also a for monumental feeling and giving it more emphasis Design a monument.

C. The basic geometric form chosen for the design is square with reference to site city grid developed further as needed.

D. Planning, exploded square missing one corner which is meant to symbolize the missing traditional culture which is to be discovered while moving inside.

E. In interior use of wood on the door and door top screen artificial tree that give a breathing environment in closeness.

F. Clear and open vertical circ ulation tell us the historical back of the mosque minirate that use for to kind of purpose to view and azan and also for the monumentality symbol for mosque.

G. Centralise lobby and the light well give us the old house courtyard effect that use for interact.

H. Drink, and rest space on each floor and at the end of journey the clear view of sky line from the top floor that create only for the view point and also give us modern age live display and a re breath after the long journey.

I. Light penetration in narrow lobby and the wide space in museum give the feeling of walled city effect of street scape also meandering effect increase by the irregular corridor.

J. Open spaces with sitting shelves around main building with the sun movement building give the dens shadow whole day and this is also give the effect of tharra which use in walled city.

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Multan Glimpses

This square further connected to rectangular galleries as their function and efficiency needed. A clear hierarchy between the public and private areas also considered by separating them by mean of blocks. The use of courtyard as symbolic element and for definite function as well.

K. Some of the traditional day of the region have the stalls and open display area which also planed in my master plan.

L. For the local poet I’m giving the poetic sitting deck on the top of water body to write their creation in medietate space early morning and late night.

M. Amphitheatre area and with theatre some eatable and local goods stall placed for the thereat user.

N. Site one side also belong to the qasim bagh and from one side attach with park entrance and park has security check point and use that gate for service and inside is only emergency vehicular excess no go area for public and v.i.p on their carts.

O. Court of column is opportunity for semi shaded area and open display for exhibition.

P. After gateway public enter the main plaza which also use in case of emergency and emergency vechicl excess.

Q. Emergency exit for the building placed on South and North side of building.

R. Galleries placed with respect to their age group like the stone age is most oldest era that placed under ground and the temporary gallery which have present day display which placed on the second last floor and the modern sky line is the view of today which placed on top most.

S. Reduce the felling of congestion use of maximum vertical circulation and also the some emergency door to excess the main circulation area to escape in emergency.

T. Security watch on each step from the service floor and have excess to each floor security zone to handle the problems.

U.Memorial square in memories of national and multani heros and special personalities.

V. Grand inter locking between qasim bagh and site with the major activity of theatre and interactive sitting.

W. Multiple Monument to convey the message to the people of multan like rise and fall monument and the minaret and building itself like a monument.

X.Craft centre open display and working area 10ft down from the ground level for no congestion felling in site spaces.

Y.Water bodies water interlink with underground lines to circulate the water whole the day that prevent form the negative effect of still water like dengue virus and other bacterial growth.

Z. Building load shift from the inclined side and also clad structural column use of brick clad structure and shift load safely to the ground.

The overall effects is that of an open sequences of space in which open spaces, various ceiling height and light intensity, with different mode of movement and display to create a dynamic series of expression while outer overall look depicting the walled city massing and building form but symbolically considering the function and new technology and material.

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Chapter No:8 Design Brief

The Main entrance: The main entrance with symbolic pattern sets as the most dominant portion of the museum with traditional touch in term of faced treatment located along the diagonal axis of the square. It is flanked by two massive vertical wall like in order to break the massive feeling. wall for easily accessible to public visitors.

The interior of the museum: Organized in to three areas the entrance lobby sequence to core exhibition sequence to permanent exhibition and open display in the same axis. While education and research section and administration at the left side block and temporary exhibition at the top block connected together by triangular corridor.

The Education Centre and Administration: Library and research section and administration are design to be approach directly without interfering the museum activities and arranged according to grid system of interval circulation all the spaces looking at small intimate court yard. This schematic reflect the restricted character of the administration and education section and very carefully linked with other museum sections.

Temporary exhibition: Has been designed to be approach vertical from the entrance lobby from the main foyer. Arranged to serve the multipurpose display exhibitions with multi-level and provision of natural lighting .

Core Exhibition: As it has a permanent restricted display exhibits by clients as large sculpture pieces so it has been design with direct approach from main foyer as first permanent display.

Exhibition galleries: Exhibition halls start from ground floor are situated in multiple levels storied element with promising of control day light access and having the galleries in different level connected through very fine ramps which keep the museum a live and vital. While the thematic galleries at the sub sequent floor are of one level in order to reduce the fatigue factors and have been enhanced by the void areas around the circulation area.

8.2 Technical aspect: • Material:

Has been chosen very carefully with according to function climate, durability and viability. Flexibility The interior of museum allows maximum flexibility in term of large gallery and open planning system which conceived of any number of exhibition being put into large space. Museum building cast in basic concrete structure column beam and the inner shell is also made of concrete and the outer skin build with the Spidersilk and fibber glass the composite material and some where use of carbon fibber to enhance the strength of over all structure.

• Security:

As such building need a special intensive care in planning and installation for security against theft fair and security of visitors and staff.

——a) Considering in planning Try to separate the reception area and common facilities which can be utilized in un-working hour of museum from the permanent exhibition area with central entrance.

Also locating open display area inside the thematic galleries masses in closed from all side.

I always try to minimized number of opening in the building and illuminate them in the galleries.

Selection of R.C.C, as basic structure member and carefully fair resistance finishes.

——b) Installation Along with normal system of security the electronic system video camera and connection with police and firefighting system.

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Multan Glimpses

• Lighting:

The most talented factor which have been considered to develop such space for people to enjoy with natural light and well controlled by having a diffuse north light louver for adjustment in order to develop a sense of present in the space at different time of the day.

While for artificial light a special type of light as required and calculated by specialist and how to comping both of them at certain condition which become an essential element.

• Relaxation area:

Proposed a relaxation area after three galleries in order to reduce the fatigue and poorness by mean of seating arrangement and different mod of views audio visual media and open space.

Ventilation: • Natural ventilation:

Due to the great change of temperature between day and night, inside and outside temperature in Multan.

In day time: The stack effect produces positive outside pressure and flow in a word at lower pressure while at night we discourage ventilation as weather is cool.

• Mechanical ventilation:

In certain places and conditions we require a mechanical ventilation by installation of exhaust fans and air circulations which distribute and suck air to achieve the desire result bringing temperature and humidity to working area.

Wall and faced treatment: No to forgot the traditional pattern a consideration of faced treatment and enrichment decoration aspect in Multan.

A proposal of large surface areas that should be subject to an artistic treatment and reflect the Multani preference for geometry in order to break the massive feeling of the wall.

Also use of Jali “skin” in the exterior in symbolic form and interior as a cooler as used in our tradition rapidly.

The use of sky height and as traditional symbolic of region.

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Bibliography

• History of Multan

——Ahmad,Nazir.2002. Multan Glimpses lahore: Sang-e-meel Publishers.

——Hussain,Shakir.2009. Multan Aksa-o-Tahreer .

——Ahmad,Ikhlaq.2000. Tareekh-o-Tamadan.

——Din MM (2001). Gazetteer of the Bahawalpur State. Lahore: Sang-e-Meel Publications.

——Khan,Hafeez.Ma-asar Multan (Sadaabad).

——Vandal, Sajida Haider. Cultural expression of South Punjab. Lahore, 2013.

• Literature Review

——Lampugnani, manganago, Vittorio. (1999) Museums for a New Millennium.

——Greub, Suzanne and Greub Thierry (2008) Museum on the 21st century.

——Ando,Tadao.Modern Art Museum of Fort Worth.

• Design Consideration

——Fontenelle,vidal,ciro.2008.The importance of Lighting to the experience of architecture.

——Zumtobel.Light for facades and architecture.

——Baghelard,Gaston.The poetics of space.

——Maja,Petric.Light Art. ——Walter,Russell.The secret of light.

• Program Requirments

——Dept of Archaeology Lahore • Sources of Material for museum

——Jamil, Tariq and Gardezi (1988).Crafts of the Punjab. Multan: Nisar Art Press Lahore.

——Ahmad,Nazir.2002. Multan Glimpses lahore: Sang-e-meel Publishers.

• Data about site

——Multan Development Authority ——Multan Dept of Archaeology • Standreds and Design ideology

——Architectural Standard - Ernst & Peter Neufert ——Time-Saver Standards - Architectural Fundamentals • Process and Design Advise

——Internal Desig advise by- Design Teacher (SADA) University Of Gujrat ——External Design advise by- Attiq-ur-Rehman (Blue Brick) ,Nasir Mehmood (D-east) ——Structure Design advise by- Otto Abt (GDA GROUP) Colombia , Anton li (AIR Studio) Russia ——Interior Exterior Design advise by- Otto Abt (GDA GROUP) Colombia ,Alexandra Karapinová (La Salle BCN) Snina

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