Movement in Architecture - Undergraduate Thesis

Movement in Architecture Submitted in partial fulfilment of the requirements of the degree of Bachelor of Architecture by

Khushita Wagle Exam seat no. AR-16-079

GUIDE: Ar. Urvashi Purohit

Aditya College of Architecture, Mumbai

Mumbai University 2020 - 2021

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CERTIFICATE This is to certify that the project entitled

“Movement in Architecture”

is a bonafide work of

“Khushita Wagle” Exam Seat No. AR-06-079 submitted to the

Aditya College of Architecture, Mumbai in partial fulfilment of the requirement for the award of the degree of Undergraduate in Bachelor in Architecture.

Prof. Ar. Rita Nayak Principal

Ar. Urvashi Purohit

Guide

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Declaration

I declare that this written submission represents my ideas in my own words and where others' ideas or words have been included, I have adequately cited and referenced the original sources. I also declare that I have adhered to all principles of academic honesty and integrity and have not misrepresented or fabricated or falsified any idea/data/fact/source in my submission. I understand that any violation of the above will be cause for disciplinary action by the Institute and can evoke penal action from the sources which have thus not been properly cited or from whom proper permission has not been taken when needed.

----------------------------------------- (Signature)

Khushita Wagle.

(Name of student)

AR-06-079 (Exam Seat No.)

Date:

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Design Dissertation Approval for Bachelor of Architecture (B.Arch.)

This dissertation report entitled “Movement in Architecture” by “Khushita Wagle” Exam Seat No. AR-06-079 is approved for the degree of Bachelor of Architecture.

Examiners (Name and Signature)

1._____________________________

2._____________________________

Date: Place:

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This book is dedicated to the mover within all of us... :) 6

This Thesis would not exist without the guidance of my mentor and faculty, speeddial Ar. Urvashi Purohit and Principal Ar. Rita Nayak. I’d also like to thank Aditya College of Architecture to produce the broadest range of faculties anyone could have seen during their academic journey. Gratitude to Ar. Tanuj Jain, Ar. Smit Goghari, Ar. Daniel D’souza, Ar. Anjuri Agarwal and Ar. Neethu Matthew for strengthening my base and be available for any situation, helping me shape and become the thinker I am today. Also to Ar. Jwalant Dave and Ar. Ajay Geevarghese.

After five long years, a mere thought of perceiving spaces uniquely converted into various conversations and finally a thesis research paper. This would not have been possible without the humans around me that shaped me and my thoughts to arrive where they are today. Credits due to the place where it all began, Architecture Masterclass (AMC) and Ar.Sanjay Mhatre for exposing me to the vast field of architecture and instigating thoughtful discussions.

The growth I have seen in these five years would never be possible without the various communities I have been part of. Karwaan for literally just existing, fueling my wanderlust, fulfilling my curiosity during my travels and teaching me how to travel as well. Khushi entered karwaan as an enthu 17year old child and karwaan opened up my horizons as far as my eyes could see.

The hoop flo tribe for helping me express my movement through my body during challenging times.

All 9 members of Bhailog for the late-night duo calls and emotional releases through memes.

And of course Traitors for being true to their name.

Roomies and Gualada for bringing back the crazy in me and achieve my true potential.

Special thanks to Adhish Parkar knowingly and unknowingly for guiding me throughout my work.

Giving due credit to my juniors; Aviral and Nishra for helping me in my final stages of this thesis :)

It’s been an honour to have had amazing exseniors (now buddies) like Dhruv raja, who behaved like a life coach, friend and so much more guiding through this academic and nonacademic journey; and of course, bringing into my life KARWAAN. Nirav Upadhyay, for ALWAYS picking up the phone and being the most giant gummy bear one could have. Shashank Gandhi for making me see my potential and Kaushal Pahuja for always being available for tech, emotional and idea support.

A special thank you to Vishwesh Shiva Prasad provided this homeless person with a place to stay, opening my eyes to more extensive possibilities, pushing me to be more demanding with every discussion.

Vijayata Ojha for being my fairy godmother, helping me make the right call at every crossroad.

Kairav Pandya for always being there as a cushion to soften the blow and helping me cope with existing no matter the time for the day or night.

Hardik Gandhi for the profound conversations and food crawls.

Finally, I’d like to thank my parents for creating me, tolerating my tantrums, advising me, and supporting me in my endeavours no matter the journey I chose. Shout out to Arya for sharing a wall with me and still behaving like it doesn’t exist.

Also thanks to Simran shah, Havva Mthiborewala, Abhishek Vora, Shravani Mestry, Shruti Sehgal, Shawnel D’souza and Hriday Chhabria for keeping me sane.:)

Acknowledgements 7

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Figure 1

‘Space has always been the spiritual dimension of architecture.

It is not the physical statement of the structure so much as what it contains that moves us.’ -Arthur Erickson

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Abstract “Movement in architecture” is an organized system of various types of movements stimulated by specific architectural elements.

So far, most of the related studies have focused on a few aspects of movement. In this article, the author tries not only to address circulation in architecture and visual movements but also the physiological psychology of motion, pictorial representation, and natural factors.

The physical movement of built form and space is also considered more coherently and comprehensively, along with all stimulus factors and elements.

Subsequently, this research correlates various types of movements along with their generator factors and architectural elements.

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List of Figures

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1. Introduction

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Concern/ interest Hypothesis Research questions Aims Objectives Scope & Limitations Research Methadology

2. Movement in architecture

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2.1. Kineticism 2.2. Pictorial representation 2.3. The movement of natural factors 2.4. Visual movement 2.5. Circulation 2.6. Mental movement 2.7. Sensational movement

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3. Movement factors and elements in architecture

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4. Analysis

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5. Research study

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6. Case Studies 6.1 Dresden’s Military History Museum 6.2 The Bihar Museum 6.3 Museum of Socialism - Jayaprakash Narayan Interpretation Center

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6.4 Learnings

7. Social Mapping

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8. Conclusion

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9. Site Study

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9.1 Site Selection 9.2 Mobility 9.3 Land Use Framework 9.4 Development Plan 9.5 Landmarks 9.6 Climate and Road network 9.7 Views 9.8 Laws and Regilations

10. Design Proposal

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10.1 Program Structure

11. Bibliography

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Table of Contents 13

Figure 1: Illustration of dimensions in Architecture (pg.8) Soure: Author

Figure 12: Illustration depicting Sensational movement (pg.31) Soure:https://in.pinterest.com/ pin/625296729510740092/

Figure 2: Illustration depicting age of high mobility (pg.18) Soure: Author Figure 3: Illustration to portray cohesion and sense of space (pg.20-21) Soure: Author Figure 4: Research methodology diagram (pg.22) Soure: Author Figure 5: flowcharts categorising architectural movements (pg.23) Soure: Author Figure 6: Illustration depicting kineticism (Pg.25) Soure: Author

Figure 13: Illustration depicting movement factors and elements in architecture (pg.32) Soure: Author Figure 14: flowcharts showing architectural movement taxonomy (pg.34) Soure: Author Figure 15: Movements assessment chart (table 1) (pg. 35) S o u re : https://www.cogentoa.com/ article/10.1080/23311983.2019.1588090

Figure 16: Illustration showing movement patterns on a site (pg. 36) Soure:https://in.pinterest.com/ pin/843369467717434118/

pictorial

Figure 17: Plan of Dresden’s military history museum (pg. 38) Soure: ArchDaily

Figure 8: Illustration depicting The movement of natural factors (pg.27) S o u r e :https://www.flickr.com/photos/

Figure 18: Section of Dresden’s military history museum (pg. 38) Soure: ArchDaily

Figure 7: Images showcasing representation (pg.26) Soure: https://9gag.com/gag/a3B3E85

references/5430880559

Figure 9: Illustration depicting visual movement (pg.28) S o u r e : https://www.designboom.com/ architecture/sukunfuku-studio-periscope-triumphpavilion-2015-12-06-2014/

Figure 10: Illustration depicting Circulation (pg.29) Soure:https://www.archdaily.com/891102/tianjin-tedaschool-by-schneider-plus-schumacher/5ab1cf0cf197 ccf9b1000080-tianjin-teda-school-by-schneider-plusschumacher-corridor-section

Figure 11: Illustration depicting mental movement (pg.30) Soure:https://in.pinterest.com/ pin/843369467717429012/

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Figure 19: Image of Dresden’s military history museum (pg. 39) Soure: ArchDaily Figure 20: Movement assessment chart for Dresden’s military history museum (pg. 40-41) Soure: Author Figure 21: Exploded axonometric of the Bihar museum (pg. 42) Soure: ArchDaily Figure 22: image of the Bihar museum (pg. 43) Soure: ArchDaily Figure 23: Movement assessment chart for the Bihar museum (pg. 44-45) Soure: Author

Figure 24: plan of Museum of socialismJayaprakash Narayan interpretation center (pg.

46) Soure: ArchDaily Figure 25: section of museum of socialismJayaprakash Narayan interpretation center (pg.

46) Soure: ArchDaily Figure 26: Image of museum of socialismJayaprakash Narayan interpretation center (pg.

47) Soure: Author Figure 27: Movement assessment chart for museum of socialism- Jayaprakash Narayan interpretation center (pg. 48-49) Soure: Author Figure 28: Illustration depicting humans in museums (pg. 50) Soure: Author Figure 29: Illustration depicting Movement of mind, soul and body in the various planes of architecture and space (pg. 58-59) Soure: Author Figure 30: google earth image of final site and context (pg. 60-61) Soure: Google earth Figure 31: google earth image of banglore site and context (pg. 62) Soure: Google earth

Figure 36: Land use framework around the site (pg. 66-67) Soure: https://www.smartvizag.in/index.php/plan/ Figure 37: Development plan of the site (pg. 6869) Soure: Author Figure 38: landmarks and context of site (pg. 7071) Soure: Author Figure 39: climate and road network around the site (pg. 72-73) Soure: Author Figure 40: view from the site toward the beach (pg. 74) Soure: Google earth Figure 41: view of context (pg. 74) Soure: Google earth Figure 42: view from the dite towards the hills (pg. 75) Soure: Google earth Figure 43: view of context (pg. 75) Soure: Google earth Figure 44: minimum set backs and permissible height (pg. 76) Soure: Govt. Document Figure 45: Applicability and provisions (pg. 76) Soure: Govt. Document

Figure 32: google earth image of vishakapatnam site and context (pg. 62) Soure: Google earth

Figure 46: word cloud of design proposal (pg.

78) Soure: Author

Figure 33: google earth image of red fort site and context (pg. 62) Soure: Google earth

Figure 47: Meme to conclude :) (pg.)

Soure: Author

Figure 34: weather averages of final site (pg. 63) Soure: Google Figure 35: mobility around the site (pg. 64-65) Soure: https://www.smartvizag.in/index.php/plan/

List of Figures 15

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Introduction A well-designed space must also be versatile yet appropriate for its primary use. “Good designs are where it is not dictated to the individual how they should perceive, operate or feel in the building, but have the flexibility to explore and experience it for themselves,” - Dr Marialena Nikolopoulou, school of architecture at the University of Kent. The impact architecture has on a person’s mood is vast. Arguably these are the fundamentals of architecture: not how it looks, but how we feel it, through the way it allows us to act, behave, think and reflect.

Essentially, the power a building has over a person is limited. It cannot change their personal needs or circumstances, and its uses are always changing. However, by the use of architectural elements, one can direct the users to experience the built form in various ways.

So one dislocates and locates. One removes known obstacles and introduces new ones. By doing that, one changes the movement, and by changing the movement, one changes the perception of the Space.

Architecture started as a means of protection, a shelter from our surrounding environment. It gradually evolved into an art form by introducing subjectivity, creativity, and beauty. Today, we see architecture evolve yet again, this time from an art form to a subject of psychological study and purposeful implementation focused on psychological wellbeing.

Circulation in architecture refers to the way people move throughout a building, and how they interact with the physical space around them. While people by nature ultimately decide which way they chose to go, their behaviour can and often is, determined by the form and layout of the spaces within a building.

In recent years architecture has neglected the body movement and its relation to Space.

Architectural and body expressions have been standardised, although architecture designs for the body do not take into account its movement and interaction with Space. ‘Movement’ in Architecture can mean different things, and the idea of ‘expressed movement’ has, alone, been variously conceived. ‘Contained movement’, where it is not the architecture that is thought of as moving, but the eye, mind, imagined body or forces; and ‘represented movement’, where there is an implication or illusion that the architecture is in motion.

Buildings, by their very nature, tend to be static, a condition hitherto reinforced by their architecture. A strand of contemporary architecture is gradually emerging from this tyranny of form. Based on geometry that goes beyond that of rectilinear relationships, it exploits the visual dynamism of forms that evoke movement.

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Figure 2

We live in an age of high mobility brought about principally by the development of transport and communications. Besides the static condition of buildings, the rest of the built environment revolves around a proliferation of various means of enabling movement. In this sense, we are, compared to previous eras, hyper-mobile and, as a constant movement has become increasingly possible, so the appetite for change has enlarged.

The pleasing visual quality of these spatial curves or proportions is derived from their natural order. The fluidity of curves is essential, and this sense of movement is enhanced by a seamless transition in the geometry that sets them out. This may be a vision of how people will move around the building or may take account of more psychological aspects, the visualization of the lines of force, the axiality of some particular arrangement, or the mere feeling of being pulled along or guided by the spaces of the structure.

Lines of force exist in mind as well as in the spaces or landscape that we create, contributing to a sense of spirituality; they are the result of how spaces or objects in Space relate to each other to create a higher power. Although these spaces or objects may be static, they prescribe a geometry that implies movement.

Moreover, the spaces and objects which possess the power to generate lines of force often have a strong presence themselves usually traceable to their geometry.

One should not only look in the mind when considering perceptions of movement in the static reality of built forms because other factors can bring buildings to life. People inhabit the way spaces, whether singly or in crowds, is crucial, but architecture would be virtually nothing if it were not for light, ever-changing.

Today it is difficult to stand still; uncertainties exist everywhere, and technology is shrinking the world. Aware of this, architecture attempts to serve a demand for excitement and interest, and there is a confidence about an architecture which not only asserts itself by appealing to man’s appreciation of movement but which also explores new geometries and forms.

Buildings too are more liberated by what can be conceived, realized and manufactured economically while at the same time becoming ever more responsive to our senses.

Can you recollect times when circulation in built and unbuilt spaces affected your behaviourism?

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Concern/ interest Architecture defines where we are, what we are looking at, what is above us, what is below us.

It orients us. It is much more than what we see, what we hear, what we touch, what we smell. It is one of our deepest deepest dreams.

Daniel Libeskind once said, “architecture is one of the biggest unwritten documents in history”.

Buildings and urban spaces should be designed first and foremost around their occupants.

The importance of architecture as a trigger to physical, physiological and psychological wellbeing is nowadays becoming a topic of significant relevance.

Hypothesis Architecture can take us along for a ride should we choose to design it to do so much like a story. Although every building wasn’t created to tell an architectural story, the way we experience it is much like a story. If we were to adopt the telling of narratives as fundamental design principles, we could once again reinvigorate buildings so that they can be worthy of exploring.

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Research questions • How does architecture influence movement?

• How does circulation in architecture affect human psychology?

• How can architecture encourage movement without restricting a person’s free passage and decision making within the built environment?

• What are the physical and psychological factors that affect people’s perception of spaces?

• How can such factors be integrated, controlled or applied architecturally?

Aims The aim of this paper is to explore and investigate these subtle relationships and interconnections in order to create a taxonomy for evaluating movement in buildings.

To understand and re-define the static and dynamic nature between the people (expirencee) and space (the experience).

Figure 3

Objectives To study connectivity between various essential nodes and use this connectivity as a motivational factor towards promoting human circulation.

To examine social cohesion and sense of space, promoting various movements like expressed movement, contained movement and represented movement where there is an implication or illusion that the architecture is in motion.

To analyse the visual dynamism of forms that evoke movement.

Scope & Limitations This research studies movement patterns in architecture with respect to museums in an urban context as a generic typology. No specific type of museum or particular kind of exhibits have been considered.

As this research study has taken place during a pandemic, the research range has been limited to a desktop study and readings.

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Figure 4

Compilation: The data is compiled together to form a study material for the project. In this step, all the data that is collected through case studies, live interactions, discussions, articles, is compiled in a particular format and manner.

At this stage, the data can be relevant or irrelevant, it does not matter.

Collation: In this step, the data that is roughly formatted in Compilation process is now formatted in a precise manner. All the relevant and irrelevant data is examined thoroughly and is analyzed - understanding the right and wrong of it, how much is needed and how much is not needed, etc.

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After, examining the study material, all the unwanted matter is eliminated and only the most accurate matter is kept. This makes the collected study material and research apt. The collated data now form the literature part of the book and acts as a supporting matter to the proposed project. Case studies arealso narrowed down and are included to support the project.

Conclusion: This is the final stage of the book.

This involves the Site selection and the analysis of it justifying why this selected site is perfect for the proposed project. After site analysis, Space area program is established upon which the design takes shape and the final design is made.

Figure 5

Apparently, movement cannot be related to architecture because buildings are static.

Architects have long been trying to employ movement in their works. With the development of new interests and schools in architecture, this tendency has been growing recently more than ever. As a result, many types of relative research have been conducted, whether by studying a specific factor or architectural element or by defining new taxonomies.

Two diagrams most relevant to the scope of this research can be extracted from these studies.

Architectural movements are categorized in these diagrams.

This study divides movement types into three major groups: movement in relation to architectural form and space—where the existence of the explorer is not necessary and architecture involves embedded motion per se; movement of a spectator in relation to the built form; movement of an explorer in relation to the built space.

Research Methadology 23

Speaking of movement in architecture, the first thing that comes up is the existing movement in architectural form and space that has stemmed from architectural elements in motion. Then, the visual movement of a spectator followed by the physical movement of an explorer attracts the attention. There are other movements derived from the spectator’s mind. Some other movements in architecture do not need the explorer’s presence.

It means that architecture involves motion, with or without the explorer. These type of movements is the potential, or future movement imagined or kinetic movement embedded in architecture—a simple example of this movement is that of a mill in traditional houses. These movements would also influence architectural form and space, similar to the movement of natural and pictorial elements in architecture. Sculptures and paintings also express an inherent motion.

2. Various Movements in Architecture 24

Figure 6

Kineticism in architecture has become ubiquitous with the advent of new technologies in the modern period. Architecture is being influenced by technology so that it receives an even more significant impact from kineticism.

When “Revolving Buildings, Skin Unit Systems, Retractable Elements, and Biomechanical Systems” (Ramzy & Fayed, 2011) appeared, the movement became enriched more than ever.

“Plug-in-City, Blow-out Village, Walking City, and Instant City” (Ching, 2011, p. 778) are some imaginary designs remaining from the modernists. They can be considered as other aspects of kineticism.

2.1. Kineticism 25

Figure 7

As expressed by Hardy, pictorial representation refers to “figurative portrayal of movement (through sculpture, painting, and such)” (Hardy, 2011). Thus, pictorial representation consists of sculpture, painting, and relief. Sculptures and relieves imply a sense of movement induced whether by proliferating patterns or potential or future movement imagined. In other words, a sculpture contained by space implies an action. Similar to photography, a painting captures a specific moment of a particular sequence of motions. Therefore, like many other phenomena in nature, the event of movement can be painted.

2.2. Pictorial representation 26

With that said, painting on walls, ceilings, or floors—mainly referred to as composing elements of the form—can be treated as an emanation of motion. Accordingly, sculpture and painting are regarded as types of movements instead of architectural elements of movement. It is because they depict a moment of a series of motions. Similar to sculpture or painting, modern buildings may feature a pictorial representation. Asefi highlights that some buildings are designed as a “Virtually Live Body”. He has defined this as “Frozen Transformation” (Asefi, 2012). A building, in this sense, has to be seen and perceived in many facets.

Figure 8

In addition to manifesting reviviscent properties in the architecture, the movements of natural elements are also fluid mechanisms. Stavridou refers to this as “Breathing Architecture” (Stavridou, 2015) when defining the role of air circulation. The movement of the primary natural light sources is slow in the sky. Albeit, their travel path can be illustrated in the space.

Creating specific openings in the form would depict the passage of light through space.

Water and light have prominent roles in forming architecture, specifically in the traditional Eastern and Iranian architecture. Water-related architectural elements, as well as openings and manipulations in the form, create an altering space dominated by natural light in the space, in turn, displaying movement. As a result, they decelerate and ultimately stop the circulatory movement of explorers by giving them a sense of peace.

Further, they provide a chance to stimulate other types of movement. The circulation of water would also provoke the sense of hearing.

As natural light changes colour and direction during the day, it would transform the space and gives the sense of time passage. Salimi et al. have studied the role of light and water in architecture.

In addition to these applications of light, water, and wind in architecture, they are also capable of altering buildings—since they have “Contained Energy”. This kind of transformation can be observed in primitive shapes which employ natural energies to represent applied movement in their form, e.g. in the mills. This can also be seen in modern shapes as in biomechanical systems.

2.3. The movement of natural factors 27

Figure 9

Visual movement is a type of physical movement.

“The movement of the ocular muscles” along with “the projection of movement onto objects” are referred to as two ways of motion perception in modern psychology (Stickells, 2010). Eyes move from one point to another point on the form to perceive the architectural form and its embedded details. Concerning this, the movements of ocular muscles can be divided into four types; horizontal movement, vertical movement, rotational movement, and free movement of the eye.

In the opposite side of the real movement of the eye, there is the virtual movement which can be linked to “projected movement”. In this regard, eyes are deceived by particular patterns creating an illusion of movement. The visual experience of movement, as explained

by Arnheim, occurs because of three factors: “physical movement, optical movement, and perceptual movement”.

2.4. Visual movement 28

Also, perceptual movement is defined to be correlated with several factors such as the difference in “intensity”, “variability” (in size or shape), and “enclosedness” properties of objects (Arnheim, 2004, pp. 379, 380). These differences perceptually make one object to be in motion compared to another object.

Sometimes a different factor other than the ones mentioned above causes the projection of movement on the form. “Motion of the field” (Brady Peters, 2001) is a reaction to the movement of the observer (while standing on a kinetic element like an escalator or during the movement of the body) that is referred to as “Parallax”. Therefore, all of the architectural elements or factors related to transporting the observer’s body could also cause parallax. Smooth surfaces can barely generate parallax. Thus, the architect needs to employ the same factors of creating projected movement in order to have the “motion of the field” generated. With that said, parallax and projected movement are interconnected.

Figure 10

Circulation is a process that commences instantly by being present in an architectural place, and “whether we are conscious or innocent of this process, our bodies and our movement are in constant dialogue with our buildings” (Ching, 2014, p. 251). Body movement is a component of circulation as a product of the movement of an explorer concerning the built space. This movement is divided into horizontal and vertical subdivisions. Alongside body movement, there is another movement which is associated with a mind in the architectural space. “Projected bodily movement” (Hardy, 2011) is the process of imagining the movement of other creatures in space—whether a human, object, or animal— e.g. imagining a body traversing up or down when encountering a spiral staircase.

On the one hand, this movement is imaginary and should be sorted out in the mental or visual movement subset. On the other hand, however, this movement occurs in the space— more specifically, in the circulative spaces—and not in the form. Therefore, in this paper, it would be considered as related to the built space and as a corollary to circulation.

When we move through an architectural place, we would interactively affect the space around us and transform it because of circulation.

Concerning this interactive relationship, Plummer argues that: The kinetic elements of buildings (doors, windows, shutters, and gates) that we can directly control and finely adjust with our fingers and hands. Moreover, sometimes our entire body can give us the power to immediately alter the space around us in meaningful and desirable ways. (Plummer, 2016, p. 67)

2.5. Circulation 29

Figure 11

As thoughtful beings, the movement generated in our mind is much more complicated than that in our eyes and bodies. “Technical, and functional circulation, as well as narrativized aesthetic experience” are described as the attributes of “architectural promenade” (Stickells, 2010). Technical and functional circulations are discussed in the previous sections. What remains to complete this promenade is a narrativized experience.

Despite physical forces that would cause motion in objects, there are some forces in the built form that are perceived psychologically by the spectator. Psychologists call them “Psychological Forces”. In this sense, “Perceived Forces” refer to all psychological forces evoked in the observer’s mind. These forces include “Inertia”, “Dynamism”, “Imagined Forces”, and “Visual Forces”.

2.6. Mental movement 30

“An observer sees the pushes and pulls in visual patterns” and “perceptually and artistically, they are quite real” (Arnheim, 2004, pp. 16–18).

Considering that fact, if they are real, they would perceptually contain motion. Hardy (Hardy, 2011) has also argued that objects that are close to each other would illustrate an interaction repulsion. On the contrary, if they are at a distance from each other, they would show an attraction toward each other. He also attributes Gestalt to visual forces. Likewise, “Subtractive Form”—Subtraction—would fall among this type of movement. These are pieces of evidence of “Visual Forces”. Ching brings the house at Stabio as an example. About subtractive forms, he then explains that: We search for regularity and continuity in the forms we see within our field of vision. If any of the primary solids is partially hidden from our view, we tend to complete its form and visualize it as if it were whole because the mind fills in what the eyes do not see. (Ching, 2014, p. 58).

Figure 12 The term “Sensational Movement” in this paper refers to the inner experience of our bodies in the built space. Pallasmaa has explained that the forms expressed in architecture would be conceived in a collaborative process through our sensory organs and then would generate imagination and “Sensory Thoughts” (Pallasmaa, 2012, pp. 45-49). In other words, “Sensory Thoughts” are outputs of the presence of an explorer in the architectural space. With that being said, the sensation is the movement of a soul in the space. The explorer’s body can feel this movement in certain situations created by the built space. In this study, “Arousal”, “Time Passage”, and “Tendency” are counted as the components of the sensational movement.

A fine example of sensory thought that contains movement is Plummer’s metaphor of Gothic churches described as “stone forests”: … virtual and actual trails weave through and around thousands of slender marble spires, which foliate into screens and filigrees, catching and absorbing our vision, slowing us down but giving us choices on how we might scramble over the rooftops. (Plummer, 2016, p. 224)

Time can be sensed throughout architecture from another perspective, but the degree of its presence varies. In the research by Shemesh, Bar, and Grobman (2015) exploring human reaction in various spaces, it has been concluded that people have particular feelings for every specific shape in the built space.

These feelings evoke psychological tendency or the willingness to move towards that shape or within that space. The behaviourists believe that the built space stimulates our movement (Figure 7b) mostly through sensation and mainly through tendency. For instance, when an explorer is situated in a built space with a low degree of enclosure and with an intensified perspective toward a direction, he would sensually tend to move toward that particular direction—even before starting the body movement.

2.7. Sensational movement 31

Figure 13 32

The aforementioned types of movement are correlated with architectural factors and elements which cause motion. This means that each of them is stimulated because of a certain factor (or an architectural element).

Architectural elements are not just the visual elements of architecture. Rather, they are configurations which interact with memory (Pallasmaa, 2012, p. 67), thought, imagination, eye, and body. They are sometimes the manifestations of movement per se.

These elements are the most discussed subjects throughout the related literature. In some references, “continuity, sequence and flow” (Estremadoyro, 2003) as well as transparency are considered as the factors promoting movement. More comprehensively, in his book titled Architecture, Form, Space and Order, Ching introduces “approach, axis, circulation space, path, the flow of space, elevated planes, hierarchy, rhythm, light, enclosure, opening, asymmetrical curved surfaces or multiple perspectives, as well as linear and radial geometry”* as the architectural elements and factors which contain movement or would stimulate it. Plummer would add “Threshold” to this list when he refers to ancient Japanese temples’ gateways as “a stimulus to action” (Plummer, 2016, p. 198).

Regarding these notions, senses of “Security” and “Privacy” can be considered as psychological motivations for one moving from one place to another. Pallasmaa has argued about an architecture of “Sensory Experiences”.

He instances an architecture in which senses like somatosensation and vision could cause body movement (Pallasmaa, 2012, p. 75). Identically, these senses in addition to olfaction, gustation, and audition are able to compel various types of movements when they are employed by an architect.

As already noted, various factors and architectural elements might work together to motivate certain type(s) of movement, as in Scala Regia (Vatican staircase) designed by Bernini. Studying ramps, Stickells (Stickells, 2010), on the other hand, clarifies that the role of ramp can be more prominent than being just a mere circulatory element of architecture.

Therefore, a single ramp can motivate and manifest various types of movements, as other factors and architectural elements can do the same.

3.Movement factors and elements in architecture *(Ching, 2014, pp. 254, 11, 12, 351, 352, 294, 290, 156, 157, 114, 298, 363, 370, 187, 189, 184, 174, 177, 191-193, 44, 218, and 228)

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Figure 14

This study investigated movement in architecture throughout various documents dealing with relationships among space, form, and observer (or expirencee). It was shown that different factors are involved in expressing movement in architecture. Also, diverse types, factors, and architectural elements of movement were explained.

4. Analysis 34

The reasons for the presented approach for categorizing movement is as follows: First, mental and visual movements are caused and stimulated by the form. In contrast, circulatory and sensational movements are motivated by being present in the space. Besides, there are other movements in architecture which are not related to the expirencee’s presence. It means that architecture involves motion, with or without the expirencee. In this sense, architectural promenade includes visual, mental, circulatory, and sensational movements. Meanwhile, kineticism, pictorial representation, and natural factors’ motion would compose architectural motion.

Figure 15

Therefore, a qualitative-quantitative table is drawn to estimate and assess movement in architecture (Table 1). This table shows the presented taxonomy of movement in this paper. It helps to increase the quality of movement in architecture—thus the experience of architecture—by evaluating the movement in any desired built form and space.t

The table can be used by dotting in order to compare the movements manifested in different buildings. It can also be used to estimate which types of movements are more frequently manifested in a particular building.

Every dot placed at each cell represents a certain type of movement (listed at the top of the table) which is stimulated by the corresponded architectural factor or element (listed at the left side of the table).

5. Research study 35

Figure 16 36

6. Case Sudies

37

Figure 17

38

Figure 18

Figure 19

Architects: Studio Libeskind Year: 2011 Location: Dresden, Gremany Plot size: 14,000 sq. m Exhibition area: 10.000 sq. m Renovated area: 19,000 sq. m

6.1. Dresden’s Military History Museum 39

40

KEY MESSAGES 1. Changing Perspective - The MHM offers different perspectives on German military history. The architecture, the new thematic exhibition and the redesigned permanent (chronological) exhibition represent both traditional and new forms of perception and expression. The juxtaposition of tradition and innovation, of old and new interpretations of military history, is the cornerstone of the new approach.

2. Cultural History of Violence - The MHM offers visitors a history of the German military.

But it goes beyond uniforms and weapons in its investigation state-controlled violence, offering new ways of assessing that history and the culture of violence that gave rise to it.

3. The Central Theme is the Human Being The central theme of the MHM’s architecture and exhibition design is an anthropological consideration of the nature of violence. The museum closely examines the fears, hopes, passions, memories, motivations and instances of courage, rationality and aggression that have precipitated violence and, all too often, war.

4. Museum as Forum - In addition to presenting current and historical topics in special exhibitions and events, the MHM will host screenings, lectures and international symposia.

5. A New Museum District - Once a prosperous and heavily visited area, Dresden’s Albertstodt district, in which the museum is located, has been deserted for some time. The new MHM will be the catalyst that turns the district into an international destination, a cultural center and a museum district. Made add’l change.

Figure 20

41

42

Figure 21

Figure 22

PATNA, INDIA Architects: Maki and Associates, Opolis Area: 25410 m² Year: 2018 Client: Department of Art, Culture, and Youth (DACY), Government of Bihar, India Site Area: 53,480 m2 Roof Area: 19,716 m2 City: Patna Country: India

6.2. The Bihar Museum 43

44

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

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

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

The project was selected as the winner of an International competition in 2011 (other competitors were Coop Himmelblau, Norman Foster and Partners, Snohetta, and Studio Daniel Libeskind). The building began construction in June 2013 and was largely complete by October 2017. Exhibition installation is ongoing and will be completed in 2018.

Figure 23

45

Figure 24

Figure 25 46

Figure 26

Architects: Archohm Area: 3269 m² Year: 2016 Site Area:18.6 acre (75464 sqm) Project Cost:9.87cr City:Lucknow Country:India

6.3. Museum of SocialismJayaprakash Narayan Interpretation Center 47

48

The museum within is an experience in space design with the depiction of Jayaprakash Narayan as a chronological narrative of a linear journey. It is divided into two zones; the zone of absorption and the zone of reflection.

As the names suggest, these spaces enable absorption of information triggering curiosity and contemplation which then is expected to lead to reflection and assimilation.

Thus the museum is not just a container that preserves frozen albeit inspiring moments of a past but breeds them and ensures that they percolate into current reality, and lay the foundation for the future.Thus while the various exhibits and narratives remain centre stage, the building offers surfaces, volumes and elements as tactile backdrops.

The convention centre and the museum inserted as anchor points defining a principal node of the city along with their bold but sculptural forms seem destined to remind people of the immense power they possess; the power to bring about change.

Figure 27

49

Under this investigation, the author has a more specific and more profound understanding of the spatial constitution and functional organization of museum architecture.

Meanwhile, through literature studies, the author gives some advice on museum architecture: Audiences not only pay attention to the exhibits themselves but also care about the spatial environment around the exhibits.

Audiences will visit the exhibition because the exhibits are attractive. Therefore, it is essential to arrange visiting routes and build an exciting environment for visitors in the design of exhibition space.

As we all know, comfortable rest space can help relieve fatigue faster. Thus, scattered setup of all types of rest space enables audiences to have a rest without having to go far, which enhances their favourable impression of the exhibition museum so that they will stay longer in the exhibition museum.

6.4. Learnings 50

Figure 28 51

Questionnaire survey refers to a research method which puts forward problems and collects material in written form. The author designs a questionnaire in terms of visitors’ satisfaction with museum architecture.

Questionnaires were distributed in each age group, respectively. As a result, 100 active questionnaires are taken back in all. Next, statistical analyses of their results are conducted.

The users (expirencee) were questioned and made to retrospect on the kind of spaces they utilize, prefer to go to, and spaces they find appealing.

7. Social Mapping 52

What is your age group 99 out of 99 answered

1 2 3 4 5 6 7 8 9

18-24 years old

52.5% / 52 resp.

45-54 years old

26.3% / 26 resp.

25-34 years old

12.1% / 12 resp.

35-44 years old

4.0% / 4 resp.

55-64 years old

3.0% / 3 resp.

12-17 years old

2.0% / 2 resp.

65-74 years old

0.0% / 0 resp.

75 years or older

0.0% / 0 resp.

Under 12 years old

0.0% / 0 resp.

53

Which kind of Museums/Galleires would you like to visit more?

99 out of 99 answered

1 2

Interactive

85.9% / 85 resp.

Stationary

14.1% / 14 resp.

Which Museum would you rather visit?

99 out of 99 answered

Space compliments the expirence

87.9% / 87 resp.

Only Artifacts

12.1% / 12 resp.

Which Institute would you rather visit?

99 out of 99 answered

54

Play in levels

89.9% / 89 resp.

Straightforward Spaces

10.1% / 10 resp.

Which Museum would you rather visit?

99 out of 99 answered

Connect to the outdoors

87.9% / 87 resp.

Internal Spaces only

12.1% / 12 resp.

Which Gallery would you rather visit?

99 out of 99 answered

Play in levels

80.8% / 80 resp.

Straightforward Spaces

19.2% / 19 resp.

55

Choose one of the following.

IIM, Ahemdabad 99 out of 99 answered

1 2 3 4

Heard of it, and I want to visit it

55.6% / 55 resp.

Visited it

23.2% / 23 resp.

Heard of it, but I don't want to visit it

14.1% / 14 resp.

Haven't heard of it

7.1% / 7 resp.

Choose one of the following.

Nrityagram, Bangalore 99 out of 99 answered

1 2 3 4

56

Haven't heard of it

48.5% / 48 resp.

Heard of it, and I want to visit it

42.4% / 42 resp.

Visited it

5.1% / 5 resp.

Heard of it, but I don't want to visit it

4.0% / 4 resp.

Choose one of the following.

Auroville Earth Institute 99 out of 99 answered

1 2 3 4

Heard of it, and I want to visit it

56.6% / 56 resp.

Haven't heard of it

25.3% / 25 resp.

Visited it

16.2% / 16 resp.

Heard of it, but I don't want to visit it

2.0% / 2 resp.

Analysis of investigated data Based on this investigation, it is essential to create an attractive exhibition space in the design of museum architecture to improve the visiting ratio of the exhibition. At the same, convenient and labour-saving transportation means should take precedence, and diversified design of rest space should be paid attention.

The author recognises the significance of analysing such kind of architecture from various perspectives to explore its spatial constitution and functional organisation. This research generalises and puts forward methodology to design exciting exhibition space, convenient traffic space and diversified rest space.

Cultural architecture, especially, museum architecture, is of significant social value and importance for the improvement of city image, and the optimisation of people’s living environment.

The audiences of museum architecture refer to the group that it serves. For audiences, the most intimate functional space in a museum architecture consists of three aspects, i.e., exhibition space (Henderson, 2001), traffic space and rest space (Henderson, 2001).

57

The result shows that in some buildings, the movement of natural elements can play a prominent role in the whole system of the construction. This can be related to the existence of more types of movements other than circulatory and optical; such as the flow of natural elements, sense of time passage, association, and the impact of water and wind.

In this essay, the term “Movement in Architecture” was redefined and taxonomy was presented regarding not only the movement of body and eye but also of mind, soul, pictorial representation and natural factors, as well as the movement of architecture itself. The collocation was developed based on the relationships among form, space, and expirencee (or observer). Three types of relationships were defined in this regard: • Movement concerning the built form and space • Movement of the observer with the built form • Movement of the expirencee about the built space.

The overall goal to create a new ordination was achieved in the form of a table of observations (Table 1) depicting the interconnections among different types, factors, and architectural elements of movement. The generated table is a framework for the qualitative-quantitative assessment of “Movement in Architecture” in any building, whether employing a scale through a questionnaire or a descriptive report.

The author hopes the conclusion of this research can act as guidance for the practical construction of museum architecture.

8. Conclusion 58

Figure 29 59

60

Figure30

9. Site Study 61

Selection criteria Site 1: Bangalore

• As the intent of the thesis suggests, the site for intervention has to have a museum-based programme.

• The plot selection for the site must be in consideration with the current land use and the proposed development plan.

• For the proposed intervention, the land that falls under reservation for public and commercial spaces in the development plan will be the most suitable.

• The location of the commercial activities shall also be considered for the proposed site as that will help shape demographic visiting the site.

• It is essential to understand and respect the context and the distribution of masses around.

The selection thus shall take into consideration that the scale of intervention does not stand foreign to the context.

Imagery ©2020 CNES / Airbus, Maxar Technologies, Map data ©2020

Sea Harrier Museum

Figure 31

Site 2: Vishakapatnam

/

Imagery ©2020 CNES / Airbus, Maxar Technologies, Map data ©2020

Site Selection

20 m

Red Fort

50 m

Figure 32

Site 3: Red fort

The three sites taken into consideration are mainly considered as per the tenders that came out in the country concerning museum-based programmes or even their extensions. Apart from this, there is various other reason for the selection of the site.

Site-1: Redevelopment of Venkattappa art gallery in Banglore.

Site-2: Museum next to the AU convention centre in Vishakapatnam.

Site-3: Extension project for the museum in the red fort.

9.1. Site Selection 62

/

Imagery ©2020 CNES / Airbus, Maxar Technologies, Map data ©2020

100 m

Figure 33 /

Figure 34

Site Justification Cultural architecture, especially, museum architecture, is of significant social value and importance for the improvement of city image, and the optimization of people’s living environment. Generally speaking, museum architecture, belonging to the category of public cultural architecture, consists of a museum, exhibition hall, gallery and others. It aims at research, education and appreciation as well as collects, saves, studies transmits and exhibits witnesses related to human beings and their environment.

Practically, museum architecture can present, collect and study collections. With the progress of the era, it additionally possesses an aesthetic function. Keeping in mind the concepts established earlier, Site-2 suggests being the optimum site in terms of context, history, growth of the district, and application of research.

63

64

Figure 35

9.2. Mobility 65

66

Figure 36

9.3. Land Use Framework 67

68

Figure 37

9.4. Development Plan 69

70

Figure 38

9.5. Landmarks and Context 71

72

Figure 39

9.6. Climate and Road Network 73

Figure 40

AU Convention center

Image capture: Dec 2017

Images may be subject to copyright.

Aparna 360 views Street View - Dec 2017

Figure 41

74

Figure 42

AU Convention center

Image capture: Dec 2017

Images may be subject to copyright.

Aparna 360 views Street View - Dec 2017

Figure 43

9.7. Views 75

Khantam and (b) Areas Prohibited for High Rise Buildings given in the Annexures.

(2) The minimum setbacks and permissible height as per Table – 17 and other conditions stipulated below shall be followed.

TABLE – 17 Minimum Setbacks and Height Permissible (12) User savings: In terms of running costs savings, green buildings save 25-35 percent on energy use on average and 30 to 85 percent on water consumption annually.

Building Line or Minimum Front Setback to be left (in m) 140. Applicability and Provisions: Minimum Plot Size Height (1) All Buildings on various plot sizes above 300sq.m comply and Abuttingmay Road Widthwith the green norms setbacks on Sl. (in Sq.m) Parking (inWater m) Conservation and (1).

(1).

Water Conservation and Above to the requirements mandatory for sanctionAbove as mentioned in this Chapter. remaining No. Above –confirm provision Permissible Up Above 7 Management Management sides 12m & 18m & Above 3 4 5 6 7.5 4.0 Energy Conservation Building Code24m (APECBC)” [Amended Andhra (2) Up to The “Andhra Up to to & up Stilt + Pradesh (in m) up to up to 30m (a) Rain Water Harvesting (a) Rain Water Harvesting (by 15 2012] issued Building Rules, in G.4 O. Ms. No. 12m to 30m 10 1500 - 2500Pradesh 2 Cellar 3 5 30 Dated: 6 28.01.2014 7.5is applicable 5.0 to 18m 24 m (byother Recharge) Recharge) commercial and Non-Residential Buildings that have a plot area of more than floors buildings18** 3 4 5 6 7.5 Recycle (J) 6.0 (A) (B) (C) (D) (E) (F) (G) (H) (I) (c) Waste Water Recycle and (c) Waste Water and 1000 Square Meters or built up area of 2000 Square Meters and certain categories of buildings 1 Less than 50 7 Reuse 1.5 1.5 35 Centers irrespective 36 Reuse 7.5 3of their built - up Stilt + 3 4 Convention 5.0 such as Multiplexes, Hospitals, Hotels and 2 or (d) (d)3Reduction 3of Hardscape7 Reduction 1.5 of Hardscape 1.5 3 area. 15 3 4 5 6 7.5 6.0 2 50-100 11 Above 2500 more (2).10Solar Energy Utilization (2).are Solar Energy3on Utilization 1.5indicated 1.5in the table 3 below 3 applicable 0.5 for green buildings all plots more (3) The provisions Cellar 18** c than 300sq. (a) Installation (a)6Installation 3 of Solar 4 5 7.5of Solar 7.0 Stilt m in size: 1,000floors to 3,000 100 - 200 10 1.5 1.5 3 3 3 1.0 3 floor Photovoltaic Panels Photovoltaic Panels Figure 44 7(b) Installation of Solar (b)4 Installation 2 TABLE 3– 34Assisted3 5 of Solar Assisted 1.0 Stilt 4 200 300 Water (3) Stilt Floor meant excluded from the permissible height in the above Table. Height floor for parking 10is Water 2 3 3 5 6 1.5 Heating Systems Heating Systems of stilt floor and shallProvisions not be lessfor than 2.5m.plot In case floors where mechanical system and Applicability various sizesof (allparking use premises) for Green Building Components 7Energy Efficiency 3 floor shall 4 not be less 5 than 6 Parking 7.5 1.5 (3).4.5m.

Energy Efficiency floors in High lift are provided, of such parking Stilt height (3).

5 300 - 400 SubApplicable (b) Energy Efficiency (b)6Energy Efficiency in HVAC floor 12 rise buildings are also excluded from calculation ofHVAC height of 3 4in 5 building.

7.5Non-Residential 2.0 Plot Provisions for category Provisions plot area systems for Residential systems (4) *In case of commercial buildings proposed in 4plots having an extent of 500-750sq.m, cellar 7 Category 2.0 by Stiltm.)

(Sq. Lighting3of common areas by5 (c)6Lighting of7.5 common areas 400 - floor 500 for parking may be (c) 6 considered subject to fulfillment of the required Parking space floor 12 Solar Energy/LED devices 3 4devices 5 6 Solar Energy/LED 7.5 2.5 (A) (B) (C)for the proposed (E) Requirements building (D) as given in these Rules.

(1).

Water Conservation and (1).

Water Conservation and 7 Below 300 I Nil 3 Nil 18m4in Sl.Nos.9, 5 10 and 11 above, 6 2.5 of height above 15m and below shall7.5 be permitted (5) **Buildings Stilt Management Management 12 12m wide plots abut minimum roads4only.(by 5 * 500only - 750if such floor 3 Harvesting 7.5Harvesting3.0 7 (a) Rain Water (a)6Rain Water (by (1). Water Conservation and (1). Water Conservation and 15 Recharge) (6) Other conditions: 3 4 5 6 Recharge) 7.5 3.5 Management Management (b) Low Water Consumption (b) Low Water Consumption (a) The setbacks are to be7 left after leaving the affected area of the plot/site, if any, for road (a) Rain Water (by5 (a) 6 Rain Water7.5 Harvesting 3.0 3 Harvesting 4 Stilt + Plumbing Fixtures Plumbing Fixtures widening.

One Recharge) (by Recharge) 12 750 - 1000 3 4 5 6 7.5 3.5 8 a (c) Waste Water Recycle and (c) Waste Water Recycle and (b) Where ato site abuts (2). more thanEnergy one road, then the front setback be insisted towards 300Cellar 500 Solar Utilization (2). should Solar Energy Utilization 15 Reuse 3 Reuse 7.5 floorroad width(b) 4 Assisted 6Installation 4.0 the bigger and for the remaining side or 5sides, the as atofColumn(J) Installation of Solar (b)setback Solar Assisted (d) Reduction of Hardscape (d) Reduction of Hardscape 7 Water Heating shall be insisted.

Systems 3 4 5 6 Water Heating 7.5 Systems 3.5 (2). Solar Energy Utilization (2). Solar Energy Utilization (4).

Waste Management (Optional)along the frontage of the of at+least 1m greenery/lawn site the7.5 front setback (c) A stripStilt 12 3 of Solar 4 5 4.0 (a) Installation (a)6within Installation of Solar (4).

Waste Management (a) Segregation of Waste 9 1000 - 1500shall be2 developed Cellar and15maintained with greenery.

Photovoltaic Panels Panels5.0 3 4 5 6 Photovoltaic 7.5 floors (b) Installation Assisted of Solar Assisted (d) For Plots above 300sq.m in addition of to Solar (c) above, a minimum (b) 1m Installation wide continuous green b 500 to 1,000 (1).

Water Conservation (1). Water Conservation and6.0 18** 3 4and 5 6 7.5 a planting strip in the periphery Water Heating Systems Systems on remaining sides are requiredWater to beHeating developed and Management Management Above 3,000 III II (3) Energy (3) Energy Efficiency maintained within the setback.Efficiency (a) Rain Water Harvesting (by (a) Rain Water Harvesting (a) Low Energy Consumption Low Energy (e) For all residential/institutional/industrial plots above 750sq.m,(a) in(by addition to Consumption (c) and (d) Recharge) Recharge) Lighting Fixtures (Electrical Lighting Fixtures (Electrical 99 as organized open above, 5% of the site(d) area to be developed and of beHardscape utilized as Reduction of Hardscape (d) space Reduction Appliances – BEE Star and Appliances – BEE Star and  greenery, tot lot or soft landscaping etc., and shall be provided over and above the (2). Solar Energy Utilization (2). Solar Energy Utilization Energy Efficient Appliances) Energy Efficient Appliances) mandatory setbacks. (b) Such organized could be in more than one location Installation ofopen Solarspace Assisted (a) Installation of Solarand Energy Efficiency in HVAC area of 15sq.m (b) Energy in HVAC shall be of a minimum(b) width of 3m with aSystems minimum at eachEfficiency location.

Water Heating Photovoltaic Panels systems systems (3). Energyand Efficiency (b)lot) Installation of Solar Assisted the organized open space (tot are not maintained, (f) If the strip of greenery/lawn (c) Lighting of common areas by (c) Lighting of common areas by (c) Lighting of common areas Water Systems 10% of additional Property Tax every year shall be by imposed as penalty byHeating the Sanctioning Solar Energy/LED devices Solar Energy/LED devices (3).

Energy Efficiency Solar Energy/LED devices Authority till the condition is fulfilled.

(4). Waste Management (4). Waste Management (4). Waste Management (c) Lighting of common areas by (g) In all plots 750sq.m and provision shall be made for earmarking an area of X 3m (a)above, Segregation of Waste (a) Segregation of3m Waste (a) Segregation of Waste Solar Energy/LED devices for the purpose of setting of public utilities like distribution transformer, etc. within the (b) Organic Waste Management (b) Organic Waste Management (4). Waste Management owner’s site subject to mandated public safety requirements. (a) Segregation of Waste Figure 45 (h) In case of plots 300 - 750sq.m, it is permitted to transfer up to 1m of setback from any one 76 side to any other side without exceeding overall permissible plinth area. The transfer of setback from front setback is not allowed. 186

The permitted activities in CRZ- I (B) (a) exploration and extraction of natural gas; (b) construction of dispensaries, schools, public rainshelter, community toilets, bridges, roads, jetties, water supply, drainage, sewerage which are required for traditional inhabitants living within the biosphere reserves after obtaining approval from concerned CZMA. (c) necessary safety measure shall be incorporated while permitting such developmental activities in the area falling in the hazard zone; (d) salt harvesting by solar evaporation of seawater; (e) desalination plants; (f) storage of non-hazardous cargo such as edible oil, fertilizers and food grain within notified ports; (g) construction of trans harbour sea links, roads on stilts or pillars without affecting the tidal flow of water.

2. CRZ-II: The area that have been developed upto or close to the shoreline.

Explanation.For the purposes of the expression, the developed area” is referred to as that area within the existing municipal limits or in other existing legally designated urban area which are substantially built-up and has been provided with drainage and approach roads and other infrastructural facilities, such as water supply and sewerage mains; Activities permitted in CRZ-II:(i) Buildings may be permitted only on the landward side of the existing road, or on the landward side of existing authorized structures; (ii) Buildings permitted on the landward side of the existing and proposed roads or existing authorized structures shall be subject to the existing local town and country planning regulations as modified from time to time except the Floor Space Index or Floor Area Ratio which shall be as per 1991 level provided that no permission for construction of building shall be given on landward side of any new roads which are constructed on the seaward side of an existing road: (iii) Reconstruction of authorized building is permitted subject with the existing Floor Space Index or Floor Area Ratio Norms and without change in present use; (iv) Facilities for receipt and storage of petroleum products and liquefied natural gas as specified in the notification (v) Desalination plants and associated facilities; (vi) Storage of non-hazardous cargo, such as edible oil, fertilizers and food grain in notified ports; (vii) Facilities for generating power by non-conventional power sources and associated facilities; 3. CRZ-II:

9.8. Laws and Regulations

Area that are relatively undisturbed and those do not belong to either CRZ-I or II which include

77

Figure 46 78

Exhibition space

Circulation space

Exhibition space acts as both the primary space in architecture, for instance, museums and the carrier of the exhibition.

Circulation space is the bond that links other kinds of space, so it plays a critical role in organizing the streams of people and guiding visitors.

Rest space Forms of rest space in museum architecture are diversified, pauses are necessary for one to stop and witness the movement and enhance the experience.

Museum as a symposium Besides presenting current and historical topics in special exhibitions and events, this space will host screenings, lectures and international symposia.

Absorption and Reflection spaces As the names suggest, these spaces enable absorption of information triggering curiosity and contemplation, leading to reflection and assimilation.

Ethnology Studio This space acts as a catalyst to challenge existing cultural notions and encourages dialogue and experimentation through innovative programming.

Archival Space The Archives Department supports the Museum’s mission and assists scholars and researchers by acquiring, preserving, organizing, and describing the documentary evidence throughout history.

Multifunctional spaces for promoting Performing & Fine Arts The locals have much potential in the field of performing arts and fine arts, but they lack spaces to explore and refine their talent.

Multifunctional spaces for promoting Community involvement and Interaction The institution can also act as a place for social upliftment by providing multifunctional space for gathering and celebrating festivals, Community Library. The spaces can also include communal kitchens to promote local food.

10. Design Proposal 79

Exhibition space Exhibit Shop & Warehouse Exhibit Shop Design Area Flammable Storage Warehouse Facilities Manager Near Exhibit Floor Supply Storage

Rest space Green Terrace Store Cafe Kitchen Landscape Public Plaza

Museum as a symposium Auditorium Classrooms Research Labs Office Training Room Meeting Room Multi-Purpose Hall Cabin Rooms Toilet Conference Room

80

Absorption and Reflection spaces Reading rooms Quite rooms Screening centre Interactive Installations Solo pods Slam corner Connecting plazas Observation chambers Artists corner

Ethnology Studio Administration: Programs Operations Associate Youth Programs Coordinator Museum Educator Earthworks Coordinator Earthworks Educator/Facilitator Earthworks Garden Manager Floor Managers Museum Artist Volunteer Coordinator Future Staff Volunteer Break Area/Planning/Meeting Volunteers’ Personal Storage

Circulation space Entry, Lobby, Admission, Store Entry Vestibule Lobby/ Orientation Admissions/Tickets Museum Store Back Storage for Museum Store

Archival Space Administration: Finance and PR Reception/Waiting Executive Director Executive Toilet Associate Director of Administratio Office Manager Bookeeper Store Manager Director of External Affairs PR Coordinator Future Staff Copy/Work Room/ Mail Small Meeting/Planning Area Filing and Storage

Multifunctional spaces for promoting Performing & Fine Arts Open air Auditorium Administrative Office Community Hall Indoor Fields Libraries Workshops/Multi-Purpose Halls

Multifunctional spaces for promoting Community involvement and Interaction Open air Auditorium Administrative Office Community Hall Indoor Fields Libraries Workshops/Multi-Purpose Halls

10.1. Program structure 81

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Figure 47

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