MARITIME HERITAGE MUSEUM, LOTHAL by Komal Lakhyani

Thesis Report Year: 2020-2021 Batch No. 18

MARITIME MUSEUM, LOTHAL

Undertaken by: KOMAL LAKHYANI Enrollment No.: 16E1AAARF40P049 V Year B.Arch. (B)

Prof. Neha Goyal Tater

Prof. Archana Singh

GUIDE

COORDINATOR

Aayojan School of Architecture ISI-4, RIICO Institutional Block, Sitapura, Jaipur-302022

APPROVAL The thesis titled “Maritime Museum, Lothal” is hereby approved as an original work of Komal Lakhyani, enrollment no. 16E1AAARF40P049 on the approved subject carried out and presented in manner satisfactory to warrant its acceptance as per the standard laid down by the university. This report has been submitted in the partial fulfillment for the award of Bachelor of Architecture degree from Rajasthan Technical University, Kota. It is to be understood that the undersigned does not necessarily endorse or approve any statement made, any opinion expressed or conclusion drawn therein, but approves the study only for the purpose it has been submitted.

June 18th, 2021 Jaipur

Prof. K.S. Mahajani EXTERNAL EXAMINER 1

PRINCIPAL

Prof. Archana Singh EXTERNAL EXAMINER 2

COORDINATOR

DECLARATION I, Komal Lakhyani, here by solemnly declare that the thesis undertaken by me, titled ‘Maritime Museum, Lothal’ is my original work and wherever I have incorporated any information in the form of photographs, text, data, maps, drawings, etc. from different sources, has been duly acknowledged in my report. This thesis has been completed under the supervision of the guide allotted to me by the school. Further, whenever and wherever my work shall be presented or published it will be jointly authored with my guide. Komal Lakhyani V Year B.Arch. (B) Aayojan School of Architecture, Jaipur

CERTIFICATE This is to certify that the thesis titled, Maritime Museum, Lothal is a bonafide work by Komal Lakhyani of Aayojan School of Architecture, Jaipur. This thesis has been completed under my guidance and supervision in a satisfactory manner. This report has been submitted in partial fulfillment of award of Bachelor of Architecture degree from Rajasthan Technical University, Kota. This thesis fulfills the requirements relating to the nature and standard laid down by the Rajasthan Technical University. Prof. Neha Goyal Tater. Guide Aayojan School of Architecture, Jaipur

ACKNOWLEDGEMENT I take this opportunity to express my thanks to the Principal & Director of my institute, Prof. K.S. Mahajani for providing a suitable and healthy learning environment even during the tiring times like the COVID-19 pandemic. Passport Size I also wish to thank Dean-Academic Affairs, Prof. N. S. Rathore for his support and

continued guidance, throughout the undergraduate course journey.

Photograph

I earnestly thank the Dissertation & Thesis Seminar coordinator Prof. Archana S. Rathore for providing this prospect to conduct this research study and her valuable guidance and timely encouragements. Furthermore, I would like to acknowledge with much appreciation and indebtedness for Prof. Neha Goyal Tater for her support, critiques, advice, unwavering patience and perseverance throughout the course of this research and the semester. I sincerely appreciate all the guides, external reviewers and jurors as well as other faculty members who provided suggestions for the completion of this undergraduate thesis project. I would also like to thank my parents Mrs. Hema Lakhyani & Mr. Narayan Das Lakhyani, for their constant support and encouragement. Last but not the least, my friends Priyal Sharma, Nidhi and Shreya for making this journey an enjoyable experience.

KOMAL LAKHYANI V Year B.Arch. (B) Aayojan School of Architecture, Jaipur

iii

CONTENTS Approval Declaration Certificate Acknowledgement Contents List of illustrations

i ii ii iii iv-vi vii-xvii

CHAPTER 1: INTRODUCTION 1.1 1.2 1.3 1.4 1.5 1.6 1.7

1-6

Introduction Preface Aim Criteria of selection of site for thesis project Objectives Major Stakeholders of Maritime Heritage Museum Methodology

CHAPTER 2: PRE-DESIGN STUDIES

6-38

2.1 Danish National Maritime Museum 2.1.1 Background 2.1.2 Concept 2.1.3 Context 2.1.4 Site Plan and Drawings 2.1.5 Materials 2.1.6 Types of exhibition Space 2.1.7 Lighting Design and types of exhibits 2.1.8 Circulation 2.1.9 Analysis 2.2 Kaap Skil and Beachcombers Maritime Museum 2.2.1 Background 2.2.2 Concept 2.2.3 Context 2.2.4 Site Plan and Drawings 2.2.5 Materials 2.2.6 Types of exhibition Space 2.2.7 Lighting Design and types of exhibits 2.2.8. Circulation 2.2.9 Analysis 2.2.10 Structure 2.3 Maritime Centre, Vellamo, Finland iv

2.1.1 2.1.2 2.1.3 2.1.4 2.1.5 2.1.6

Background Drawings Spatial Hierarchy Circulation Natural Lighting Public vs. Non-Public

2.4 Maritime Museum, Abu Dhabi 2.2.1 Background 2.2.2 Concept 2.2.3 Context 2.2.4 Architectural Analysis Zoning 2.2.5 Zoning 2.2.6 Circulation 2.2.7 Structure Analysis 2.2.8. Mass Study 2.2.9 Conclusion CHAPTER 3: SITE STUDY AND ANALYSIS 3.1 3.2 3.3 3.4 3.5 3.6 3.7 3.8 3.9 3.10 3.11 3.12 3.13 3.14 3.15 3.16 3.17

Location of site Connectivity Access to project site Site Area Site Context Existing Land Use Map of Saragwala Village Land Environment Major Stakeholders of the Maritime Heritage Museum Vegetation Aesthetics SWOT Analysis of the site of Proposed Maritime Museum Disaster Vulnerability Land Terrain Climate of the Area User Group Formulation of the Area Programs Bye Laws and Building Regulations

CHAPTER 4: CONCEPT & DESIGN PROPOSAL 4.1 4.2 4.3 4.4 4.5

39-57

About Lothal Concept Space Relationship Chart Themes of Exhibition Spaces Architectural Drawings and Views v

58-78

CHAPTER 5: DESIGN ELECTIVE (INTERIOR DESIGN) 5.1 5.2 5.3 5.4 5.5 5.6 5.7

79-99

Criteria of Selection Objectives Scope Of Work Methodology Standards for displaying exhibit in a museum Space Analysis Conceptual and Final drawing for interior of Entrance Lobby and Exhibition Forecourt

CHAPTER 5: TECHNOLOGY ELECTIVE (MECHANICAL DESIGN)

100-134

6.1 6.2 6.3 6.4 6.5 6.6 6.7 6.8

Aim of the report Scope of the Report Objectives Site Characteristics HVAC considerations in a museum Criteria for selection of mechanical cooling (VRV integrated with AHU) Design Analysis for services Selection of VRV integrated with AHU Components 6.8.1 Selection of VRV Outdoor Units 6.8.2 Selection of Control Box 6.8.3 Selection of AHU Unit 6.8.4 Selection of Expansion valve Model 6.8.5 Supply Duct Diffuser and size 6.8.6 Return Duct Diffuser and size 6.9 Fire Considerations 6.10 HVAC Layout 6.11 Fire Layout BIBLIOGRAPHY

xviii-xx

List of Illustrations Figure

Illustration Title

Page No.

Source

Chapter1: Introduction 1.1.

Lothal dockyard diorama on display

1.2.

Illustrations of Interior spaces of Maritime Museum World’s oldest dock at Lothal

1.4.

Clip of news article

1.5.

Clip of news article

1.6.

Proposed site for National Maritime Heritage Complex Major Stakeholders of Maritime Heritage Museum Phase 1 of the project includes museum

1.3.

1.7.

1.8.

https://www.thehindubusinessline.com/news/s cience/indias-first-maritime-museum-comingup-at-lothal-in-gujarat/article30139189.ece https://www.insightsonindia.com/2019/12/03/in dias-first-maritime-museum-in-gujarat/ https://www.thehindubusinessline.com/news/s cience/indias-first-maritime-museum-comingup-at-lothal-in-gujarat/article30139189.ece https://www.insightsonindia.com/2019/12/03/in dias-first-maritime-museum-in-gujarat/ https://www.thehindubusinessline.com/news/s cience/indias-first-maritime-museum-comingup-at-lothal-in-gujarat/article30139189.ece https://www.insightsonindia.com/2019/12/03/in dias-first-maritime-museum-in-gujarat/

https://www.insightsonindia.com/2019/12/03/in dias-first-maritime-museum-in-gujarat/

https://www.thehindubusinessline.com/news/s cience/indias-first-maritime-museum-comingup-at-lothal-in-gujarat/article30139189.ece

https://www.archdaily.com/440541/danishnational-maritime-museum-big https://fritzhansen.com/en/professionals/refere nces/martitimemuseeum https://www.publicspace.org/works//project/h011-danish-maritime-museum https://architizer.com/blog/inspiration/industry /danish-national-maritime-museum/

Chapter2: Pre-Design Studies 2.1. 2.2. 2.3. 2.4.

2.5.

2.6. 2.7. 2.8.

Illustration of ship suspended by ceiling Site of Danish Maritime Museum View of Danish Maritime Museum Conceptual Diagram of derivation of form of Danish Maritime Museum Circulation Movements around Danish Maritime Museum Development of form of Danish Maritime Museum Pre-Process of form development Technique, Form and Material

08 08 08

https://www.dezeen.com/2013/10/18/danishnational-maritime-museum-by-big/

https://architizer.com/blog/inspiration/industry /danish-national-maritime-museum/

https://fritzhansen.com/en/professionals/refere nces/martitimemuseeum https://fritzhansen.com/en/professionals/refere nces/martitimemuseeum

vii

2.9. 2.10. 2.11. 2.12. 2.13. 2.14. 2.15. 2.16. 2.17. 2.18. 2.19. 2.20. 2.21. 2.22.

2.23.

2.24.

2.25.

2.26.

Site plan of Danish Maritime Museum Plan of Danish Maritime Museum Theme based Exhibition Spaces Theme War Exhibition Space Theme Tea party Exhibition Space Theme War Exhibition Space Theme Seafever Exhibition Space Exhibits placed in portholes Theme Navigation Exhibition Space Theme Globalization Exhibition Space Main Circulation

Exhibition Area around the dry dock View of Museum in a dock Sloped bridges cross the void of the former dry dock embedded with Leds illuminating the pathways

Plan of Danish Maritime Museum. Exhibition rooms are placed around the dock In the first gallery, lighting is projected from a buoy and casts navigational coordinates on the floor, setting the stage for the visitors’ “maritime” journey The exhibits are designed to engage visitors with dynamic displays of images and objects Blue LED mark the former waterline of

https://www.archdaily.com/440541/danishnational-maritime-museum-big

https://www.dezeen.com/2013/10/18/danishnational-maritime-museum-by-big/

12 13 13 13 13 13 13 13 14 14

15 15

https://fritzhansen.com/en/professionals/refere nces/martitimemuseeum https://fritzhansen.com/en/professionals/refere nces/martitimemuseeum https://architizer.com/blog/inspiration/industry /danish-national-maritime-museum/ https://architizer.com/blog/inspiration/industry /danish-national-maritime-museum/ https://architizer.com/blog/inspiration/industry /danish-national-maritime-museum/ https://architizer.com/blog/inspiration/industry /danish-national-maritime-museum/ https://architizer.com/blog/inspiration/industry /danish-national-maritime-museum/ https://architizer.com/blog/inspiration/industry /danish-national-maritime-museum/ https://architizer.com/blog/inspiration/industry /danish-national-maritime-museum/ https://architizer.com/blog/inspiration/industry /danish-national-maritime-museum/ https://fritzhansen.com/en/professionals/refere nces/martitimemuseeum https://fritzhansen.com/en/professionals/refere nces/martitimemuseeum https://fritzhansen.com/en/professionals/refere nces/martitimemuseeum https://www.archdaily.com/440541/danishnational-maritime-museum-big

viii

the dry dock 2.27.

2.28.

2.29. 2.30.

2.31. 2.32. 2.33. 2.34. 2.35.

2.36. 2.37.

2.38.

2.39.

Projected seascape images on the gallery walls add a dynamic lighting element while giving visitors the feeling that they are at sea View of bridges from the ground. No change in the skyline as museum is located underground View of museum bridge from the dry dock View of Kaap Skil Maritime Museum

https://www.dezeen.com/2013/10/18/danishnational-maritime-museum-by-big/

Site plan of Kaap slik Maritime Museum Analytical Exploded Axo Concept of form of Kaap Slik Museum

Contextual relationship of Kaap Slik Maritime Museum Visitors feel an expansion of space due to brightly lit second floor Lighting analysis

https://www.mecanoo.nl/Projects/project/51/ Kaap-Skil-Maritime-and-BeachcombersMuseum https://www.archilovers.com/projects/54650/k aap-skil-texel-maritime-museum.html https://newatlas.com/maritimebeachcombers-museum/22039/ https://www.dezeen.com/2013/09/18/kaapskil-maritime-and-beachcombers-museum-bymecanoo/ https://archinect.com/firms/project/676/kaapskil-maritime-and-beachcombersmuseum/90590273 https://archinect.com/firms/project/676/kaapskil-maritime-and-beachcombersmuseum/90590273

In the basement visitors are drawn around the exhibition basement by projections and animations, creating an intimate space that the harbors a sense of mystery Artificial light in the basement creates a contrast to day lit upper floors Program, Structural and Circulation Axo Diagram

19 19

https://newatlas.com/maritimebeachcombers-museum/22039/ https://newatlas.com/maritimebeachcombers-museum/22039/

https://www.mecanoo.nl/Projects/project/51/ Kaap-Skil-Maritime-and-BeachcombersMuseum

2.40.

Column to ceiling connection

2.41.

Axo Projection of materials of structure Ground Floor Plan of Kaap Slik Museum Layout of ducts

Interior of Kaap slik maritime museum The movable showcases of robust steel frames and glass create a transparent effect so that the objects in the collection seem to rotate within the space Derivation of form

2.47.

View of Maritime Centre, Finland

2.48.

Location of Maritime Centre, Finland Ground Floor Plan

2.50.

Section of Maritime Centre, Finland

2.51.

First Floor Plan

2.52.

Spatial Hierarchy

2.53.

Circulation

2.54.

Natural Lighting

2.55.

Public vs. Non- Public

2.56.

Section showing structural elements

2.42. 2.43. 2.44. 2.45.

2.46.

2.49.

22 23

https://www.mecanoo.nl/Projects/project/51/ Kaap-Skil-Maritime-and-BeachcombersMuseum https://www.archilovers.com/projects/54650/k aap-skil-texel-maritime-museum.html https://www.archilovers.com/projects/54650/k aap-skil-texel-maritime-museum.html https://www.archilovers.com/projects/54650/k aap-skil-texel-maritime-museum.html https://www.archilovers.com/projects/54650/k aap-skil-texel-maritime-museum.html https://www.mecanoo.nl/Projects/project/51/ Kaap-Skil-Maritime-and-BeachcombersMuseum

https://www.archilovers.com/projects/54650/k aap-skil-texel-maritime-museum.html https://www.earchitect.com/finland/maritime-centrevellamo https://kotkamaritimecentre.fi/en/about-us/ https://www.earchitect.com/finland/maritime-centrevellamo https://www.earchitect.com/finland/maritime-centrevellamo https://www.earchitect.com/finland/maritime-centrevellamo https://www.earchitect.com/finland/maritime-centrevellamo https://www.earchitect.com/finland/maritime-centrevellamo https://www.earchitect.com/finland/maritime-centrevellamo https://www.earchitect.com/finland/maritime-centrevellamo https://www10.aeccafe.com/blogs/archshowcase/2011/12/04/maritime-centrevellamo-in-kotka-finland-by-architectslahdelma-mahlamaki/

2.57. 2.58. 2.59.

2.60. 2.61. 2.62.

2.63. 2.64. 2.65. 2.66. 2.67.

2.68.

Views of Maritime Centre, Finland Site Plan of Maritime Museum, Abu Dhabi View of Maritime Museum, Abu Dhabi

https://lma.fi/projects/maritime-centre-vellamo

Galleries overlook to a blind arch that frames the dhow Building look like the ship

https://hasmgrupu.blogspot.com/2013/01/mari time-museum-by-tadao-ando-isla.html http://architecturalmoleskine.blogspot.com/20 12/09/tadao-ando-maritime-museum-abudhabi.html https://tcaabudhabi.ae/en/what.we.do/cultur e/museums/maritime.museum.aspx

The “oasis” of trees provides a transition between the city and the museum Architectural zoning of Maritime Museum, Abu Dhabi Zoning

Section of Maritime Museum, Abu Dhabi Use of Palm trees in a grid way Ship’s wings illustrated on the elevation of the building Model of Maritime Museum, Abu Dhabi

32 33

36 36

http://architecturalmoleskine.blogspot.com/20 12/09/tadao-ando-maritime-museum-abudhabi.html https://hasmgrupu.blogspot.com/2013/01/mari time-museum-by-tadao-ando-isla.html http://architecturalmoleskine.blogspot.com/20 12/09/tadao-ando-maritime-museum-abudhabi.html https://tcaabudhabi.ae/en/what.we.do/cultur e/museums/maritime.museum.aspx https://hasmgrupu.blogspot.com/2013/01/mari time-museum-by-tadao-ando-isla.html https://hasmgrupu.blogspot.com/2013/01/mari time-museum-by-tadao-ando-isla.html https://hasmgrupu.blogspot.com/2013/01/mari time-museum-by-tadao-ando-isla.html

https://tcaabudhabi.ae/en/what.we.do/cultur e/museums/maritime.museum.aspx

Author

academia.edu/10279946/The_Lothal_Revisitati on_Project_A_Fine_Thread_Connecting_Ancie nt_India_to_Contemporary_Ravenna_via_Oma n_

Chapter3: Site-Study 3.1.

3.2. 3.3.

3.4.

3.5.

Google Map showing site and surrounding of site Google Map showing site and surrounding of site Land unfit for cultivation as it has salt deposits of Bhagao River Nearby the site are the agricultural land and no man-made structure present in the vicinity of 1km Artistic view of Lothal according to S.R. Rao’s reconstruction (Lothal Archaeological

Museum,ASI 3.6.

Lothal (Gujarat, India).View of the baked-brick dock from South (photo by Dennys Frenez 2005) View of Dockyard in Summer Dockyard at Lothal in winter The presence of Tributary of Sabarmati River is 3km from site. Existing land use map of Saragwala Village Major Stakeholders for the project

academia.edu/10279946/The_Lothal_Revisitati on_Project_A_Fine_Thread_Connecting_Ancie nt_India_to_Contemporary_Ravenna_via_Oma n_

https://www.harappa.com/lothal/1.html

Author

3.17.

Various Earthquake Zones in India The land is almost flat and has a gentle slope towards South Different Consequence Class and their guidelines Phase 1 of the project includes museum Landscaping on west as a natural solar passive strategy Natural Cooling

https://ahmedabadcity.gov.in/portal/jsp/Stati c_pages/pi_cplanning.jsp https://www.thehindubusinessline.com/news/s cience/indias-first-maritime-museum-comingup-at-lothal-in-gujarat/article30139189.ece https://www.newsbytesapp.com/news/india/i ndia-s-vulnerability-to-earthquakes/story Author

3.18.

Orientation

3.19.

3.21.

Average Solar radiation Intensity on various facades of a building in hot & dry climate User-Group in Museum Ramp Specifications

3.22.

Stair Specifications

3.7. 3.8. 3.9. 3.10. 3.11.

3.12. 3.13. 3.14. 3.15.

3.16.

3.20.

47 48

https://www.newsbytesapp.com/news/india/i ndia-s-vulnerability-to-earthquakes/story

https://www.sriramsias.com/article/maritimemuseum-at-lothal-200630150654/

https://www.aivc.org/sites/default/files/airbase _13267.pdf

https://www.aivc.org/sites/default/files/airbase _13267.pdf https://www.aivc.org/sites/default/files/airbase _13267.pdf https://www.aivc.org/sites/default/files/airbase _13267.pdf

51 57

https://theconstructor.org/building/buildingorientation-for-hot-dry-climate/9008/ https://theconstructor.org/building/buildingorientation-for-hot-dry-climate/9008/ https://theconstructor.org/building/buildingorientation-for-hot-dry-climate/9008/

Chapter4: Concept and Design Proposal 4.1.

Plan of the site of Lothal and its ‘dock’, and the location of

academia.edu/10279946/The_Lothal_Revisitati on_Project_A_Fine_Thread_Connecting_Ancie nt_India_to_Contemporary_Ravenna_via_Oma

xii

4.3.

the site near the estuary of the Sabarmati River, and the location of the estuary in Gujarat, India Reconstructed palaeochannel and palaeoestuarine waterways during late Harappan period based on multispectral satellite imagery. Dockyard in Lothal

4.4.

Main roads are wide

4.5.

The Complex drainage system laid in burnt bricks

4.6.

Warehouse connected to the dockyard

4.7.

Lower Town

4.8.

Upper Town

4.9.

Trade links of Lothal with different countries The Bead-Making Furnace Acropolis

Concept- Image Symbolism Trading through Lothal via Sea Routes Space-Relationship Chart Permanent Exhibition

4.2.

4.10. 4.11. 4.12. 4.13. 4.14. 4.15.

academia.edu/10279946/The_Lothal_Revisitati on_Project_A_Fine_Thread_Connecting_Ancie nt_India_to_Contemporary_Ravenna_via_Oma n_

academia.edu/10279946/The_Lothal_Revisitati on_Project_A_Fine_Thread_Connecting_Ancie nt_India_to_Contemporary_Ravenna_via_Oma n_ academia.edu/10279946/The_Lothal_Revisitati on_Project_A_Fine_Thread_Connecting_Ancie nt_India_to_Contemporary_Ravenna_via_Oma n_ academia.edu/10279946/The_Lothal_Revisitati on_Project_A_Fine_Thread_Connecting_Ancie nt_India_to_Contemporary_Ravenna_via_Oma n_ academia.edu/10279946/The_Lothal_Revisitati on_Project_A_Fine_Thread_Connecting_Ancie nt_India_to_Contemporary_Ravenna_via_Oma n_ academia.edu/10279946/The_Lothal_Revisitati on_Project_A_Fine_Thread_Connecting_Ancie nt_India_to_Contemporary_Ravenna_via_Oma n_ academia.edu/10279946/The_Lothal_Revisitati on_Project_A_Fine_Thread_Connecting_Ancie nt_India_to_Contemporary_Ravenna_via_Oma n_ https://www.astrolika.com/monuments/lothalahmedabad.html

https://www.astrolika.com/monuments/lothalahmedabad.html https://www.astrolika.com/monuments/lothalahmedabad.html https://www.astrolika.com/monuments/lothalahmedabad.html https://www.astrolika.com/monuments/lothalahmedabad.html Author

https://archnet.org/sites/122/media_contents/

xiii

Space Circulation 4.16.

4.17.

4.18.

4.19. 4.20.

4.21.

4.22.

4.23. 4.24. 4.25.

4.26.

4.27.

Public and Private Space Organization in a Maritime Museum The Ramayan scene of Lord Rama shooting Brahmastra over the ocean to clear the way Audio – Visual Presentation and some exhibits to showcase the theme Reference Image of Exhibition space Reference Image of Exhibition space, Some paintings, 3D artefacts and some graphic panels used to highlight the theme Reference Image of Exhibition space, some paintings, 3D artefacts and Holographic projection used to highlight the theme Reference Image of Exhibition space, display of replicated small-scale ships and maps Touch screen panels, to create a different user experience Reference Image for Exhibition Space Theme Reference Image for Exhibition Space Theme Reference image of exhibits and brief of exhibition space theme The exhibits displayed in the portholes type of showcases

15355 66

https://www.northernarchitecture.us/spacerequirements/planning-the-small-museum.html

https://www.hellenicshippingnews.com/offshor e-experience-the-first-offshore-exhibition-atthe-maritime-museum-rotterdam/

retaildesignblog.net/2013/11/19/danishnational-maritime-museum-exhibition-bykossmann-dejong-helsingor-denmark/

67 67

retaildesignblog.net/2013/11/19/danishnational-maritime-museum-exhibition-bykossmann-dejong-helsingor-denmark/

https://www.purcellap.com/news/nationalmaritime-museum-endeavour-galleries-open

https://www.hellenicshippingnews.com/offshor e-experience-the-first-offshore-exhibition-atthe-maritime-museum-rotterdam/ https://www.hellenicshippingnews.com/offshor e-experience-the-first-offshore-exhibition-atthe-maritime-museum-rotterdam/ retaildesignblog.net/2013/11/19/danishnational-maritime-museum-exhibition-bykossmann-dejong-helsingor-denmark/

https://nmmc.co.uk/explore/galleries/

xiv

4.28.

https://nmmc.co.uk/explore/galleries/

Author

4.34.

Reference Image of the Exhibition Space Reference Image of the Exhibition Space Reference Image of the Exhibition Space Site Plan of the Proposed Project Ground Floor Plan of the Proposed Project First Floor Plan of the Proposed Project Sections

Author

4.35.

Views

Author

4.29. 4.30. 4.31. 4.32. 4.33.

Chapter 5: Design Elective- Interior Design 5.1.

Exhibition space of Danish Maritime Museum

5.2.

Cane detection of wall-hung case Overhead Hazards

https://www.architectmagazine.com/aldesign-awards/2014-al-design-awards-danishnational-maritime-museum-helsingordenmark_o https://medium.com/artech-interpreter

https://medium.com/artech-interpreter

Lighting Damage on artefact Classification of artefacts

5.8.

Different ways of displaying exhibit Viewing bands of different users Open Display

5.9.

Close Display

5.10.

83 84

Author

5.15.

Circulation standards for exhibition spaces Display Lighting Mantra Lux Levels for exhibits in display Standards for viewing 2-D exhibit Standards for viewing 3-D exhibit Group dimming

http://www.nouvir.com/pdfs/MuseumLighting. pdf https://www.sylvanialighting.com/documents/documents/Museum s%20and%20Galleries%20-%20Brochure%20%20English.PDF https://www.architectmagazine.com/projects/ cove-lighting_o https://www.architectmagazine.com/projects/ cove-lighting_o https://www.penglight.com/what-are-lightdistribution-types-defined-by-iesna-and-nema/ https://www.penglight.com/what-are-lightdistribution-types-defined-by-iesna-and-nema/ https://medium.com/artech-interpreter

https://www.iald.org/News/In-the-News/IN-THESPOTLIGHT-German-Ivory-Museum https://www.inexhibit.com/case-studies/lightsources-for-exhibition-design-part-1/ https://www.inexhibit.com/case-studies/lightsources-for-exhibition-design-part-1/ Author

5.16.

Individual Dimming

Author

5.3. 5.4. 5.5.

5.6. 5.7.

5.11. 5.12. 5.13. 5.14.

82 83

85 85

5.17.

Color Temperature

Author

5.18.

Placement of light for 2-D exhibit Placement of light for 3-D exhibit Showcase Lighting

Details of Lighting in showcase Fiber optic light used in showcases Small scale exhibits in showcases Large-scale freestanding exhibits Lighting interior of Fram Museum Different types of lighting used to exhibit artefacts Mounts and Backgrounds

http://www.madesignstudios.com/design/lighti ng-for-museums-and-art-galleries.html http://www.madesignstudios.com/design/lighti ng-for-museums-and-art-galleries.html https://www.inexhibit.com/case-studies/lightsources-for-exhibition-design-part-1/ https://www.trends.lighting/yves-saint-laurentmuseum-in-marrakesh-by-erco https://www.trends.lighting/yves-saint-laurentmuseum-in-marrakesh-by-erco https://www.zumtobel.com/PDB/teaser/EN/Pro ject_report_ZwingerDresden.pdf https://www.zumtobel.com/PDB/teaser/EN/Pro ject_report_ZwingerDresden.pdf https://www.frozenfishdesign.co.uk/project/fra m-museum/ https://www.britishcouncil.in/sites/default/files/ guidelines_for_museum_display.pdf

5.19. 5.20. 5.21. 5.22. 5.23. 5.24. 5.25. 5.26. 5.27.

86 87

87 88 88 88 88 89

https://www.britishcouncil.in/sites/default/files/ guidelines_for_museum_display.pdf

Chapter 6: Technology Elective- Mechanical Design 6.1.

Demarcation of site proposed for National Maritime Heritage Complex The presence of Tributary of Sabarmati River is 3km from site. Illustration of interior of museum

102

https://journalsofindia.com/national-maritimeheritage-complex-nmhc/

102

Author

103

Conceptual Comparison of Conventional AHU System and VRV AHU System. Components of VRV AHU System

105

https://www.istockphoto.com/vector/museum - exhibition-room-cartoon-vector-illustrationgm1163545892-319529930 https://www.daikinindia.com/productsservices/vrv/vrv-integration-ahu/vrvintegration-ahu

6.6.

Specifications of VRV Outdoor Unit

113

6.7.

Specifications of VRV Outdoor Unit Specifications of VRV Outdoor Unit Specifications of VRV Outdoor Unit

114

6.2.

6.3. 6.4.

6.5.

6.8. 6.9.

105

115

https://www.daikinindia.com/productsservices/vrv/vrv-integration-ahu/vrvintegration-ahu https://www.sylvanialighting.com/documents/documents/Museum s%20and%20Galleries%20-%20Brochure%20%20English.PDF http://www.madesignstudios.com/design/lighti ng-for-museums-and-art-galleries.html Author

116

Author

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6.10.

Specifications of VRV Outdoor Unit Specifications of VRV Outdoor Unit Specifications of VRV Outdoor Unit

117

Specifications of VRV Outdoor Unit VRV AHU System Layout

120

6.15.

Control Box Specifications

121

6.16.

Connection of VRV Outdoor unit, Control Box, Expansion Valve and AHU Expansion Valve Model Specifications

122

Piping and Wiring Length of AHU, Control unit and Expansion valve Comparison of Fresh Air Treatment of VRV AHU and Traditional VRV System

125

6.11. 6.12.

6.13. 6.14.

6.17.

6.18.

6.19.

118 119

121

124

125

http://www.nouvir.com/pdfs/MuseumLighting. pdf http://www.nouvir.com/pdfs/MuseumLighting. pdf https://www.licht.de/fileadmin/Publications/lic htwissen/0703_lw18_E_light_museums_galleries_w eb.pdf http://egdk.ttu.ee/files/parnu2011winter/Parnu 2011_winter_076-079.pdf https://www.daikinindia.com/productsservices/vrv/vrv-integration-ahu/vrvintegration-ahu https://www.daikinindia.com/productsservices/vrv/vrv-integration-ahu/vrvintegration-ahu https://www.daikinindia.com/productsservices/vrv/vrv-integration-ahu/vrvintegration-ahu https://www.daikinindia.com/productsservices/vrv/vrv-integration-ahu/vrvintegration-ahu https://www.daikinindia.com/productsservices/vrv/vrv-integration-ahu/vrvintegration-ahu https://www.daikinindia.com/productsservices/vrv/vrv-integration-ahu/vrvintegration-ahu

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Fig 1.1. Lothal dockyard diorama on display

CHAPTER 1 Introduction

Introduction

1.1. Introduction to Thesis Topic: A MARITIME MUSEUM (sometimes nautical museum) is a museum specializing in the display of objects relating to ships and travel on large bodies of water. Most museums exhibit interesting pieces of ships (such as a figurehead of cannon), ship models, and miscellaneous small items associated with ships and shipping, like cutlery, uniforms, and so forth. The preservation of ships in museums ensures that ancient and historic vessels are preserved for prosperity in optimum conditions and are available for academic study and for public education and interest. Remains of ancient and historic ships and boats can be seen in museums around the world.

Fig. 1.2. Illustrations of Interior spaces of Maritime Museum

1.2. Preface: To showcase various facets of Indian Maritime Industry, it is proposed to have a National Maritime Complex at Lothal, Gujarat. The Complex would act as a maritime hub of the region and act as a power house of the global maritime trade. It will preserve Maritime heritage and key ancient maritime traditions, which otherwise might get lost. Originally it is a mixed-use project having institutional, commercial, cultural and recreational facilities. (Thesis project

related to cultural activity i.e.; museum). 1.3. Aim To create an exclusive public space dedicated to Maritime activities encompassing its past, present and future.

Introduction

1.4. Criteria of Selection of the site for thesis project: As Lothal was a famous port of ancient times, a Maritime Museum could be established. The first tidal dock of the world was built at Lothal during the Harappan times giving this place its historical significance. The Lothal Maritime Museum would also be a good source to highlight the maritime strengths of Gujarat from the time of Indus Valley Civilization.

Fig. 1.3. World’s oldest dock at Lothal

1.5. Objectives: •

The proposed project, which has been in the pipeline for over a year now, will exhibit objects related to ships, ancient shipbuilding and navigational technologies, and social and cultural links established through maritime routes, among other things.

•

India’s maritime heritage through the ancient, medieval, colonial and modern ages.

•

A section of the museum could also house the items relating to the Indian Navy representing defense-related material for public education -audio visual presentations on the history of Lothal’s Maritime trade tracking the economic prosperity of the region.

•

display of Lothal culture, ancient artifacts, Lifesize statues and paintings on Canvas highlighting Lothal's trade links with Mesopotamia, Egypt and Persia.

Introduction

•

The project would employ engaging and immersive communication, revealing spaces, and interactive technology. It will house a meaningful combination of the traditional and contemporary formats of storytelling. The narrative style of experiential space design would attract, engage and enroll audiences of all ages and backgrounds. Layered content will provide scope for both short and long visits.

•

Emphasizing on the Indian diaspora – slave trade and seafaring trade communities who emerged through maritime contacts, Inspiring the imagination of today’s youth about the possibilities of maritime trade and development and to generate awareness among people about the past, present and the prospective future of India’s maritime glory.

Fig 1.4. Clip of news article

Fig 1.5. Clip of news article

Introduction

04 December 2019 Current Affairs: The government is to establish a National Maritime Heritage Museum, at Lothal, a Harappan site on the Saurashtra coast in Gujarat. The move aims to boost the underwater or marine archaeology. Lothal site is one of the oldest ports in India dating to the Bronze Age. ♦ The Maritime Museum is being set up with technical help from the Portuguese Maritime Heritage Museum. ♦ The government has appointed the first Director-General for the museum. The DG will be attached to the Maritime Board of the Gujarat government. ♦ The Museum will be an independent research center of underwater archaeology for the reconstruction of maritime history, the archaeology of boat building and materials traded. ♦ The museum will display salvaged material from shipwreck sites in the Indian Ocean waters. Project site: Geographic Context

Fig 1.6. Proposed site for National Maritime Heritage Complex

1.6. Major Stakeholders of Maritime Heritage Museum

Fig 1.7. Major Stakeholders of Maritime Heritage Museum

Introduction

Table of summary of Project:

Phase 1: National Maritime Museum- Building including general interiors and service-related works, exhibits, themes and specialized interior works

Fig 1.8. Phase 1 of the project includes museum

1.7. Methodology

Introduction

Fig 2.1. Illustration of ship suspended by ceiling

CHAPTER 2 PRE-DESIGN CASE STUDIES

Pre-Design Case Study

2.1. Danish National Maritime Museum Location: Helsingor, Denmark Architects: Bjarke Ingels Group Area: 17500.0 m² Year: 2013 2.1.1. Background: The M/S Maritime Museum of Denmark, taking a clue from Danish great maritime tradition, narrates the history of shipping through a diverse and comprehensive set of exhibits and suggestions.

Fig 2.2. Site of Danish Maritime Museum

The museum building, designed by BIG – Bjarke Ingels Group, is both visually surprising and highly innovative in its concept: an exhibition complex completely built below the ground level Fig 2.3. View of Danish Maritime Museum and conceived like an uninterrupted path extended across the large void of a former dry dock, a powerful memento of what the site once was. Like a subterranean museum in a dry dock. Leaving the 60-year-old dock walls untouched, the galleries are placed below ground and arranged in a continuous loop around the dry dock walls – making the dock the centerpiece of the exhibition – an open, outdoor area where visitors experience the scale of ship building. 2.1.2. Concept: Concept diagram one

Fig 2.4. Conceptual Diagram of derivation of form of Danish Maritime Museum

Pre-Design Case Study

Situated in an old drydock, this national maritime museum is a pragmatic answer to the design challenge. The museum is situated underground around the drydock rather than inside it. Concept diagram two By building underground, the museum solves the circulation with a downward spiraling movement without losing the relation to the entrance. Indeed, one can speak of entering a different world in this museum.

Fig 2.5. Circulation Movements around Danish Maritime Museum

Concept diagram three

Fig 2.6. Development of form of Danish Maritime Museum

2.1.3. Context: The Danish Maritime Museum had to find its place in a unique historic and spatial context; between one of Denmark’s most important and famous buildings and a new, ambitious cultural centre. This is the context in which the museum has proven itself with an understanding of the character of the region and especially the Kronborg Castle.

Pre-Design Case Study

Pre- Process of Form Development

The design concept evolved from the idea of making the dry dock free from the view of Kornsborg castle making it invisible.

The foundation members, sponsors and directors wanted an architectural icon to attract visitors

Since there was lack of sunlight and natural ventilation as the museum being underground, the solution was to have the services inside and the exhibition spaces exposed open in the dock.

Leaving the dock as central circulation space the need for invisibility at the ground level could be accommodated.

Opening up the space and widening the cone of vision the museum can be more inviting for the visitors

Incorporating sunlight and ventilation by perforating the dock walls and also enabling the staff members and their services which now can easily accommodated provided with filtered sunlight

Fig 2.7. Pre Process of form development

2.1.4. Materials Used: Because the building is located underground, it does not change the existing skyline of the place. Hence, there is freedom of using any material. The materials used are very modern, mainly glass, aluminium and steel. Generally references to maritime signalling colours and construction details are used in selected details and functions.

Pre-Design Case Study

Fig 2.8. Technique, Form and Material

2.1.5. Site Plan:

Fig 2.9. Site plan of Danish Maritime Museum

Site Plan • The long and noble history of the Danish Maritime unfolds in a continuous motion within and around the dock, 7 meters (23 ft.) below the ground. • All floors - connecting exhibition spaces with the auditorium, classroom, offices, café and the dock floor within the museum. • Bridge slope gently creates exciting and sculptural spaces. • A series of three double-level bridges span the dry dock, serving both as an urban connection, as well as providing visitors with short-cuts to different sections of the museum.

Pre-Design Case Study

Fig 2.10. Plan of Danish Maritime Museum

Pre-Design Case Study

2.1.6. Design of theme based Exhibition Spaces

Fig 2.11. Theme based Exhibition Spaces At theme war, the very narrow space is used to evoke the oppressive atmosphere of the war

Fig 2.12. Theme War Exhibition Space Theme Abroad, large abstract creation of a ship’s hull

Fig 2.14. Theme War Exhibition Space

Portholes that have been transformed into showcases present the image of seamen as it has been shaped through the ages.

Fig 2.16. Exhibits placed in portholes

Theme Teaparty, the First Globalisation is presented by the story of Denmark’s colonial interest as a trading nation.

Fig 2.13. Theme Teaparty Exhibition Space Theme Seafever, A lighthouse projects dreamy images of shipping as depicted in art and culture.

Fig 2.15. Theme Seafever Exhibition Space

Theme Navigation, show cases shaped as icebergs with projections of seascapes on the wall.

Fig 2.17. Theme Navigation Exhibition Space

Pre-Design Case Study

Theme globalization, Denmark’s maritime history is being told up until the significance of the contemporary shipping industry globally.

Theme Globalization, the container, as the main protagonist in the expansion and standardization of modern shipping, is literally put on a pedestal

Fig 2.18. Theme Globalisation Exhibition Space

The traditional harbour presented as the gate to the world, but also as a place of temptations.

2.1.7. Circulation Main Circulation

Exhibition Area around Dry Dock

Fig 2.19. Main Circulation

Fig 2.20. Exhibition Area around the dry dock

Pre-Design Case Study

2.1.8. Lighting design of Maritime Museum of Denmark Introduction and types of Exhibits: The iconic museum is built around an old dry dock. Leaving the 60-year-old dock walls untouched, the exhibitions are placed below ground and arranged in a continuous loop around the dry dock and making the dock the centerpiece of the exhibition – an open, outdoor area where visitors experience the scale of ship building.

Fig 2.21. View of Museum in a dock

Fig 2.22. Sloped bridges cross the void Of the former dry dock embedded with Leds illuminating the pathways

Exterior Lighting: The exterior electric lighting scheme calls out the architectural elements, by using white LEDs to signify land and blue LEDs to signify water. At night, white LEDs line the pedestrian bridges to the museum and serve as a visual indication of the castle beyond. Blue LEDs mark the dry dock’s once- exiting waterline, and floodlights fill the ship-shaped cavity with cool tones of blue and white.

Fig 2.23. Plan of Danish Maritime Museum . Exhibition rooms are placed around the dock

Pre-Design Case Study

Exhibit Lighting: The exhibit lighting uses 55W LED fixtures. Projected images animate blank walls, and a buoy with internal sources casts coordinates on the floor. From exterior to interior, visitors and displays alike are washed in a cool glow.

Fig 2.24. In the first gallery, lighting is projected from a buoy and casts navigational coordinates on the floor, setting the stage for the visitors’ “maritime” journey

Fig 2.25. The exhibits are designed to engage visitors with dynamic displays of images and objects

Fig 2.26. Blue LED mark the former waterline of the dry dock

Fig 2.27. Projected seascape images on the gallery walls add a dynamic lighting element while giving visitors the feeling that they are at sea

Pre-Design Case Study

2.1.9. Analysis • The placement of building around the drydock; underground offers a greater possibility to get daylight horizontally into the spaces. • The exhibition spaces are organized in a circular motion around the dock. By twisting the geometry slightly so the spaces expand in width when you follow the exhibition and sloping the floor as little as 1:72, a clear sense of direction is experienced by the visitor. • The exhibition is split into 2 parts, with the café as a natural break, the café furthermore has its own entrance making it accessible to people who might not be visitors to the museum.

Fig 2.28. View of bridges from the ground. No change in the skyline as museum is located underground

Fig 2.29. View of museum bridge from the dry dock

Pre-Design Case Study

2.2. Kaap Skil and Beachcombers Maritime Museum

Fig 2.30. View of Kaap Skil Maritime Museum

2.2.1. Background Location- Texel Island, Netherlands Area- 1200 sqm. Architect- Mecanno Architekten Orientation: The building is oriented in North south direction with solid walls on east and west and two glass walls on the North and South.

Fig 2.31. Site plan of Kaap slik Maritime Museum

Pre-Design Case Study

2.2.2. Concept:

Fig 2.32. Analytical Exploded Axo

Fig 2.33. Concept of form of Kaap Slik Museum

2.2.3. Contextual RelationshipKaap slik is a contextually responsive building that articulates itself as complex parts that came together to create an iconic and recognizable image. Four linked gabled roof echoes the rhythm of surrounding rooftops.

Pre-Design Case Study

Through the use of natural and artificial light as well as constriction and expansion, the visitor is carried through different and distinct experiences within the same building. The extensive use of glass and minimal structure allows for an overall transparency in the building that allows light to penetrate and cast intersecting shadows throughout the interiors. Fig 2.34. Contexual relationship of Kaap slik Maritime Museum

Fig 2.35. Visitors feel an expansion of space due to brightly lit second floor

Fig 2.36. Lighting analysis

Artificial Lighting in Basement

Fig 2.37. In the basement visitors are drawn around the exhibition basement by projections and animations, creating an intimate space that harbours a sense of mystery

Fig 2.38. Artificial light in the basement creates a contrast to day lit upper floors

Pre-Design Case Study

2.2.4. Materials + Sustainability The wood that compose the museum's facade is reclaimed driftwood found loyally in the north Holland, therefore it has a lowe embodied energy. The architect's concealed the structure on top floor to make the building feel light and transparent. The top of the columns on second floor thin out and the ceiling is made of metal mesh to give sense of weight lessness

Fig 2.39. Program, Structural and Circulation Axo Diagram

The inner part of the envelope consists of 2 solid walls of reinforced concrete Caped off with two glass walls on the North and South that frames views to the museum grounds and town. By using steel frame construction minimal structure was achieved that would not interfere with the circulation in the small building.

Fig 2.40. Column to ceiling connection

Pre-Design Case Study

2.2.5. Structure: The exterior envelope of building consists of wood stripped panels that are attached to separate steel frame that is connected to main structure via welding. The structural form echoes the architectural form very well. The steel frame structure of the roof supports the mullions of the north and south glass facades as well as support the smaller frame holding the strip of wood that envelope the building like a skin.

Fig 2.41. Axo Projection of materials of structure

Fig 2.42. Ground Floor Plan of Kaap Slik Museum

Pre-Design Case Study

Comfort Systems The comfort systems were designed to conform to the laid-out programming and building Design with minimal interference. On the first floor, a suspended drop ceiling from the concrete floor slab above hides the services, whereas on the second floor, the HVAC is hidden within ceiling. Additionally, the building utilities linear diffusers to distribute air throughout the building to improve the comfort of the users, without being distracting from the exhibitions.

Fig 2.43. Layout of ducts

2.2.6. Lighting Design and Types of exhibits:

Introduction and types of Exhibits: It is Designed by Mecanoo Architect, one can almost feel the weather because of the transparency of the building. The glass facade in front of the wooden boards affords an inviting view of the famous North Holland skies. The museum displays the remains of ships that were washed up on the shores, they tell the tale of the island’s maritime history.

Fig 2.44. Interior of Kaap slik maritime museum

Exhibit Lighting and Showcases: On the second floor the sky floods the objects on display with light. The beams which pierce the skylights of the high gabled roofs give visitors the feel of being under water. Pre-Design Case Study

It houses the underwater archaeology exhibits and beachcomber collection with artefacts displayed in mobile vitrines made from sturdy steel frames and glass.

Fig 2.45. The movable showcases of robust steel frames and glass create a transparent effect so that the objects in the collection seem to rotate within the space

Roof Structure and Daylighting: Probably the second most notable feature is the museum's four-gabled roof, intended to resemble the waves of the sea. But the interior betrays a more practical purpose to the roof. Letting light in from above brings daylight much further into the interior, and can dramatically reduce the need for artificial lighting - much more than windows (or even fully-glazed walls) can alone.

Fig 2.46. Derivation of form

Daylight optimization is a considerable challenge to building designers, looking to get as much light into the space as possible, but without sacrificing the quality of the visual environment or causing a greenhouse effect that would necessitate energy-expensive air conditioning. The wooden slats employed here are effectively exterior solar shades disguised as building decoration - but the results are unarguably effective.

Pre-Design Case Study

2.3. Maritime Centre, Vellamo, Finland 2.3.1. Background: The Maritime Museum of Finland is a national maritime museum that maintains and develops collections related to professional seafaring and recreational activities related to the sea as well as the unique underwater cultural heritage of the Baltic Sea. At the museum, visitors may explore the permanent exhibition, changing exhibitions, boats and museum ships. At the Maritime Museum of Finland, one may travel the sea through time and place, on ships, at ports, in distant countries and on familiar shores. The fixed points of the voyage are the North Star of our northern sky and the Southern Cross of the southern hemisphere, which guide travellers both on the home waters and far-away oceans. Winter navigation and ice are also covered in the main exhibition. Fig 2.47. View of Maritime Centre, Finland

Justification: • It has similar program that thesis project needs to cater. • It is set in the similar context, proximity of port, site was part of dock of the port earlier. However it comes in different climate zone i.e. cold. still It will be good reference for the design in terms of zoning. Size: Floor area 14 601 m², Gross area 14 366 m² and Volume 118 039 m³

Fig 2.48. Location of Maritime Centre, Finland

Location: Kotka, Finland Architects: lahdelma & mahlamäki architects, Helisinki Program: Maritime Museum of Finland, Museum of Kymenlaakso and Information Centre Vellamo.Meeting and teaching facilities, a restaurant and a museum shop

Pre-Design Case Study

Structure type: Steel Frame Structure Material used: Exterior: Steel, Aluminium and etched glass Interior: Wood (Oak wood and veneered oak) 2.3.2. Drawings:

6 4

2 1

Fig 2.49. Ground Floor Plan

1. 2. 3. 4.

Entrance Reception Information Centre Cloak room and public facilities

5. 6. 7. 8.

Boat Hall Coast Guard Museum Main Exhibition Administrative Area

Fig 2.50. Section of Maritime Centre, Finland

Pre-Design Case Study

Fig 2.51. First Floor Plan

2.3.3. Spatial Hierarchy

Fig 2.52. Spatial Hierarchy

Pre-Design Case Study

2.3.4. Circulation No fixed route, Separate public/staff circulation each zone has separate staircase/lift.

Fig 2.53. Circulation

2.3.5. Natural Lighting Natural lighting is used only at peripheral areas not in display areas. Light enters through laminated glass.

Fig 2.54. Natural Lighting

Pre-Design Case Study

2.3.6. Public vs. Non- Public Non public zone is at outer profile of building around the public zone , area ratio is 60:40

Fig 2.55. Public vs. Non- Public

3.3.7. Structure Primarily built around a column and beam system of reinforced concrete girders. The outer walls are constructed using a lightweight skeleton structure. The covering over the fitted upper floor and the maintenance area is a combination of steel, grass and aluminium.

Fig 2.56. Section showing structural elements

Pre-Design Case Study

Fig 2.57. Views of Maritime Centre, Finland

Pre-Design Case Study

2.4. Maritime Museum, Abu Dhabi Architect: Tadao Ando Location: Abu Dhabi

2.4.1. Background: Within ship like interior of the volume, ramps and floating decks guide the visitors fluidly through the exhibition space, echoing the theme of the museum and creating a dynamic gallery experience.

Fig 2.58. Site Plan of Maritime Museum, Abu Dhabi

The interior of the Maritime Museum include a traditional dhow, or Arab boat, and an expansive underwater aquarium, as well as a large exhibition area with ramps and floating decks. The exterior of the museum will resemble a sail flapping in the wind and will stand on a large water court. The reflective surface of the water court merges the land with the sea, which mirrors the cultural evolution of the UAE. Inside the museum, visitors can experience the impact of the Arabian Gulf on daily life in the Fig 2.59. View of Maritime Museum, Abu Dhabi region. Over the centuries, activities such as pearl diving and boat making have formed the basis of economic activity.

2.4.2. Concept: The concept is enthused by the natural surrounding of Abu Dhabi’s landscape and maritime traditions. "The building's reflective surface visually blends sea and land, while its ship-like interior features floating decks that guide visitors through the exhibition space."

Fig 2.60. Galleries overlook to a blind arch that frames the dhow

Fig 2.61. Building look like the ship

The galleries overlook to a blind arch that frames the dhow. You can see the ship from below, but not from above. Conclusion: The designer achieved the concept by making his building look like the ship and be reflected on water.

Pre-Design Case Study

2.4.3. Context: The rest of trees arranged on a dry square represents land, while a large pond evokes the sea. The “oasis” of trees provides a transition between the city and the museum, which visually links the two spaces, while a covered lateral circulation links them functionally.

Fig 2.62. The “oasis” of trees provides a transition between the city and the museum

2.4.4. Architecture Analysis Zoning: The designer placed the services on the edges of the project. Even though the building is formally very impressive, there was a problem dealing with internal spaces. This sculptural form leads to some functional problems leading to a large percentage of the area of the building is simply impractical.

Fig 2.63. Architectural zoning of Maritime Museum, Abu Dhabi

Conclusion: The designer failed in the plan of the museum through the presence of a lot waste area that aren’t used by visitors.

Pre-Design Case Study

2.4.5. Zoning: Many spaces are not functional or left as multiple height areas. The architect focused on creating a stenographic architecture.

Fig 2.64. Zoning

Pre-Design Case Study

2.4.6. Circulation: The circulation is changeable due to the change of the escalators places as there are a lot of double height areas.

Conclusion: The designer failed in circulation as the changeable the places of the escalators that make the visitors confused about walking in the museum.

Pre-Design Case Study

2.4.7. Structure Analysis: This image shows the construction that was used and it is a simple concrete that doesn’t have any additional materials.

Fig 2.65. Section of Maritime Museum, Abu Dhabi

The idea of Ando on inside the museum was to create a space that evokes the interior of a boat. Conclusion: The structure museum is made of thick concrete walls which decreases the sound transfer to the outside which is well designed without any additional material.

Pre-Design Case Study

Landscape and Neighbor Landscape Using only palm trees in grid way

Fig 2.66. Use of Palm trees in a grid way

2.4.8. Mass Study The mass of the project has a shape of ship’s wings that is illustrated on the elevation of the building.

Fig 2.67. Ship’s wings illustrated on the elevation of the building

The volume is blind, massive, with only a large vertical window facing the sea. Thus, the approach from the city faces a large arch framing a dhow, a very traditional sailing vessel of the Arab Emirates, floating on the water. Conclusion: Not a lot of landscape are used as the architect depend on the view of the sea and used same type of tree (palm tree) to make it simple landscape.

Pre-Design Case Study

Design Issues Image Symbolism The practice of representing things by symbol or of investing things with a symbolic meaning or character. A beginning as desert oasis.

Symbolism: The building symbolizes that of a craftsmen ship. Convenient: It is not convenient as a museum, visually, the museum was kind of interesting and beautiful in its design and structure, but functionally, it doesn’t seem to work well as a museum, the building seemed to take the attention away from the works.

Convenient: The designer didn’t focus on the solution of the plans as much as he designed the points of wayfinding (water elements). Physiological Comfort The museum didn’t achieve a complete comfort for the visitor because of the Acoustic wise, as whatever conversations you have will simply cause some disturbance across the two-three stories, Also the noise from the auditorium was disrupting too as it echoed up to the exhibition hall upstairs. Physiological comfort: Due to the form of the building, he was unable to treat the echo resulting from the concave form of the building

Pre-Design Case Study

2.4.9. Conclusion: Points tackled by the designer Usage of sustainability and energy efficient technology to make the building environmentally friendly. • Integrating function with application techniques. • The extension respected the earlier trademarks of the older building in terms of plan of floors and the use of natural lighting within the mass. • An interesting choice of form yet it is integrated within the other building. Concluded from the Project •

• • •

Designer wanted to recreate the feeling of something floating in form of the interior of the building. He introduced the water feature of the museum indoors to make it easy for the visitors to find the way around (landmark). He used palm trees as a landmark to be visible for visitors.

Fig 2.68. Model of Maritime Museum, Abu Dhabi

Pre-Design Case Study

CHAPTER 3 Site study

Site Study

3.1. Location of Site: The proposed site for development of Maritime Museum is adjacent to the Saragwala village, around 4kms south of the Lothal Harappan Period Archaeological Site. The proposed site with an area of 375 acres, has been selected for the development of the complete National Maritime Complex, of which proposed Maritime Museum Project will be a part.

Fig 3.1. Google Map showing site and surrounding of site

3.2. Connectivity: Travel distances/ Proximity - By air, Sardar Vallabhbhai Patel International Airport, Ahmedabad- 94.8kms. - By Railway, Lothal- Burkhi Railway Station-6kms Ahmedabad Junction- 86.8kms - By Road: 81.9 kms from Ahmedabad, Gujarat via NH47.

3.3. Access to Project site: The site is accessible from NH 47 (Ahmedabad-Rajkot Highway) which is linked to the site via SH 1 towards Dhingada village and further from Dhingada-Gundi Saragwala village road.

Site Study

A rammed earth road exists between Saragwala village and Utelia village which passes through the project site. These village roads further connect the project site to state highways up north.

Fig 3.2. Google Map showing site and surrounding of site

3.4. Site Area:

Fig 3.3. Land unfit for cultivation as it has salt deposits of Bhagao River

Site Study

Fig 3.4. Nearby the site are the agricultural land and no man-made structure present in the vicinity of 1km

Site Study

3.5. Site Context: Lothal (The Archaeological Site) is located at 1.5 km from the proposed site

Fig 3.5. Artistic view of Lothal according to S.R. Rao’s reconstruction (Lothal Archaeological Museum,ASI)

Fig 3.7. View of Dockyard in Summer

Fig 3.6. Lothal (Gujarat, India).View of the baked-brick dock from South (photo by Dennys Frenez 2005)

Fig 3.8. Dockyard at Lothal in winter

Fig 3.9. The presence of Tributary of Sabarmati River is 3km from site.

Site Study

3.6. Existing Land use map of Saragwala Village:

Fig 3.10. Existing land use map of Saragwala Village

3.7. Land environment The existing land use will not get affected from the project as it is government wasteland and no dense population in surrounding area. Land use at the project is confirmed to the approved Master Plan/Development Plan of the area. The proposed project is located at village Saragwala in government wasteland. Therefore, it will not adversely affect the open space surrounding the area of site.

Site Study

3.8. Major Stakeholders of the Maritime Heritage Museum

Fig 3.11. Major Stakeholders for the project

3.9. Vegetation There is no threat of the project to the biodiversity in the area as there are no forest, bio-reserve or ecological sensitive location in the area. The project site is surrounded by roads. The local ecosystem and biodiversity will not be hampered because of this development. 3.10. Aesthetics The project is located in barren land. The change in aesthetics and visual appeal of the area will be positive. Further by providing better designed structure and wellplanned landscape will add up to the aesthetics of that zone.

Site Study

3.11. SWOT Analysis of the Proposed Maritime Museum

Site Study

3.12. Disaster Vulnerability

The site comes under earthquake zone 3

Fig 3.12. Various Earthquake Zones in India

The project site is located in Earthquake Zone III. The building height cannot exceed 25mt. as site lies in Earthquake Zone 3

3.13. Land Terrain

Fig 3.13. The land is almost flat and has a gentle slope towards South

Site Study

Fig 3.14. Different Consequence Class and their guidelines

The building height cannot exceed 25mt. as site lies in Earthquake Zone 3

Site Study

Fig 3.15. Phase 1 of the project includes museum

3.14. Climate of the area: As the site is located in Saragwala Village, Dholka Taluka, Ahmedabad, Gujarat In summer, the maximum ambient temperatures are as high as 40–45 ºC during the day and 20–30 ºC at night. In winter, the values are between 5 and 25 ºC during the day and 0 to 10 ºC at night.

Design consideration for hot and humid climate of Ahmedabad Landscaping is an important element in altering the microclimate of a place. Proper landscaping reduced direct sun from striking and heating up building surfaces. Deciduous trees provide shade in summers and sunlight in winters; hence, planting such trees on the west and southwestern side of the building is a natural solar passive strategy.

Fig 3.16. Landscaping on west as a natural solar passive strategy

Natural cooling without air-conditioning can be enhanced by locating trees to channel southeasterly summer breezes in tropical climates like India.

Site Study

Fig 3.17. Natural Cooling

Fig 3.18. Orientation

Average Solar radiation Intensity on various facades of a building in hot & dry climate (Ahmedabad city) Façade Orientation

Solar Radiation Intensity (W/m2)

Months of maximum solar intensity

North Facing

May (in morning hours), June (in evening hours)

South Facing

600

December, January (winters)

East Facing

600

March

West Facing

500

March

Fig 3.19. Average Solar radiation Intensity on various facades of a building in hot & dry climate

Orient the buildings with the long axes in the east-west direction so that the longest walls face north and south, and only the short wall face east and west. East and West receive maximum solar radiation during summer. West is a crucial orientation because high intensity of solar radiation is received during summers, when the internal gains are also at its peak.

Formulation of activities and programs The target should include • • •

the all culturally inclined residents of nearby areas tourist from both inside and outside the country locals of the nearby region who are directly or indirectly involved in the fabric of the context.

Site Study

3.15. User Group:

Fig 3.20. User-Group in Museum

3.16. Formulation of the areas of programs: 1. Lobby- Reception, waiting area, information kiosks etc. 2. Sculpture Plaza-Conceived as an important highly public venue for exhibition, gathering and educational programs. (act as a function Area) 3. Café + kitchen 4. Souvenir shop- The shop adds value in terms of both visitor experience and revenue. 5. Orientation Gallery-This space is intended to provide a pre function show to orient visitors prior to entering the main exhibit areas. (temporary exhibition space) 6. Exhibition Galleries /space- Flexible areas displaying the artefacts and other things of historical importance discovered by archaeologists and spaces educating the people about marine history and maritime archaeology. 8. Auditorium 9. Administration- Conference rooms, workshop, offices, storage, washroom, space for research purpose. 10. Parking

Site Study

Content & Subjects of NMHC will cover: a) The myth of sea and ocean b) People, land and the sea c) Sea and maritime during the Harappan times d) Maritime tradition: Vedic to pre-Mauryan period e) Maritime contact and trade during ancient India and the emergence of mercantile society f) Ancient ports of the West, South and East coast g) Maritime history of the Indian ocean h) The traditional navigation techniques i) Landing of Vasco-da-Gama/ arrival of the Europeans j) The impact of maritime of Indian society k) The shipbuilders of India l) Indian maritime- post independence m) Maritime archaeology/ oceanic research n) India & the World maritime traditions (contemporary)Research and Studies

Spaces

Total

Occupancy

Area(Sqm) Entrance Entrance Lobby

18*20

Ticket office

Cloak Room

Souvenir Shop

Tourist Information Desk

Account Office

VIP Waiting Area

Waiting Area

Temporary Exhibition Space

400

AV room

650

150

Maritime Activity with Virtual Aquarium

450

Total Area

2240 sqm

Site Study

Exhibition Area (Ground Floor) Exhibition Entrance Lobby

800

Exhibition Space 1 (The myth of sea and ocean)

900

Exhibition Space 2 (Land, People and Sea)

900

Transition space between exhibition spaces

450

Exhibition Space 3 (Sea and Maritime during the 900

harappan times) Exhibition Space 4 (Maritime Tradition Vedic to Pre 900

Mauryan Period) Triple heighted Lobby with exhibit

1000

Exhibition space 5 (Maritime contact and trade 900

15 15

during ancient India and the emergence of mercantile society Exhibition space 6 (Ancient ports of the West, 900

South and East coast) Transition space between exhibition spaces

450

Exhibition space 7

900

Exhibition space 8 (The traditional navigation 900

(Maritime history of the Indian ocean) techniques) Total Area

9900sqm

Exhibition Area (First Floor) Exhibition space 9 (Landing of Vasco-da-Gama/

900

Transition space between exhibition spaces

450

Exhibition space 11 (The shipbuilders of India)

900

Exhibition space 12 (Indian maritime- post

900

arrival of the Europeans) Exhibition space 10 (The impact of maritime of Indian society)

independence)

Site Study

Exhibition space 13 (Maritime archaeology/

900

Transition space between exhibition spaces

450

Indian Naval Museum

900

Indian Naval Museum

900

Total Area

8100sqm

Cafe

500

Library

800

CEO Cabin

Curator Office

Working Cubicles

100

Storage

Conference

Utilities

Housekeeping

Total Area

350sqm

oceanic research) Exhibition space 14 (India & the World maritime traditions (contemporary)Research and Studies

Administrative Areas

Museum Cafe Dining

200sqm

Kitchen

80sqm

Toilet

40 sqm

Library

1000 sq.m.

Reception and Lobby

50 sq.m.

Office

50 sq.m.

Reading Areas

520 sq.m.

Maintenance

50sq.m.

Storage

80sq.m.

Toilets

50sq.m.

Total Built Up- 20,500 sq.m, Built Up + 35%Circulation Area-25000sqm

Site Study

3.17. Bye Laws and Building Regulations PARKING FACILITIES: - No parking facilities compulsory for less than 500 sqm plot. - 1 ECU PER 150 Sqm. FAR. For more than 500 sqm residential project. - For theatre 1 ECU per 10 seats. - For commercial 1 ECU per 50 sqm FAR - 1 ECU= 23 Sqm in open area, 1 ECU = 28 sqm in ground level parking. - 1 ECU = 32 Sqm in basement parking. - 75% of total ECU is reserved for car, 20% for two wheelers, and 5% for bicycles. - 25% extra parking for guests. - Car- 2.5m x 5m, Two wheeler- 1m x 2m, Bicycle- 0.5m x 2m Setbacks - Front setback should not be less than 18 meters. - Rear setback should not be less than 9 meters. - Right and left setback should not be less than 9 meters each. - All plots front setback should be similar to the setback of the supporting plot with buildings. - Boundary wall should not be less distant than 0.45 meters from the road edge. General Facilities -Should have a reception, information counter, book stall, salon, travel agency, money changing, luggage room, florist and proper toilet and water facilities. Development Authority Bye-laws for Conservation of Heritage Sites Lothal is also on the tentative list of UNESCO World Heritage site and is one of the most prominent cities of the Ancient Indus Valley Civilization dating to 2400 BC located in Gujarat. Heritage precincts/natural features. - In case of streets, heritage precincts, areas and (where deemed necessary by the Heritage Conservation Committee) of natural features published as per the provisions of bye-law-5, development permissions shall be granted in accordance with the special separate bye-laws prescribed for respective streets, precincts/natural features, areas which shall be framed by the Authority with previous approval of the Government on the advice of the Heritage Conservation Committee. Maintaining skyline and architectural harmony. - Buildings within a heritage precinct or in the vicinity of heritage sites shall maintain the skyline and follow the architectural style (without any high-rise or multi-storeyed development) as may be existing in the surrounding area, so

Site Study

as not do diminish or destroy the value and beauty of or the view from the said heritage sites. The development within the precinct or in the vicinity of heritage sites shall be in accordance with the guidelines framed by the Authority with previous approval of the Government on the advice of the Heritage Conservation Committee. Power to control exterior design and height of building. - So as to preserve the aesthetics of the area, the Authority on the advice of Heritage Conservation Committee shall have the power to direct, especially in areas designated by them, that the exterior design and height of building should have their prior approval. Signs and outdoor display structures/including street furniture. - The Authority with previous approval of the Government on the advice of the Heritage Conservation Committee shall frame norms or guidelines to regulate signs, outdoor display structures and street furniture. Till such norms and guidelines are framed, the following guidelines may be followed (a) National Building Code to apply - The display or advertising signs and outdoor display structures on buildings and land shall be in accordance with Part 10, Signs and Outdoor Display Structures, National Building Code of India. Access Path For all Buildings (Except dwelling‐1&2): 1. Minimum one entrance shall be provided that is accessible by people with disability and accompanied by appropriate signages as per Regulation 3 . 7. 2. Minimum width of this ramped access path shall be 1.2mts, 1.5mts and 1.8mts for the ramp length of 3.6mts, up to 9mts and more than 9.0mts respectively 3. The pedestrian ramp leading main entrance required as per these regulations may be provided in the margin. 4. In case of sloping access path or ramp: a. The gradient shall not be greater than 1:12. b. Minimum width of ramp shall be1.2mts and the maximum continuous length shall be 9mts. Such ramp shall have800mm high hand rail on both sides extending 300mm beyond top and bottom of the ramp. Minimum gap from the adjacent wall to the hand rail shall be 50mm. c. Entrance landing shall be providing adjacent to ramp with the minimum dimension 1.2mts x 1.5mts.

Site Study

Fig 3.21. Ramp Specifications

For any additional stepped approach: a. Minimum width shall be 1.35mts. b. Size of tread shall not be less than 300mm. and maximum riser shall be 150mm. c. The steps shall not have abrupt (square) nosing. d. Maximum number of risers on a continuous flight without landing shall be limited to 12. e. The stepped approach shall be provided with 800mm high hand rail on both sides

Fig 3.22. Stair Specifications

Site Study

CHAPTER 4 Concept and Design Proposal

Concept and Design Proposal

4.1. About Lothal: Lothal is one of the most prominent cities of the ancient Indus valley civilization. Located in Bhāl region of the modern state of Gujarat and dating from 2400 BCE. Lothal's dock—the world's earliest known, connected the city to an ancient course of the Sabarmati river on the trade route between Harappan cities in Sindh and the peninsula of Saurashtra when the surrounding Kutch desert of today was a part of the Arabian Sea. It was a vital and thriving trade centre in ancient times, with its trade of beads, gems and valuable ornaments reaching the far corners of West Asia and Africa.

Fig. 4.1. Plan of the site of Lothal and its ‘dock’, and the location of the site near the estuary of the Sabarmati River, and the location of the estuary in Gujarat, India

Concept and Design Proposal

Fig 4.2. Reconstructed palaeochannel and palaeoestuarine waterways during late Harappan period based on multispectral satellite imagery.

Fig 4.3. Dockyard in Lothal

Concept and Design Proposal

The dockyard was located away from the main current to avoid deposition of silt. Modern oceanographers have observed that the Harappans must have possessed great knowledge relating to tides in order to build such a dock on the ever-shifting course of the Sabarmati, as well as example of maritime engineering.

Centralized planningOne distinct feature of Indus valley civilization is its centralized planning. Cities like MohenjoDaro and Harappa show clear division of public and private areas.

Fig 4.4. Main roads are wide

Fig 4.5. The Complex drainage system laid in burnt bricks

The main roads were wide but the streets were narrow but both of them were built very straight and bent at perpendicular angles. Cities like Lothal and Harappa have complex drainage systems laid in burnt bricks. There also are soaking pits at places.

WarehouseA long wharf connected the dockyard to the main warehouse, which was located on a plinth some 3.5 meters above the ground. The first concern of the Harappan engineers might have been to ensure against floods and tides.

Fig 4.6. Warehouse connected to the dockyard

Lower TownThe entire town was secured by building an outermost wall of mud-bricks and mud. This wall acted as a protection against floods. The industrial area e.g. bead factory and smithy were separated from residential areas while the cemetery was purposely kept out of the town and near the water source.

Concept and Design Proposal

Generally, the part to the east was larger but lower. This is called the lower town. The pavements were lime-plastered and edges were wainscoted (wooden panels) by thin walls.

Fig 4.7. Lower Town

Upper TownThe Upper Town or the citadel is located in the south-eastern corner and is demarcated by mud-brick platforms 4m high instead of a fortification wall. The excavations showed a planned city in a grid pattern.

Fig 4.8. Upper Town

TradeSigns of external trade have been found in places as far off as Afghanistan and Turkmenistan in north and Mesopotamia and Oman peninsula in west. The areas were connected by maritime trade through ports like Lothal.

Fig 4.9. Trade links of Lothal with different countries

Archaeologists have also identified the remains of stone anchors, marine shells and seals, which can be traced to the Persian Gulf. These, along with a structure identified as a warehouse, suggest that Lothal was a part with a dock.

Concept and Design Proposal

The Bead-making Furnace: In the Lower Town, you can also see a beadmaking furnace enclosed in a steel mesh. Lothal was known far and wide for its bead-making industry. Harappans invented a unique beadmaking technique which made their beads popular across the world. Fig 4.10. The Bead-Making Furnace

Acropolis:

Archaeologists have found beads from Lothal in lands as far as Mesopotamia and Egypt, another proof that Lothal was a thriving trade center.

Fig 4.11. Acropolis

The bricks were so well baked that they have lasted for thousands of years. The bricks were laid in an interlocking pattern and that made the walls strong. Houses were either one or two storeys high, with rooms built around a courtyard.

The mystery of the end: Grazing by large herds of cattle, sheep and goat may have destroyed the green cover. In some areas there were floods. But none of these reasons can explain the end of all the cities. Flooding, or a river drying up would have had an effect in only some areas.

Concept and Design Proposal

4.2. Concept: PAST + PRESENT + FUTURE The design is an attempt to showcase the heritage of the city Lothal a port city historically. The design is more inclined towards abstraction and interpretation of the heritage which reflects the past.

AWARENESS CREATION This would create awareness amongst the public regarding the rich historical and cultural heritage of the city in order to make Lothal a successful tourist friendly and attractive.

TANGIBLE + INTANGIBLE The project aims at articulation and translation of tangible and intangible aspects of the heritage of the city Lothal into architecture.

CITY’S HERITAGE The project aims at highlighting the heritage of the city by capturing the very essence of its life encapsulating all the significant features that the city what it is.

Image Symbolism: The Main concept is to design in a way that it represents the planning of Lothal, i.e.; surrounded 3 sides by a water channel. The display of big ships will be exhibited in lake (artificial water body)

Fig 4.12. Concept- Image Symbolism

Concept and Design Proposal

Fig 4.13. Trading through Lothal via Sea Routes

- Many of these cities were divided into two or more parts. - Usually, the part to the west was smaller but higher. Archaeologists describe this as the - Generally, the part to the east was larger but lower. This is called the lower town. - The bricks were so well baked that they have lasted for thousands of years. The bricks were laid in an interlocking pattern and that made the walls strong. - Houses were either one or two storeys high, with rooms built around a courtyard. Most of the things that have been found by archaeologists are made of stone, shell and metal, including copper, bronze, gold and silver. -Copper and bronze were used to make tools, weapons, ornaments and vessels. -Gold and silver were used to make ornaments and -Perhaps the most striking finds are those of beads, weights, and blades. -The Harappans also made seals out of stone. -These are generally rectangular and usually have an animal carved on them. -The Harappans also made pots with beautiful black designs. -While some of the raw materials used were copper, tin, gold, silver and precious stones. -The Harappans probably got copper from present-day Rajasthan, and even from Oman in West Asia. -Each part was surrounded with massive stone walls, with entrances through gateways.

Concept and Design Proposal

4.3. Space relationship chart:

Fig 4.14. Space-Relationship Chart

Permanent exhibition space circulation

Fig 4.15. Permanent Exhibition Space Circulation

Fig 4.16. Public and Private Space Organization in a Maritime Museum

Concept and Design Proposal

4.4. Themes of Exhibition Spaces: Theme 1: The Myth

Fig 4.17. The Ramayan scene of Lord Rama shooting Brahmastra over the ocean to clear the way

Fig 4.18. Audio – Visual Presentation and some exhibits to showcase the theme

In this theme basically is described about the God of water. Offerings are made to them by Pirates and Superstitious Sailors for safe sailing and a bountiful catch. Those who perish at sea look to them as guardians for their poor unfortunate souls being ferried to the afterlife.

Theme 2: People, Land and Sea

The Harrapans had maritime tendencies, depended on water sources for their survival and navigated rivers and sea water for trade and communication, none of these ancient cities Fig 4.19. Reference Image of Exhibition space

became a major scientific port like Lothal.

Theme 3: Sea and Maritime During the Harappan Times

Fig 4.20. Reference Image of Exhibition space, Some paintings, 3D artefacts and some graphic panels used to highlight the theme

Concept and Design Proposal

Theme 4: Maritime Tradition during the Vedic Period to Pre Mauryan Period Alexander the Great conquers the Indus Valley; this leads to king Chandragupta Maurya of Maghada conquering the Indus Valley from Alexander the Great’s successor (304 BC).

Fig 4.21. Reference Image of Exhibition space, some paintings, 3D artefacts and Holographic projection used to highlight the theme

Theme 5: Maritime Contact and Trade during Ancient India and Emergence of Mercantile Society

Fig 4.22. Reference Image of Exhibition space, display of replicated small-scale ships and maps

Concept and Design Proposal

Theme 6: Ancient Ports of the West, South and East Coast

Fig 4.23. Touch screen panels, to create a different user experience

Theme 7: Maritime History of the Indian Ocean

Fig 4.24. Reference Image for Exhibition Space Theme

Theme 8: Traditional Navigation Techniques

Fig 4.25. Reference Image for Exhibition Space Theme

Concept and Design Proposal

Theme 9: The Landing of Vasco Da Gama

Fig 4.26. Reference image of exhibits and brief of exhibition space theme

Vasco da Gama was a Portuguese explorer. He is one of the most famous and celebrated explorers from the Age of Discovery, being the first European to reach India by sea. This discovery was significant and paved the way for the Portuguese to establish a long-lasting colonial empire in Asia. After decades of sailors trying to reach India with thousands of lives and dozens of vessels lost in shipwrecks and attacks, Gama landed in Calicut on 20 May 1498. Reaching the legendary Indian spice routes unopposed helped the Portuguese Empire improve its economy that, until Gama, was mainly based on trades along Northern and coastal West Africa. all new to Europe which led to a commercial monopoly for several decades.

Theme 10: The Impact of Maritime On Indian Society

Concept and Design Proposal

Theme 11: The Shipbuilders of India

Fig 4.27. The exhibits displayed in the portholes type of showcases

Theme 12: Indian Maritime- Post Independence

Fig 4.28. Reference Image of the Exhibition Space

The country has registered a notable growth in shipping post-independence era. If we talk about maritime history, United Nation has designated International Maritime Organization in charge of maritime safety and preventing pollution from ships. India became a member of this agency in 1959. The organization convenes maritime conferences and drafts international maritime conventions on a regular basis. There are many steps being taken by the govt. of India on different levels to enhance the functioning of maritime law. From construction of new ports to introduction of various schemes, the efforts are multidimensional in nature due to which its interaction with law is unavoidable. Hence facilitation for smooth functioning between the various factors is needed.

Concept and Design Proposal

Theme 13: Maritime Archaeology/Oceanic Research

Fig 4.29. Reference Image of the Exhibition Space

In fact, it may truly be said that India never lost her independence till she lost the command of the sea in the first decade of the sixteenth century.” He had further concluded, “India’s security lies on the Indian Ocean; that without a well-considered and effective naval policy, India’s position will be weak, dependent on others and her freedom at the mercy of any country capable of controlling the Indian Ocean.” Marine archaeology, also known as maritime, nautical or underwater archaeology deals with the ‘scientific study of the material remains of man and his past activities on the sea’. Marine archaeology has made tremendous progress in India. Over the years National Institute of Oceanography, Goa in collaboration with other Government agencies has undertaken the exploration and excavation of submerged ports and shipwrecks at Dwarka, Bet Dwarka, Somnath, Vijaydurg Goa and Lakshadweep on the west coast and Poompuhar and Mahabalipuram on the east coast of India. Further, onshore explorations have also been carried out at various places both the coasts of India for locating ports, trade centres and structures related to maritime activities.

Theme 14: India and World Maritime Traditions

Concept and Design Proposal

Fig 4.30. Reference Image of the Exhibition Space

Concept and Design Proposal

5 M

2 0 M 1 0 M

SI TEPLAN OFMARI TI MEMUSEUM, LOTHAL

NAME : KOMALL AKHY ANI

S E M

: X

No.

ARCHI TECTURALTHES I S

7 4

COORD: PROF .ARCHANARATHORE

BATCH : 1 8 TH S E S S I ON: 2 0 2 0 2 0 2 1

AS AJ AI P UR

5 M

2 0 M 1 0 M

GROUND FLOORPLAN OFMARI TI MEMUSEUM, LOTHAL

NAME : KOMALL AKHY ANI

S E M

: X

No.

ARCHI TECTURALTHES I S

7 5

COORD: PROF .ARCHANARATHORE

BATCH : 1 8 TH S E S S I ON: 2 0 2 0 2 0 2 1

AS AJ AI P UR

5 M

2 0 M 1 0 M

FI RSTFLOORPLAN OFMARI TI MEMUSEUM, LOTHAL

NAME : KOMALL AKHY ANI

S E M

: X

No.

ARCHI TECTURALTHES I S

7 6

COORD: PROF .ARCHANARATHORE

BATCH : 1 8 TH S E S S I ON: 2 0 2 0 2 0 2 1

AS AJ AI P UR

S E CTI ONAA’

S E CTI ON BB’

S E CTI ON CC’

S E CTI ON DD’

SECTI ONSOFTHEMARI TI MEMUSEUM

NAME : KOMALL AKHY ANI

S E M

ARCHI TECTURALTHES I S

COORD: PROF .ARCHANARATHORE

BATCH : 1 8 TH S E S S I ON: 2 0 2 0 2 0 2 1

No.

: X

7 7 AS AJ AI P UR

VI E WF ROM BUI L DI NGE NTRANCE

VI E WF ROMTHEDE CK

VI E WF ROM BUI L DI NGE NTRANCE

S HI PE XHI BI TE DI N COURTY ARD

VI E WF ROM BUI L DI NGE NTRANCE

S I TEVI E W

VI EW SOFMARI TI MEMUSEUM, LOTHAL

NAME : KOMALL AKHY ANI

S E M

: X

No.

ARCHI TECTURALTHES I S

7 8 . 1

COORD: PROF .ARCHANARATHORE

BATCH : 1 8 TH S E S S I ON: 2 0 2 0 2 0 2 1

AS AJ AI P UR

VI E WSOFE XHI BI TI ON F ORE COURT

VI EW SOFMARI TI MEMUSEUM, LOTHAL

NAME : KOMALL AKHY ANI

S E M

: X

No.

ARCHI TECTURALTHES I S

7 8 . 2

COORD: PROF .ARCHANARATHORE

BATCH : 1 8 TH S E S S I ON: 2 0 2 0 2 0 2 1

AS AJ AI P UR

VI E WSOFE XHI BI TI ON F ORE COURT

VI EW SOFMARI TI MEMUSEUM, LOTHAL

NAME : KOMALL AKHY ANI

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: X

No.

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7 8 . 3

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BATCH : 1 8 TH S E S S I ON: 2 0 2 0 2 0 2 1

AS AJ AI P UR

Fig 5.1. Exhibition space of Danish Maritime Museum

CHAPTER 5 Design Elective

Design Elective 79

Selected Area Of Study: Interior Design Of Maritime Exhibition Space 5.1. Criteria of Selection: Museums are dramatic spaces which contain many elements and narrative symbols in display in interior spaces to express design concepts. One of important way in attracting visitors in museums today is design of interior spaces of museums. The way objects arranged in displays, the way displays are designed, decoration of museum spaces, circulation of spaces, and in overall design of museum spaces attracts visitors. 5.2. Objectives: • To study how interior spaces can be moulded that it gives a long lasting experience on the visitors and to make them indulged in what is being exhibited. • designing spaces specificially for the preservation of fine art, sculpture, historical textiles, books, and other artifacts. • Due to the fragile conditions of most museum collections, an understanding of the effects of lighting on various art is essential. • To design the interior in such a way that the exhibits in exhibitions are properly displayed to the public. the use of effective display cases, which must both protect the art and highlight it aesthetically. • To design the exhibition space in such a way that one can relate to the theme of maritime heritage and create a story telling environment and enhance their learning and simultaneously preserving the exhibits. 5.3. Scope of Work: To study about the concepts of interior; i.e; lighting, circulation, display of exhibits, colours and visual perception with respect to the needs of the maritime museum. To maintain the museum environment the factors like lighting, temperature, air and humidity plays an important role and are often covered in interior spaces of museum. The exhibition has to be designed taking in mind the visitor’s group: Our target audiences include: • Families (that it, adults or older siblings with children) • Under-5s • Young People

Design Elective 80

• Teenagers • Adults • Visually impaired people • Hearing-impaired and deaf people • Sensory-impaired School groups: Nursery schools Primary schools Secondary schools Smithsonian Guidelines for Accessible Exhibition Design

Fig 5.2. Cane detection of wall-hung case

Fig 5.3. Overhead Hazards

Lighting Damage on Artefacts

Fig 5.4. Lighting Damage on artefact

Fig 5.5. Classification of artefacts

Design Elective 81

5.4. Methodology

5.5. Standards for displaying exhibit in a museum 5.5.1. Exhibit Of Display

Fig 5.6. Different ways of displaying exhibit

5.5.2. Graphics And Text: Positioning of Graphics • Wall/screen-mounted graphics should wherever possible be positioned within the optimum viewing band [1100–1675mm] • People with low vision may need to be within 75mm of a label in order to read it. • Position Braille labels at a consistent height and position, and on a horizontal or near horizontal plane (at between 600 and 700mm from floor level at the lefthand side) for the best reading angle.

Fig 5.7. Viewing bands of different users

5.5.3. Open Display • All objects on open display must be secure from theft and damage.

Design Elective 82

• In some cases, 600mm may be acceptable, provided the plinth height is above 350mm.

Fig 5.8. Open Display

5.5.4. Close Display: All the elements in a display should be visually accessible to all visitors. All cased displays should fall within the general optimum viewing band of 750–2000mm.

Fig 5.9. Close Display

5.5.5. Display and Circulation Spaces

Fig 5.10. Circulation standards for exhibition spaces

Design Elective 83

5.5.6. Lighting Standards in Museum

Fig 5.11. Display Lighting Mantra

Fig 5.12. Lux Levels for exhibits in display

Design Elective 84

5.5.7. Lighting Techniques

Fig 5.13. Standards for viewing 2-D exhibit

Fig 5.14. Standards for viewing 3-D exhibit

5.5.8. Lighting Effects

Fig 5.15. Group dimming

Fig 5.16. Individual Dimming

5.5.9. Color Temperature:

Fig 5.17. Color Temperature

Design Elective 85

5.5.10. Lighting Techniques for 2-D Exhibits

Fig 5.18. Placement of light for 2-D exhibit

5.5.11. Lighting technique for 3-D exhibit

Fig 5.19. Placement of light for 3-D exhibit

Design Elective 86

5.5.12. Showcase Lighting:

Fig 5.20. Showcase Lighting

Fig 5.21. Details of Lighting in showcase

5.5.13. Use of fiber optic Systems is Preferred inside a showcase

Fig 5.22. Fiber optic light used in showcases

Design Elective 87

Types of exhibits

Fig 5.23. Small scale exhibits in showcases

Fig 5.24. Placement of light for 2-D exhibit

Large exhibits are presented free-standing, while smaller and especially delicate objects are protected by showcases. 5.5.14. Light as a story telling element Projections on walls of images or animals creates a dramatic environment and creates more interactive space like in Danish maritime museum. Usually, projections relating to the exhibit are projected to create a similar type of era or scenes relating to that exhibit.

Fig 5.25. Lighting interior of Fram Museum

5.5.15. Exhibit Lighting Elements: Presentation

Fig 5.26. Different types of lighting used to exhibit artefacts

Design Elective 88

Preservation: Light is either reflected by the object or it gets absorbed which further lead to photochemical deterioration. The UV and IR rays does not provide us vision. They only cause damage. The UV meters don't read UV above 300mm. Conservation: Bad lighting results in poor presentation and bad preservation. It also means that lighting is insufficient. It wastes power, generates heat. Mounts and Backgrounds • Display objects against a 70% contrasting background wherever possible. • Display objects against a plain background wherever possible.

Fig 5.27. Mounts and Backgrounds

Design Elective 89

TI TLE-COMPARATI VESTUDI ESOFMUSEUM EXHI BI TS, PLACEMENTAND LI GHTI NG

NAME : KOMALL AKHY ANI

S E M

S UBJ ECT -I NTERI ORDES I GN

COORD: PROF .ANUBHAVMI TTAL

BATCH : 1 8 TH S E S S I ON: 2 0 2 0 2 0 2 1

No.

: X

9 0 AS AJ AI P UR

Ref er encei magesf orMar i t i meEx hi bi t i onS paces

COMPARATI VESTUDI ESOFMUSEUM EXHI BI TS, PLACEMENTAND LI GHTI NG

NAME : KOMALL AKHY ANI

S E M

: X

No.

I NTERI ORDES I GN

9 1

COORD: PROF .ANUBHAVMI TTAL

BATCH : 1 8 TH S E S S I ON: 2 0 2 0 2 0 2 1

AS AJ AI P UR

SpaceAnal ysi s: Theov er al l des i gni sdi v i dedi nt omaj orz onesl i k eMus eum ent r anel obby ,ex hi bi t i on c al l ,c af e,v i r t ual aquar i um,l i br ar y ,admi ni s t r at i on.Thes pac esi dent i f i edf r om t heabov e ment i onedz onesf ori nt er i ordes i gnar eent r anc el obby ,ex hi bi t i onhal l i . e. ;f or ec our t .. Cent r al For ec our t Cent r a l Cour t y a r dwi l l e x hi bi tout door e x hi bi t sa nda c ta sav i ewpoi ntf r om i nt er i orofs pa c es Pr ogr am Requi r ement s :I nt er ac t i v e Fl ex i bl el ay out ,v i ewst oout doorex hi bi t swi t hs omeout doorgr een

Ent r anc eLobby Ar r i v al poi ntf orv i s i t or si nabui l di ng. Fi r s ti mpr es s i ont oex per i enc emar i t i me ac t i v i t yi namus eum. Cr eat i ngav ar i et yofv i ewpoi nt sSot he v i s i t or sc angeti nt ot het hemeofmar i t i me. Thel obbymus tpr ov i det hemos tf l ex i bl eandex pedi t i ousmannert os uppor t av i s i t or ’ sbas i cneedf ort i c k etpur c has e. Us er :Vi s i t orandSt af f

SPACEANAL YSI S

NAME : KOMALL AKHY ANI

S E M

I NTERI ORDES I GN

COORD: PROF .ANUBHAVMI TTAL

BATCH : 1 8 TH S E S S I ON: 2 0 2 0 2 0 2 1

No.

: X

9 2 AS AJ AI P UR

ENTRANCELOBBYCONCEPTUALI DEAS

NAME : KOMALL AKHY ANI

S E M

S UBJ ECT -I NTERI ORDES I GN

COORD: PROF .ANUBHAVMI TTAL

BATCH : 1 8 TH S E S S I ON: 2 0 2 0 2 0 2 1

No.

: X

9 3 AS AJ AI P UR

5.8. Entrance Lobby

The entrance lobby is designed in a way that the interior corresponds to that of a ship. Fiber Reinforced Plastic which is used in making of ships outer body is used as a cladding material for the cloak room and ticket room. Portholes of circular and rectangular shapes are used as windows of cloak room and ticket room.

Design Elective 94

Ceiling Plan

Flooring Plan

Design Elective 95

EXHI BI TI ON FORECOURTCONCEPTUALI DEAS

NAME : KOMALL AKHY ANI

S E M

I NTERI ORDES I GN

COORD: PROF .ANUBHAVMI TTAL

BATCH : 1 8 TH S E S S I ON: 2 0 2 0 2 0 2 1

No.

: X

9 6 AS AJ AI P UR

5.9. Exhibition Forecourt Space

Exhibition Forecourt Images

Views of Exhibition Forecourt

Design Elective 97

Views of Exhibition Forecourt

Exhibition Forecourt Flooring

Design Elective 98

Design Elective 99

CHAPTER 6 Technology Elective- Mechanical Design

Technology Elective

100

6.1. Aim of the Report: To protect the exhibits of the maritime heritage museum by selecting appropriate Mechanical Services in Museum. 6.2. Scope of the Report: The report will be limited to preparation of broad services scheme and not detailed drawings. The preparation of detailed drawings of selected important spaces and services only may be prepared if required. The area calculation for mechanical designs will be limited to only the area for which the drawings will be prepared for. 1. HVAC Systems 2. Fire Avoid severe swings in temperature and humidity Museums, archives, and art storage facilities generally have strict requirements for interior temperature and relative humidity (RH) control. The unofficial museum standard for temperature and RH is 70°F and 50%. Design mechanical systems must provide close control over interior temperature and RH levels. Avoiding or minimising glazed surfaces on the east and west facing elevations; 6.3. Objectives: 1. To conduct site study and analyse for the mechanical service required - Site and Location - Climate and Temperature - Wind and Inferences 2. To study the design and spaces on site with respect to adopted mechanical service. - Concept of Design - Area Analysis Program - Theoretical data analysis and specifications 3. Comparative Analysis - To compare different mechanical services with respect to adopted one - To analysis the pros and cons 4. To conclude with providing analysis of data with architectural schemes - Drawings

Technology Elective

101

6.4. Site Characteristics: Climate: In summer, the maximum ambient temperatures are as high as 40–45 ºC during the day and 20–30 ºC at night. In winter, the values are between 5 and 25 ºC during the day and 0 to 10 ºC at night. So the climate is hot and semi arid.

Location of Site: The proposed site for development of Maritime Museum is adjacent to the Saragwala village, around 4kms south of the Lothal Harappan Period Archaeological Site. The proposed site with an area of 375 acres, has been selected for the development of the complete National Maritime Complex, of which proposed Maritime Museum Project will be a part. Travel distances/ Proximity - By air, Sardar Vallabhbhai Patel International Airport, Ahmedabad- 94.8kms. - By Railway, Lothal- Burkhi Railway Station-6kms Ahmedabad Junction- 86.8kms - By Road: 81.9 kms from Ahmedabad, Gujarat via NH47.

Fig 6.1. Demarkation of site proposed for National Maritime Heritage Complex

Fig 6.2. The presence of Tributary of Sabarmati River is 3km from site.

Technology Elective

102

6.5. HVAC Considerations in a Museum

Fig 6.3. Illustration of interior of museum

Complex heating, ventilation and air conditioning (HVAC) systems are often used in museums to optimise the indoor climate for preservation and visitors’ comfort. An incorrect relative humidity (RH) or temperature, high levels of dust and gaseous pollution are some of these threatening factors that can be reduced by using mechanical systems The building management system (BMS), a computer-based control system, controls the mechanical components of the AHU and is connected to sensors in the exhibition space and sensors in the AHU. It wouldn’t be as challenging to control these levels in a completely enclosed environment with a recirculating air system, but the requirement to deliver outdoor ventilation air for occupancy purposes introduces a new set of challenges and considerations. Outdoor air requirements are typically between 15% - 30% of the total airflow in occupied spaces. With outdoor air being hot and humid in the summer, cold and dry in the winter, and always containing unwanted airborne particles and gases, museum HVAC systems are constantly put to the test and require highly dynamic controls. That being said, any piece of equipment that requires access should ideally be located in back-of-house spaces, and should never be located within the ceiling of a gallery space. This is especially true for any pressurized water piping where a leak will easily ruin sensitive materials or collections located beneath.

Technology Elective

103

It is always ideal to plan for a larger mechanical room to locate all terminal variable air volume boxes, heating coils, humidification coils, condensate pumps, etc. This will lead to equipment that is easy to access and can be cared for properly. To combat the presence of unwanted particles, particulate filtration with a MERV 15 rating is typically sufficient for gallery spaces. 6.6. Criteria For Selection of Mechanical Cooling (VRV integrated with AHU): VRV systems are efficient than air conditioning options and usually save 10- 20% electricity. But they have some high initial cost. Today in modern technology when there is inverter controlled technology has arrived which will leads to as many as 48 or more indoor units to operate from one outdoor unit . With VRV refrigerant piping runs of more than 200 ft are possible, and outdoor units are available in sizes up to 240,000 Btuh. Integrating air handling unit in a total solution for large size spaces such as factories and large stores. Daikin air handling units can be connected to VRV systems. This combination can be built to order as a system. Outdoor air series is also possible. Air handling unit AHUR Capacity range : 6 – 120 HP • Easy design and installation The system is easy to design and install since no additional water systems such as boilers, tanks and gas connections etc are required. • Inverter controlled units • Control of air temperature via standard Daikin wired remote control for standard series System Overview:

Technology Elective

104

Conventional AHU Sysetem

VRV AHU System

Require frequent Maintenane (Cooling Tower + Chiller)

Easy Maintenance (same as commom A/C system)

Higher cost due to frequent Maintenance

No additional Maintenance cost

Require larger Installation Space (AHU, Chiller, Coolong Tower)

Require small Installation Space (AHU, VRV)

Complex System(HVAC Ducting, Chiller and Water Piping)

Simple System (HVAC Ducting)

Extensive Control (Variable frequency device, Variable Air Volume Control)

Simple Control (Remote Control /Intelligent Touch Manager)

Fig 6.4. Conceptual Comparison of Conventional AHU System and VRV AHU System.

VRV Air Handling Application:

Fig 6.5. Components of VRV AHU System

Technology Elective

105

6.7. Design Analysis for Services Area Analysis and Heat Load Calculation: Heat Load Calculation Pre Requisite Data: Heat Load(BTU)= 148Sqm= 32000 BTU 1 Sqm= 216.2 BTU Occupant BTU= No. of people * 600 For heavily shaded= Reduce 10% capacity For CFM (for electric air conditioning)= 400 CFM/ Ton Total Area

Occupancy Occupant Load BTU

Heat Load BTU

Total Load

Entrance Lobby

18*20

18000

77832

95832

Ticket office

1800

10810

12610

Cloak Room

1800

10810

12610

Souvenir Shop

4800

15134

19934

Tourist Information Desk

3000

9729

12729

Account Office

1200

14053

15253

VIP Waiting Area

4800

11890

16690

Waiting Area

9000

10810

19810

Temporary Exhibition Space

400

15000

86480

101480

AV room

650

150

90000

140530

230530

Maritime Activity with Virtual Aquarium

450

18000

97290

115290

Spaces

Entrance

Recreational Area

Exhibition Areas

Technology Elective

106

Exhibition Entrance Lobby

800

12000

172960

184960

Exhibition Space 1 (The myth of sea and ocean)

900

9000

194580

203580

Exhibition Space 2 (Land, People and Sea)

900

9000

194580

203580

Transition space between exhibition spaces

450

9000

97290

106290

Exhibition Space 3 (Sea and Maritime during the harappan times)

900

9000

194580

203580

Exhibition Space 4 (Maritime Tradition Vedic to Pre Mauryan Period)

900

9000

194580

203580

Triple heighted Lobby with exhibit

1000

9000

216200

225200

Exhibition space 5 (Maritime contact and trade during ancient India and the emergence of mercantile society

900

9000

194580

203580

Exhibition space 6 (Ancient ports of the West, South and East coast)

900

9000

194580

203580

Transition space between exhibition spaces

450

9000

97290

106290

Exhibition space 7

900

9000

194580

203580

(Maritime history of the Indian ocean)

Technology Elective

107

Exhibition space 8 (The traditional navigation techniques)

900

9000

194580

203580

Exhibition space 9 (Landing of Vasco-daGama/ arrival of the Europeans)

900

9000

194580

203580

Exhibition space 10 (The impact of maritime of Indian society)

900

9000

194580

203580

Transition space between exhibition spaces

450

9000

97290

106290

Exhibition space 11 (The shipbuilders of India)

900

9000

194580

203580

Exhibition space 12 (Indian maritime- post independence)

900

9000

194580

203580

Exhibition space 13 ( Maritime archaeology/ oceanic research)

900

9000

194580

230580

Exhibition space 14 900 (India & the World maritime traditions (contemporary)Research and Studies

9000

194580

203580

Transition space between exhibition spaces

450

9000

97290

106290

Indian Naval Museum

900

9000

194580

203580

Technology Elective

108

Indian Naval Museum

900

9000

194580

203580

Cafe

500

21000

108100

129100

Library

800

30000

172960

202960

CEO Cabin

1200

5405

6605

Curator Office

1200

6486

7686

Working Cubicles

100

6000

21620

27620

Storage

1200

6486

7686

Conference

6000

10810

16810

Utilities

3000

12972

15972

Housekeeping

5400

12972

18372

Administrative Areas

Solar Adjustment (+10% or -10%) Final BTU

Solar Adjustment

Final BTU

Entrance Lobby

95,832

+10%

1,05,415.2

Ticket office

12,610

+10%

13,871

Cloak Room

12,610

+10%

13,871

Souvenir Shop

19,934

-10%

17,940

Tourist Information Desk

12,729

+10%

14,000

Account Office

15,253

-10%

13,727

VIP Waiting Area

16,690

+10%

18,359

Waiting Area

19,810

+10%

21,791

Temporary Exhibition Space

1,01,480

-10%

91,330

AV room

2,30,530

-10%

2,07,450

Spaces

Entrance

Technology Elective

109

Maritime Activity with Virtual Aquarium

1,15,290

-10%

1,03,761

Exhibition Entrance Lobby

1,84,960

+10%

203456

Exhibition Space 1 (The myth of sea and ocean)

2,03,580

-10%

1,83,222

Exhibition Space 2 (Land, People and Sea)

2,03,580

-10%

1,83,222

Transition space between exhibition spaces

1,06,290

+10%

1,16,919

Exhibition Space 3 (Sea and Maritime during the Harrapan times)

2,03,580

-10%

1,83,222

Exhibition Space 4 (Maritime Tradition Vedic to Pre Mauryan-Period)

2,03,580

-10%

1,83,222

Triple heighted Lobby with exhibit

2,25,200

+10%

2,47,720

Exhibition space 5 (Maritime contact and trade during ancient India and the emergence of mercantile society

2,03,580

-10%

1,83,222

Exhibition space 6 (Ancient ports of the West, South and East coast)

2,03,580

-10%

1,83,222

Transition space between exhibition spaces

1,06,290

+10%

1,16,920

Exhibition space 7

2,03,580

-10%

1,83,222

Exhibition Space

(Maritime history of the Indian ocean)

Technology Elective

110

Exhibition space 8 (The traditional navigation techniques)

2,03,580

-10%

1,83,222

Exhibition space 9 (Landing of Vasco-daGama/ arrival of the Europeans)

2,03,580

-10%

1,83,222

Exhibition space 10 (The impact of maritime of Indian society)

2,03,580

-10%

1,83,222

Transition space between exhibition spaces

1,06,290

+10%

1,16,920

Exhibition space 11 (The shipbuilders of India)

2,03,580

-10%

1,83,222

Exhibition space 12 (Indian maritime- post independence)

2,03,580

-10%

1,83,222

Exhibition space 13 (Maritime archaeology/ oceanic research)

2,30,580

-10%

1,83,222

Exhibition space 14 (India & the World maritime traditions (contemporary)Research and Studies

2,03,580

-10%

1,83,222

Transition space between exhibition spaces

1,06,290

+10%

1,16,919

Indian Naval Museum

2,03,580

-10%

1,83,222

Indian Naval Museum

2,03,580

-10%

1,83,222

Cafe

1,29,100

+10%

1,42,010

Library

2,02,960

+10%

2,23,256

CEO Cabin

6,605

+10%

7,265

Curator Office

7,686

+10%

8,456

Administrative Areas

Technology Elective

111

Working Cubicles

27,620

+10%

30,390

Storage

7,686

+10%

8,450

Conference

16,810

+10%

18,491

Utilities

15,972

+10%

17,570

Housekeeping

18,372

-10%

20,210

Technology Elective

112

6.8. Selection of VRV integrated with AHU components 6.8.1. Step 1: Selecting the Outdoor Units Zone A (Entrance) Total BTU=1,00,751 Tons Required= 100751/12000=8.3Tons CFM=8.3Tons*400= 3,360CFM VRV (Cooling Only), Model No: RXQ12ARY6 Selection of outdoor unit - 1.6*.93*.76m (H*W*D) KW= 33.5kw , Liquid Pipe= 12.7mm, Gas Pipe= 28.6mm

Fig 6.6. Specifications of VRV Outdoor Unit

Technology Elective

113

Zone B (Exhibition Space) Total BTU=36,85,440 Tons Required= 3685440/12000=307.12Tons CFM=307.12Tons*400= 1,22,848 CFM VRV(Cooling Only) Model No: RXQ56ARY6 (RXQ18ARY6 + RXQ18ARY6 + RXQ20ARY6) Selection of outdoor unit – (1657*1240*765 + 1657*1240*765 +1657*1240*765 ) X 7 units KW= 156kw, Liquid Pipe= 19.1mm, Gas Pipe= 41.3mm

Outdoor Units= 7 for Exhibition Space having 3 units each Fig 6.7. Specifications of VRV Outdoor Unit

Technology Elective

114

Zone C (Temporary Exhibition Space) Total BTU=91,330 Tons Required= 91,330/12,000=8Tons CFM=8Tons*400= 3,200 CFM VRV(Cooling Only) Model No: RXQ10ARY6 Selection of outdoor unit – (1657*930*765mm) KW= 28kw, Liquid Pipe= 9.5mm, Gas Pipe= 22.2mm

Fig 6.8. Specifications of VRV Outdoor Unit

Technology Elective

115

Zone D (AV Room) Total BTU=2,07,450 Tons Required= 2,07,450/12,000=17.2Tons CFM=17.2Tons*400= 6,880 CFM VRV(Cooling Only) Model No: RXQ22ARY6 (RXQ10ARY6+ RXQ12ARY6) Selection of outdoor unit – (1657*930*765mm) + (1657*930*765mm) KW= 61.5kw, Liquid Pipe= 15.9mm, Gas Pipe= 28.6mm Selection of outdoor unit- 1 Outdoor Unit having combination of 2 units

Fig 6.9. Specifications of VRV Outdoor Unit

Technology Elective

116

Zone E (Maritime Activity With Visual Experience) Total BTU=1,03,761 Tons Required= 1,03,761/12,000=8Tons CFM=8Tons*400= 3,200 CFM VRV(Cooling Only) Model No: RXQ12ARY6 Selection of outdoor unit – (1657*930*765mm) KW= 33.5kw, Liquid Pipe= 12.7mm, Gas Pipe= 28.6mm

Fig 6.10. Specifications of VRV Outdoor Unit

Technology Elective

117

Zone F (Administration) Total BTU=1,10,840 Tons Required= 1,10,840/12,000=9Tons CFM=9Tons*400= 3,600 CFM VRV(Cooling Only) Model No: RXQ12ARY6 Selection of outdoor unit – (1657*930*765mm) KW= 33.5kw, Liquid Pipe= 12.7mm, Gas Pipe= 28.6mm

Fig 6.11. Specifications of VRV Outdoor Unit

Technology Elective

118

Zone G (Cafe) Total BTU=1,42,010 Tons Required= 1,42,010/12,000=12Tons CFM=12Tons*400= 4,800 CFM VRV(Cooling Only) Model No: RXQ16ARY6 Selection of outdoor unit – (1657*1240*765mm) KW= 45kw, Liquid Pipe= 12.7mm, Gas Pipe= 28.6mm

Fig 6.12. Specifications of VRV Outdoor Unit

Technology Elective

119

Zone H (Library) Total BTU=2,23,256 Tons Required= 2,23,260/12,000=18Tons CFM=18Tons*400= 7,450 CFM VRV(Cooling Only) Model No: RXQ24ARY6 (RXQ12ARY6+ RXQ12ARY6) Selection of outdoor unit – (1657*930*765mm) +(1657*930*765mm) KW= 67kw, Liquid Pipe= 15.9mm, Gas Pipe= 34.9mm

Fig 6.13. Specifications of VRV Outdoor Unit

Technology Elective

120

6.8.2. Step 2: Control Box Selection • • •

EKEQFCBA (For all types of VRV and ERQ) EKEQDCBA (For ERQ only) EKEQMCBA (For VRV only)

EKEQFCBAV3 - US For use with custom air handling units only • • • • • •

Seamlessly integrate non-VRV air handling units with VRV IV HP Best suited for applications where 1 AHU is connected to 1 VRV system only Connect up to 3 integration kits per VRV system to serve a large capacity AHU Unified cooling and heating mode programming Enables control of AHU unit using field temperature sensor and 0-10V field supplied DDC controller Allows for discharge air temperature control

Fig 6.14. VRV AHU System Layout

Fig 6.15. Control Box Specifications

So, the control box size is h*w*d= 132*400*200

Technology Elective

121

Control Box EKEQFCBAV3-US Layout Example

Fig 6.16. Connection of VRV Outdoor unit, Control Box, Expansion Valve and AHU

6.8.3. Step 3: Determining The size of AHU Zone A(Entrance) According to CFM and kw= Model No: AHURS32DBL Selection of AHU = (w*d*h)= (1800*1800*1600) Liquid Pipe= 28.6*2mm, Suction Pipe= 12.7*2mm

Zone B (Exhibition Space) According to CFM and kw= Model No: A1-2250H-2250W Selection of AHU = (w*d*h)= {(2250*2250*2250mm)} X 7units Liquid Pipe= 28.6*2mm, Suction Pipe= 12.7*2mm

Zone C (Temporary Exhibition Space) According to CFM and kw= Model No: AHURS20DBL Selection of AHU = (w*d*h)= (2100*1600*1200mm) Liquid Pipe= 28.6mm, Suction Pipe= 15.9mm

Technology Elective

122

Zone D (AV Room) According to CFM and kw= Model No: AHURS48DBL Selection of AHU = (w*d*h)= (1800*1950*2300mm) Liquid Pipe= 28.6*3mm, Suction Pipe= 12.7*3mm

Zone E (Maritime Activity with virtual experience) According to CFM and kw= Model No: AHURS32DBL Selection of AHU = (w*d*h)= (1800*1800*1600mm) Liquid Pipe= 28.6*2mm, Suction Pipe= 12.7*2mm

Zone F (Administration) According to CFM and kw= Model No: AHURS32DBL Selection of AHU = (w*d*h)= (1800*1800*1600mm) Liquid Pipe= 28.6*2mm, Suction Pipe= 12.7*2mm

Zone G (Café) According to CFM and kw= Model No: AHURS40DBL Selection of AHU = (w*d*h)= (2100*1800*1600mm) Liquid Pipe= 28.6*2mm, Suction Pipe= 15.9*2mm

Zone H (Library) According to CFM and kw= Model No: AHURS32DBL Selection of AHU = (w*d*h)= (1800*1800*1600mm) Liquid Pipe= 28.6*2mm, Suction Pipe= 12.7*2mm

Technology Elective

123

6.8.4. Step 4: Expansion Valve Model

Fig 6.17. Expansion Valve Model Specifications

Zone A (Entrance Foyer) (For BTU/hr= 1,00,751) Valve Model- EKEXV400-US Zone B (Exhibition Space) (For BTU/hr= 5,26,491) , For one AHU (Total 7 AHU units) so, Valve Model- EKEXV500-US X3 Zone C (Temporary Exhibition Space) (For BTU/hr= 91,330) , For one AHU so, Valve Model- EKEXV250-US X3 Zone D (AV Room) (For BTU/hr= 2,07,450) , For one AHU so, Valve Model- EKEXV500-USX2 Zone E (Maritime Activity with Visual Experience) (For BTU/hr= 1,03,761), For one AHU so, Valve Model- EKEXV250-US Zone F (Administration) (For BTU/hr= 1,10,840), For one AHU so, Valve Model- EKEXV400-US Zone G (Cafe) (For BTU/hr= 1,42,010), For one AHU so, Valve Model- EKEXV400-US Zone H (Library) (For BTU/hr= 2,23,256), For one AHU so,

Technology Elective

124

Valve Model- (EKEXV400-US) X2 Size of Expansion Valve= 401x215x78mm (h*w*d)

Fig 6.18. Piping and Wiring Length of AHU, Control unit and Expansion valve

Fig 6.19. Comparison of Fresh Air Treatment of VRV AHU and Traditional VRV System

6.8.5. Step 5: Supply duct diffuser and size Zone A (Entrance Foyer) CFM=3360, 12 Diffusers CFM each diffuser= 3360/12=300CFM Duct Area*Velocity= CFM X*4*60*3ft/min=300ft3/min Duct Area = X=0.42ft2

Technology Elective

125

Diffuser Size=18”X9”

Zone B (Exhibition Space) CFM=1,22,850, 50 Diffusers CFM each diffuser= 1,22,850/50=2457CFM Duct Area*Velocity= CFM X*4*60*3ft/min=2,457ft3/min Duct Area = X=3.4ft2 Diffuser Size=24”X24”

Zone C (Temporary Exhibition Space) CFM=3200, 9 Diffusers CFM each diffuser= 3,200/9=360CFM Duct Area*Velocity= CFM X*4*60*3ft/min=360ft3/min Duct Area = X=.5ft2 Diffuser Size=9”X9”

Zone D (AV Room) CFM=6,880, 12 Diffusers CFM each diffuser= 6,880/12=556CFM Duct Area*Velocity= CFM X*4*60*3ft/min=560ft3/min Duct Area = X=.7ft2 Diffuser Size=21”X6”

Technology Elective

126

Zone E (Maritime Activity with Virtual Experience) CFM=3,200, 9 Diffusers CFM each diffuser= 3,200/9=360CFM Duct Area*Velocity= CFM X*4*60*3ft/min=360ft3/min Duct Area = X=.52 Diffuser Size=24”X9”

Zone F (Administration) CFM=3,600, 14 Diffusers CFM each diffuser= 3,600/14=225CFM Duct Area*Velocity= CFM X*2*60*3ft/min=225ft3/min Duct Area = X=.6ft2 Diffuser Size=24”X6”

Zone G (Cafe) CFM=4800, 12 Diffusers CFM each diffuser= 4800/12=400CFM Duct Area*Velocity= CFM X*3*60*3ft/min=400ft3/min Duct Area = X=.7ft2 Diffuser Size=24”X12”

Zone H (Library) CFM=7430, 12 Diffusers

Technology Elective

127

CFM each diffuser= 7430/12=619CFM Duct Area*Velocity= CFM X*4*60*3ft/min=619ft3/min Duct Area = X=1.1ft2 Diffuser Size=24”X18”

6.8.6. Step 6: Return duct diffuser and size Zone A (Entrance Foyer) CFM=3360, 12 Diffusers CFM each diffuser= 3360/12=300CFM Duct Area = X=0.42ft2 Diffuser Size=12”X6”

Zone B (Exhibition Space) CFM=1,22,850, 50 Diffusers CFM each diffuser= 1,22,850/50=2457CFM Duct Area*Velocity= CFM Duct Area = X=4ft2 Diffuser Size=24”X24”

Zone C (Temporary Exhibition Space) CFM=3200, 9 Diffusers CFM each diffuser= 3,200/9=360CFM Duct Area = X=.563ft2 Diffuser Size=9”X9”

Technology Elective

128

Zone D (AV Room) CFM=6,880, 12 Diffusers CFM each diffuser= 6,880/12=556CFM Duct Area = X=.750ft2 Diffuser Size=12”X9”

Zone E (Maritime Activity with Virtual Experience) CFM=3,200, 9 Diffusers CFM each diffuser= 3,200/9=360CFM Duct Area = X=.52 Diffuser Size=12”X6”

Zone F (Administration) CFM=3,600, 14 Diffusers CFM each diffuser= 3,600/14=225CFM Duct Area = X=.373ft2 Diffuser Size=9”X6”

Zone G (Cafe) CFM=4800, 12 Diffusers CFM each diffuser= 4800/12=400CFM Duct Area = X=.625ft2 Diffuser Size=15”X6”

Zone H (Library) CFM=7430, 12 Diffusers

Technology Elective

129

CFM each diffuser= 7430/12=619CFM Duct Area = X=0.938 ft2 Diffuser Size=15”X9”

Fire Considerations: Type of Installation Fire Extinguisher

Required

Hose Reel

Required

Wet Riser

Required

Automatic Sprinkler System

Required

Automatic Alarm system

Required

Manual Alarm System

Required

Technology Elective

130

Gr oundF l oorPl an HVAC LAYOUTI NA MUSEUM

NAME : KOMALL AKHY ANI

S E M

S UBJ ECT -MECHANI CALDES I GN

COORD: PROF . NAVE E NS HARMA

BATCH : 1 8 TH S E S S I ON: 2 0 2 0 2 0 2 1

No.

: X

1 3 1 AS AJ AI P UR

F i r s tF l oorPl an HVAC LAYOUTI NA MUSEUM

NAME : KOMALL AKHY ANI

S E M

MECHANI CALDES I GN

COORD: PROF . NAVE E NS HARMA

BATCH :1 8 TH S E S S I ON: 2 0 2 0 2 0 2 1

No.

: X

1 3 2 AS AJ AI P UR

F i r eEs cape

F i r eEx i tL obby

F i r eEs cape

Spr i nkl er sat3. 5m each FI RESAFETYI NA MUSEUM MECHANI CALDES I GN

Gr oundF l oorPl an NAME : KOMALL AKHY ANI

S E M

: X

No.

1 3 3

COORD: PROF . NAVE E NS HARMA

BATCH : 1 8 TH S E S S I ON: 2 0 2 0 2 0 2 1

AS AJ AI P UR

F i r eEx i tL obby

F i r s tF l oorPl an

Spr i nkl er sat3. 5m each FI RESAFETYI N MUSEUM MECHANCI CALDES I GN

NAME : KOMALL AKHY ANI

S E M

: X

No.

1 3 4

COORD: PROF . NAVE E NS HARMA

BATCH : 1 8 TH S E S S I ON: 2 0 2 0 2 0 2 1

AS AJ AI P UR

Glossary of terms Luminance: Light emitted or reflected from a surface in a particular direction; the result of the illumination level and the reflectance. Lux The measure of ‘illumination level’ (illuminance) in lumen/sq.m. The Foot Candle is used in the USA, meaning 1 lumen per square foot or 10.76 Lux.

Reflectance: The ratio of light reflected from a surface to the light falling upon it; as affected by the lightness or darkness of the surface.

Colour renderng: A comparison between the colour appearance of a surface under natural light and that from an artificial source.

Light pipes: A form of rooflight associates with mirror finished ducts which direct natural light and sometimes ventilation into lower floors of the building.

Light shelves: A horizontal construction at the window designed to reflect light to the ceiling, to assist in increasing the daylight penetration into the room

Contrast: The visual difference between the colour or brightness of two surfaces when seen together. Too high a contrast can be the cause of glare.

Glare- harsh, uncomfortably bright light source or reflection that interferes with visual perception. Light from the wrong place

Lux- metric unit of quantity of light on 1 m squared of surface area 1 m away from light source of 1 cd( 1lx equal to 0.009fc). (Egan, 394, 2002).

Foot Candle (fc) – quantity of light on 1 foot squared of surface area 1 foot away from light source of 1 cd (Egan,390, 2002). Candelas (cd)- unit of luminous intensity equal to 1 candlepower.

LED- Light-Emitting Diodes – low-power, small point sources. Typically amber, orange , or red, they are used in traffic signals, commercial advertising signage and exit signs

Daylight: The light received from the sun and the sky, which varies throughout the day, as modified by the seasons and the weather. Daylight factor (DF): The ratio of the light received at a point within a building, expressed as a percentage of that available externally. Since daylight varies continually the amount of light from a given DF is not a finite figure, but gives a good indication of the level of daylight available.

Conservation: The protection of works of art against the deleterous effects of the environment. The control of light levels (particularly ultra violet) is a major component of conservation.

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Bibliography Armas, J. (Jan 10,2011). 10th International Symposium "Tropical Problems in the field of Electrical Engineering". Lighting for Museums. CIBSE. (1999). Daylighting and window design, Lighting Guide. London: The Charted Institution of Building Services Engineer. Cuttle. (2007). Light for Art's Sake. Butterworth-Heinemann. Iordanidou, c. (Sep 2017). Daylight openings in art museum galleries. (I. Dominguez, Ed.) Stockholm, Sweden: KTH ROYAL INSTITUTE OF TECHNOLOGY. Khan, L. (2001). Light is the theme. 1st ed. Kimbell Art Museum Publication Two. Lam, W. (1986). Sunlight as formgiver for Architecture. New York: Van Nostrand Reinhold Company. Liljefors. (1999). Lighting-Visually and Physically. Stockholm: School of Architecture, KTH. Naomi J. Miller, S. L. (n.d.). Solid State Lighting for Museums, Conserving energy, Conserving art. Pacific Northwest National Laboratory. The Getty Conservation Institute. O'Doherty. (1976). Inside the White cube. San Francisco: 1976. Sylvania, H. (2015). Lighting for museums and galleries. W.Lam. (1977). Perception and Lighting as Formgivers for Architecture. New York: McGraw Hill. Museum Collection Environment, Part 1. (2016). NPS Museum Handbook.

JOURNALS Aries, A. a. (2015). Daylight and health: A review of the evidence andconsequences for the built environment. Lighting Research and Technology, vol. 47 , 6-27. Matusiak. (2006). The Impact of Window Form on the Size Impression of the Room— FullScale Studies. Architectural Science Review, vol. 49, 43-51. McGlinchey. (1994). Color and Light in the Museum Environment. The MetropolitanMuseum of Art, 44-52.

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Cannon-Brookes, S. (2000). Daylighting museum galleries: a review of performance criteria. Lighting Restoration Technology, vol. 32, 155-168. Hefferan, S. (2008). Working with Daylight in the Museum Environment. WAAC Newsletter,vol. 30, 20-24. Sirefman, S. (1999). Formed and Forming: Contemporary Museum Architecture. America's Museums, vol. 128, 297-320.

WEBSITES Capriotti, "THE BROAD ACHIEVES LEED GOLD CERTIFICATION," The Broad Museum, Los Angeles, 2016 [Online]. Available: https://www.thebroad.org/sites/default/files/pressroom/2016.04.19_the_broad_achi eves_leed_gold_press_release.pdf]. "A House for Art - The Museum Building," Museum Boijmans van Beuningen, [Online]. Available: http://collectie.boijmans.nl/en/in-depth/the-museum-building ARUP, "Rethinking lighting in museums and galleries," 2017. [Online]. Available: http://publications.arup.com/publications/r/rethinking_lighting_museums_galleries. E. Filipovic, "The Global White Cube," April 2014. [Online]. Available: http://www.oncurating.org/issue-22-43/the-global-white-cube.html#.WXjmeYh96M8 Echy, “Natural light in museums”, September 15, 2016 [Online]. Available: http://www.echy.fr/natural-light-in-museums/?lang=en "Fridericianum," 18 May 2015. [Online]. Available: http://www.kassel.de/kultur/sehenswuerdigkeiten/Innenstadt/11674/index.html L. Martin, "Archinect," January 2016. [Online]. Available: http://archinect.com/features/article/31565/renzo-piano "Museum building," Gemeentemuseum, [Online]. Available: https://www.gemeentemuseum.nl/en/museum/museum-building P. Andrikopoulos, "DEMOCRATISING MUSEUMS: A BRIEF HISTORY OF MUSEUM LIGHTING," HERITAGE SCIENCE RESEARCH NETWORK, 6 June 2016. [Online]. Available: https://heritagescienceresearch.com/2016/06/06/democratisingmuseums/

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