Thesis Portfolio : MAYA - Center of Illusions

VISVESVARAYA TECHNOLOGICAL UNIVERSITY "Jnana Sangama", Belgaum - 590018

A THESIS REPORT ON

" MAYA- CENTRE OF ILLUSION" SUBMITTED IN PARTIAL FULFILLMENT FOR THE AWARD OF DEGREE OF

BACHELOR OF ARCHITECTURE For the academic year 2017 - 2018 SUBMITTED BY

LISHA SRINIVASAN (1DS14ATO77)

DAYANANDA SAGAR COLLEGE OF ARCHITECTURE Shavige Malleswara Hills, Kumaraswamy Layout, Bangalore -560078.

DAYANANDA SAGAR COLLEGE OF ARCHITECTURE Shavige Malleswara Hills, Kumaraswamy Layout, Bangalore -560078.

CERTIFICATE This is to certify that the thesis entitled "MAYA-CENTRE OF ILLUSIONS” is a bonafide work carried out by LISHA SRINIVASAN (IDS14AT077) student of DAYANANDA

SAGAR

ARCHITECTURE,

in

ARCHITECTURE,

under

COLLEGE

partial

OF

fulfillment

the

ARCHITECTURE, for

the

VISVESVARAYA

award

DEPARTMENT of

BACHELOR

TECHNOLOGICAL

OF OF

UNIVERSITY,

BELGAUM during the year 2017 - 2018. The thesis report has been approved as it satisfies the academic requirements in respect of project work prescribed for the bachelor of architecture degree.

Coordinator –Architecture Thesis:

Principal:

Asst. Prof Aparna Shastri Dept. of Arch, DSSA Bangalore 78

Prof.(Dr.) Rama R. Subramanian DSCA Bangalore 78

Thesis Guides: Name

Name

Signature

Signature

External Examiners: Name

Name

Signature with Date

Signature with Date

DAYANANDA SAGAR COLLEGE OF ARCHITECTURE Shavige Malleswara Hills, Kumaraswamy Layout, Bangalore -560078.

DECLARATION I, LISHA SRINIVASAN (IDS14AT077) student of final semester B.Arch, DSSA, Bangalore, hereby declare that the thesis entitles " MAYA- CENTRA OF ILLUSION " has been done and submitted in partial fulfillment of the requirements for the award of the degree in Bachelor of Architecture of the Visveswaraya Technological University, Belgaum during the academic year 2017 - 2018.

Place: Bangalore Date: 04 DECEMBER 2018

LISHA SRINIVASAN 1DS14AT077

DESIGN THESIS.

INDEX Introduction .................................................................................................................................................................................................................. 3 Aims and objectives: ................................................................................................................................................................................................................................ 3 Scope and limitations: .............................................................................................................................................................................................................................. 3 There are a number of reasons to present a Gallery of Illusions .................................................................................................................................................. 3 ILLUSION ........................................................................................................................................................................................................................ 4 Types of illusion............................................................................................................................................................................................................................................ 4 History of Illusions ........................................................................................................................................................................................................................................ 4 Examples Of Illusions ................................................................................................................................................................................................... 5 Technical study of museum ........................................................................................................................................................................................ 6 Shape of rooms .......................................................................................................................................................................................................................................... 6 Placement of doors................................................................................................................................................................................................................................... 6 Types of Exhibits .......................................................................................................................................................................................................................................... 6 Classification of exhibits: .......................................................................................................................................................................................................................... 6 Mode of display ......................................................................................................................................................................................................................................... 6 Measurement .............................................................................................................................................................................................................................................. 6 Exhibition rooms .......................................................................................................................................................................................................................................... 6 Visual Perception ....................................................................................................................................................................................................................................... 6 Circulation.................................................................................................................................................................................................................................................... 7 Circulation Patterns ................................................................................................................................................................................................................................... 7 Circulation for Elderly and Handicapped .......................................................................................................................................................................................... 7 Pacing ........................................................................................................................................................................................................................................................... 7 Lighting.......................................................................................................................................................................................................................................................... 7 LIVE CASE STUDY........................................................................................................................................................................................................... 8 1.Salar Jung Museum : ................................................................................................................................................................................................ 9 1.

Location ................................................................................................................................................................................................................................................... 9

2.

Collection size ......................................................................................................................................................................................................................................... 9

3.

Visitors :................................................................................................................................................................................................................................................... 9

4.

AREA : ...................................................................................................................................................................................................................................................... 9

DISTANCE FROM ............................................................................................................................................................................................................................................. 9 INTRODUCTION ............................................................................................................................................................................................................................................... 9 Galleries .......................................................................................................................................................................................................................................................... 9 2. B. M. Birla Science Museum , Hyderabad............................................................................................................................................................ 12 Location...................................................................................................................................................................................................................................................... 12 Area : ........................................................................................................................................................................................................................................................... 12 ESTABLISHED IN .......................................................................................................................................................................................................................................... 12 Distance from............................................................................................................................................................................................................................................ 12 INTRODUCTION ............................................................................................................................................................................................................................................. 12 FLOOR OF ILLUSIONS..................................................................................................................................................................................................................................... 12 Lower level (cellar) (Fig.42) : ........................................................................................................................................................................................................................ 12 First Upper level (First floor) (Fig.44) : ......................................................................................................................................................................................................... 12 Second Upper level (Second floor)(Fig.45) :................................................................................................................................................................................................ 13 LITERATURE CASE STUDY ............................................................................................................................................................................................. 14 1.The Bihar Museum ................................................................................................................................................................................................... 15 Location ......................................................................................................................................................................................................................................................... 15 Introduction .................................................................................................................................................................................................................................................. 15 Departments ................................................................................................................................................................................................................................................. 15 Collections ..................................................................................................................................................................................................................................................... 15 History ........................................................................................................................................................................................................................................................... 15 Architecture of Bihar Museum...................................................................................................................................................................................................................... 16 Vision and Mission of Bihar Museum ........................................................................................................................................................................................................... 16 MAYA : CENTER OF ILLUSIONS.

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DESIGN THESIS. Galleries ........................................................................................................................................................................................................................................................ 16 Orientation .................................................................................................................................................................................................................................................... 17 THE MUSEUM................................................................................................................................................................................................................................................ 17 Children’s Gallery .......................................................................................................................................................................................................................................... 17 Nature trails at the Wildlife Sanctuary ......................................................................................................................................................................................................... 17 Arts and Culture Section comes alive ........................................................................................................................................................................................................... 17 Collection Section.......................................................................................................................................................................................................................................... 19 Courtyard ...................................................................................................................................................................................................................................................... 19 Bauhaus ...................................................................................................................................................................................................................... 20 FURNITURE .................................................................................................................................................................................................................................................... 20 SYMBOLS & MOTI FS ..................................................................................................................................................................................................................................... 20 DECORATIVE ARTS......................................................................................................................................................................................................................................... 20 Design process ........................................................................................................................................................................................................... 21 Site selection ................................................................................................................................................................................................................................................. 21 SITE ANALYSIS ............................................................................................................................................................................................................................................... 21 Zoning............................................................................................................................................................................................................................................................ 22 Types of spaces (Fig. 79 ) ....................................................................................................................................................................................................................... 22 AREA PROGRAM ......................................................................................................................................................................................................... 23 SHAPE AND FORM ANALYSIS: ................................................................................................................................................................................... 24 HERITAGE OF MYSORE .................................................................................................................................................................................................................................. 24 ARCHITECTURAL BUILDINGS ......................................................................................................................................................................................................................... 24 CONCLUTION : ............................................................................................................................................................................................................................................... 25

MAYA : CENTER OF ILLUSIONS.

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DESIGN THESIS.

Introduction A building where objects of interest are collected, conserved, exhibited and interpreted. The discipline of designing, organizing (curating and preparing exhibits), and directing museums is called museology. Museums continue to evolve and change. New technologies, emerging art forms and collections, and diverse audiences have given rise to new museums and exhibition environments. The functional and operational requirements that is unique to the museums.

An illusion is a distortion of a sensory perception. Each of the human senses can be deceived by illusions, but visual illusions are the most well known. Some illusions are subjective, different people may experience an illusion differently. Illusions are a very nice window into how the brain works, because illusions can reveal the hidden constraints of the visual system in a way that normal perception fails to do so. In addition, illusions are fun, because they combine both the element of joy as well as the element of surprise. Many illusions are found in architecture. Many of these were recognized long before painting developed beyond its primitive stages. The classic Greek architecture displays a highly developed knowledge of many geometrical illusions and the architects of those far-off centuries carefully worked out details for counteracting them.

ILLUSION MUSEUM: There are different kinds of illusions. For many years many people around the world have been working on the illusions and implementing in different ways .In order to preserve and exhibit to the people one museum is required. When the illusions are placed in the environment like museum, the space shall carry a special interest. And also the ideas about the possibilities to make wonders with shapes and materials. It is most like a learning place and entertainment to help the students and people to give idea about the illusions while having fun.

Illusions can be in different mediums like paintings, sculptures and interactive exhibits. These kinds of exhibits can be preserved and displayed in the museum.

Fig.1A : ILLUSION

Aims and objectives: 1.

2.

3.

4.

To achieve the expression of freedom in the form and display spaces.

To improve the aesthetics in the form and finishing.

To make dynamic and interesting spaces with illusions (FIG. 1B).

And also to make museum spaces more interactive and illusive.

Fig.1B : ILLUSION AND FUN

Scope and limitations: The illusions are related to geometrical shapes, colors, materials, light and many things. The concept of illusion can give lot of scope to think and achieve the functional spaces more lively and with lot of expression. It helps to develop the futuristic ideas for the designing all kinds of architecture needs. All the illusions which can be achieved on paper cannot be achieved in architectural form, some illusions might possible.

There are a number of reasons to present a Gallery of Illusions 1.

2.

3.

Basis to learn about Sensation and Perception Basis to learn about Research Methods in Psychology* Presentation of visual effects which may interest artists and graphic artists.

Fig.1B : SCOPE OF ILLUSION.

Fig.1B : PERCEPTION AND ILLUSION. Fig.1B : PSYCHOLOGY AND ILLUSION.

MAYA : CENTER OF ILLUSIONS.

Fig.1B : VISUAL EFFECTS WITH ILLUSION.

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DESIGN THESIS.

ILLUSION An illusion is a distortion of a sensory perception, revealing how the brain normally organizes and interprets sensory stimulation. While illusions distort reality, they are generally shared by most people. Illusions may occur with more of the human senses than vision, but visual illusions, optical illusions, are the most well known and understood. The emphasis on visual illusions occurs because vision often dominates the other senses. For example, individuals watching a ventriloquist will perceive the voice is coming from the dummy since they are able to see the dummy mouth the words. Some illusions are based on general assumptions the brain makes during perception. These assumptions are made using organizational principles, like Gestalt, an individual's ability of depth perception and motion perception, and perceptual constancy.

Types of illusion An Optical Illusion It is caused by info received by our eyes then wrongfully interpreted by the brain (fig 1). The main causes of illusions are Physiological and Cognitive.

 Physiological illusions It is caused by excessive stimulation of brightness, color, contrast, movement, etc.

Examples: Afterimages such as seeing "spots" after getting a camera flashed in your eyes (fig 3).

Fig.2 : OPTICAL ILLUSION

Fig3. Physiological illusion

Fig.4: DISTORTING ILLUSION

Fig.5 : AMBIGUOUS ILLUSION

 Cognitive illusions Interact with our natural visual assumptions and are misinterpreted. Cognitive illusions are divided into ambiguous, distortion, and paradox illusions.  Ambiguous Illusions Are images that 'change' appearance right before our eyes (fig 5). Perception switches back and forth -- as available visual data does not confirm a single view. Illusions that give the impression of motion also fall into this group.  Distorting Illusions Produce distortions of scale, size, or curvature.(fig 4).  Paradox illusions Include images that are contradictory or not possible. These illusions are caused by our brain's misunderstanding that adjacent edges must join. (fig 6).

History of Illusions The renaissance artists had clearly achieved through careful observation of nature, including studies of anatomical dissections, was a means to recreate the 3dimensional physical reality of the human form on 2-dimensional surfaces. In part, the Fig.6 : PARADOX ILLUSION key to this achievement lay in understanding the underlying, hidden structure of the Fig.7 : COLONNADS . human body which then enabled the artist to produce realistic representations of what he saw on the flat surface of a wall in the case of frescoes or on a wooden panel or paper in the case of drawings.

The colonnade (fig 7) of the Annunciation is a mathematical -- and artistic -- tourde force, and is reminiscent of the architectural tromp l'oeil of an actual "perspective" colonnade in the Palazzo Spada, fashioned by Galileo's contemporary, Boromini, in Rome. Here you can see the long colonnaded portico, with a monumental sculpture in the distance. But this is actually an illusion, a trick of the eye played with the help of mathematical perspective, and the trick is revealed as these two figures of equal height show the perspective at work. Mathematics was equally important to Renaissance artists in determining the correct proportions for the figures they drew. Leonardo da Vinci followed such principles explicitly, measuring not only the proper proportions of the human head.

M. C. Escher (a famous illusion artist) Maurits Cornelis Escher (June 17, 1898 – March 27, 1972), usually referred to as M. C. Escher, was a Dutch graphic artist. He is known for his often mathematically inspired woodcuts, lithographs, and mezzotints. These feature impossible constructions, explorations of infinity, architecture, and tessellations( fig 8).

Although Escher did not have a mathematical training—his understanding of mathematics was largely visual and intuitive—Escher's work has a strong mathematical component, and more than a few of the worlds which he drew are built around impossible objects such as the Necker cube and the Penrose triangle. Many of Escher's works employed repeated tiling called tessellations. Escher's artwork is especially well-liked by mathematicians and scientists, who enjoy his use of polyhedra and geometric distortions. For example, in Gravity, multi-colored turtles poke their heads out of a stellated dodecahedron. Many museums include original works of Escher. Some leading public collections include the following: The National Gallery of Art in Washington, D.C., The National Gallery of Canada in Ottawa, The Israel Museum in Jerusalem, The Escher Museum at The Hague, The Netherlands, and the Fine Arts Museums of San Francisco. Escher's work appears in many of the finest private collections including the Schwartz Collection of Boston, the Walker Collection of San Fig.8 : ILLUSION WORKS. Diego, the Vess Collection of Detroit, the Roosevelt Collection of Palm Beach, the Price Collection of Connecticut, and the Elder Collection of San Francisco.

Illusions are a very nice window into how the brain works, because illusions can reveal the hidden constraints of the visual system in a way that normal perception fails to do so. In addition, illusions are fun, because they combine both the element of joy as well as the element of surprise.

MAYA : CENTER OF ILLUSIONS.

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DESIGN THESIS.

Examples Of Illusions 1. The figures beside ( fig .9)represent probably the best known of all ambiguous depth figures, and many such figures exist. Fixate on any one of them and with very little effort you should experience a spontaneous depth reversal. In some cases you will perceive a change in orientation and in others the numbers of cubes or prongs will change.

Notice that your brain only chooses one interpretation at a time, and not some odd mixture of both interpretations. Your visual system is constrained by how it interprets a two-dimensional image into a three-dimensional mental representation.

These two-dimensional figures suggest a three-dimensional object, but these drawings also give contradictory cues for depth perception. The two-dimensional figure is unstable because in the real three-dimensional world, these figures could equally exist in one of two different configurations. When two constraints are in conflict you get an ambiguous figure, which "flip-flops."

2. Move your eyes around the image (fig. 10). Does the circular middle section appear to separate from the rest of the figure? Does it appear to be at a different depth and even move? Consistent with this, the man in the background appears to be further away from you than the person in the foreground.

What is not consistent, however, is that the background figure is not proportionally smaller to its identical counterpart in the foreground.

3. When a figure normally recedes into the distance, it gets smaller, i.e., its visual angle gets smaller. Here, the background figure remains the same size (and same visual angle) as the foreground figure. Your visual system assumes that since both figures have the same visual angle, but are at differing distances, the one in the background must be larger (fig 11). This demonstrates that what you see is not necessarily what you perceive. Your visual system is constantly making inferences based on constraints derived from the regularities of your visual environment. You can discover some of those normally hidden rules by playing with this demonstration. For example, if you move the background Fig.10 : ILLUSION eg.2 figure to the same elevation or height as the foreground figure, the size illusion disappears. This is because, on a level surface, as objects recede into the distance, not only does their visual angle get smaller, but they also rise in the visual field in relation to the horizon.

Fig.9 : ILLUSION eg.1

Fig.11 : ILLUSION eg.3

4. This illustration depicts two people on a level surface at differing distances (fig 12). The man in the background,

although smaller, looks perfectly normal when compared to the man in the fore ground. In the lower right, you will see that the man in the background has been brought to the same elevation as the man in the foreground. Now you have another size illusion. This illustration is the opposite of the previous Shepard illustration. In the Shepard illustration, the foreground figure (normally with a larger visual angle) is placed in the background. This causes the background figure to appear larger in comparison with the foreground figure. In this illustration, the background figure (with the normally smaller visual angle) is moved to the foreground. Why do the two identical twins in this room appear to be drastically different in size? There are two illusions associated with the Ames Room (fig 12). First the room appears cubic when viewed monocularly from a special viewing point (the true shape of the room is trapezoidal). Secondly, within an Ames Room people or objects can appear to grow or shrink when moving from one corner to the other. When you look (through a peephole -- to remove any cues from stereopsis) into an Ames Room, the room looks normal and cubic, but its true shape is cleverly distorted. The floor, ceiling, some walls, and the far windows are actually trapezoidal

Fig.12 : ILLUSION eg.4

surfaces. Although the floor appears level, it is actually at an incline (the far left corner is much lower than the near right corner). The walls appear perpendicular to the floor, although they are actually slanted outwards. This diagram shows how the Ames Room forms an identical image of a normal cubic room on your retina (fig 13). If a straight line (representing a ray of light) is drawn from one corner of an imaginary cubic room to your eye, the corner can meet this ray at any point along its length and still appear cubic. Since the two visible corners of the room subtend the same visual angle to the eye through the peephole, the two corners appear to be the same size and distance away. The left corner, however, is actually twice as far away as the right corner. When the view sees the room from another angle the true shape of the room is revealed.

5. The retinal image produced by the distorted room is identical with (and therefore indistinguishable from) that of a normal cubic room. In fact, there are an infinite number of possibilities that will Fig.13 : AMES ROOM ILLUSION eg.4 give rise to this same retinal image. How does your visual system discard this infinity of possible Ames Rooms and settle on one single interpretation? When you enter the house, you will notice that it has a strange tilt. All references to the true horizontal are removed from your sight. This is always true whether you are just outside the house or inside it. For example, there is always a wooden fence around the house to remove any significant comparisons to the true horizontal. The anti-gravity house is actually built at an angle of 25°off the true horizontal. This will explain every effect seen. Once in the area of an anti-gravity house you are always comparing the effects to what you are used to -- normal-level floors and walls that are perpendicular to the ground.

6. The Leaning Off Walls Effect: On the Fig.14 you see the actual tilt of the house to the true horizontal. Both people are perpendicular to the true horizontal. On the left-bottom, you see the situation as it is perceived by the people inside the room. They have no access to the true horizontal, and are judging their surroundings by a horizontal that is created by the Fig.14 : LEANING room. This causes one to have an internal change of reference frames, which causes the WALL ILLUSION people to appear as they are actually leaning off the walls. eg.6

7. Clinging Objects Effect: The same reason as above accounts for this mysterious phenomena. In the middle-top diagram you can see that the Earth's gravity fully holds the chair against the wall. However, to the observer inside the room, the chair appears to mysteriously stay against the wall.

8. Objects Rolling/Water Flowing Uphill: On the right-top diagram, the board or trough is at a very slight downhill incline from the true horizontal (about 5 to 7 degrees). On the right-bottom, you can see how the effect appears to the observer. The house is tilted at an angle of 25 degrees. Someone inside the house perceives the upwards incline of the ramp to be 20 degrees, which is a pretty dramatic incline!

MAYA : CENTER OF ILLUSIONS.

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DESIGN THESIS.

Technical study of museum Shape of rooms The rooms which are all of same size become very monotonous (fig 15). By varying the dimensions and relation between height and width and also by using different colours for the walls and different kinds of flooring we can provide a spontaneous and unconscious stimulus to attention monotony also results when a number of rooms follow the another in a straight line. When this cannot be avoided, the doors should not face one another providing a telescopic view trough the buildings.

Placement of doors

Fig.15 : SHAPE OF ROOMS.

The doors should be placed in such a way that visitor coming through will the full length of opposite wall. It is therefore not advisable for it to face window, since the visitor will then be dazzled just as he comes in(fig 16).

Oblong rooms, divided by partitions to certain height but with one ceiling and skylight however be avoided. This system has proved unsatisfactory worth from aesthetic and functional point of view. A square room when it exceeds a certain size about 7mts, has no advantage over an oblong one either from the point of view of cost or from that of use of space in the satisfactory display of exhibits, especially if they are rare paintings. 20 (a) to floor plans for the location of doors in relation to the use of space.(1) Traditional location of doors. (2) to (8) secondary doors. (9) to (15) polygonal enclosures.

Types of Exhibits

see

(d)

Fig.16 : PLACEMENT OF DOORS.

They can be divided as follows:  Static exhibits: These are historic exhibits, reproduction of original objects.  Active exhibits: They are the exhibits which are static till a visitor activates them into producing sound and motion. Working models are the best examples.  Interactive exhibits: They are the most advanced and allow the visitor toactivate and give them a multiple choice of options and then give various results. The visitor can accommodate with exhibits. These exhibits allow the visitors to experiment.

Classification of exhibits:  Permanent exhibits  Temporary exhibits The permanent exhibits undergo periodical change from 5-10 years. The changes are minimal but they have permanent effects and goals to achieve.

The temporary exhibits, the museum organizes the exhibition for a limited period and for a specific cause. They are two spaces internal and external.

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

Measurement The approximate eyelevel and the levels of comfortable visibility are given in the figures with little eye movement people usually see and recognize the things which are within an approximately, elliptical come of vision with apex at the cone at eyeball height (fig 17). Studies have shown that in general the adults absorb an area only about one foot above his own eye level to 3 feet below it at an average distance of 24‖-48‖ arraying objects above or below these limits, places a strain on seldom used muscles and produces aching backs, tired feet, burning eyes and stiff necks some large objects such as to temples or dinosaurs will inevitably saw above these viewing limits. The visitors must be permitted space to back away from the object to comprehend it.

Measurements of adult and six year old visitors in relation to cases. Right side picture shows the difficulties encountered in viewing details more than 3ftbelow or 1ft above one‘s eye level. Viewing distance should increase with greater size of object.

Exhibition rooms

Fig.17 : PLACEMENT OF DOORS.

Certain general relationships between spaces and such preferred organizations on plan and selection may increase the possible museum user in other words some building forms, but never only one make museum installation easier than others, principally these performances concern the movement of the visitors. Except for the isolation exhibits, the typical museum experience is one of the image viewing in a sequence. Which refused by a walking observer meeting static objects, the design may ensure if necessary that the images are viewed in one particular sequence with themes in which objects are not icons but are to be viewed in context with proceeding and succeeding ones. The theme comes first and then objects of various kinds are devised and assembled in some sequence that would produce a message of that communicates the theme. (Fig.18)

Visual Perception The following list of factors must be considered in the qualitative analysis of visual perception. Experience and attention of the observer. The characteristics of the form, optical size inherent contrast, colour, texture, secularity, reflectance etc. Simultaneous contrast context information content, patterns figures background separation etc. Adaptation illumination qualities geometry dispersion characteristic directionality, spectral type, quality polarization number and type of sources consistency of directional characteristics and color rendering effect etc presence or absence of focus or distraction in the luminous environment.

MAYA : CENTER OF ILLUSIONS.

Fig.18 : EXHIBITION ROOMS.

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DESIGN THESIS.

Circulation Circulating pattern should be designed keeping in mind that there is general tendency to turn right to enter an exhibit hall. Depending upon the rate of flow of visitorstheareasinsidethegallerycanbedescribedbelow:  Areas of constant crowd flow: These are the areas where terse repetitive exhibits that can be easily understood by the visitors are placed.  Areas of crowd slope-age: These are characterized by the general display of nature along with the exhibits of conceptual nature requiring time to absorb.  Areas of variable crowd flow: The exhibits allow visitors to choose among simple and complex exhibits. The circulation of public and staff, service areas has to be separated from each other and the visitor should be able to approach a particular gallery of his or her choice as directly as possible. He should not be obliged to return or proceed through galleries he is not interested in. The location of temporary exhibit hall should take into consideration of the possibility of large number of visitors. A separate entrance is advisable.

Circulation Patterns     

Star/Fan pattern: The main part is generally continuous, but the path leads to series of self contained units which have a more varied path within them.

Arterial pattern: The main path is continuous and no option exists for the visitors. It is used where presentation is dependent upon a fixed sequence.

Block pattern: This is the most commonly used pattern in the interactive sessions of science and technology museums. It offers a relatively unconstructed pattern which can be random and self directive as desired by a visitor.

Comb pattern: Main circulation path and optional alcoves are provided which a visitor may enter or bypass.

Radial pattern: This pattern is a series of alternatives from a central area.

Circulation for Elderly and Handicapped Their need should be met according to the guidelines below: Usage of ramps and doorways to accommodate wheel chairs frequent and easily accessible resting areas. (Fig. 19)

Pacing    

Pacing is a means of reducing both mental and physical fatigue for the museum visitor. Methods of pacing: Providing contrasts and diversity in spaces so as to hold visitors interest.

Easy organization and layout of spaces for easy orientation.

Provision of rest areas to change of pace activities.

Fig.19 : CIRCULATION FOR ELDERLY AND HANDICAPPED

Lighting Lighting is of primary importance in visual oriented buildings like museum. The following guidelines may be followed in creating luminous environment. The amount of light to view exhibits in less than to perform tasks.

Both daylight and artificial light must be taken into account. Colour temperatures must be considered and need for natural light must be explored(fig 20). Qualitative aspect of light must be considered, glares should be avoided. Natural light must be controlled by using louvers, blinds etc, use of high level lighting for even light and more display diffuse. Point source of artificial light can create exception glare, hence careful choice must be done(most applicable tungsten halogen and florescent).

Even in well day lit room electrical lighting is to be used on winter afternoons when daylight fades. When side lit room deep enough for work requiring luminance 500 to be carried out at a distance from window greater than height of window head above working place, electrical light required for more than 15% of the working year as day light factor will probably be less than 10%. If tinted glazing is used these depths are greatly reduced.

Therefore the general lighting luminaries should be arranged in rows parallel to window wall and each row should have Fig.20 : LIGHTING METHODS separate switches. The switches should be located so that they can be conveniently operated by occupants.

Florescent lamps should be chosen from intermediate colour range compatible with the colour rendering requirements and with warmth of lighting required at night. For maximum conservation if energy automatic control should be installed in a new building to switch off or preferably dim those rows of luminaries lighting the work areas which are not required when daylight rises to provide luminance at that depth such that full electrical lighting is not necessary. In top lit interiors with sufficient glazing to provide an average daylight factor of 10% over working year for tasks on which 500lx required and for longer than this where higher luminance required or DI provided. The whole installation can be linked to a photo electrics witch or photo electric dimming control where florescent lighting is used.

MAYA : CENTER OF ILLUSIONS.

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DESIGN THESIS.

LIVE CASE STUDY.

MAYA : CENTER OF ILLUSIONS.

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DESIGN THESIS.

1.Salar Jung Museum : 1.

Location: Nayapul , Hyderabad

, Telangana , India 2. Collection size : 1.1 million objects 3. Visitors : 11,24,777 as on March 2009 4.

AREA :

DISTANCE FROM 1.

2.

3.

4.

RAILWAY STATION : BUS TERMINAL: AIRPORT : CHARMINAR :

Fig.21 : RIVER VIEW OF MUSEUM Fig.21 : MAP LOCATION.

INTRODUCTION The Salar Jung Museum is an art museum located at Darushifa, on the southern bank of the Musi River in the city of Hyderabad, Telangana, India. It is one of the three National Museums of India[2] It has a collection of sculptures, paintings, carvings, textiles, manuscripts, ceramics, metallic artifacts, carpets, clocks, and furniture from Japan, China, Burma, Nepal, India, Persia, Egypt, Europe, and North America. The museum's collection was sourced from the property of the Salar Jung family. It is one of the largest museums in the world.

Fig.22 : OLD ENTRANCE.

Galleries

Fig.23 : THE NEW BUILDING.

The museum building, semicircular in shape with 38 galleries, spread on two floors, displays only a part of the original collection. The ground floor has 20 galleries and the first floor has 18 galleries. The exhibits on different subjects are displayed in separate galleries.

Apart from the galleries, there is a reference Library, reading room, publication and education section, chemical conservation lab, sales counter, cafeteria etc. Guides are available at fixed timings free of charge.

The Museum that is dream for any art visionary is blessed to be the third largest museum in India that features the greatest number of one-man collection of antiques. The museum was a noble attempt of Nawab Mir Yosuouf Ali Khan, Salar Jung III, former Prime Minister of the seventh Nizam of Hyderabad, who wished to take the priceless collection on a much larger platform.  The portraits of the Salar Jung, the Nizams of the Hyderabad city can Fig.24 : ANTIQUES GALLERY. Fig.25 : FOUNDERS GALLARY be found in the Founder's Gallery (Fig.25).  The Indian art is exhibited in an assortment of stone sculptures, bronze images, painted textiles, wooden carvings, miniature paintings, modern art, ivory carvings, jade carvings, metalware, manuscripts, arms & armor etc.  Middle Eastern Art in the collection of carpets, paper (manuscripts), glass, metal-ware, furniture, lacquer etc. These have been collected from Persia, Arabia, Syria, and Egypt. (Fig.24 , Fig.26)  The Museum is also horded with porcelain, bronze, enamel, lacquer are, embroidery and paintings, which have been skillfully done in China, Japan, Tibet, Nepal and Thailand.  The European chamber of artifacts in the Salar Jung Museum comprises of oil and water paintings. These paintings originate from Fig.26 : ANTIQUES GALLERY Fig.27 : CLOCK GALLARY countries like England, France, Italy and Germany. A well-preserved library within the museum provides a rare treat to all book lovers.  The main attractions of the museum are the statue of Veiled Rebecca, crafted knives of Mughal Emperor Jehangir and Queen Noor Jehan, famous European paintings like Venice, etc.  A huge clock in which a tiny soldier comes out to strike the gong should not be missed and is a special attraction of the Salar Jung Museum (Fig.27).

THE BLOCKS (Fig.28) :

   

A– Main block B– Western block C– Far Eastern block D– Entrance gate

Fig.28 : BIRDS EYE VIEW OF THE MUSEUM.

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DESIGN THESIS. GROUND FLOOR (Fig. 29, Fig. 30) 1-Founder‘s privacy 2-Founder‘s gallery 3-Bronzes and painted textiles 4-Palkees 5-Indian sculpture 6-Minor arts of south India 7-Indian textiles and mughal glass 8,9,10,12- Children‘s section 11-Ivory room 13-European statuary 14-Arms gallery 15- Metal ware 16-Modern Indian paintings 17-Indian miniature paintings a- Museum shop b-Canteen c- Ladies toilet d- Clock shed.

Fig.29 : GROUND FLOOR PLAN 1

First floor galleries (Fig.31) : 18- Japanese art 19- Chinese art 20- Far eastern statuary 21- Kashmir room 22- Far eastern porcelain 23- Manuscripts 24- Clock room 25- Carpets 26- Egyptian room 27- European bronzes 28- Jade and other mineral objects 29- European glass 30- French room 31- Store 33-Western paintings 32- European porcelain

Fig.30 : GROUND FLOOR PLAN 2

Fig.31 : FIRST FLOOR PLAN

Third floor: 1-Board room 2-Documentation section 3-Directors chamber 4-PA to director 5to8- Keepers rooms 9-A&AO room 10-ADM & Account office 11- Board office 12- Stores (office) 13-Photo section 14- Keeper (display) 15-Picture restoration section 16-Store for display section 17Conservationlaboratory 18- Chemist.

Fig.32 : THIRD FLOOR PLAN.

The main building is having four floors. Ground and first floors are having galleries. Second floor is having library and stores. Third floor is having administration area. Second and third floors are restricted from public entry. The western and far eastern blocks are connected to the main block in the first floor. The two blocks are also having separate entrances in the ground floor of the blocks.

Fig.33 : SCULPTURES  Security check and the surveillance area are provided at the entrance lobby.  There are 38 galleries in the main block spread in two floors. The ground floor has 20 galleries and 18 galleries on the first floor.  For getting relief from museum fatigue the visitors are provided with benches in the corridors of the galleries  Separate toilets for Gents, ladies and physically challenged people are provided on all the floors.  Sculptures were arranged in corridor spaces (Fig.33).  Large courtyards which are open to sky for good light into the corridors. Landscaping was done with palm trees and other plants.  Wide corridors of 10‘0‖ width.  Fire fighting equipment is provided.  Galleries are illuminated with the artificial lighting (Fig.35).  AC is provided in all the galleries. AC ducts are visible in the corridors.  Visitors are not allowed to go to second and third floors (Fig.34).

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Fig.34 : LIBRARY.

Fig.35 : FRENCH GALLERY

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DESIGN THESIS. Far Eastern Block (Fig.37) : This block is connected to the main block of the museum at the eastern side of first floor. It consists of only two floors.

•A separate entrance to the block is provided in the ground floor of the block.

•Ground floor is having the administration area where as the exhibition spaces are provided in the first floor.

Western block (or) European block (Fig.36) : •This block is connected to the main block of the museum at the western side of first floor. It consists of only two floors.

•A separate entrance to the block is provided in the ground floor of the block.

•Ground floor is having the administration area where as the exhibition spaces are provided in the first floor.

Fig.36 : WESTERN BLOCK (EUROPEAN BLOCK).

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Fig.37 : EASTERN BLOCK.

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DESIGN THESIS.

2. B. M. Birla Science Museum , Hyderabad Location : Saifabad (Fig.38) Area : Built over 10,000 Sq. Ft. ESTABLISHED IN : YEAR, 1990 Distance from: Railway station : Buss station : Airport : Charminar : Fig.38 : LOCATION

INTRODUCTION Established in 1990, B M Birla Science Museum is located in Saifabad. The Birla Science Museum is another beautiful structure, reflecting the advances made in science and technology. The interior décor matches the architectural exterior of the Centre built over 10,000 Sq. Ft. It is an RCC construction building (Fig.39).

FLOOR OF ILLUSIONS ‘Illusions’ section has exhibits like ‗young or old‘, ‗cage the bird‘ and ‗face or vase?‘, that would tease your grey cells and visual capabilities. The Mechanics section included pedal power, defying gravity, antigravity cone, suspension bridge, pendulum patterns, etc. Holograms, soap films, the marble race, black hole, race the rollers, race the rollers and so on formed a part of the ‗ Perceptions‘ section. The interesting exhibits are, however, invisible string wherein if you run your palm across the wooden instrument thus blocking the light emitted from the bulb(s) hidden in the hollow of the instrument, you can create your own raagas —from classical to western to desi to filmi.

The other interesting objects on display that may catch your immediate attention are see heat, climbing spark, pendulum patterns, black hole, split personality, grow & shrink, color mixer, et al. There is a special section for the kids called ‗Children‘ which has video games, mini cars, airplanes, horses, etc, for their entertainment. However, one major disappointment is that a few of the exhibits are either not functioning or don‘t contain the brief about how they work. The other most interesting objects are the see heat, climbing spark, split personality, color mixer and grow & shrink.

Fig.39 : SITE MAP

Fig.40 : FLOOR OF ILLUSIONS.

Ground Level (Ground floor)(Fig.41) : Area - 23,980 sq.ft.

Interactive science centre, reception, entrance, store, toilet, office and shops are located in this floor.

Interactive science centre is having the galleries like globe & trishul, illusions, electronics, mechanics, glass and mirrors, fun mirrors, colour mixer, store, and children area.

The entrance lobby is finished with granite flooring and the walls are also covered with the red colour granite up to a level of 2.5m height.  Seating is provided around the columns for the visitors in the lobby area.  In the interactive science centre which is also in the same floor, the partition walls are provided to separate the gallery spaces. These are curvilinear and clad with ceramic tiles.  The incandescent lights placed in the steel frames hanging from the ceiling. There is no false ceiling.

Fig.41 : GROUND FLOOR PLAN.

Lower level (cellar) (Fig.42) : Area – 22,820 sq.ft.  Archaeological and art galleries are there in this floor.  A store, exhibit development laboratory and a store have been placed.  A 200 people capacity auditorium is there.  Flooring is done with ceramic tiles.  There is no provision of natural lighting and ventilation  Articles are arranged in showcases with glass.  False ceiling was done with POP.  Gallery spaces are in different levels in flooring.  Porcelain statues, ivory items, books, carpets, vases, metal statues, arms, paintings, excavated ancient materials, wooden crafts, stone sculptures are placed in this floor (Fig.42).

Fig.43 : DISPLAY AREA. Fig.42 : LOWER LEVEL FLOOR PLAN.

First Upper level (First floor) (Fig.44) :      

Area – 23,980 sq.ft. Simulators, NRSA, dwaraka in miniature and Antarctica in miniature are located in this floor.

Satellite pictures are displayed in the remote sensing area.

Gray colour granite tiles flooring in the lobby area.

Some portion of the floor is not in usage.

There is no ventilation in the dwaraka section.

Ceramic tiles flooring in the exhibition areas.

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Fig.45 : SECOND FLOOR PLAN.

Fig.44 : FIRST FLOOR PLAN.

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DESIGN THESIS. Second Upper level (Second floor)(Fig.45) :        

Dinosaurium Area – 14,230 sq.ft., open terrace of 9,000 sq.ft.

Open terrace is having mosaic flooring.

Inside the dinosaurium a skeleton of a sauroped dinosaur is arranged.

3‘6‖ height railing is provided around the skeleton.

Columns are clad with stone fossils in POP. False ceiling is in POP. Dino egg fossil, dino area set, paintings, fossils of ancient materials are arranged.

It is a new section opened in 25th July 2000.

Fig.46 : SECOND FLOOR TERRACE.

Fig.47 : TICKET COUNTER.

Fig.47 : DINOSAURIUM.

Fig.48 : SECURITY TEAM.

Fig.50 : LANDSCAPEIN THE PREMISES.

Fig.46 : WAY TO SECOND FLOOR.

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Fig.46 : MAIN ENTRANCE

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DESIGN THESIS.

LITERATURE CASE STUDY

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DESIGN THESIS.

1.The Bihar Museum Location   

Address: Bihar Museum Jawaharlal Nehru Marg (Bailey Road) Patna 800 001(Fig.52).

By Air : Nearest airport is Patna International Airport. The museum is around 4kms away.

By Rail : Nearest railway station is Patna Junction. The museum is around 2.5 ams away.

Fig.51 : THE MUSEUM.

Introduction It is situated on a 13.5 acre plot on Bailey Road in Patna (Fig.51). The total built-up area is 24,000 square meters and the total gallery spaces add up to an area of 9500 square meters.

For this project, Maki and Associates of Japan teamed up with OPOLIS Architects of Mumbai, India.

Japanese architects Maki and Associates were selected through a competition. The design they submitted was unique for several reasons (Fig.53). For one, they saw the building as an Expanse. They wanted visitors to feel the sense of time by walking through spaces to understand the context of history in the present moment. They also envisaged travelling through it as a Journey to show the epic scope of the narratives of history. It has a dispersed plan and stretches out long (Fig.54), not high, just two floors. Maki and Associates brought in the concept of ‗Oku‘ to enhance the perception. One moves from cloistered spaces to Fig.52 : LOCATION MAP open spaces, alternating between anticipation and contemplation(Fig 56 an 57).

More than 2000 years ago people in this region worked with metals and had developed advanced techniques compared to other parts of the world. The architect‘s saw this as a Symbol of pride. The iron pillar in Delhi is estimated to have been made by a Gupta king. The pillar‘s mix of metals has retained it rust-free. Hence, Maki and Associates sought to use Cor-ten steel plates as cladding to enhance my building in a permanent way, reminding people of the origins of metallurgy in this region.

It‘s a place of Learning. It‘s the primary function – an institution reflecting Bihar‘s pride where people can discover various facts and become informed about the rich history Fig.53 : VIEW OF THE MUSEUM. and natural history of this region. It was from here the seed was sown for the Tree of Wisdom to grow. Rulers from this very land once united the greatest empires of ancient India. It‘s built for people to come and explore, and learn something new every time they visit it. Through Expanse, Journey, Symbol and Learning Landscape, one will have many experiences of the spaces.

Departments The Museum is organized in five departments:  Executive – Policy and strategy development and overall oversight  Administration, Finance and Facility Management Department– Policy and systems advisory, accounting, payroll, human resources/benefits management, staff training, facility management, maintenance and security Fig.54 : VIEW OF THE MUSEUM.  Exhibitions and Collections Department – Exhibition planning and development, utilization of collections  Education and Public Programs Department -Public and educational programs, including curriculum planning  Marketing, Revenue Generation and Visitor Services Department – Marketing strategy and packaging opportunities, media purchasing, website management, visitor services.

Collections      

The Bihar Museum‘s collection comprises of art objects (stone and bronze sculpture , miniature paintings and thangkas) , prehistoric objects , anthropological artifacts and social history objects.

The permanent collection galleries of the Bihar Museum have two basic components – the history galleries and the art gallery. The Museum‘s collection of artifacts and artworks on exhibit tell the story of ancient Pataliputra and Bihar from earliest times to the 18th century.

Cataloguing and digitization is an ongoing activity at the Bihar Museum, which will enable proper utilization, records

Fig.56 : COURTYARDS

and conservation of the collections, made accessible to authorized personnel.

The Bihar Museum is the official repository of pre-1800 archaeological finds within the state and all future notable archaeological finds will be stored here.

The Museum aims to continue to develop and grow its collection through research-based activities and potential partnerships with local, regional and national museums and repositories.

The Museum will develop both display collections and study or research collections, but will limit collection growth by being selective about the materials it accessions into the collections.

History Patna is a city with a storied past and this land saw the advent of many glorious civilizations. The history of this city unravels like a ball of thread that surprises you with twists and turns as we travel over two millennia. The Fig.57 : COURTYARD LANDSCAPE Patna Museum established in 1917 will soon turn a century old along with the date of discovery of its most cherished and visited artifact – the world famous Didarganj Yakshi, a statue of monumental Mauryan vision. In the state of Bihar, the need for a new museum was seriously felt, the Patna Museum having limitations, both in physical space as well as in its design and methods of presentation. Department of Art, Culture and Youth, State of Bihar (DACY) proposed a new Museum on Bailey Road on the site west of the Patna Museum. Commonly known as the Jadu Ghar, literally house of magic, to most residents of Bihar, the Patna Museum has celebrated artifacts and collections. Many of these objects of history and art are relocated to the new Museum with the vision of making it a central focus to celebrate the glorious history of this region, a catalyzing force that united ancient India. With this in mind, based on competitive bidding, the world‘s largest and leading firms, Lord Cultural Resources were commissioned to do the planning of a world-class Museum in Patna.

The existing Patna Museum was the starting point for the new Museum and the vast collections from the Patna Museum were carefully researched and analyzed. It was decided to keep much of the natural history as part of the interpretation of that existing Museum as the large silicified tree that was cemented into the ground. This also became the signifier of the natural history collection at the present Patna Museum. At Patna Museum, it was proposed new exhibits would be added, exploring the modern history of Bihar from the colonial period forward, with a focus on the heroism of the struggle for independence and the achievements of Bihar and India since Independence.

The direction for the new Bihar Museum was provided by the Chief Minister and senior levels of the Bihar State government. The Bihar Museum will focus on human history. The permanent collection galleries of the Bihar Museum have two basic components – the history galleries and the art gallery. There are

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DESIGN THESIS. also the Orientation Gallery and Special Displays. From the collections culled from the existing Patna Museum, the Bihar Museum represents artistic heritage from ancient times, thematically as works of art. There are dedicated areas on the tribal arts, crafts and performing arts of the various regions of Bihar.

The Museum is visualized especially keeping the needs of Bihari residents in mind, to create a sense of belonging for people of the State and to create an inspiring environment for children and youth to learn and progress. It attracts a crowd from world over and is an exciting tourist destination and cultural hub. The exhibits and displays are tailored to create interactive spaces and people are encouraged to make repeat visits.

Fig.58 : SITE MAP

Architecture of Bihar Museum For the design of the Museum building, world renowned architectural firms were invited to submit their proposals and selection was on a competitive basis.

Japanese firm, Maki and Associates submitted the winning concept, which they proposed to execute with OPOLIS Architects, based in Mumbai. Maki and Associates was established in 1965 by Fumihiko Maki in Tokyo after his 10-year stint in the USA. They are the recipients of many prestigious national and international awards. For the Bihar Museum, Maki outlined a concept that was appealing to the sensory experience, fitting with practical considerations and making provisions for the future growth of the establishment. The architects visualized the Museum as if viewing it through different lenses to expand on four different facets(Fig.58).

The design aimed to create:  The Museum as Expanse – a museum that reflects the many layers of Bihar‘s history.  The Museum as journey – a museum that reflects the memories and epic scope of the Bihar region.

Museum as Learning Landscape – a museum that reflects Bihar‘s educational needs and 4) Museum as Symbol – a museum that reflects both India‘s past and future.

Instead of a building that was compressed in floor area, Maki and Associates elaborated on the advantages of a dispersed scheme whereby the building was spread out and the surrounding landscape integrated harmoniously. This also allowed for the play of courtyards and terraces in the design, seamlessly alternating indoor spaces with outdoor. Wishing for the visitor to discover history by journeying through built spaces, the architects brought the Japanese concept of Oku to engage with the multiple layers of space. Oku creates a sense of anticipation and contemplation as visitors proceed from once space to the next. Maki and Associates have thus created a pleasurable and inviting experience, where stories of the past are enhanced by their adept and sensitive architectural philosophy. Every time you visit the Museum, it will be a renewed experience. From the rush of the world outside, time slows down within the spaces, allowing you to delve deeply into the well of the past.

Building on the idea of a journey through the ―cloisters‖ of Bihar‘s memories, a variety of spaces open up to you: large and intimate, open and sheltered, indoor and outdoor. From this ―macro-experience‖ the architecture allows you to get into the ―micro-level‖ which allows a concentration into the exhibits.

By creating contrasts in the exhibition spaces, the architecture breaks the monotony of the viewing experience. In-between, invigorating outdoor spaces like the Peepal Court, which is a triangular terrace and the Niranjana Aangan, which is a Buddha sculpture courtyard, bring natural elements to be integrated with architecture.

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

The Museum as a symbol of Bihar penetrates the visitor‘s consciousness by its uniquely juxtaposed forms and building materials. Iron has links to India‘s ancient civilizations that thrived in this land and Maki has used weathering steel, also known as Cor-ten Steel, to enhance this symbolic connect with iron, industry and progress. The architecture of the Museum thus works as a constructive shell for ordering the exhibits and to guide the visitor through a holistic process of learning and journeying through an expansive ground to discover the history of India and for each individual to connect with the greater symbolism.

Vision and Mission of Bihar Museum The vision for the new Museum is to be a world-class showcase for the ancient history and heritage of the lands now known as Bihar. It will be a destination for resident Biharis and also for domestic and international tourists alike.

The mission of the new Museum is to celebrate this ancient past and to inculcate a sense of pride in modern-day Biharis

Galleries Bihar Museum‘s History Gallery exhibits follow a chronological order as Prehistory, Pro to history, Early Bihar, the Rise of Magadha and successive dynasties. Thematic zones explore the growth of Buddhism and Jainism, the Mauryan Empire and Ashoka. Other major sections are the Gupta Empire, the important Mahaviharas, the Pala dynasty, the Medieval period and Mughal rule.

The Visible Storage gallery has a unique terracotta collection from Bihar and other major historical sites of the Indian sub- continent. The Coin Storage is attached to this section.

Fig.59 : GALLERY.

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DESIGN THESIS. Historical Art and Regional Art engage with interpretive approaches to art. Bihari Diaspora explores the contribution of Bihari people in making indelible imprints in the history and culture of lands where they settled. Battling extremely adverse conditions, the migrant population along with Bihari greats have impacted the destiny of history, culture and society of India. The Children‘s Gallery is designed as a separate section.

Orientation A series of five panels give an overview of the Museum, the three History Galleries and other galleries as Visible Storage, Historical Art, Regional Art and Bihari Diaspora, Contemporary Art & Temporary Exhibitions. A timeline pinpoints important milestones and significant events in Bihar from prehistory to the 19th century. A map of the Museum is located here.

At the Orientation Gallery, the visitor can find out how experts interpret and write history with the aid of archaeology and historical records. ―New Finds‖ an audio- visual, which shows the latest artifacts (Fig.60) from recent discoveries and the ongoing excavation at Telhara, gives visitors a sense of the continuing search to understand our past. Our perceptions of history are forever changing with new discoveries. ―How we know what we know‖ is an interesting exhibit about how history is created by interpreting archaeological finds, textual accounts and oral traditions. Through four panels, we see the unraveling of history: through the notion of seeking to collectively understand, interpreting records, making connections and lastly, learning from oral traditions – the voices of the past.

An audio-visual presents the many digs across the state of Bihar, revealing the kind of work archaeologists Fig.60 : ARTIFACTS. are engaged in.

Watch the Orientation Film at the Orientation Theatre located at the end of the gallery. The film covers the Mesolithic remains at Paisra in Munger, the Neolithic site of Taradih in Bodhgaya, the Chalcolithic site of Sonepur in Gayr, the dwelling sites of Chirand in Saran, and the painted rock cut cave shelters in Kaimur, Nawada and Jamui. You can see the past work conducted by the Directorates of Archaeology and Museums of Bihar and the Archaeological Survey of India. A special emphasis is given to ongoing work at the historic sites of Telhara and Chausa.

THE MUSEUM Children’s Gallery The orientation exhibits are designed to engage children by transporting them to natural environments and making them curious to learn. A storybook-style illustrated map of India with important places and major transportation routes greets the children at the Orientation Room. A large sculpture of the sparrow (Fig.61) and related exhibits illustrate to young children why the state bird, the sparrow, is endangered. Images are brought to life through flat screen monitors and lenticular printed graphics. Animated animals and historical figures pop out inviting children to discover more about them. Special events of the day can be seen in ―What‘s On Today‖, projected on screens fitted within birdhouses on a stylized tree of Sikki grass.

The wonderful world of the Children‘s Gallery The Children‘s Gallery brings the history of Bihar and natural history alive for children. The gallery is specially designed to ignite the curiosity of young children. Education is combined with entertainment Fig.61 : SCULPTURES OF SPARROW. and enjoyable activities. There are six experiential learning zones – the Orientation Room, Wildlife Sanctuary, history sections on Chandragupta Maurya and Sher Shah Suri, the Arts and Culture section and the Discovery Room. Exhibits illustrate concepts through dramatic recreation and storytelling techniques. Various tools and visual aids encourage hands-on learning and explorations.

Nature trails at the Wildlife Sanctuary In this gallery, children discover and learn to identify animals, birds, trees and plants native to Bihar (Fig.62). A Peepul Shrub display at the entrance welcomes visitors. Next to the peepul, there is a large map with the 21 Sanctuaries and 2 National Parks of Bihar. The map depicts wildlife that can be found in these terrains. Children are made aware of endangered and extinct species of birds and animals as well as species that once existed in the Bihar region. Children will enjoy climbing up to the Machan to view a recreated natural world. From the top you can identify as many species of birds through a telescope as the black-headed Ibis, Painted Stork and Sarus Crane.

Various scenes of natural life with trees, underwater life and rain formation are simulated and you naturally discover the vast animal and birdlife of Bihar. Many of these birds and animals are featured in The Jataka Tales, which come alive when you engage with a touch screen monitor embedded inside a rocky surface. Common trees of Bihar are featured and some like the Sal and Sissoo trees are explored in greater detail.

A giant Banyan Tree houses many resident birds like the Asian Paradise Flycatcher and the Giant Flying Squirrel, which is a mammal.In Central and Southern Bihar, birds and reptiles often live within boulders and rocks which offer protective spaces. An interesting exhibit recreates how the hills become homes for creatures in the wild.

Fig.62 : NATIVE OF BIHAR.

Arts and Culture Section comes alive The primary exhibit is a curved wall with a grid of panels displaying Madhubani art (Fig.63) . Some of the sections hold display monitors and films depict animated dancers painted in Madhubani style.

Children will enjoy watching these animated paintings which are accompanied by music. A large Mauryan-style terracotta horse painted in Madhubani style is a centrepiece attraction.

History Gallery A COMING SOON • From Caves to Empire At History Gallery A, you will walk through the prehistory of the Indian subcontinent, presented in Fig.63 : CARVED WALLS. context to the Bihar region. Unravel the history of Indus Valley, the second urbanization and Haryanka.

Learn about Buddha‘s key disciples, the global spread of Buddhism and the core teachings of Buddhism and Jainism. Marvel in the collection of stone and bronze Tirthankaras showing ‗The life of Mahavira‘ and absorb Jain art. Journey past the Shishunagas and Nandas and witness the rise of the Mauryan Dynasty, Ashoka‘s reign, the Kalinga War and Ashoka‘s turn to peace. Ashoka‘s edicts illustrate the use of Brahmi and other scripts. View a recreation of the impressive architecture of Barabar Caves.

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DESIGN THESIS. Introduction to Gallery A At the entrance, there are four large terracotta jars from Harappa set within a copper clad wall. A map of the gallery introduces the visitor to the various sections.

1.

Prehistory to First Urbanization

Stone tools and artefacts from the Paleolithic and Mesolithic Age are on display. Neolithic celts and grinding stones are exhibited. People of Chirand in Bihar made smaller, more precise tools called microliths to aid them in hunting and farming. From the Chalcolithic Age, there are large terracotta jars, rare copper hoards and tools.

The First Urbanization section showcases advanced skills in pottery and the Harappan civilization. It explores the lost civilization of Indus Valley and the mystery of the Harappan script, which is yet to be deciphered. Here, you can also learn about the origins of Vedic traditions.

2.

Second Urbanization: 16 Mahajanapadas

The 16 Mahajanapadas were the core of sovereign kingdoms formed in ancient India. Of these, Magadha, Kashi and Kosala emerged as principal states.

In this section, you can see an array of punch-marked coins, terracotta and Northern Black Polished ware from those eras. A recreated stone wall with coins and terracotta constitutes a special part of this exhibit.

3.

Stories of Haryanka on a Cyclopean Wall

The Haryanka portion of the Gallery has a Cyclopean wall and an introductory panel presents the rise of Magadha. Under King Bimbisara, the precepts for imperial expansion were established. Rajagriha remained the capital of Magadha during his son Ajatasatru‘s reign and he conquered Kosala, Vajji and Kashi. During this time Pataliputra was in making and emerged as a major city and was designated a capital. Visuals of artefacts from this period demonstrate Ajatasatru‘s respect for Buddhism and Jainism.

4.

Jainism and Buddhism show a way of life

At the entrance to the Buddhism and Jainism sections, there are stimulating visuals on Awakening and similarly at the end of this section, you will see an inspiring landscape at dawn. Stone and bronze sculptures introduce visitors to the philosophy of Jainism and Vardhamana Mahavira. The Buddhism section is detailed with stone and bronze sculptures from different periods elaborating on Buddhism‘s influence on Indian society.

5.

Buddha and expansion of Buddhism

The main highlights of this section include an extensive collection of Gandhara sculptures on the Buddha as well as large Buddhist sculptures. Key disciples of Buddha are introduced. The global expansion of Buddhism is depicted through murals and literature. Buddhism is also showcased through its symbols as bells and stupa.

6.

Mahavira and expansion of Jainism

A display of stone and bronze Tirthankaras elaborate on aspects of Jainism and different Jinas. Symbolic expressions of Jainism through artefacts, exhibits and an extensive collection of statues are showcased. In the Jaina Art and Pawapuri section, a stylized recreation of a Jain Toran against a beautiful wall projection of rippling water can be seen.

7.

Core Teachings of Buddhism and Jainism

The centrepiece of this section comprises a number of small Buddhist and Jain artefacts. Ribbons of fabric are suspended across, making a graphic connection between Buddhist and Jain philosophies. The doctrine of karma and the path to nirvana are explained.

8.

The Rise of Magadha

Enter through a large wooden Toran gate and walk past a vibrant overhead display of a canopy of spears to learn about the mighty armies of the Nandas. Natural resources of the Bihar region aided the growth of Magadha. Rajagriha was established as a major town and the Magadhan empire evolved by garnering authority as a trade centre. The Nanda Dynasty consolidated the first Empire of India and made Pataliputra a strong centre of military activities.

9.

The Great Mauryan Empire

Meet some of this region‘s most fascinating heroes with the rise of the Mauryan Dynasty: Chanakya the prime strategist and counsellor to Chandragupta Maurya who vanquished the Nandas and established the Mauryan empire. Learn about how the Arthashastra was re-discovered. Find out about the Greek ambassador Megasthenes who toured the Mauryan Empire and recorded his impressions in his wonderful account ‗Indica‘. The fabulous achievements of Mauryans in art are on display 10. Ashoka the conqueror and pacifist

Meet Ashoka, India‘s intriguing emperor! This section shows the Kalinga War and its devastating effects followed by Ashoka‘s turn to pacifism. Learn about Ashok‘s Edicts where he refers to himself as ―Piyadasi‖– ‗Beloved to the Gods‘. Ashoka‘s unique model of a welfare state and Dhamma missions are depicted. Find out how Brahmi was decoded and how the Kumrahar excavations revealed various facets of Mauryan history

History Gallery B COMING SOON • Great dynasties to great culture History Gallery B takes you through the Sungas and the Kushanas , aided by art and terracotta exhibits from the period. Mathura and Gandhara sculptures are on display. Kushana sculptures of Balarama, Ekanamsa and Vasudeva are set against a vast mural. You are introduced to the Gupta Empire, art and culture. Explore the history of coins, terracotta and sculptures. Learn about King Harshavardhana. Exhibits on the great Buddhist Mahaviharas and the Monks Cell can be seen with elaborated views on the important Mahaviharas as Nalanda, Vikramashila, Odantapuri and Telhara. There is a section on the Palas and three sections on Pala sculptures.

1.

Visible Storage

COMING SOON • Viewing history through Terracotta and Coins A fascinating array of the Museum‘s precious artefacts allows interpretive study at Visible Storage. You can view and study priceless collections stored in glass cases. The impressive collection of terracotta artefacts includes toys, human and animal figurines. At the Coin Storage, you can distinguish the stylistic influences different dynasties and see the evolution from the earliest currency of punch-marked coins to medieval Muhars and Rupiya. Coins were an important link in discovering history and scholastic research methods are demonstrated.

2.

Fig.64 : TERRACOTTA. of

Historical Art

COMING SOON • Discover our artistic heritage Be enthralled by profound masterpieces from ancient India! Bihar Museum‘s star attraction is the world famous Didarganj Yakshi, a life-size sculpture (Fig.66) that displays the finesse of Mauryan stone-crafting in Chunar sandstone. Exquisite artistry and aesthetics of Bihar‘s history are embodied in the Patna School Paintings and Bronzes, Buddhist and Jain art (Fig.65). Exhibits include Female Deities, Terracotta Artefacts and Hindu Deities. Some 18th century Daniell Prints capture evocative scenes from India during the British Raj. Other pertinent sections have displays of Thangka Paintings of Tibetan art, Buddhist art and selections of medieval miniature paintings.

MAYA : CENTER OF ILLUSIONS.

Fig.65 : ARTEFACTS.

Page 18

DESIGN THESIS. 3.

Regional Art

COMING SOON • Celebrating the arts and crafts of Bihar You will appreciate the delicate skill of local Bihari craftsmanship and learn about its nuances.

The arts and crafts tradition of Bihar is celebrated through creations of master-crafts persons.

Particular cultures are presented through rotating exhibits and shows curated by Bihar regional crafts-persons towards the understanding of living culture.

4.

Bihari Diaspora

COMING SOON • Bihar and the world Fig.66 : SCULPTURES. The Bihari Diaspora Gallery explores the contribution of Bihari people in making indelible imprints in the history and culture of other lands where they settled. The gallery provides the historic context of how Biharis were relocated to countries like Mauritius, Bangladesh and beyond. Some were recruited as labourers in the early days of the East India Company and others explored foreign lands on their own initiative. Activate an interactive map to learn about the origins of Bihari culture, trade routes and how the population has relocated in foreign lands. Aside of the past movements, also discover recent stories of the people of Bihar, their accomplishments and their involvements, to understand the influence Bihar has had around the world. Battling extremely adverse conditions, many common Biharis along with Bihari greats have impacted the destiny of history, culture and society of India.

Collection Section      1.

Bihar Museum‘s stores have a vast coin collection, bronze and stone sculptures, paper documents, thangkas, miniatures and costumes and an array of archaeological finds. These are divided in 7 storage sections according to subject matter and materials. In addition there is a workroom for organizing new acquisitions and a supply store.

The Bihar Museum is the official repository of pre-1800 archaeological finds within the state and all future notable archaeological finds will be stored here.

The Museum aims to continue to develop and grow its collection through research-based activities and potential partnerships with local, regional and national museums and repositories.

The Museum will develop both display collections and study or research collections, but will limit collection growth by being selective about the materials it accessions into the collections.

Cataloguing and digitization is an ongoing activity at Bihar Museum, which will enable proper utilization, records and conservation of the collections, made accessible to authorized personnel.

Coin Vault

Bihar Museum has a wide-ranging and significant coin collection – some 30,000 coins that range across the time of Pataliputra to the modern era including 500 gold coins. The Coin Gallery highlights the best of this collection.

2.

Bronze Sculptures

The Museum is home to many fine bronze images, many which date from the post-Gupta era (6th-9th centuries). The oldest image reportedly dates from the Sunga period (ascendant after the fall of the Mauryan Empire, ca. 185 B.C.E.). As with stone sculpture, most of the subject matter is religious in nature, but the difference here is the relatively larger number of Jain images. (An excellent Mahivira image is on display on the second floor, along with other Jain tirthankaras) The Jain images are dated based on prior cataloguing as mostly from the Kushana and the early Gupta period. Bronze sculptures are much smaller than the stone sculptures, with a good deal of small bronze figurines in the collection.

3.

Paintings and Miniature

The visual art collection consists of Rajasthani miniatures, miniatures of the Patna school and the Delhi school. Most date from the modern era (18th-19th centuries) as select Daniell Prints on display at the Historical Art Gallery.

4.

Thangkas/ Miniature/ Costumes Lab

A collection of 37 Tibetan thangkas, date from the 15th to the 20th centuries, including one for every Dalai Lama of the period. These are interesting and significant, and are specially housed. Selections are displayed in the Buddhist Art of the Historical Art Gallery.

5.

Fig.67 : COURTYARD.

Costumes/Textiles/Thangkas

The Museum has small textile and costume collection not related to Bihar and select Tibetan costumes. These are limited to the recent period (19th and 20th centuries).

Courtyard The Museum spaces navigate between indoor and outdoor, allowing natural air and light to penetrate through built spaces in the spirit of traditional Indian architecture. Japanese architects Maki and Associates envisioned seven open-to-sky courtyards with trees and water bodies, locating these within the Museum environs. Thus, the visitor is perpetually moving between cloistered and open spaces to have liberating experiences(Fig.67).

Fig.68 : WATERFALL COURT .

1.

Waterfall Court

The Central Terrace of the Main Museum is called the Jal Aangan or Waterfall Court. The Waterfall Court is a trapezoidal space defined by a waterfall on the rear side. Absorb the breathtaking view of water and enjoy a refreshing break in your journey through the Museum(Fig.68).

2.

Peepal Court

Across from the Waterfall Court you will reach a triangular courtyard where you can relax in the shade of trees. The Peepal Aangan or Peepal Court gets its name from two peepal trees grown here. Popular, loved and remembered as the Bodhi Tree under which Buddha attained enlightenment, the peepal is also the State Symbol of Bihar (Fig.69).

3.

Fig.69 : PEEPAL COURT.

Amphitheatre

Our amphitheatre is designed to host outdoor events – theatres, plays and performances in an airy space under the skies. The largest open air space in the Museum, it seats over 200 people comfortably on steps. The amphitheatre is located near the main entrance to the Museum opposite to the Orientation Centre. You can also enter the Amphitheatre through the restaurant attached on the east side.

4.

Niranjana Courtyard

The Niranjana Courtyard has sculptures on the theme of the Buddha. This meditative space gets its name from the River Niranjana where the Buddha is said to have bathed after his Enlightenment under the Bodhi Tree. A water channel flows through the courtyard recon structing the memory of the River Niranjana. An overhead bridge runs across the courtyard connecting the History Gallery C to the Visible S torage Gallery.

MAYA : CENTER OF ILLUSIONS.

Page 19

DESIGN THESIS.

Bauhaus The Bauhaus, an innovative German school of art and design was founded in 1919 by Walter Gropius, the school uses a foundations course and workshop experiences to train students in theory and form, materials, and methods of fabrication.  Buildings are simple, functional, and industrial. Devoid of any applied ornament, they often appear asymmetrical and three dimensional, such that one must experience the building from all sides.  The Bauhaus taught design in conjunction with modernism. In its Design, spaces took on a quality related to the abstract character  Of the current painting and sculpture (Cubism and related movements).  Ornament came solely from the visual effects created by combinations of materials.  The Goal was to unify art and technology, creating an aesthetic suited to the modern mechanistic world by relating materials, from, Building Types: Fig 70. : BAUHAUS. schools, offices, and government buildings.  Architects orient buildings so that they receive the most sun exposure to take advantage of natural light.  Structures sit on flat plains of grass. The most important construction materials include steel, glass, and reinforced concrete, sometimes a brick masonry applied on the face of the concrete.  Exteriors are plain, simple, and unornamented.  Windows were fixed in grid patterns. 

The basic structure of the Bauhaus consists of a clear and carefully thought-out system of connecting wings, which correspond to the internal operating system of the school. Gropius' extensive facilities for the Bauhaus at Dessau combine teaching, student and faculty members' housing, an auditorium, and office spaces. load of the structure to a steel or concrete framework by the latest technological development of the time: a skeleton of reinforced concrete with brickwork, mushroom-shaped ceilings.It was designed by The Architects‘ Collaborative. The group of eight buildings arranged round small and large courtyards has a good community feel about it and is humanly scaled. The dormitory blocks are constructed in reinforced concrete with exterior walls of buff-colored brick or limestone and the community buildings are in steelwork

FURNITURE Unornamented and radically different, Bauhaus furnishings suit Bauhaus concepts of the modern home.

Designs stress simplicity, functionality, excellent constructi on, and hygienic industrial materials. Furniture is lightweight and space saving. Standardization of form and inter changeable parts are key design considerations. Furnishings are movable to support flexible arrangements.

Designs, of metal, are simple and functional with no applied (fig. 71 to fig74.).

SYMBOLS & MOTI FS There is no vocabulary for motifs because buildings are generally unadorned. Some works include unique architectural details that are a part of the building structure(fig 75).

DECORATIVE ARTS After 1923, the metals workshop produced many ash trays, tea and coffee services, kettles, dresser sets, and pitchers in brass, bronze, and silver. Forms are simple and geometric ( fig. 75).

Fig 71. : SIMPLE FORM FURNITURE.

Fig 74. : SIMPLE FORM FURNITURE.

MAYA : CENTER OF ILLUSIONS.

Fig 72. : SIMPLE FORM FURNITURE.

Fig 73. : SIMPLE FORM FURNITURE.

Fig 75. : SIMPLE FORM FURNITURE.

Page 20

DESIGN THESIS.

Design process Site selection During selection of site for a museum the following points must be considered.

1. It should have security against theft, environmental factors such as flood and earthquakes.

2. The site should have provision for further expansion.

3. The site should be easily accessible through public transport and should be within reach of educational institutions.

4. There should be clear access to the site from main road.

A museum which is to be built in an isolated spot or reserved space needs to be surrounded by an enclosure, especially if the site forms part of an extensive area. For the visitor this enclosure will provide a fore taste of the museums architecture and thus must not constitute a psychological barrier though the fundamental aim of security which has to serve must not be sacrificed.

SITE ANALYSIS SITE LOCATION LOCATION : NEAR JSS HOSPITAL, MYSURU (Fig. 75).

PROXIMITY: FOR TRANSPORT FACILITY:  MYSURU RAILWAY STATION : 5-6KM  FROM MAIN BUS STATION : 3-4KM  AIRPORT : 9KM FROM THE FAMOUS MONUMENTS  MYSURU PALACE : 3KM  MYSURU ZOO : 4KM  DEVARAJA MARKET : 4KM SITE PARAMETERS ( fig.76) :   



TOTAL SITE AREA : 31 ACRES. WIND DIRECTION : FROM NORTH WEST TO SOUTH EAST IMMEDIATE SITE SURROUNDINGS : 1. TOWARDS NORTH : GRAVYARD 2. TOWARDS WEST : SYLVAN GREENS (CLOSED COMMUNITY) 3. TOWARDS EAST : LAKSHMI BAI ROAD. 4. TOWARDS SOUTH : JLB ROAD LANDMARK STRUCTURES AROUND THE SITE (fig.77) : 1. JSS HOSPITAL 2. ST. MARY‘S SCHOOL 3. JSS COLLEGE OF ARTS 4. BRIGADE MOUNTAIN VIEW 5. VIVEKANANDA GIRIJANA KALYANA KENDRA (VGK TRC) 6. SYLVAN GREENS, JLB ROAD

   

Fig 75 : SITE

COMERSIAL SPACE PUBLIC BUILDINGS RESIDENTIAL OPEN GROUNDS

Fig 76 : SITE ANALYSIS

Fig 77 : SITE SURROUNDINGS

MAYA : CENTER OF ILLUSIONS.

Page 21

DESIGN THESIS.

Zoning Based on environmental needs, security considerations as well as levels of finish the total museum space can be divided in to following zones.1. Exhibition galleries and study areas with public access. These are expensively built and finished well.2. Entrance, reception, toilets, cloak rooms, phone booths, educational rooms ,library, cafeteria, auditorium.3. Stores, laboratories, unloading and loading areas etc.4. Staff offices, workshop, stores ( fig.78 ).

LAKSHMI BAI ROAD

HINDU TEMPLE RUINS.

Types of spaces (Fig. 79 ) Galleries  Permanent  Temporary 2. Gallery support space  Curatorial office and related space.  Conservation laboratories.  Collection handling and registration space.  Photographic, media, publications 3. Museum storage  Storage of collection and related m aterials.

SITE ANALYSIS CREMETATIUM  Storage of pre-rational supplies.  Collection storage.

4. Study areas  Library  Computer rooms and class rooms  Studios, training labs.

AL 5. Public services  Auditorium and related space.  Museum shop sales.  Dining and support space.  Cloak rooms and toilets.  Reception areas.

6. Administrative space  Museum programs and related administrative offices.

7. Operations Security protection and related space.  Surveillance room.  Maintenance, staff lounge, toilets.  AC and electricity control rooms 8. Circulation space  Public and non-public.  Services.

1.

       

VGKK

Fig. 78 : ZONING.

JLB ROAD

Fig. 79a : ZONING OPTION 1

ENTRY AND EXIT ZONES PEDESTRIAN PATH. VEHICULAR PATH CONNECTING SPACES MUSEUM ACADEMIC BLOCK LIBRARY HOSTEL

Fig. 79b : ZONING OPTION 2

MAYA : CENTER OF ILLUSIONS.

Fig. 79c : ZONING OPTION 3

Page 22

DESIGN THESIS.

AREA PROGRAM BLOCKS

MAIN SPACES

SUB CATEGORIES

AREA (M2)

GALLERIES

PERMANENT TEMPORARY ANTIGRAVITY CONE SUSPENSION BRIDGE PENDULUM PATTERNS HOLOGRAMS MARBLE RACE BLACK HOLE CAGE THE BIRD PEDAL POWER DEFYING GRAVITY OFFICE LABORATORIES COLLECTION REGISTRATION SPACE MEDIA SPACE ADMINISTRATION FINANCE COLLECTION STORAGE SUPPLY STORAGE MATERIAL STORAGE SURVEILLANCE ROOM SECURITY CABINS SECURITY CORNERS

150 150 20 10 10 20 10 10 10 10 20 30 60 100 20 50 50 50 100 50 50 20 20 20

ELECTRICAL ROOM AHU ROOM SHOPES CANTEENS CAFÉ TOILETS

20 15 30 100 50 50 50 10 15 30 20 50

MAIN HALL READING ROOMS RECEPTION AREA MAINTANCE ROOM STORE ROOM TOILETS OFFICE AREA

SEATING AREA INFORMATION CENTER RECEPTION LOBBY WAITING AREA VISITORS LOUNGE NO. OF UNITS 2 5 1 1 4 4 1

100 25 30 30 50 50 60

CLASS ROOM STUDIO WORKSHOP AREA MODEL MAKING ROOM DARK ROOM PAINTING STUDIO SCULPTURE STUDIO STORAGE ROOM ADMINISTRATION TOILETS MAINTANANCE ROOM STAFF ROOM HOD OFFICE

6 4 2 1 1 2 1 2 1 1 IN EVERY FLOOR 1 1 1

60 50 60 60 10 60 60 30 60 60 30 50 30

CANTEEN

1

100

ROOMS MESS LAUNDRY INDOOR GAMES

60 1 1 1

20 50 30 60

MUSEUM

INTERACTIVE GALLERY

SUPPORT SPACE

STORAGE SPACE

SECURITY SPACE

SERVICES

PUBLIC SPACES

LIBRARY

ACADEMIC BLOCK

HOSTEL

MAYA : CENTER OF ILLUSIONS.

Page 23

DESIGN THESIS.

SHAPE AND FORM ANALYSIS: HERITAGE OF MYSORE Mysore is a cultural and prime heritage city and it exhibits both tangible and intangible elements. It combines the historical facts and anecdotes with a harmonious combination of natural and built heritage. The city is known as „cultural capital‘ of Karnataka. It was the capital of Wodeyar Kings who ruled Mysore Kingdom for many centuries and contributed significantly to make the city as a cultural centre including art, poetry and music. The city is as known city of palaces and the museums, art galleries and the festivities that take place during the period of Dasara which attract worldwide audience. An image of the Goddess Chamundeshwari is placed on a golden mantapa on the back of a decorated elephant and taken on a procession, accompanied by tableaux, dance groups, music bands, decorated elephants, horses and camel followed by torchlight parade. It has lent its name to dishes; Mysore Pak, Mysore Masala Dosa, art; Mysore Painting and sari; Mysore Silk Sari. Mysore is a classic example of architectural and cultural heritage. The total harmony of buildings, sites, lakes, parks and open spaces including backdrop of Chamundi hill adds to the city‟s aesthetics with different cultures and different styles of architecture. The heritage buildings have four distinct architectural styles viz. Indo-Saracenic, Traditional Hindu Style, Greaco-Roman and Gothic (Pearl).

Thus, the city exhibits both tangible and non tangible elements of heritage character, and therefore, the Government of Karnataka recognized the city as Heritage city and Government of India has selected the city for Urban Renewal Project under cultural and heritage tag and now the UNESCO also has shown interest in identify the city under Heritage tag.

ARCHITECTURAL BUILDINGS The buildings of Mysore city have been influenced by various styles of architecture, and some of the important styles are; 1) Indo – Sarcenic style - Ambavilas Palace (fig. 80) 2) Traditional Hindu style - Jagan Mohan Palace (fig. 81) 3) Greco – Roman style - Krishnaraja Hospital (fig. 82) 4) Gothic style .- St.Philomenas Church (fig. 83) 5) European Classical style - Lalit Mahal Palace (fig. 84 ) 6) Traditional Bungalows. - Colonial Bungalows (fig. 85) Fig. 80 : Ambavilas Palace

Fig. 81 : Jagan Mohan Palace

Fig. 85 : Colonial Bungalows Fig. 83 : St.Philomenas Church

Fig. 82 : Krishnaraja Hospital

Fig. 84 : Lalit Mahal Palace

All the structures in Mysure are asymmetrical in plan . That is the structures r to appear symmetrical but in plan they are not symmetrical its just the outer skeleton or the elevation of the structures appear to be perfectly symmetrical and has a central access.

The most seen features of the predominant structures of mysure are as follows :  Symmetrical elevations  Asymmetrical plans  Open corridors  Basic shapes used are squares and rectangles.  The elevation has a central access.  Repetition  Column capitals and motifs.  Arch.

THE FOLLOWING ARE THE EXAMLES OF THE ABOVE MENTIONED FEATURES OF ARCHITECTURE:

Fig. 86 : MYSORE PALACE

MAYA : CENTER OF ILLUSIONS.

Page 24

DESIGN THESIS.

Fig. 87 : JSS ART COLLEGE

Fig. 88 : JSS HOSPITAL.

CONCLUTION : The structure at the center are to b symmetrical in plan and are to have a central access n follow the proportion and all the features that is present in the elevation of the built structure of Mysore. Whereas the elevation the structure is asymmetrical and does not have a central access.

Fig. 89 : Options of symmetrical plan and a asymmetrical elevation.

Fig. 90 : SHAPE AND FOR OF THE BLOCKS.

MAYA : CENTER OF ILLUSIONS.

Page 25

5 6 7 1 3 8

4

MASTER PLAN 1.

2.

3.

4.

5.

6.

7.

8.

BLOCK 1 - ILLUSION MUSEUM BLOCK 2 - LIBRARY BLOCK 3 - ACADEMIC BLOCK CAFE PARKING 1 PARKING 2 LANDSCAPE AND OPEN EXIBHITION AREA OPEN DISPLAY AREA

2

Room 23 38 m²

GALLERY 3

TOILETS

15 588 m²

24 47 m²

TOILETS 25 47 m²

Room 22 39 m²

GALLERY 6 30 592 m²

GALLERY 4 16 974 m²

Room

GALLERY 5

19 23 m²

29 962 m²

OFFICE

AHU ROOM

GALLERY 7

20 23 m²

31 993 m²

18 23 m²

SURVER ROOM 1

SURVER ROOM 2 21 23 m²

17 23 m²

GALLERY 2 14 312 m²

ACTIVITY AREA 32 1825 m²

GALLERY 1

MIRROR ROOM 2

TUNNEL 1

10 138 m²

54

13 67 m²

SEATING AREA 2 44

ILLUSION CORRIDOR 33 149 m²

MAZE ROOM 48 118 m²

MIRROR ROOM

TUNNEL 2

11 158 m²

12 67 m²

AMES ROOMAMES 1 ROOMAMES 2 ROOMAMES 3 ROOMAMRS 4 ROOM 5 1 66 m²

2

3 64 m²

4 64 m²

5 63 m²

TUNNEL EXIT AREA

ACTIVITY AREA

46 288 m²

26 1195 m²

SEATING AREA 1

TUNNEL 2

43

52 100 m²

Water Flowing Uphill 7 Clinging Objects Leaning Walls Effect 6 56 m²

56 m²

8 56 m²

DOUBLE HEIGHT AREA 47 2598 m²

RECEPTION DESK 9 367 m²

MUSEUM FLOOR PLANS NAME

1

GROUND FLOOR 1 : 250

2

FIRST FLOOR

Date

1 : 250

U.S.N Scale

LISHA SRINIVASAN 4th DECEMBER, 2018 1DS14ART077 1 : 250

TERRACE 14000

SECOND FLOOR 9000 FIRST FLOOR 5000 GROUND FLOOR 1000

1

PLINTH

SOUTH ELEVATION

0

1 : 200 TERRACE 14000

SECOND FLOOR 9000 FIRST FLOOR 5000 GROUND FLOOR 1000 PLINTH 0

2

WEST ELEVATION 1 : 200 TERRACE 14000

SECOND FLOOR 9000 FIRST FLOOR 5000 GROUND FLOOR 1000 PLINTH 0

3

EAST ELEVATION 1 : 200

TERRACE 14000 SECOND FLOOR 9000 FIRST FLOOR 5000 GROUND FLOOR 1000 PLINTH

4

Section 1

0

1 : 300

TERRACE 14000 SECOND FLOOR 9000 FIRST FLOOR

MUSEUM

5000 GROUND FLOOR 1000

ELEVATION & SECTION

PLINTH 0

5

Section 2 1 : 300

NAME Date U.S.N Scale

LISHA SRINIVASAN 4th DECEMBER, 2018 1DS14ATO77 As indicated

FIRE ESCAPE 39 19 m²

THEATER 2 35 494 m²

FEMALE TOILETS 38 47 m²

MALE TOILETS 37 47 m²

THEATER 3 36 981 m²

OFFICE ROOM SURVEILLANCE ROOM

40 29 m²

42 23 m²

THEATER 1 34 475 m²

Room

4

SECOND FLOOR VIEW

45

ACTIVITY AREA 41 1584 m²

3

2

FIRST FLOOR VIEW

GROUND FLOOR VIEW

MUSEUM PLAN & VIEWS NAME

1

SECOND FLOOR 1 : 250

Date U.S.N Scale

LISHA SRINIVASAN 4th DECEMBER, 2018 1DS14AT077 1 : 250

3 A106

TOILET 5 30 m² MENS TOILET 4 30 m²

STORE ROOM 1 8 34 m²

OFFICE 9 34 m²

STORE ROOM 2 10 46 m²

FIRE ESCAPE 11 66 m²

COMMON LIRARY 1 1703 m²

3

GROUND FLOOR VIEW

UP 4 A106 RECEPTION 2 465 m²

3 A106

TOILET 13 30 m² MENS TOILET 14 30 m²

DN

LOUNGE 15 9 m²

FIRE ESCAPE 18 70 m²

LOUNGE 16 9 m²

RESTAURENT 12 470 m²

SEATING AREA 3 458 m²

STUDENTS LIBRARY AREA 17 2177 m²

1

GROUND FLOOR. 1 : 250

4 A106

OPEN SEATING AREA 2 39

DN

OPEN SEATING AREA 1 40

4

LIBRARY PLANS

FIRST FLOOR VIEW NAME

2

FIRST FLOOR 1 : 250

Date U.S.N Scale

LISHA SRINIVASAN 4th DECEMBER 2018 1DS14AT077 1 : 300

A107 1 3 A106

Room 19 30 m² Room 22 30 m²

Room 20 9 m²

Room 23 40 m²

Room 24 40 m²

Room 25 71 m²

Room 21 9 m² ACCOUNTS ROOM 26 126 m²

CHAIRMEN'S ROOM 1 30 59 m²

CHAIRMEN'S ROOM 2 31 59 m²

DIRECTORS ROOM 27 87 m²

ADMIN / ADMINISTRATION 32 809 m²

SURVAILANCE ROOM 28 102 m²

2

STORE ROOM 29 177 m²

PANTRY 38 115 m²

THIRD FLOOR VIEW 3 A107

4 COMMON LOUNGE 33 465 m²

A106

CONFERENCE ROOM 35 78 m²

3 A106

TERRACE

STAFF LOUNGE 34 223 m²

12000 MEETING ROOM 1 36 62 m²

SECOND FLOOR 8000 FIRST FLOOR 4000

MEETING ROOM 2 37 79 m²

GROUND FLOOR. 0 1. PLINTH

4 1

Section 2

-450

1 : 200

SECOND FLOOR 1 : 250 2 A107

4 A106

TERRACE Room 24 40 m²

ADMIN / ADMINISTRATION 32 809 m²

COMMON LOUNGE 33 465 m²

12000 SECOND FLOOR

STUDENTS LIBRARY AREA 17 2177 m²

STUDENTS LIBRARY AREA 17 2177 m²

STUDENTS LIBRARY AREA 17 2177 m²

8000 FIRST FLOOR 4000

STORE ROOM 2 10 46 m²

3

Section 1

COMMON LIRARY 1 1703 m²

RECEPTION 2 465 m²

GROUND FLOOR. 0 1. PLINTH -450

1 : 200

LIBRARY PLAN AND SECTIONS NAME Date U.S.N Scale

LISHA SRINIVASAN 4th DECEMBER 2018 1DS14ATO77 As indicated

3 A106

TERRACE 12000

SECOND FLOOR 8000

FIRST FLOOR 4000

GROUND FLOOR. 1. PLINTH 0 -450

1

NORTH ELEVATION 1 : 150

3 A106

TERRACE 12000

SECOND FLOOR 8000

FIRST FLOOR 4000

GROUND FLOOR. 0

2

1. PLINTH

SOUTH ELEVATION

-450

1 : 150 4 A106

TERRACE 12000

SECOND FLOOR 8000

FIRST FLOOR 4000

GROUND FLOOR. 0

3

EAST ELEVATION 1 : 150

1. PLINTH -450 4 A106

TERRACE 12000

SECOND FLOOR 8000

FIRST FLOOR 4000

GROUND FLOOR. 0

4

WEST ELEVATION

1. PLINTH -450

1 : 150

LIBRARY VIEWS NAME Date U.S.N Scale

LISHA SRINIVASAN 4th DECEMBER 2018 1DS14AT077 1 : 150

24880

WORKSHOP AREA 35 733 m²

GROUND FLOOR VIEW 20000

10000

WOMENS WASHROOM 21 44 m²

4660

3

24880

30000

3000

9000

9000

9000

UP STAFF ROOM 2 129 m²

20000

15000

31140

CLASSROOM 1 4 129 m²

CLASSROOM 2 5 129 m²

CLASSROOM 3 6 129 m²

CLASSROOM 5 8 129 m²

CLASSROOM 4 7 129 m²

STUDIO 1 390 m²

MENS WASHROOM 29 44 m²

9000

OFFICE ROOM1 14 22 m²

CONFERENCE ROOM 12 115 m²

8000

STORE ROOM 13 53 m²

9700

20000

STUDIO TYPE 2 24 311 m²

20980

14300

OFFICE ROOM 2 15 22 m²

HOD ROOM 16 34 m²

6000

STUDIO TYPE 2 25 311 m²

16000

STYDIO TYPE 1 23 390 m²

20000

6000

RECEPTION AREA 19 284 m²

14000

MULTIPURPOSE HALL 26 311 m²

CAFE / COLLEGE CANTEEN 36 Not Enclosed

4000

STAFF LONGUE 11 21 m²

DN

4000

CLASSROOM 6 27 103 m²

PANTRY 10 22 m²

12200

CLASSROOM 7 28 103 m²

19880

10000

UP

6000

STUDIO TYPE 2 22 390 m²

15000

20000

16000

20000

DN

9000

4000

10000

STIDIO 3 390 m²

3800

20000

4660

20000

25600

GROUND FLOOR DISPLAY AREA 34 2062 m²

1

GROUND FLOOR 1 : 250

20000

OPEN SEATING AREA 33 646 m²

ACADEMIC BLOCK PLANS

30920

4

FIRST FLOOR VIEW NAME Date

2

FIRST FLOOR

U.S.N

1 : 250

Scale

LISHA SRINIVASAN 4th DECEMBER, 2018 1DS14AT077 1 : 400

HEADROOM 12000

TERRACE 8000

FIRST FLOOR 4000

GROUND FLOOR

1

0 PLINTH

SOUTH ELEVATION

-450

1 : 150

HEADROOM 12000

TERRACE 8000

FIRST FLOOR 4000

GROUND FLOOR 0 PLINTH -450

2

EAST ELEVATION 1 : 150

HEADROOM 12000

TERRACE 8000

FIRST FLOOR 4000

GROUND FLOOR 0 PLINTH

3

-450

Section 1 1 : 150

HEADROOM 12000

TERRACE 8000

FIRST FLOOR 4000

ACADEMIC BLOCK

GROUND FLOOR

ELEVATION & SECTION

0

4

Section 2 1 : 150

PLINTH -450

NAME Date U.S.N Scale

LISHA SRINIVASAN 4th DECEMBER, 2018 1DS14AT077 1 : 150