DEGREE PROJECT Visitor Experience of the Madras Crocodile Bank Sponsor : Alva Architects (New Delhi, India)
Volume : 1/1 STUDENT : NIKHIL LAL SHRESTHA PROGRAMME : Bachelors of Design (B. Des)
GUIDE : JONAK DAS
2018 VISUAL COMMUNICATION DESIGN FACULTY (EXHIBITION DESIGN)
The Evaluation Jury recommends NIKHIL LAL SHRESTHA for the
Degree of the National Institute of Design IN VISUAL COMMUNICATION (EXHIBITION DESIGN)
herewith, for the project titled "VISITOR EXPERIENCE OF THE MADRAS CROCODILE BANK" on fulfilling the further requirements by*
Chairman Members :
Jury Grade : *Subsequent remarks regarding fulfilling the requirements : This Project has been completed in ________________ weeks.
Activity Chairperson, Education
COPYRIGHT ©2018 Student Document publication meant for private circulation only. All rights reserved. Bachelor of Design, Exhibition Design, 2014 – 2018 National Institute Of Design, Ahmedabad, India. No part of this document will be reproduced or transmitted in any form or any means including photocopying, xerography, photography and video recording without written permission from the publisher, Nikhil Lal Shrestha and The National Institute of Design. All illustrations and photographs in this document are Copyright ©2018 by respective people/ organizations. Written, edited and designed by: Nikhil Lal Shrestha nikhil.shrestha95@gmail.com Processed at: The National Institute of Design (NID) Paldi, Ahmedabad – 380007 Gujarat, India. www.nid.edu
COPYRIGHT STATEMENT
ORIGINALITY STATEMENT
I hereby grant the National Institute of Design the right to archive and to make available my graduation project/thesis/dissertation in whole or in part in the Institute’s Knowledge Management Centre in all forms of media, now or hereafter known, subject to the provisions of the Copyright Act. I have either used no substantial portions of copyright material in my document or I have obtained permission to use copyright material.
I hereby declare that this submission is my own work and it contains no full or substantial copy of previously published material, or it does not even contain substantial proportions of material which have been accepted for the award of any other degree or final graduation of any other educational institution, except where due acknowledgement is made in this graduation project. Moreover I also declare that none of the concepts are borrowed or copied without due acknowledgement. I further declare that the intellectual content of this graduation project is the product of my own work, except to the extent that assistance from others in the project’s design and conception or in style, presentation and linguistic expression is acknowledged. This graduation project (or part of it) was not and will not be submitted as assessed work in any other academic course.
Nikhil Shrestha Student Name in Full
Signature
Date
Nikhil Shrestha Student Name in Full
Signature
Date
B.Des Graduation Project Student: Nikhil Lal Shrestha Guide: Jonak Das Sponsor: Alva Architects Programme: Bachelors in Design Discipline: Exhibition Design (Visual Communication) University: National Institute of Design, India
Visitor Experience of the Madras Crocodile Bank
Colophon This document has been set in Akzidenz Grotesk BQ, designed by Hermann Berthold; released by the Berthold Type Foundry, and Leitura Display, designed by Dino dos Santos, released by DSType Foundry. This document has been printed at Siddhi Printech, Ahmedabad on
1
NIKHIL LAL SHRESTHA
GRADUATION PROJECT
About the Project
After being open for 42 years, the Madras Crocodile Bank came to a decision that it needed urgent upgradation, as it had the potential to become a world-class reptile park for public visitation, as well as a centre for education, conservation and research. For this to happen, everything from water quality to the reptile exhibits and protocols needed to be examined, planned and revamped. To accomplish their goals, a masterplan would be developed which would be used as a basis for raising the necessary funds.
VISITOR EXPERIENCE OF THE MADRAS CROCODILE BANK
This document shows the journey that I took, to develop the visitor experience of the new masterplan for the Madras Crocodile Bank, under the guidance and sponsorship of Alva Architects, based in New Delhi.
2
National Institute of Design
National Institute of Design was established in September 1961 as an autonomous all-India body by the Government of India with the assistance of the Ford Foundation and the Sarabhai family, based on the recommendations made by Charles and Ray Eames in the India Report (1958). The Report recommended a problem-solving design consciousness that linked learning with actual experience and suggested that the designer could be a bridge between tradition and modernity. Gautam Sarabhai and his sister Gira played a major role in the establishment and early years of NID. Gautam Sarabhai sidestepped the accepted wisdom and conventional method of education. He revived the philosophy of the Bauhaus design era which was learning by doing. This unique curriculum and revolutionary educational philosophy remain part of NID to the present day. Today the National Institute of Design is internationally acclaimed as one of the finest
3
NIKHIL LAL SHRESTHA
educational and research institutions for Industrial, Communication, Textile and IT Integrated (Experiential) Design. It is an autonomous institution under the aegis of the Ministry of Commerce and Industry, Government of India. NID has been declared ‘Institution of National Importance’ by the Act of Parliament, by virtue of the National Institute of Design Act 2014. It is also recognized by the Department of Scientific and Industrial Research, Government of India as a Scientific and Industrial Research Organization. The institute has been a pioneer in industrial design education after Bauhaus and Ulm in Germany and is known for its pursuit of design excellence to make ‘Designed in India, Made for the World’ a reality.
GRADUATION PROJECT
Exhibition Design
Exhibition Design is a synthesis of multiple design disciplines that come together to communicate objects, information, and ideas across a range of three-dimensional environments. Simply understood, it means communication and storytelling through environmental experiences that inform, entertain, and inspire. Exhibition design spans a wide range of applications including museums, visitor centers, heritage parks, themed entertainment venues, trade shows, corporate environments, expositions, and retail stores. It harnesses physical space and visual storytelling to create environments that communicate. The discipline considers the exhibition from the perspectives of communication, design, and fabrication that involve a mastery of spatial planning, image manipulation, narrative, colour, lighting, and multimedia, and working knowledge of structures, typography, combined with an understanding of audience and human factors, to shape storytelling experiences across multiple
VISITOR EXPERIENCE OF THE MADRAS CROCODILE BANK
exhibition venues. This can include the staging of representative and experiential spaces; interior-design environments and scenography for festivities; museums, galleries, and trade exhibitions; and cultural and theatrical events. In a country that is becoming rapidly urban and metropolitan, Indians increasingly find themselves having to navigate through vast buildings, concrete cities, and massive transport hubs, but there is a distinct lack of communication design (signage/ wayfinding) guiding them on their way. Too often, these spaces are designed with little empathy for users, and this is where exhibition designers can contribute to these public spaces by bringing an overall perspective of spatial communication to the table. Exhibition designers create experiences that are physical but also emotional and psychological and this is where they have something extremely unique to offer. The aim of the discipline is to equip students with an understanding for the planning of built or open spaces to provide an appropriate environment for communication, and to create a contextual experience that supports communication interpretation of ideas to audiences by creating a multimodal and multi-sensory experience.
4
Sponsor: Alva Architects
Since its inception in the year 2000, ALVA associates have demonstrated an ability to design, detail and get executed, a diverse range of projects over a broad spectra of scale and function, be it a 2000 unit multi-storey housing, 5 star rated hotels in Goa, commercial buildings in NCR, high end villas in Goa, townships in South India, to a couture store in Dubai- all backed by a team of leading structural and m.e.p consultants who provide their vast experience and support to all our projects irrespective of scale and size. They work with an amalgam of hand-drawn design development drawings to ensure a level of attention devoted to each and every project handled, with all further development work on meticulously detailed cad drawings, all by a team as comfortable working on full scale millwork details, as they are with developments spread over acres of land. Thefirm has consciously made an effort not to get typecast into any particular style
5
NIKHIL LAL SHRESTHA
of design but rather tackle each project on its inherent merits and demands, and deliver solutions which blur boundaries between all typologies of design. The in-house developed documentation systems ensure that the client/ developer breaks ground ready with a complete, sealed package of construction documentation to ensure smooth & efficient construction process. They also work in close confirmation with project management companies to ensure any variation/ modifications required are meticulously documented as RFI's & change variation logs. The process of stagewise information of updated into the drawing set ensures that a complete & cohesive 'as built' set of drawings is ready at the completion of a project.
GRADUATION PROJECT
Client: Madras Crocodile Bank Trust
The Madras Crocodile Bank Trust and Centre for Herpetology (or Croc Bank) was the brainchild of the legendary Romulus Whitaker and a handful of like-minded conservation visionaries who began work on the facility in 1976, in a desperate effort to save India’s dwindling crocodilian populations. Today, after more than 30 formidable years of cutting-edge science and grassroots education, the Croc Bank remains a world leader in the field of frontline conservation and the preservation of natural landscapes.
Vision To develop and run a world-class reptile park.
Mission To promote the conservation of reptiles and amphibians and their habitats through education, scientific research, and captive breeding. Efforts are focused on, but are not limited to Indian species and ecosystems, and include both in-situ and ex-situ components.
Objectives The Croc Bank currently consists of a large reptile park near Chennai, Southern India, and several field projects located throughout the subcontinent reaching as far afield as the Nicobar Islands. The zoo sees close to half a million visitors per year making it one of the most popular tourist attractions along the famous East Coast Road in Tamil Nadu.
VISITOR EXPERIENCE OF THE MADRAS CROCODILE BANK
The conservation of nature and natural resources in the broadest sense, with a focus on the conservation of herpetofauna and their habitats. To establish breeding, research, educational, dissemination and transfer centers, field stations, and other establishments focusing on ecological and environmental issues.
6
Acknowledgements
7
NIKHIL LAL SHRESTHA
GRADUATION PROJECT
Alva Architects
Guide
Friends
I would like to thank my sponsor Alva Architects, for giving me an opportunity to work on this project since it gave me a chance to work for the betterment of the zoos and animals. I would especially like to thank Mr. Ashwin Alva & Nishant Gautam, for sharing their knowledge, and guidance throughout the project and overseeing all its phases. Kritika Dhupar for her support and counsel, and Suneel Gola for helping me improve my workflow in 3D software.
My project guide, Jonak Das, for his guidance at every phase of the project, providing clarity when I went off track, and generally making me inquisitive to learn more. His feedback, suggestions, and critique helped me finish my project in time and also kept my design process in check.
All my friends for their counsel and guidance throughout my project; Ayushi Srivastava for her critique and constant support throughout the project and during the documentation phase also; Utkarsh Chaturvedi and Mudita Agarwal for helping me get a better understanding of typography and layouts, that helped set a base for my document; Meghana Thakkar for always carefully checking and overlooking my work, giving me her feedback on what I could do better. Shipra Balasubramani and Nitin for helping me articulate and translate Tamil text correctly. Indrayudh Sengupta, Amalendu Kaushik, Annu Mathew, Taarini Ravjit Singh, and Daksha Salam for all the help extended.
Madras Crocodile Bank Team I would also like to thank the entire team at the Croc Bank for their support throughout this journey, and were excellent hosts during our site visits. Allwin Jesudasan for helping me get in touch with Alva Architects to work on this project; Nikhil Whitaker for communicating all our queries during the various phases of the project; Ajay Kartik and Arul C.V. for taking the time to give me a tour of their facility and sharing their knowledge and passion for the animals at the Croc Bank; Romulus Whitaker and Zai Whitaker for sharing their stories and knowledge of the wonderful world of reptiles.
Faculty Exhibition Design faculty, Tanishka Kachru, for her counsel and sharing the same excitement as me while talking about this project and also sharing her knowledge on conservation and animals; Sachin Sachar for his counsel while I was looking for a graduation project.
Family I am grateful to my family for their support and general tolerance of me during the project. My father for silently supporting me throughout the project, always providing anything that I required; My mother for her counsel and for proof-reading my document through the night; My grandmother for calling me to exchange stories and updates from time to time; My sister for taking care of literally everything and allowing me to work from the NOCT studio to write my document. I am also grateful to my cousins in Delhi and the NOCT family in Panchgani for all their support, help and encouragement.
VISITOR EXPERIENCE OF THE MADRAS CROCODILE BANK
8
Contents
9
NIKHIL LAL SHRESTHA
About the Project
2
National Institute of Design
3
Exhibition Design
4
Sponsor: Alva Architects
5
Client: Madras Crocodile Bank Trust
6
Acknowledgements
7
GRADUATION PROJECT
01 Getting In Context
03 Visitor Experience: Spatial Planning
Project Proposal
13
Scope of Work
15
Research
17
Understanding Zoos
19
Understanding the Animals
45
Understanding Visitor Experience
59
Redefined Brief
71
02 About the Site: Madras Crocodile Bank Introduction
75
Communication Systems
77
Animals and Enclosures
81
Visitors at MCBT
83
Masterplan Development
84
Narrative Matrix
91
Pen Inventory
95
Pen Allocation
96
Plan Revisions
109
Specific Display Areas
111
04 Visitor Experience: Signage System Analysis
123
Signage Design
143
05 Conclusion Learning and Reflections
205
References
207
Image Credits
210
VISITOR EXPERIENCE OF THE MADRAS CROCODILE BANK
10
01 Getting in Context
Project Proposal
13
NIKHIL LAL SHRESTHA
GRADUATION PROJECT
Initial Project Brief To upgrade the present facility, to a world-class reptile park, and, endangered species captive- breeding center for education, conservation, and research, by developing a new masterplan. This would include, developing and conceptualizing the visual, informative and interactive experience of the Madras Crocodile Bank. Also, being a part of the zoo planning and architecture team, in overall design and conceptualization of the spaces, keeping in mind the safety of the viewer, as well as the well-being of the animal in terms of the habitat design. Requirements The plan would be to design consistently world-class exhibits. It’s likely that part of the exhibits is retained/ improved. There will be, in general, more underwater exhibits concentrating on housing aquatic reptiles with interactive/ educational exhibits along with some invertebrate exhibits also. A single enclosure will be selected to be developed and planned and this will become the model for the rest of the enclosures. Motivations My main motivation behind working on this project was to merge my fascination with animals with my discipline, Exhibition Design. I had previously moved in the direction of designing structures, products and play areas, pertaining to animals as the users, or based on their traits and behaviours.
Research Case studies of world-class zoos will be looked at and studied. Data about animal-related requirements will get gathered through the team at MCBT, written documentation etc. Online resources on spatial design, interactive exhibits and learning spaces will be studied to understand the approach. To understand the space that we will be working with, there will be site visits and meetings with the team at the Madras Crocodile Bank Trust. Methodology • Research and collation of case studies. Understanding the key functions and requirements of MCBT. • Developing spatial strategies for the exhibits and systems for the exhibits. • Explorations for the visual appearance of the enclosures • The final design of certain spaces. Deliverables • Concept drawings, visual representations, and references. • Basic plans and elevations. • Evidence of feasibility (if construction takes place within the time period) • Detailing of certain exhibits indicating structural designs and materials.
VISITOR EXPERIENCE OF THE MADRAS CROCODILE BANK
14
Scope of work Designing and conceptualizing all the enclosure spaces. This would include this following: Visual experience - Determining vantage points and their viewing experience from them on the exhibit side. Informative experience – Display of info/ media on screens, projections, installations and print. Interactive experience – Natural Artifacts like eggs and skulls etc, Elements of the space – skin texture on walls, crocodile tracks on the ground etc. Also, being a part of the zoo planning and architecture team in overall design and conceptualization of the spaces keeping in mind the safety of the viewer, as well as the well-being of the animal in terms of the habitat design. Schedule Research and Investigation: 4 weeks Initial ideas, spatial and strategic planning: 4 weeks Explorations, iterations, concept presentations: 6 weeks Refinement and detailing of final selected design solution: 6 weeks Documentation would happen simultaneously and another 4 to 6 weeks after the completion of the project with the company.
15
NIKHIL LAL SHRESTHA
GRADUATION PROJECT
VISITOR EXPERIENCE OF THE MADRAS CROCODILE BANK
16
Research Before getting the opportunity to work on the project, I had already started familiarising myself with the debate on zoos. I had a preconceived notion on zoos, leaning towards the side that they were not justified. After approaching the topic in an unbiased manner, and by doing thorough research, I actually came to the conclusion that zoos played a very important role in conservation. It was important to note what sets a 'good' zoo apart from a 'bad' one. A zoo that is well-managed, following good practices, keeping their animal's needs as their top priority, doing research and spreading conservation awareness is what we need the most.
17
NIKHIL LAL SHRESTHA
GRADUATION PROJECT
Understanding Zoos
Understanding the Animals
Understanding Visitor Experience
I started my project research by reading the previous masterplan of MCBT to understand zoos internally how they function, their animal collection methods, their contingency plans for emergencies etc. After completing this, I started looking at examples of modern zoos and the concepts and philosophies behind zoo design, gathering as much data as I could.
An important stakeholder in most of our decision-making process was the animals themselves. Understanding them helped me throughout the project in more ways than one; everything from the graphics to the information that could be depicted in different areas of the zoo as well as sharing important details with the architectural team.
As my project was dealing directly with various aspects of visitor experience, I had to acquaint myself with various facets of visitor experience that would aid in making appropriate design decisions.
VISITOR EXPERIENCE OF THE MADRAS CROCODILE BANK
18
Understanding Zoos
Asking the difficult question: Why do we need zoos?
Zoos, short for a zoological garden, typically contain a wide variety of animals that are native to various parts of the globe. Apart from housing these animals in captivity, they are also open for public visitation to allow visitors to learn more about these wonderful creatures. But why do we really need to have zoos? Aren’t they just unethical spaces made by humans to provide city dwellers with entertainment: gawking at and taunting animals kept in tiny cages that barely manage to house 3 of the 8 animals inside it? Historically, wild animals were collected by the wealthy as a symbol of their power. These private collections were called menageries, like the one owned by King Louis XIV at Versailles, France Up until the early 19th century, animals were mostly kept in cages made out of concrete and metal bars, providing zero opportunity for the animals to interact with their natural surroundings- similar to jail cells housing inmates. This, of course, was detrimental to their physical and mental health. In 1907, the German entrepreneur Carl Hagenbeck, founded the Tierpark Hagenbeck in Hamburg, Germany. A radical change from the layout of the zoo that had been established in 1828, it replicated enclosures that incorporated moats instead of bars and looked closer to the animal’s habitat. He also set up mixed-species exhibits whose layout was organized on the basis of geography, as opposed to taxonomy.
Below: Stereographic photograph of the captured Man-eater of Calcutta in the Calcutta zoo, 1903. Opposite Top: The first pair of lions in their special cage at the Basel zoo, Switzerland in 1890.
Zoos have come a long way since then, bringing in concepts like landscape immersion and behavioural enrichment to improve the lives of captive animals.
Opposite Bottom: Many monkeys were piled into tiny wooden boxes which were stacked on top of each other; Conditions inside Australia's first zoos.
19
NIKHIL LAL SHRESTHA
GRADUATION PROJECT
Modern zoos focus on conservation, education, and research, animal welfare being their top priority. They are usually regulated and inspected by government bodies like the Central Zoo Authority in India or the Association of Zoos & Aquariums in America, that have standards and guidelines set up for better management of these facilities ensuring that zoos maintain the highest standards of veterinary care, maintenance, and animal habitats. A zoo should give their animals freedom from thirst, hunger, pain, injury, and disease. They allow them to express natural behaviour and give them freedom from fear and distress. Knowing and understanding species-specific requirements, is an important prerequisite for conservation measures - both for animals and the ecosystem. Research done at these facilities help us understand things previously unknown to science. When we can understand more about these animals, we can also come up with ways to prevent tragedies arising from human-animal conflict. Fieldwork to understand the diversity and ecology of wild species is another important aspect of zoos.
VISITOR EXPERIENCE OF THE MADRAS CROCODILE BANK
20
Creating an emotional bond and understanding between animals and humans which make people more likely to take measures to help protect wildlife as well as the ecosystem. Making people aware is important and simple lifestyle changes can make a difference. Habitat restoration programmes and educational programmes with schools, means that more schools visit and learn about these animals. This is critical for the future as some of these children may be inspired to become zoologists, conservationists, vets or even work at a zoo. Zoos also take part in conservation efforts like captive breeding programmes intended to repopulate dwindling species back into the wild. Take for example the vulture crisis in India.
21
NIKHIL LAL SHRESTHA
Indian vulture populations have been devastated, having suffered a 95% population decrease in the 1990’s. The cause of this has been identified as a veterinary drug - diclofenac, given by farmers to their cattle to reduce joint pain which makes them work for longer. This drug is lethal to vultures when they consume the carcasses of dead animals treated with the drug. Now, the use of diclofenac is banned in India and there are multiple captive breeding programmes set up to stop the rapid decline of the vulture populations. Many zoos also maintain a gene bank. This acts as a backup in case something were to happen to their wild populations. They often store frozen eggs/ sperms or, now more commonly, DNA. For instance, the Saint Louis Zoo in Missouri successfully managed to bring back the Mexican Grey Wolf after they went extinct in the wild, with only a few pairs surviving in zoos. After the captive breeding program, they were reintroduced to parts of New Mexico and Arizona.
GRADUATION PROJECT
Conclusions: Agreed, it is not ideal to keep animals away from their habitats, but due to human interference, more species have come under threat in the 20th century than ever before. Our ecosystems are being ravaged by human activities - whether it’s the plastic pollution in our oceans and water bodies, the pollutant-filled air around us or the use of natural resources in a manner that isn’t sustainable. Scientists predict that Earth’s sixth mass extinction event is already underway, termed the ‘Holocene extinction’ caused by humans. Plants and animals are dying out at a rate of 1000 to 10,000 times faster than before, with dozens of species going extinct every day. Eg - The Western black rhino.
Our ecosystems are now under serious threat, with most species believed to be going extinct within the next 50-100 years if nothing is done to save them. Overpopulation, overconsumption, habitat destruction, poaching, pollution, invasion by invasive species & climate change are all factors that threaten not just animal, but human life as well. Making simple & conscious decisions in our daily lives could help improve the situation greatly - avoiding using plastic, being mindful of what you throw away, consuming consciously. WE are responsible for the future of these species, and the future of our planet.
Above: The Predator Ridge exhibit in Denver Zoo nominated for best zoo exhibit, is a rotation exhibit, shared between spotted hyenas and African wild dogs and the African lions at different times of the day. Opposite: Oceanário de Lisboa, Lisboa, Portugal.
VISITOR EXPERIENCE OF THE MADRAS CROCODILE BANK
22
Trends in Modern Zoo Design Landscape Immersion Coe, Jon C. (1994). "Landscape Immersion – Origins and Concepts.” Landscape immersion exhibits, are those in which animals are immersed in the landscape closely representing their natural habitat, and visitors also share the same landscape, but not the same area. There are invisible barriers, and the setting looks, smells and feels like you're in, for example, the Amazon rainforest; Abstractions are minimized and specifics emphasized.
Elements of Immersion exhibits: Landscape Simulation Broad zoo/geographic representations such as “North America” or “Asian”, which embrace many dissimilar ecosystems don’t meet this criterion. However, somewhat generalised habitat presentations such as “rain forest,” maybe be considered if they meet the other criteria. Continuity Both sides of the barrier are continuous, and visitors feel as though they were visiting in the animal's natural habitat, with all its sights, sounds, and smells. Above: Landscape architects created a half-natural, half-man-made rainforest, with 400 species of plants, 55 “trees,” sculpted rock, 11 waterfalls, and a ground-fog system; Congo Gorilla Forest Exhibit, Bronx Zoo, New York. Opposite Top: A male gorilla appearing to be dominant over visitors; Great EscApe, Oklahoma City Zoo, circa 1994. Opposite Bottom: At 6½ acres one of the largest indoor/outdoor zoo exhibits anywhere, the Bronx Zoo’s Congo Gorilla Forest brings visitors face-to-face with more than 20 Western Lowland Gorillas and other imperiled species.
Consistency Elements like fences, masonry work, etc, which are inconsistent with the habitat being replicated, are absent, hidden or diminished to the extent that they do not detract from the experience of the “natural” setting.
The design places people in the middle of the animals’ world, a very advanced approach to zoo display utilizes
23
NIKHIL LAL SHRESTHA
GRADUATION PROJECT
Criticisms of Landscape Immersion: Cost of the exhibit The costs to develop and maintain these are usually high, but relatively cheaper than modern and high- tech exhibit approach. Animal Visibility Animals may frequently be hidden from public view. This can be minimized through good design, by placing the viewing points in areas frequented by animals, like the shaded or basking areas. Restrictions to Animal Management practices Practices like using human-made toys for animals, like boomer balls, play structures etc. cannot be used because they are not natural enough. Alternatively, hiding and scattering of food around the enclosure and leaving food trails would work providing better stimulation for the animals.
VISITOR EXPERIENCE OF THE MADRAS CROCODILE BANK
24
Behavioural Enrichment Coe, Jon. (2011). "Architects and Enrichment". It is an animal husbandry principle that seeks to enhance the quality of captive animal care, by identifying and providing the environmental stimuli necessary for optimal psychological and physiological well-being of the animal.
Passive Enrichment These features provide sensory stimulation for the animals by way of sight, sound, touch, smell, and are built into the animal's habitat and replicate their natural surroundings, without any direct contact or control. It involves simulating the natural habitat, by having waterfalls, rock features, native vegetation, ambient natural sounds present in their habitat, etc, which adds to the environmental enrichment.
Active Enrichment Often requires the animal to perform some sort of physical activity as well as direct interaction with the enrichment object. Keeper-training sessions build trust, and increase the animal's cooperation, during clinical and research procedures. It has also been shown to benefit the welfare of both individually housed animals, and communally housed animals, by providing cognitive stimulation, increasing social play, decreasing inactivity, and mitigating social aggression during feeding.
Important trends in enrichment: 1. Behavioural competence Lacking learned competence to facilitate their natural instincts and physiological systems, keepers, trainers, and enrichers can champion Above: A 4-foot-deep pool fed by a waterfall, a sandy shoreline, and uneven terrain that makes the naturalistic environment unique and stimulating for the jaguar; Jaguar Cove Exhibit in Woodland Park Zoo, Seattle, Washington, USA. Below: 'Jumbo' an African dwarf crocodile during enrichment training, at the Madras Crocodile Bank, Chennai, India. Opposite Bottom: Built-in enrichment 'treats log' for bears; by Jon Coe Design.
25
NIKHIL LAL SHRESTHA
GRADUATION PROJECT
RAINFOREST BEHAVIORAL OPPORTUNITIES GRADIENTS COMPARED TO CONVENTIONAL HOLDING BEHAVIOURAL OPPORTUNITY GRADIENTS. (HYPOTHETICAL)
and teach behavioural competence, but when animals are taught overdependence, they lose or never develop their natural initiative, and they may develop learned helplessness. 2. Choice Providing animals with relevant opportunities and choices, reduces stress and improves well-being and self-sufficiency, keeping in mind the animals are able to make these choices and exploit these opportunities.
RAINFOREST ENVIRONMENTAL GRADIENTS COMPARED TO CONVENTIONAL PRIMATE HOLDING MICRO CLIMATE GRADIENTS. (HYPOTHETICAL)
Built-in Ambient Choices Facilities should be designed to provide ambient gradients from which animals can choose by moving to the location where the combination of ambient factors best suits its needs. Research shows that even modest control over their environment reduces stress. Built-in behavioural Choices Social gradients Varying degrees of interaction with, or isolation from their own species or nearby species, depending on needs and interests Built-in Animal Access Choices Sometimes an animal needs access to a high vantage point to reduce stress or needs to escape from overly aggressive individuals. This need is especially important in mixed-species exhibits. 3. Collaboration It is an important strategy to help improve the animal’s learned competence and ability to access enrichment choices. Collaboration between caregivers and animals includes training and conditioning. It encourages animals to become active partners in their own care and is essential to visualize, fund, implement, evaluate and sustain enrichment programmes. Therefore collaboration is the catalyst - mediating and optimizing the benefits of competence and choice.
VISITOR EXPERIENCE OF THE MADRAS CROCODILE BANK
26
Design and Perception Coe, Jon. C. (1982). "Bringing It All Together: Integration of Context, Content and Message In Zoo Exhibit Design"; Coe, Jon. (1985). "Design and Perception".
1. Context The perceived environment surrounding exhibit viewers, including people and public areas, animals and animal areas, interpretive displays and other features perceived consciously or unconsciously by visitors. Principles of exhibitry:
Above: Woodland Park Zoo's award-winning Northern Trail exhibit features various enriching elements for the grizzly bears, including a stream and deep pool that maintains 20-30 live trout, many that have lived in the pool for several years. Opposite Top: The relative position of an animal possibly affects visitors’ perceptions. When they are placed lower, people tend to show dominance while in the opposite scenario people are more inclined to learn, and are respectful to the animals. Opposite Bottom Left: It is evident from the image that visitors are in a dominant position to the bears. A man can even be seen throwing something at the animal, perhaps some kind of food; Bear exhibit at Seattle's Woodland Park Zoo, 1971. Opposite Bottom Right: Visitor's surrounding the animals from all sides may cause stress for the animals and best avoided; Basel Zoo, Switzerland, 1930.
27
NIKHIL LAL SHRESTHA
1. The viewer should feel immersed in an unfamiliar multi-sensory landscape, replicating the animals' natural habitat, anticipating where the animals might be and subsequently being rewarded when they spot the animal. 2. No barriers should be perceived or at least minimized so that the animals appear to have limitless area. 3. Show the animals in their natural landscape so that they behave naturally and also interact amongst themselves. Displaying the animals respectfully enhances their inherent beauty, dignity, and worth. 4. Animals should appear to dominate the scene, and the viewers shouldn’t appear to surround them. Distractions caused by being able to see other people (cross viewing) across the animal's area, should be reduced or avoided, planing the enclosure accordingly. 5. The graphics need not be overly assertive, for if the viewing context is properly developed, many viewers will be stimulated to seek additional information, and it will be associated with vivid memories. Many exhibits include replications of traditional human settlements, which also immerse the visitors. This type of bio-centric rather than homo-centric exhibit, is designed to appeal to both the unconscious and conscious areas of perception, and furthermore, the messages are complementary and mutually supporting. The experience "feels" real to the viewer, with examination and tangible evidence.
GRADUATION PROJECT
Subordination In the scenario of a zoo, it isn’t uncommon to see animals being harassed by the visitors who throw things at them when the animals are inattentive to them. This is perhaps because people perceive themselves to be in a dominant position. By placing the animal higher than the visitor, a reduction in this behaviour is noticed. Being in a subordinate position, people seem to be attentive, respectful and wanting to learn, similar to a teacher in a classroom or a conductor in an orchestra. Cross Viewing Visitor viewing areas should be carefully designed to prevent cross viewing (being able to see people viewing animals from a different part of the enclosure) to make it seem as if the enclosure is endless. Dividing the viewing areas into smaller sections can prevent this from occurring. Visitor Viewing Areas Visitors that view animals, shouldn't be able to dominate them by appearing to surround them. It is recommended to develop a circulation system developed such that a given animal area may be seen from several different viewpoints, interspersed with views of other interrelated displays.
THE PLACEMENT OF AN ANIMAL SHOULD BE AN IMPORTANT CONSIDERATION WHILE DESIGNING AN ANIMALS HABITAT.
VISITOR EXPERIENCE OF THE MADRAS CROCODILE BANK
28
2. Content The information and concepts which zoo designers and educators intend to convey to the public through their interpretive displays; what the graphics literally say. Common interpretive approaches include: 1. Scientific approach (scientific name, unique physiology and such) which is probably only understood by a small percentage of visitors. 2. Minimum information presented grudgingly to a suspect population, that "... won't read it anyway." 3. Simplified information presented in a vivid format (often cartoon-style) which can compete for and capture the interest of the broadest segment of the visitors. The graphics themselves shouldn't compete for attention or detract from actually viewing the animals.
Above: In addition to learning important facts about the animals, kids can stick their hands into the den of a sleeping bear to hear it growl or touch a stump marked by actual bear claw marks in the Oklahoma Zoo's interactive signage, designed by the Greteman Group. Below: Bold interpretive graphics for the temporary exhibition called Reptiles: The Beautiful and the Deadly; Exhibit by Peeling Productions. Opposite: Various studies have suggested, that polar bears, like elephants, orcas, and dolphins suffer from psychological illness in captivity displaying repetitive behaviour patterns; Polar Bear at the Detroit Zoo, Michigan, USA.
29
NIKHIL LAL SHRESTHA
GRADUATION PROJECT
3. Message the subjective mosaic of information and emotion which zoo visitors actually experience within the total environment of the exhibit context. Methods of successful message delivery: 1. Select, refine and define your message. 2. Create an attraction. 3. Set up the encounter. Set the scene, build anticipation, eliminate distractions then immerse visitors in the story context or habitat. 4. Provide a memorable encounter, demonstration, “postcard” view, or photo opportunity (later viewing of photos reinforces the memory) 5. Link your message to the memorable experience overtly and/or subliminally.
6. Generalize the emotion. “If you care about protecting this orangutan, you must also care about protecting rainforests”. Link your message to an immediate action. 7. Reinforce your message with similar memorable experiences of other species/habitats, repeat visits or reminders such as publications, media exposure, special interest groups, online communications, etc. 8. Update attractions frequently, with “what’s new”, new attractions coming up, or provide other reasons for return visits, to reinforce and update messages.
VISITOR EXPERIENCE OF THE MADRAS CROCODILE BANK
30
Rotation Exhibits Coe, Jon C. (2004). "Mixed Species Rotation Exhibits". Professor H. Hediger (1950) described a typical territory of a wild animal, as being made up of a variety of special use areas (dens and retreat areas, basking sites, marking stations, foraging areas), interconnected by regularly used pathways. Since no zoo is large enough to provide this space, animal rotation plays an important role in increasing both space and complexity for the animals. Typically, zoo exhibits are grouped according to -
HEDIGER'S CONCEPT OF TERRITORY
Zoo-geographic - Continent wise or region wise Taxonomic- Class, family, and genera wise display Behavioural - Nocturnal, aquatic, burrowing, arboreal Bio-geographic - High mountain fauna, riverine fauna, Mangrove fauna etc. Eco System - Nilgiri fauna, Desert fauna, Wetland fauna, etc. Or a mix of the above, based on the popularity of the species. A rotation system for an exhibit would probably work best if the enclosures are developed and grouped based on bio-geography or ecosystems. In that manner, animals of the same region would be sharing an enclosure similar to their native habitat. Animal rotation is an integrated management and facility design strategy which allows animals to move sequentially between two or more interconnected display and off-display areas, for the purpose of increasing available space and behavioural opportunities for the animals.
GREAT APE ROTATION: TOLEDO ZOO
31
NIKHIL LAL SHRESTHA
GRADUATION PROJECT
Forms of rotation include single individual, single species group, multi-species individuals, and multi-species groups. Ofcourse, measures would be taken to prevent the spread of diseases between species, similar to those used in conventional mixed-species facilities, in which multiple animals share the same space simultaneously.
Considerations Rotation exhibits will generally require both more staff and better trained staff to operate at optimum levels. The cost of building each enclosure is higher due to the barrier costs involved; They must be sized for the most demanding species in rotation. Additional gates, and return-chute costs, must also be considered.
GREAT APES ROTATION: ZOO ATLANTA
For facilities looking to improve the well-being and activity of their animals, as well as the motivation and professional development of their staff, this may be an approach worth considering.
Case study/ Notable example The Louisville Zoo's 'Islands exhibit' follows a rotation system for their orangutan, tapir, babirusa, siamang and Sumatran tiger. Five years of behavioural observations, show normal stress levels, increased activity, and previously unseen natural behaviours. Louisville Zoo Acting Director, John Walczak (1995), believed guest satisfaction improved with increased animal activity, as well as with the greater complexity and interest of the guest experience. Improving visitor satisfaction led to increased return visitation and earned revenue, which helped to offset the higher facility and operational costs of their rotation exhibits.
ISLANDS: LOUISVILLE ZOO'S ROTATION CONCEPT
VISITOR EXPERIENCE OF THE MADRAS CROCODILE BANK
32
Signage at Zoos
From Left to Right: Cincinnati Zoo, USA; ZSL London Zoo, UK; Rivers of the World, Singapore; Cincinnati Zoo, USA; Los Angeles Zoo, USA; Rivers of the World, Singapore.
33
NIKHIL LAL SHRESTHA
GRADUATION PROJECT
General Information Directions that could work Rivers of the World signage • Illustrations are very child friendly • Clearly puts forward a basic difference • Vibrant colour scheme is pleasing to the eye • The colour scheme has a high contrast and stands out against its background
Los Angeles Zoo signage • Modular form allows easy change of information • Informal way to impart information • Chosen colours could have been brighter but is still enough to make it stand out against it’s background
VISITOR EXPERIENCE OF THE MADRAS CROCODILE BANK
34
From Left to Right: Memphis Zoo, USA; Arizona Sonora Desert Museum, USA; Arizona Sonora Desert Museum, USA; Fort Worth Zoo, USA; Museum of Living Art, Fort Worth Zoo, USA; Fort Worth Zoo, USA.
35
NIKHIL LAL SHRESTHA
GRADUATION PROJECT
Zone Signage Directions that could work Chester Zoo signage • Simple zone illustration • Icons assigned to the areas inside the zone • Use of natural materials • Colour scheme works well and doesn't blend into the surroundings
Fort Worth Zoo signage • Clearly shows the enclosures inside the zone • Large font aids in distance viewings • Chosen colours could have been brighter but is still enough to make it stand out against its background
VISITOR EXPERIENCE OF THE MADRAS CROCODILE BANK
36
From Left to Right: Bronx Zoo, USA; Decin Zoo, Czech Republic; Bronx Zoo, USA; Calgary Zoo, Canada; San Diego Zoo, USA; Singapore Zoo, Singapore.
37
NIKHIL LAL SHRESTHA
GRADUATION PROJECT
Enclosure Signage Directions that could work Singapore Zoo signage • The information displayed on the sign is not too detailed, not too short and also legible • It addresses bilingual requirements • Follows a clean and bold visual language • The colour scheme has a high contrast and stands out against its background Bronx Zoo signage • The information displayed on the sign is not too detailed, not too short and also legible • Includes general details as well as additional details about the species • Has a clean and uncluttered appearance • Shows the characteristic features of the species
VISITOR EXPERIENCE OF THE MADRAS CROCODILE BANK
38
Visitors at Zoos
While researching on zoos, I also looked at various studies on visitor behaviour. Understanding this data helped in making decisions during the planning phase and also brought the topics up for discussion.
Visitor behaviour in National Zoo's Reptile House: Dale L. Marcellini and Thomas A. Jenssen; L. Marcellini, Dale & Jenssen, Thomas. (1988) This was a study conducted in the National Zoological Park in Washington, D.C to understand the amount of time visitors spend looking at the exhibits.
Insights:
Above: Alligators in their enclosure at the Reptile House at the National Zoological Park. The National Zoo opened in 1931. Opposite: The Ganges gharial exhibit is one of several community exhibits in the Museum
• Average time spent in the reptile house was 14.7 minutes; about 8 minutes was spent looking at the exhibits, similar across ages, sex and group type. • Viewing time reduced as the crowd size increased. • The purpose of a zoo visit nearly always stressed intragroup social interactions. The animals are apparently used by the visitors as background for the social event. • Demonstration exhibit (Reptile eggs and juvenile animals) was viewed for 27.5 mins
of Living Art at Fort Worth Zoo, Texas, USA. and design.
39
NIKHIL LAL SHRESTHA
GRADUATION PROJECT
Visitor behaviour in Zoo Exhibits with Underwater Viewing: Stephanie Clark Ridgway, Margaret Livingston, and Steven E. Smith; (2005) Volume 8 Issue 3 Visitor Studies Today This study was done to understand the factors that influence visitor behaviour and viewing time in six underwater viewing exhibits. Our research revealed that visitor group type, size of underwater viewing windows, animal size, aquatic activity, and the presence of infant animals had significant impacts on visitor behaviour. We discuss implications for the planning and design of exhibits with underwater viewing.
Insights: • Viewing times were significantly longer at exhibits with larger surface areas for underwater viewing windows, probably because the visitors feel more immersed in the space. • Water levels at one-third and three-fourths of the window height was associated with shorter viewing time whereas water levels at one-half and two-thirds of window height were associated with longer viewing time. • It was noticed that water clarity was a critical issue for all underwater viewing exhibits. Visitors often commented that the pools looked dirty or murky. This is challenging because of animal matter and food particles being suspended in the water, and also the substrate being disturbed on the pool floor. It is also to be noted that some visitors didn't think it detracted from the exhibit, but added to the 'natural' look. The signage placed in the exhibits may be used to discuss water clarity issues so visitors become more familiar with natural processes. • In general, visitors believed that it was easy to view the animals in the exhibits and that crowding didn't detract from their experience.
VISITOR EXPERIENCE OF THE MADRAS CROCODILE BANK
40
Influence on Visitor Behaviour at a Modern Immersive Zoo Exhibit: Ross SR, Gillespie KL., (2008) This study was carried out in Lincoln Park Zoo's Regenstein African Journey exhibit, which was designed to simulate a safari through Africa. It considered the use of the building and educational components and how visitors used the educational opportunities presented to them, to better meet their expectations and achieve the zoo's goal of conservation education. Since visitor experience was a major design goal, the timing and tracking study was done on 338 visitors.
Insights:
Above: Creating a naturalistic immersion exhibit is an important concept for designing animal habitats, but, what do the visitor's think of them?; African Wild Dog exhibit, Lincoln Park Zoo, USA, 2003. Opposite: Even the newer signage at the Bronx zoo uses the term 'range' on it but also shows the maps in context to the world map; Himalayan monal signage at the Bronx Zoo, USA, 2012.
41
NIKHIL LAL SHRESTHA
• Visitors moved quickly through the exhibit, with durations generally ranging between 11 and 13 min per subject. • Visitors liked the hippopotamus and crocodile exhibits best, which contained large mega vertebrates and a unique soft-flooring element. • Educational elements isolated from animal exhibits were highest in terms of both holding power and attracting power. • Visitors without children spent more of their visit reading signage than visitors without children. • Visitors who interacted socially with other visitors or zoo staff spent less of their visit reading signage.
GRADUATION PROJECT
Understanding Graphic Maps at the Bronx Zoo: John Fraser, Jessica Bicknell, and Jessica Sickler; (2005) Volume 8 Issue 3 Visitor Studies Today This study was conducted by the Bronx Zoo to understand how easily adult visitors to the Bronx Zoo were able to identify two continents and countries on maps and their interpretation of the term “range.”
Insights: • Although a majority of visitors could identify both South America and Asia from the continent outline alone, 28% of visitors could only identify one or both continents when viewing a map of the full hemisphere. At a minimum and wherever possible, graphic representations of animal habitats should include at least the Eastern or Western Hemisphere to orient guests to the region being presented. • 10% were unable to identify a continent from any of the maps provided. • Graphic representation of an animal range was better understood than the term “range” though a large percentage of the participants still did not understand the information. The use of the term “range”is to be considered a scientific term requiring explanation or alternative language must be employed to explain the concept.
VISITOR EXPERIENCE OF THE MADRAS CROCODILE BANK
42
The Future of Zoos The research that I had already done helped me understand what the first zoos were like historically, and how their evolution to the present day. I deemed it necessary to know what the zoos of the future would be like. Would they even exist? There is of course, also the possibility of them not existing at all, or perhaps, being the only place left for ‘wild’ animals to exist. To get better insight into this, I gathered material on the future of zoos from the perspective of people already involved in this field, getting to know their perspective.
Above: The figure shows the evolution of the zoo concepts according to George Rabb, 1992. Jon Coe believes that all these types of zoos will continue on into the future as well. Opposite Top: The Whale Sanctuary Project is working with you to establish a model seaside sanctuary where cetaceans (whales and dolphins) can live in an environment that maximizes well-being and autonomy and is as close as possible to their natural habitat; concept image of the seaside sanctuary, the final site hasn't been selected. Opposite Bottom: VR experiences are already being incorporated in many zoos and even museums, could it someday also replace zoos?
43
NIKHIL LAL SHRESTHA
According to Jon Coe, a renowned Australian zoo designer, describes zoo animals as refugees from humans’ war to conquer nature. He believes, that in the next 50 years, most major global impacts will already be irreversible and it is unlikely that the governments of the world will successfully be able to slow down global warming. Climate change and it’s ill effects like droughts, famines, floods, and rising sea level and the resulting social conflict will make existing national parks, protected areas and wildlife refuges highly vulnerable, causing an influx of human and wildlife refugees. He raises the question, “… these are all happening, there is no question about it. The only question is, how far will it go and when will it peak?” (Coe, 2012). But climate change won’t be the only issue. There is also overpopulation and our unsustainable consumption economy that will ultimately lead to resource depletion and will have immense social, environmental and impacts. Keeping these in mind, he believes that zoos would advance in wealthy communities, becoming more humane, educational, and integrated with freeranging urban wildlife. Specialised sanctuaries will flourish due to the boundaries between zoo, community, and nature reducing. Captive breeding and management will become the focus of elite zoos, as wild populations of animals are lost forever. Small populations of animals will be cloned using cryopreserved genetic material from endangered species and other biotechnical means. They will maintain far fewer species and will become specialised, with the increased emphasis on indigenous species adapted to the local climate. Natural Bays will be created for large marine animals, like Orcas and dolphins, that can’t be released back into the wild; they will be viewed from boats. Education in zoos will use virtual reality technologies to be more experiential and take a look
GRADUATION PROJECT
inside mini-ecosystems of insects and microbes. Economically and politically stressed communities around the world would see a rise in traditional norms, circuses, and animal combat events. Zoos, however, instead of evolving in a linear manner towards progress, will branch out like a tree. Old forms like royal menageries have existed in the past, exist today and will exist in the future. This is also the case with Victorian style zoos as well as modern zoos. We will also see a rise of newer forms of zoos like the techno zoo, which give animals low tech to give more control over their own environment. Virtual zoos that are web & app based virtual reality zoos, perhaps with robotic animals; these may create major competition for traditional zoos or could possibly be incorporated in some form. Also, frozen zoos, which are storage facilities in which genetic materials are stored at very low temperatures, in tanks of liquid nitrogen. All these already exist currently in some form, and we will definitely see a rise in their numbers in the future. Another interesting concept that Jon Coe talks about is the ‘unzoo’. In the first zoos were designed to be human-centric, Hagenbeck zoos (first naturalistic enclosures) were also human-dominated and then in immersive zoos, in which the animals are presented in a way that appears to be dominant. The unzoo is a progression towards an ideal, where the people are controlled while the animals roam freely in a natural landscape, similar to the safari parks that exist today. This can be achieved through positive reinforcement and behavioural enrichment training where animals can be taught to be cooperative during medical examinations or for recreational purposes, instead of these causing them stress. He assumes that in that from the year 2050 to 2075, the concept of third generation conservation will be in place. (considering preservation as first generation conservation, reclamation as the second generation of conservation) This will be a time where humans and nature share symbiotic relationships and coexist peacefully with nature, merging into one sustainable form. It wouldn’t be government enforced but community-based. We can already see examples of these today like bird feeders. This would also possibly evolve into much more complex systems. The zoo as we know it today is also likely to persist on some evolutionary branch or another.
VISITOR EXPERIENCE OF THE MADRAS CROCODILE BANK
44
Understanding the Animals Reptile Research To understand what the visitors could experience or learn, it was imperative to first understand the reason people would come to the Croc Bank - to see the animals. A big part of my research had to do with understanding everything I could about the animals at the Croc Bank and how I could communicate interesting things about them. This included learning not only about their captive requirements but also physiology, behavioural traits, morphology, reproduction, nature, evolution, locomotion etc. I then attempted to take a few aspects of the research to sketch out ways in which I could present them to visitors to interpret.
45
NIKHIL LAL SHRESTHA
GRADUATION PROJECT
Above Left: A mugger crocodile balances twigs on its nose to tempt birds collecting small branches to build nests with, at Madras Crocodile Bank, Tamil Nadu in India.; Photograph by Vladimir Dinets. Above Right: Butterflies have been known to drink the tears of crocodiles. The insects seem to be in pursuit of nutrients and minerals—chiefly salt. Could the situation to view this interaction be created in a captive setup?; Photograph by Mark Cowan.
VISITOR EXPERIENCE OF THE MADRAS CROCODILE BANK
46
CZA MINIMUM PRESCRIBED SIZES FOR OUTDOOR OPEN ENCLOSURES IN CAPTIVITY Animals/ Species
Minimum size of the enclosure (Square meters)
Minimum size of the water body within the enclosure (Sq meters)
Guidelines & Requirements
Crocodile/ Gharial
400
150 (with a depth of 2 meters)
Python Cobra, Rat snake, Vipers Sand boas Monitor lizards * Chameleons and Small lizards Tortoises Turtles
80 40
6 4
Housing standards
40 80 40
4 6 4
40 80
4 40 (with a depth of 2 meters)
To place the animals on the plan it was necessary to understand the guidelines prescribed by the Central Zoo Authority of India. Some other guidelines that were referred to included the International Reptile Husbandry Standards - American Zoos Association We finally used the European Association of Zoos and Aquaria crocodilian husbandry guidelines for allocating pens and understanding animal sizes etc.
Amphibians
10
4 (with a depth of 0.5 meter)
* In case of Water monitor lizard the size of water body should be kept at 40 sq. meters with a depth of 1.5 meters.
CZA GUIDELINES ON USE OF INNOVATIVE EXHIBIT DESIGN AND BARRIERS’ DESIGN Animals/ Species
Crocodile/ Gharial enclosure
Front/ Rear Barrier
Open V shape moated enclosure with dry moat should be provided.
Remarks
a. It must be ensured that enclosure should have at least 20% space covered by water (pool). b. Sufficient area shall be provided for basking. Sand must be available for gharials for basking and egg-laying.
47
NIKHIL LAL SHRESTHA
GRADUATION PROJECT
CZA GUIDELINES ON MINIMUM DIMENSION OF ENCLOSURES Name of the species
Crocodiles/ Alligator African Dwarf, American, Australian Freshwater, False gharial Crocodile Morelets, Nile, Siamensis, Snouted, African Slender, West African Dwarf Gavial False, Caiman Spectacled, Yacare & Dwarf.
Minimum size of the outdoor enclosure (sq. mtrs.)
Number of animals / birds to be housed
Size of the feeding cubicles/ night shelter (mtrs.)
1:1
500
200 (with a depth of 2 mtrs.)
No house required
1:2
Iguana
100 (covered partly by chain link)
Giant Aldabra tortoise
200
Minimum water body size
May also keep reptile house/ glass terrarium type enclosure
With 20 sq. mtrs. (small shade from rain & heat) 1:1
EAZA CROCODILIAN HUSBANDRY GUIDELINES Species
Temperature
Enclosure Size Land
Pool
IUCN Status
Ambient
Basking
Pool
Tomistoma schlegelii
20 sq. m.
20 sq. m. (depth 1.3m)
25°
35°
26.6°
Vulnerable (Last Assessed 2011)
Paleosuchus palpebrosus
2 sq. m.
4 sq. m. (depth 0.3m)
25°
35°
26.6°
Least Concern (Last Assessed 1996)
VISITOR EXPERIENCE OF THE MADRAS CROCODILE BANK
48
Enclosure Study Factors to consider while designing an animal's enclosure:
Needs of the animals - Size of animal - Social Grouping - Natural habitat - Ambient choices (gradients in temperature/ light/ ventilation/ humidity) - Behavioural choices (display/ surveillance/ visibility/ seclusion) - Shelter from the elements - Feeding and water - Sleeping facility - Retreat areas when they don't want to be viewed - No dangerous areas or substances to animals
Needs of the staff - Is it possible to work without direct contact with the animal? - Security of the enclosure - Can the animal be restrained safely for health checks - Ease of maintenance, cleaning, and feeding - Suitable off-limit areas with holding facilities
Needs of the visitors - Clear view of the animal - Accessibility for the disabled/ elderly or children - Educational value (guided tours/ feeding shows/ interpretive graphics)
Controlled viewing Enclosures should be designed in such a way that cross viewing with other visitors are avoided. Visitors surrounding the enclosure would subtly imply dominance over the animals and make visitors lose interest quicker. Instead, designing the viewing area to break visitors into smaller groups is ideal. Since there isn't really an example of a 'perfect zoo enclosure', my task was to
49
NIKHIL LAL SHRESTHA
GRADUATION PROJECT
gather a collection of images of reptile enclosures from zoos around the world. Crocodilian enclosures in zoos were mostly underwater exhibits, with the animal's habitat outdoors and the visitor viewing from an indoor space. Enrichment features built into the habitats included cascading waterfalls, floating vegetation, sandbanks, deep pools with driftwood and rock features, leaf litter, and different substrates. Many enclosures also included another animal of the same species to form social groups or also communities of fish and turtles, making the enclosure more like an ecosystem. This brings up the opportunity for interaction between different animals that would be difficult to observe in the wild. These may include, courtship displays or even interaction between turtles and gharials for example. Like the big cats, Komodo dragons also require large spaces and an environment with opportunities to dig into the substrate and a temperature gradient for basking or sleeping. They may also require a night house or some kind of shelter to regulate their temperature. Keeping all these factors in mind is paramount to creating a well-designed exhibit that keeps animals happier and healthier and is also a pleasure to view as a visitor. Certain turtle species could be in mixed-species exhibits along with Crocodilians like the Gharials, which are primarily fish eaters.
Above: A mixed species setup with gharials, turtles as well as large fish; The gharial enclosure at the Fort Worth Zoo in Texas, USA. Below: An underwater viewing exhibit is common for displays crocodiles; saltwater crocodile at the Miami Zoo, USA. Opposite Top: A child interacting with the Tomistoma through the galss barrier in the 'Monsoon Forest' exhibit at the Chester Zoo, UK. Also note the use of floating vegetation to add a natural element in the enclosure. Opposite Bottom: Murky water, Natural vegetation and use of substrate all cater to the animal's specific needs; Saltwater Crocodile at Fort Worth Zoo in Texas, USA.
VISITOR EXPERIENCE OF THE MADRAS CROCODILE BANK
50
Thoughts and reflections: The underwater exhibits are a good way to seeing natural behavior up close because crocodilians spend most of their time in the water. Crocodiles normally prefer and feel more secure in murky water. The underwater viewing exhibits would ideally have relatively clearer water but still slightly murky to prevent it from looking unnatural. Small signs could also talk about how crocodiles are relatively inactive during the day as they are nocturnal animals, clearing the misconception that they are lazy.
51
NIKHIL LAL SHRESTHA
GRADUATION PROJECT
Opposite Above and Below: Komodo dragon enclosure, ZSL London Zoo,UK; & Komodo dragon enclosure, Fort Worth Zoo, USA. From left to Right: Komodo dragon enclosure, ZSL London Zoo, UK; Aldabra tortoise enclosure, Forth Worth Zoo,USA; Yellow anaconda enclosure, Zurich Zoo, Switzerland; Gharial Enclosure, Fort Worth Zoo, USA; Turtle enclosure, Smithsonian National Zoo, Washington, USA; King Cobra, Museum of Living Art, Fort Worth, USA.
VISITOR EXPERIENCE OF THE MADRAS CROCODILE BANK
52
Barrier Study It is important that visitors get the right message from the barriers used in zoo exhibits. It shouldn't give the impression that the animals are trapped inside a space but be disguised as some natural feature like an eroded bank, river/ stream or a rock outcrop. Contouring and planting to hide any visible barriers is also an option to be considered. The idea behind these is that it should be difficult for the visitors to determine the physical extent of the enclosure. This provides greater excitement for a visitor and a more immersive feeling of being a part of the animal's space.
Problem Statement The safety of the animals and public is very important for zoos, but the issue that persists in zoos around the globe, is regarding visitors harassing the animals by either throwing things at them, or entering the enclosures. This is seen especially in cultures that see ‘nature’ and animals as no more than resources for human exploitation. This is seen even with well-intended visitors, who take part in public feeding of zoo animals. The best methods to deal with this is to position the animals higher than the visitors, or by enclosing the visitors in 'viewing blinds' but that would limit the number of visitors it can hold at a time. A moat to provide distance and or using fine mesh could also be an option but moats require a large amount of space and fine mesh would look unattractive.
53
NIKHIL LAL SHRESTHA
GRADUATION PROJECT
Barrier Breach Cases I did a quick study on how zoos dealt with cases of people entering an animal's enclosures, to try to see what I could learn from it, and if that any solutions could be implemented at the Croc Bank. Cincinnati Zoo: Gorilla Exhibit May 2016: a 3-year-old boy entered the gorilla exhibit after crossing the public barrier. Harambe, the 17-year-old male gorilla had made contact with the child, after ignoring calls from his keeper for him to return to his housing facility. Zoo Officials had to then make the decision to save the child's life and shot the gorilla with a single gunshot. After the incident, the facility replaced the fence (now 42 inches and covered in a nylon mesh instead of the cables) of the public barrier and also added three surveillance cameras to the enclosure viewing area. National Zoological Park Delhi: Tiger Enclosure September 2014: a 20-year-old man was mauled to death by a white tiger, Vijay after he jumped into its enclosure at the Delhi Zoo. After the confused tiger stared at the man for 15 minutes it eventually grabbed the man by his neck, dragging him to the upper area of the enclosure, killing the man on the spot. After the incident, the Delhi Zoo is increasing the number of security cameras around the enclosure and revisiting their response protocols. They had also put up a temporary fence but removed it after a few days.
Opposite Left: It's common for visitors to raise their children on top of the barrier, so they can get a better view. Opposite Right: Visitor at the Alipore Zoo in Calcutta who seems to have crossed the stand off barrier. Above: Incident of man falling into the tiger enclosure at the Delhi zoo; Illustration by The Enquirer/Mike Nyerges. Below: Incident of man falling into the gorilla enclosure at the Cincinnati zoo; Illustration by The Hindustan Times.
VISITOR EXPERIENCE OF THE MADRAS CROCODILE BANK
54
Copenhagen Zoo Tasmanian Kangaroo exhibit The Tasmanian kangaroo exhibit at the Copenhagen Zoo, designed by White Arkitekter is a slatted-timber enclosure which allows visitors different levels of interaction with the small marsupials, but on the animals’ terms. Shy kangaroos can retreat completely away from visitors in one of the sections. There is also a space that can be used as a quarantine area. The structure also has a heated concrete floor to provide the animals with a sanctuary from poor weather. An entrance and exit area containing a sluice mean that visitors can enter the building without the kangaroos escaping.
55
NIKHIL LAL SHRESTHA
GRADUATION PROJECT
Waterhole viewing blinds In wildlife reserves and national parks, a form of noninvasive observation is practiced where a structure is built next to a watering hole. It may be buried, floating or standing on the ground camouflaged with the surroundings. This allows people to be extremely close to the animals that exhibit their natural behaviour.
Opposite top: A cylindrical house for Tasmanian kangaroos at Copenhagen Zoo designed by White Arkitekter. Visitor can view the animals from behind the screen. Opposite bottom: Without the barrier of a fence, visitors can meet the kangaroos up close, but on the animals' terms; Designed by White Arkitekter. Left to right: Viewing blind are a common way to non-invasively observe wild animals; Manyara ranch in Tanzania, Africa; Mwamba Bush Camp Zambia, Africa
VISITOR EXPERIENCE OF THE MADRAS CROCODILE BANK
56
Central Zoo Authority of India The illustrations on the left are some of the solutions proposed by the CZA specifically for displaying semi-aquatic reptiles like crocodiles.
Kabul Zoo wolf exhibit by proposed by Jon Coe Unable to find any concrete solution, I decided to email Jon Coe, a worldrenowned zoo designer from Australia, to understand if there was a possible solution for a barrier design of semi-aquatic species, there way very little information that I found related to crocodiles. He spoke to me about how he had proposed a long, vine-covered arbour for the Kabul zoo, that spanned the length of the exhibit front which supported a fine mesh barrier between the visitors and animals. This would be more attractive than simply building a fence between animals and visitors and would effectively enclose the visitors. The light mesh ‘people barrier’ could be independent of the animal barrier (a bank or moat for example).
57
NIKHIL LAL SHRESTHA
GRADUATION PROJECT
Conclusion/ Thoughts & Reflections Possible Solutions: An Acrylic/ Glass barrier Mesh/ Chainlink walkway (Enclosing the people) Viewing Hides Moasts or Ha-ha Fences. Removing loose rocks etc around areas where this situation can take place Increasing the distance between the viewer and the animals Volunteers or Guards to keep a check The most appropriate way to view semi-aquatic reptiles like Crocodilians would be through underwater exhibits with a glass barrier. But, installing this specialized glass involves high costs apart from being difficult to maintain. For the Croc Bank master plan, chain link of appropriate height was proposed. Advantages It requires less space so is more feasible than building a moat for every enclosure. Maintenance wise, it is ideal for areas with high salinity and humidity. It is also inexpensive compared to other options like glass. Disadvantages Chain link fencing wouldn’t provide the best viewing experience. Also, it is common to see acts of vandalism on chain link. Apart from this, it has a connotation that whatever is behind it something potentially dangerous. Though this may be true, even a 5-foot high wall is enough to keep animals like crocodiles inside. In this situation, the barrier is more to prevent people from entering/ harassing the animals than keeping the animal in the enclosure. Though a possibility with using a chain link fence barrier is to hide it using vegetation and have designated viewing areas with a cutout or a glass window. Necessary security measures can be taken to watch these opening via CCTV or a security personnel. If a chain link fence is employed as the final barrier, I feel that visitors should know about the issue faced by the zoo and the reason they used it.
Opposite Top-Left: Schematic barrier diagrams prescribed by CZA India. Opposite Top-Right: Illustration showing cross section of a Crocodile enclosure prescribed by CZA India. Opposite Bottom: Illustration of the proposed Kabul zoo wolf exhibit by Jon Coe. Above: Explorations for the possible barrier solutions; Illustrations by Nikhil Shrestha.
VISITOR EXPERIENCE OF THE MADRAS CROCODILE BANK
58
Understanding Visitor Experience
What is Visitor Experience? Visitor experience may be defined as - The perceptions, feelings, and reactions a visitor to a venue has, in relation to the surrounding environment. A good experience helps increase the satisfaction level of visiting a venue and justifies the visitors thought to visit. Apart from the venue, off-site experiences like buying tickets or getting information on a website or an app also adds value to the experience. It's important for venues to make it clear to visitors what they would gain from their visit, as people visit a place by giving up the opportunity to be doing something else, by investing their time, energy and thought into the visit.
Visitor experience at Zoos According to the Association of Zoos and Aquariums, every year over 180 million people visit zoos and aquariums worldwide. They have an important mission of research, educating people, and also spreading the message of conservation, but most studies suggest that people visit zoos mainly for social or recreational purposes. Considering this true, it is extremely important for zoos to thoroughly check their practices and revise them so as to strengthen the message and experience for their visitors. For my project, I worked on two aspects of visitor experience - spatial planning and the signage system.
59
NIKHIL LAL SHRESTHA
GRADUATION PROJECT
VISITOR EXPERIENCE OF THE MADRAS CROCODILE BANK
60
Spatial Planning Spatial planning may be referred to as the organisation of activities in a space, their linkages and the distribution of people who would use the space, at various scales.
Crowd Control and Visitor Flow Facilities that get large amount of visitors should be able to handle large crowds graciously, especially on peak days, while not feeling intimidating to smaller groups during an off-season day. It is important to have an understanding of the type of resource and venue to understand how it affects the visitor flow. The single focus resource is the main attraction that people come to view by visiting at a venue. For example, The Lincoln Cabin, a single focus resource. It's venue, the neo classical building that enshrines it, is a single focus venue at it is the only venue on that site. A multiple focus resource typically includes a venue with a large collection. For example, the Museum of Modern Art has a large collection of artwork. Pacing is a method used for controlling crowds through planned free flow or dispersion. It is easier to control crowds if a facility has multiple focus resources that allows for natural dispersion of people.
Above: Thought the Louvre Museum in Paris, France is a multiple focus resource, most visitors if not all would also view the Mona Lisa painting. Opposite: North American Mammals Diorama at the American Museum of Natural History.
Pulsing, on the other hand, is the movement of a defined group through a space. This helps to regulate the number of visitors at a time, in a venue. This could be done by having a timed event like a demonstration or a screening of a film.
Characteristics of the path (width, terrain, levels etc.) While planning the circulation paths, the width of the path considers the expected number of people at a given time. Also, the size type of path - public or private, front of house of back of house. Creating alternative paths allows for natural dispersion of crowds.
61
NIKHIL LAL SHRESTHA
GRADUATION PROJECT
Exhibit Design: Approaches that employ realism Designing Effective Exhibits: Criteria for Success, Exhibit Design Approaches, and Research Stategies (1994) A common design strategy (especially in zoos and natural history museums) is to create a visitor experience that simulates reality. Realistic exhibits may be justified for at least three reasons: (1) it may be assumed that realistic exhibits have greater attracting and holding power; (2) the experience of realism is assumed to have educational value in itself (visitors learn what an animal's habitat is like from a diorama); and/or (3) realistic exhibits
Dioramas Dioramas, in their purest form, present animal species within a context of natural habitat including three dimensional, realistic-looking objects (trees, rocks, etc.) and a background painting on the back wall.
Concreteness Pure concrete exhibits are three dimensional with objects; pure abstract exhibits are `one-dimensional,' lacking objects. The most abstract exhibit consisted of labels only; next, a label with a picture; an object only; an object with label; and an object, label, and sound. The latter was considered the most concrete
Immersion an approach where the landscape dominates the architecture and the zoo animals appear to dominate the public. In this approach, the visitor leaves the familiar grounds of an urban park called a zoological garden, and actually enters into the simulated habitat of the animals. There was a strong relationship between ratings of "feeling of time and place" and "excitement." This suggests that feeling immersed in an exhibit experience is exciting. Such exhibits apparently have a powerful affective impact.
Virtual Reality Virtual reality, in addition to providing a simulated environment, involves kinesthetic feedback and interaction with the environment.
VISITOR EXPERIENCE OF THE MADRAS CROCODILE BANK
62
Possibilites to convey information This explores the ways in which zoos and museums exhibits facilitate learning opportunities for their visitors. A successful exhibit is determined by:
1. Behaviour measure Behavioral measures involve observation and recording of overt visitor behavior. This type of measure is most valid when it is important to know exactly what people do.
2. Knowledge Acquisition While behavioral measures can provide the most valid method of determining what visitors actually do at exhibits, they cannot usually tell us what visitors are thinking or feeling.
3. Affective Measures The third type of measure is affective. Museums are often concerned with how the attitudes and/or interests of visitors are influenced by an experience at an exhibit or within the entire museum. Still another affective measure is visitor satisfaction.
63
NIKHIL LAL SHRESTHA
GRADUATION PROJECT
Left to Right: 'Strawberry smell exhibit' is an olfactory display at the Museum of food and drink in New York, USA; 'World’s Largest Dinosaurs Exhibit' at the American Museum of Natural History, New York, USA; The Exploratorium in San Francisco is a museum that allows visitors to explore the world through science, art, and human perception. Its mission is to create inquirybased experiences that transform learning worldwide; Micropia is a museum in Amsterdam on microbes, which are often associated with illness and disease despite their essential function in the daily functioning of human life.
VISITOR EXPERIENCE OF THE MADRAS CROCODILE BANK
64
Wayfinding Signage Design Wayfinding is the action of getting from one point to another. To be able to do this, a user must know where they are, and where their desired destination is (Orientation), what paths they need to choose in order to reach it (Navigation), and what their possibilities are on their way (Information). Getting lost while finding your way in a place, could cause users stress. To avoid this and provide a good user experience, having a good wayfinding system in place is important. A well-planned wayfinding system shouldn't detract from the experience of the actual space but just give users subtle cues to guide them.
Planning and Strategy A study of the architecture of the space is required, which determines how it appears to the user, and how it functions. This includes identifying the decision points(nodes where the users need to make a choice), the information given at that point (which types of signs you will require), and then subsequently strategizing how the user is directed through space. Also, determining the flows that represent the movement of visitors through space. There are four kinds of strategies that can be used to develop most wayfinding systems.
Districts: Organize a space zonally, giving meaning to each zone. Streets: Form a comprehensive network of pathways. Connector: Typically a simple bold pathway, that connects every location to it. Landmarks: Direct users to major nodes, and form an identity in each zone, providing orientational cues for the user. Certain situations may also require a combination of these strategies.
65
NIKHIL LAL SHRESTHA
GRADUATION PROJECT
Types of Signs Directional Signs: These are the signs directing users to a place. They give them a choice at all nodes and pathways, giving confirmation that the user is moving in the correct direction. eg - Way to (arrow) underwater viewing gallery. Regulatory Signs: Caution user of the regulations and requirements of a place. eg - Staff only, Caution signs. Identification Signs: Identify where the reader is, and point out specific landmarks or structures. eg - Cafe, Exhibit A, Zone 1 Informational Signs: Supplement the paths, with useful information along the way. eg - Directory, 'You are here' Maps. Signage design can combine these types of signs for specific applications. Eg- A sign could identify a place, while also giving related information about it. Signage totems could be a combination of identification, informational and directional signs. Opposite Top: A newly designed wayfinding system that highlights walking as an integral mode of public transit; New York City’s Department of Transportation's WalkNYC campaign. Opposite Bottom: Four types of wayfinding strategies. Above: The entrance to Tisch Childrens Zoo in, New York, USA (2010) acts as a directional sign, a identification sign and also an informational sign.
VISITOR EXPERIENCE OF THE MADRAS CROCODILE BANK
66
Signage Design Arrows Arrows, are ultimately what direct users reading the signs, making them a vital part of their design. Typically grouping areas, such that the number of arrows on a signage is significantly reduced, is a good approach. Boxing out information or adding a separator line, defines the grouping, and gives a visually cleaner design. Arrows should always be placed on the extreme ends of the signage, followed by the symbol of the area, and subsequently the text, which is more towards the centre of the sign. They should also never point into another arrow, which would confuse the user.
Layout Creating a balanced layout grid, is an important aspect of signage. One of the most effective ways to provide a sense of balance, is to choose a single focal point for your layout. Giving enough negative space to the layout, helps the elements on the signs breathe. This is easier to defined by placing elements on a grid.
Language Designing signage for wayfinding could become challenging, especially when more than one language is involved. Signage that has two or more languages, should meet the need of all the users. Typically, the primary language of the users will be placed on top of the sign, followed by the other languages, in order of what the users use the most.
67
NIKHIL LAL SHRESTHA
GRADUATION PROJECT
Colour Coding Colour coding signage helps organise the information on the sign, so a user can easily distinguish between different types of signs. For example - Using the colour red, could be used for showing an important message, while yellow could be used for all signs giving directions.
Contrast Whether it's the choice of material, or colours used, wayfinding signage should be designed to have high contrast, for easier legibility. They should also be clearly visible from a distance.
Fonts and Text size Fonts specifically designed for wayfinding, normally have open counters, (negative space within a letter form), a larger cap height for good readability (height of a capital letter), and distinct letter forms (such that one letter doesn't look too similar to another letter). These are what should be used. Formula for text size: The viewing distance determines how close a user needs to be, to be able to read the sign. x height = r/200 R is the reading distance in meters
Architecture and Wayfinding A good wayfinding system doesn't rely on signage alone, but is also defined by the architecture. A successful system includes, surface treatments, sight lines, memorable landmarks, landscaping that move users in a particular direction or even lighting and sounds.
Opposite Top: A newly designed wayfinding system that highlights walking as an integral mode of public transit; New York City’s Department of Transportation's WalkNYC campaign. Opposite Bottom: Four types of wayfinding strategies. Above: The entrance to Tisch Childrens Zoo in, New York, USA (2010) acts as a directional sign, a identification sign and also an informational sign.
VISITOR EXPERIENCE OF THE MADRAS CROCODILE BANK
68
Interpretive Graphics Interpretive signage communicates specific messages to visitors. Although interpretive signage and wayfinding are, in essence, two different specialties, they may still merge in certain situations. They are a form of information dissemination and try to create a memorable and embodied experience for users, i.e. one that generates long-term and positive impressions. eg - Signage giving interpretive details at a specific historic site. Creating a narrative is an important aspect of the process. Signage that educates and follows a narrative or a timeline is likely to follow a natural sequence and it is this sequence that will want to tie-in with the route.
Tilden's principles of interpretation 1. Any interpretation that does not somehow relate what is being displayed or described, to something within the personality or experience of the visitor will be sterile. 2. Information, as such, is not Interpretation. Interpretation is revelation based upon information. But they are entirely different things. However, all interpretation includes information. 3. Interpretation is an art, which combines many arts, whether the materials presented are scientific, historical or architectural. 4. The chief aim of interpretation is not instruction, but provocation. 5. Interpretation should aim to present a whole rather than a part. 6. Interpretation addressed to children (say up to the age of twelve) should not be a dilution of the presentation to adults, but should follow a fundamentally different approach. To be at its best it will require a separate program.
Tone of Voice Defining a tone of voice keeps things interesting for the reader. It's not about what information you write on the signage, but rather the way it is written.
69
NIKHIL LAL SHRESTHA
GRADUATION PROJECT
Graphics The visual language of the signage should ideally be in sync with the main brand or institution. Organizing the content using typographic hierarchy also adhere to good practice and makes it easier for a reader to read the sign. Emotional aspect: it is about invoking emotions (preferably positive ones) such as excitement, amusement, inspiration, interest, and joy with intentions to educate the readers.
Interactivity Adding elements of interactivity enhances the message. These could include touch elements, buttons that play a sound, olfactory elements
Placement Interpretive signs shouldn't detract, but add to the experience. That being said, they also shouldn't merge with their surroundings making them easy to miss. The location is dependant on the context of what the sign is talking about. Placing the sign close to the context location gives visitors a reference point to understand the information.
Audience Visitors typically, decide within seconds whether they would want to indulge in reading a sign properly, or just glance at it and move on. It is important to keep the visual hierarchy simple and easy to understand using as little technical jargon as possible to keep readers interested.
Opposite Top: Santa Ana Zoo signage by Hunt Design. Opposite Bottom: Interpretive sign at Longwood Gardens by the Gecko Group. Above and Below: Display and interpretive graphics by Image Box.
VISITOR EXPERIENCE OF THE MADRAS CROCODILE BANK
70
Redefined Brief Completing my research phase opened up many possibilities for me to work on. Having a much deeper understanding of zoos allowed me to redefine my brief for the project. The new brief was to design the visitor experience of the Madras Crocodile Bank focusing on spatial planning and the signage system. This would also include me being a part of the architectural team, working on the overall design and conceptualization of the spaces, keeping in mind the safety of the visitors and the well-being of the animals.
71
NIKHIL LAL SHRESTHA
GRADUATION PROJECT
Above: African Dwarf Crocodile in it's natural habitat. They are the smallest species of crocodile, with males only growing about 1.5 meters on average.
VISITOR EXPERIENCE OF THE MADRAS CROCODILE BANK
72
02 About the Site: Madras Crocodile Bank
Introduction Location The facility is located 40 kilometers south of Chennai city. It’s en route to the temple town of Mahabalipuram along the East Coast Road. Chengalpet is 50 kilometers inland, and Pondicherry is 85 kilometers to the south.
Space available The total area that the Crocodile Bank covers is 8.5 acres.
75
NIKHIL LAL SHRESTHA
GRADUATION PROJECT
History By the end of the 19th century, large-scale commercial hunting of Indian crocodilians for their skins almost wiped out their populations; Gharials being affected the most. A group of conservationists with a common vision, to save the three species of crocodilians found in India (mugger crocodile, gharial and saltwater crocodile) founded the Croc Bank in 1976 as a non-profit charitable trust. Their aim was to restock wild populations by captive breeding the animals. Starting out with 12 crocodiles they have now ended up with almost 2000 of them. They have released almost 1500 of them in different parts of the country. They are globally recognized for their in-situ and ex-situ conservation efforts and continue to educate and make the public aware of the importance of these animals and their ecosystems.
Free Ranging Animals Apart from the over 35 species of reptiles at the Croc Bank, there are a whole bunch of free-ranging reptiles and amphibians
Birds at the Croc Bank The Croc Bank, with its water-bodies, ponds, large old trees and thick shrubs, is a veritable bird sanctuary with over 60 species seen and identified by knowledgeable bird-watchers. Below is a list, which is by no means comprehensive. If you see a species not included here, we would appreciate hearing from you, preferably with a photo of the bird.
Opposite Top: Illustration showing the location of the Madras Crocodile Bank on the outskirts of Chennai, India. Opposite Bottom Left: A Google Earth satellite image showing the site completely covered with trees. Opposite Bottom Right: Croc Bank signage is seen while approaching the entry gate. Above: Gharial enclosure at the Croc Bank, 1978; Photographs by Rom Whitaker Below: A gharial poses in the early days of Croc Bank.
VISITOR EXPERIENCE OF THE MADRAS CROCODILE BANK
76
Communication Systems General Information Signage These signs communicate interesting information and facts about animals through wall paintings or hand-painted signs. Their visual language varies depending on the sign - some cartoonish some with more realistic graphics. About the signs: • Communicated through wall murals • Located in certain pens as additional information • Visual language varies in among some signs
Above (Left to Right): 'DId you know' signage; Signage talking about snake fangs; Crocodilian distribution map; Signage giving information on where crocodiles live, Signage showing birds commonly spotted at the Croc Bank; Mural on crocodiles and culture. Opposite (Left to Right): Hand-painted mugger crocodile identification sign, Printed gharial identification sign, Printed anaconda identification sign; Printed green iguana sign.
77
NIKHIL LAL SHRESTHA
GRADUATION PROJECT
Enclosure Signage Enclosure signage about the species is a mix of painted signs and printed signs. It shows a simple illustration/ photograph and talks about: Information represented: • Map + Conservation Status • Illustration • Common + Scientific Name • Habitat • Reproduction • Maximum Length • Diet • In the Pit + Sex • Specific Size They are typically mounted inside the enclosure on a metal frame or on the mesh. Older signs are mostly hand-painted while the newer ones are printed.
VISITOR EXPERIENCE OF THE MADRAS CROCODILE BANK
78
Above (Left to Right): Zoo Map showing visitor accessible areas; Cautionary signage; Regulatory signage; Signage near exit. Opposite (Left to Right): Crocodilian skull display at Reptales; 3D mural selfie zone; 'Most dangerous animal' installation; Egg display at 'Reptales'; Sculpted crocodilian model.
79
NIKHIL LAL SHRESTHA
Miscellaneous Signage At the beginning of the Croc Bank, a directory/ campus map, shows all the destination and visitor amenities. Regulatory and cautionary signs are also present throughout the site, mainly near or in the animal's enclosures or service areas.
GRADUATION PROJECT
Displays There are a few permanent displays like 'Reptales' that showcases different crocodilian's skulls or the water feature with sculpted scale models of some animals. There are also a few scattered installations, as well as, selfie points around the campus.
VISITOR EXPERIENCE OF THE MADRAS CROCODILE BANK
80
Animals and Enclosures The Croc Bank is home to approximately 2400 animals including 17 species of crocodilians, 8 species of turtles and tortoises, 3 species of snakes, and 3 species of lizard. Each enclosure is made close to the natural habitat of the species in it. There are three natural pond enclosures (others are concrete lined) and one underwater viewing exhibit.
Top to bottom: Natural unlined pond for Mugger crocodiles; Aldhabra giant tortoises; Mugger crocodiles; Komodo Dragon Opposite Left to Right: Underwater gharial exhibit; View from above the underwater gharial exhibit; Densely planted saltwater crocodile pen; 'Jaws III' the 17 foot long saltwater crocodile is the largest one in captivity, in India.
81
NIKHIL LAL SHRESTHA
GRADUATION PROJECT
VISITOR EXPERIENCE OF THE MADRAS CROCODILE BANK
82
Visitors at MCBT Over 4,00,000 people visit the Croc Bank every year. The highest footfall ever recorded on a single day was about 8000 people on the day of Pongal in 2017. The visitors include: Residents of Chennai and Tamil Nadu Domestic tourists Foreign tourists School student groups Scientists and researchers The main audience comprises of the lower middle class of Tamil Nadu and school student groups. Language The wide audience means that the information provided would have to be bilingual ie. Tamil and English Accessibility The facility would like to become more accessible to the differently abled and the elderly. Transport The modes of transport to reach the facility include buses, taxis, private cars, motorbikes, and auto-rickshaws.
83
NIKHIL LAL SHRESTHA
GRADUATION PROJECT
Masterplan Development A masterplan is a comprehensive document designed to guide the future rowth and development of a facility. It presents a vision for the future, with long-range goals and objectives for all activities. My roles in the masterplan development of the Madras Crocodile Bank included: • Pen inventory management • Pen allocation • Plan revisions • Concepts of display areas • Signage concepts
VISITOR EXPERIENCE OF THE MADRAS CROCODILE BANK
84
Existing Survey Plan My introduction to the Crocodile Bank before visiting it was through the survey plan. It helped get better acquainted with the site and understand parameters like the slope of the land, existing structures and their dimensions, trees, water bodies etc. A preliminary exercise for me was to understand the existing enclosures and their residents. Currently, there isn’t any zoning and this was to be addressed in the new master plan.
85
NIKHIL LAL SHRESTHA
GRADUATION PROJECT
Previous CZA Approved Masterplan Before the project was taken up by my sponsor, another architecture firm had worked on it. Their design had already been approved by the Central Zoo Authority of India which was a reference point to develop the new master plan. My task was to understand their proposed list of animals, highlighting the ones that were not in the existing inventory.
VISITOR EXPERIENCE OF THE MADRAS CROCODILE BANK
86
Proposed Masterplan The new master plan retains most of the existing enclosures, tweaking them to fit in the new design. There are 6 zones, an interpretation center, a herpetarium and a plaza with a food court. Each zone has been subdivided to accommodate the current animals as well as the animals to be obtained. The enclosure profiles are more organic and aid in a better flow of visitor movement. It also breaks up the central spine so people don’t see the full extent of the zoo immediately after entering. Viewing decks, bridges, and underwater water galleries give visitors the opportunity to get a more intimate view of the animals. My task included management of the inventory list, pen allocation developing the signage system and also helping develop the display areas.
87
NIKHIL LAL SHRESTHA
GRADUATION PROJECT
VISITOR EXPERIENCE OF THE MADRAS CROCODILE BANK
88
89
NIKHIL LAL SHRESTHA
GRADUATION PROJECT
Zoning and Circulation The Madras Crocodile Bank had initially started with just a few pens and about a dozen animals. Their growth over the years was very organic and new enclosures were built as and when new animals were brought in. In the new master plan, they wished to reorganize their space and group their enclosures. A zoo-geographic zoning display was approved by the Central Zoo Authority in the previous plan and thus the animal enclosures were organised continentwise. All the visitor amenities are located on the main connector road, while the loop roads take visitors through various zones in the proposed master plan. The service lanes and areas are segregated from the visitor areas.
VISITOR EXPERIENCE OF THE MADRAS CROCODILE BANK
90
Narrative Matrix Place
Significance
The narrative matrix details out each space of the proposed masterplan and also describes the experience with it.
Content
A 40 ft crocodile head installation made of wire mesh will be the canopy of the pavilion which will be visible to cars/ people passing by and serve as There will be a giant crocodile head forming the canopy an acctraction point. of the plaza. There is a food court to attract tourists Plaza Entry There will be a food court with water and toilet crossing MCBT. (Ticket Counter, Food Court, facilities for visitors on their way to Pondicherry Visitors will get a brief introduction to MCBT here. Orientation Zone) from Chennai that will act as a pit stop; The client would also like to increase footfall in the zoo in this way. The entry and exit gate to the Irula snake catchers society will also be from here.
Asia/ Australia Zone
The is a vantage point 7.5 meters from the The largest zone, with the most enclosures. All 3 families ground. All crocodilian species found in Asia and Australia. The vegetation will be specific to the of crocodilians are found in this zone. zone.
This area will provide the most basic information about crocodilians to the visitors. Asia/ Australia A clear distinction between the head shapes that make Underwater Viewing Gallery the crocodile, gharial and alligator different from each 1 other. It will solidify what the visitors have already encountered and give them the opportunity to futher try to distinguish between the family of crocodilians.
America Zone
Amazon Zone
Interpretation Center
Gift Shop
91
A comparison between the American Alligator and American Crocodile can be made here.
Inside the gallery there will be 3 exhbits that can be viewed 1. Saltwater crocodile (Jaws) 2. Gharial (Garfield) 3. Chinese Alligator (Not in current inventory) An area will be created in the center for seated viewing. The feeding shows will also be viewed from here and live webcams will give alternate views of the enclosure.
All crocodilian species found in the Americas.
The third zone of the MCBT Walk. Towards the later part All crocodilian and plants species found in of the route visitors will also be able to see the Mugger Amazon. Conservation Pen 43. - Gift Shop This is the half way point of the full zoo tour and is - Museum located on the main connector road. It will be a place for - Cafe people to take a short break. - Kids Play Area - Toilets Local handicrafts, Organic Clothing and Food items, stufed toys made by locals, Books on The gift shop can house a variety of things that support Animals/ Conservation and the Ecosystem, local conservation of animals and ecosystems. and regional artists that make art in realtion to conservation.
Experience
Modes of Representation
Visitors will be overwhelmed by the scale of the crocodile head installation and be curious and excited about the vist but also comforted by the hospitality of the ticket counter staff.
There will be elements of orientation in the form of a Zoo Map and Directory. The species of crocodile will also be shown in parralel with a World Distribution map. Visitors will be briefed about things like the Rules of the Zoo, IUCN Conservation Status, MCBT's role in conservation and Ticket Counter The need for conservation. - Zoo Timings - Zoo Rules + Regulatory Signs - Ticket Costs
Visitors will have three types of viewing A viewing deck, a vantage point and an underwater gallery.
The main form of communication will be through interpretive signage. Planting will be similar to what is found in this zone.
- Minimum exposure profile - Difference between snout shapes of 3 genus Visual of 3 underwater enclosures, animals will be around The light in the gallery will be mostly natural - Crocodile Vocalizations (Chirp, the chest height of the visitors. light entering from the three large viewing Distress call, Threat Call, Hatching TV Screens showing natural behavior and footage and/ or windows, the visitors will feel like they have live webcam footage of an alternate view of the enclosure. Call, Bellowing) entered the animals space. There is a possibility for controlling crowd here There is a roll down screen on one side for screenings and an - Live Webcam (Alternate Viewing) - Footage Installation in the center of the space. at the entry and exit. - Ambient habitat audio - Hydrophone - Osteoderms and scutes on the wall The main form of communication will be through Visitors will walk around a large bamboo interpretive signage. mound that is in the center of the zone Planting will be similar to what is found in this zone. The main form of communication will be through There is a straight path that visitors will be able interpretive signage. to follow. Planting will be similar to what is found in this zone. A visitor can reflect on the exhibits seen until now and also try to guage what he'll be seeing ahead.
A visitor must feel welcomed and comfortable in this space.
Here, the modes of representation will be form, material, graphics, other elements such as furniture and objects (glasses etc) and people at the sales desk.
Museum
A learning experience could be developed here to teach Artifacts and Installations about Crocodilians/ people about the world of reptiles. Chelonians/ Squamates.
A sense of wonder, curiosity and inquisitiveness Interactive and interpretive signage. will be represented.
Cafe
Here visitors can take a break and have some snacks and A small outdoor cafe space for visitors to get refreshments. snacks and refreshments.
Comfortable outdoor ambience.
NIKHIL LAL SHRESTHA
Childrens Play Area
The children can learn about reptiles as they Children can play here before continuing to see the rest manuver the playground. There will also be a sandpit for digging and of the facility.
Notes Orientation Zone - World Map (Family + Genus + Species) + Campus Map - IUCN Red LIst - Zoo Rules
GRADUATION PROJECT
Learning while playing will be encouraged.
Play structures.
- Modes of locomotion include crawling on belly (sprawl), walking with their body raised off the ground (high walk), galloping (Cuban crocodiles, Australian freshwater crocodile, New Guinea crocodiles, African dwarf crocodiles, and even small Nile crocodiles), swimming, leaping/ Footage from the wild - Touch exhibit Skeletons/ Skulls - Microscopic Viewing of parasites (Veterinary) - X-Rays viewing - Egg Display/ Candling Eggs Display - Use of bio-degradable/ compostable cutlery can be encouraged - Healthy food items - Fossil Sandpit - Compare your weight to a crocodile
Museum
A learning experience could be developed here to teach Artifacts and Installations about Crocodilians/ people about the world of reptiles. Chelonians/ Squamates.
A sense of wonder, curiosity and inquisitiveness Interactive and interpretive signage. will be represented.
Cafe
Here visitors can take a break and have some snacks and A small outdoor cafe space for visitors to get refreshments. snacks and refreshments.
Comfortable outdoor ambience.
The children can learn about reptiles as they Children can play here before continuing to see the rest manuver the playground. Childrens Play Area There will also be a sandpit for digging and of the facility. learning about fossils. Mugger Conservation - Pen Will be retained as a mugger crocodile breeding pen. It Mugger crocodiles. 43 (Old Pen 10) was among the first few pens dug out at MCBT. Mugger Conservation - Pen Will be retained as a mugger crocodile breeding pen. It Mugger crocodiles. 42 (Old Pen 8) was among the first few pens dug out at MCBT.
Learning while playing will be encouraged.
Will show the history of MCBT. Will show the history of MCBT.
Play structures.
- Modes of locomotion include crawling on belly (sprawl), walking with their body raised off the ground (high walk), galloping (Cuban crocodiles, Australian freshwater crocodile, New Guinea crocodiles, African dwarf crocodiles, and even small Nile crocodiles), swimming, leaping/ Footage from the wild - Touch exhibit Skeletons/ Skulls - Microscopic Viewing of parasites (Veterinary) - X-Rays viewing - Egg Display/ Candling Eggs Display - Use of bio-degradable/ compostable cutlery can be encouraged - Healthy food items - Fossil Sandpit - Compare your weight to a crocodile - Test Strength against crocodile
The main form of communication will be through interpretive signage. The main form of communication will be through interpretive signage. Lizards: - Size comparison between Komodo dragon and water monitor
Lizards, Turtles/ Tortoise, Juveniles Section
Africa
Here visitors can encounter the largest lizard in the world, the Komodo dragon 3 sections - Lizards, Chelonians (turtles + One of the largest tortoise species the Aldabra giant tortoises) and Juvenile Crocodiles. tortoise is also in this zone. There will also be a nursery for juvenile crocodilians and chelonians.
The smallest species of crocodile - West African dwarf crocodile.
Visitors will walk over a bridge to have an overhead view of the lizard area. There is a deck view for the juvenile section. The trutle and tortoise section will have enclosures on both sides of the path.
Herpetarium/ Serpentarium This space will be a new addition to the facility.
The main form of communication will be through interpretive signage.
Juvenile Crocodiles: -Egg tooth -Size at Birth -Growth Rate -Temperature dependant sex determination -10 to 60 eggs at a time, hatchling stays in the egg 55-110 Don’t mature until 4 to 15 years -They live 30 to 75 years depending on the species
The main form of communication will be through interpretive signage. Planting will be similar to what is found in this zone.
All crocodilian species found in the Africa.
Underwater Viewing Gallery This is the only existing Underwater exhibt currently and Underwater view of the Nile crocodile, largest 2 will be retained but he inhabitant would change. African species
Turtle/ Tortoise: - Difference betweeen turltes and tortoise may be reinforced showing different physical features - Juvenile Turtles
The light in the space will be the natural light entering from the viewing window, the visitors will feel like they have entered the animals space. There is a possibility for controlling crowd here at the entry and exit.
Mural on the wall Live Screen showing behavior of adjacent Nile Crocodile Enclosure or Behavior of the smallest Crocodile species the African Dwarf Crocodile. There will also be Interpetive signage.
It will house 30 different snake species and some Visitors will be able to learn about the snakes The main form of communication will be through smaller lizard species - Including the Anaconda and learn to appreciate rather than fear snakes. interpretive signage, displays and installations. and Reticulated Python.
VISITOR EXPERIENCE OF THE MADRAS CROCODILE BANK
- Social Hierarchy of Nile Crocodiles ( Tolerate other crocs during group feeding and basking, Heaviest & largest males are on top and get the best basking site while females are priority during group feeding of a big carcass ) - Cultural significance of Crocodiles - Live Webcam (Alternate Viewing) - Footage - Ambient habitat audio - Hydrophone - Osteoderms and scutes on the wall/ Mural - Longest snake in the world; Reticulated Python - Heaviest snake in the world; Anaconda - Jaw mechanism - Types of Venom and Fangs - What to do if you get a snake bite
92
03 Visitor Experience: Spatial Planning
J'ietvrcu_r �.-t r1fZ:IJ fl.H')
LMIOv�,
�
LEGEND :: ENCLOSURES THE AMAZON SECTION
ASIAN SECTION
AFRICAN SECTION
Pen Inventory
E17 SPECTACLED CAIMAN E.01 GHARIAL / KACHUGA E. 31 WEST AFRICAN DWARF CROCODILE E. 02 .EfilLIPPINE CROCODILE E.18 SMOOTH-FRONTED CAIHAN • TURTLES E.ll AFRICAN SLENDER-SNOUTED CROCODILE E.03 SIAMESE CROCODILE E. 19 □WARF CAIHAN • TURTLES E.l4 NILE CROCODILE E04 AUSTRALIAN FRESHWATER CROCODILE• AUSTRALIAN LIZARDS • SNAKES E. 20 BOA CONSTRICTOR • TURTLES E21 BLACK CAIMAN E. 05 TOMISTOMA • TURTLES CHILDREN'S SECTION E. 06 NEW GUINEA CROCODILE • TURTLES • SNAKES 30 SMALL TORTOISES E. 22 ANACONDAS E. E. 07 SALTWATER CROCODILE E32 CROCODILE UN □ERWA TER VIEWING E.23 YACARE CAIMAN E08 MUGGER CROCODILE • IN□IAN SNAKES • SMALL LIZARDS • TURTLES E. 24 PIRANHAS E11 GHARIAL RIVER DISPLAY E. 25 BROAD-SNOUTED CAIMAN LAND OF THE DRAGONS E.JS KOMOOO DRAGONS • ASIAN WATER MONITOR LIZARD E. 26 GREEN IGUANA • RHINOr<Dn< IGUANA
-
THE AMERICAS SECTION E09 MORELET'S CROCODILE • MUSK TURTLE INTERPRETATION CENTRE 10 YOUNG CROCODILE DISPLAY E. B19 YOUNG CROCOOILIANS • YOUNG TURTLES • SMALL LIZARDS • SNAKES • CHINESE ALLIGATOR 11 ORINOCO CROCODILE E17 "JAWS Ill" (SALTWATER CROCODILE( E, Enclosure. Current Pen Number of E13Zone B AL□ABRA TORTOISE • <111 rA TA Scientific TORTOISE AMERICAN CROCODILE 1Name Survey No. AnimalE. Name No. No. animals E.14 AMERICAN ALLIGATOR E. 15 CUBAN CROCODILE CROCODILE EXHIBIT 1 Pen 24 Gharial GavialisSWAMP gangeticus 3 E.16 YOUNG CROCODILESE1 E.19 MUGGER CROCODILE BREEDING MARSH • LIZARDS • TURTLES
Gharial Gavialis gangeticus Australian Freshwater E2 Crocodylus johnstoni Crocodile E3 New Guinea Crocodile Crocodylus novaeguineae E4 28 Pen 12 Saltwater Crocodile Crocodylus porosus E5 Philippine Crocodile Crocodylus mindorensis E6 16 Pen PP1 Mugger Crocodile Crocodylus palustris E7 46 Pen 6 Siamese Crocodiles Crocodylus siamensis, E8 4 Pen 18 Tomistoma Tomistoma schlegelii E9 5 Pen 17 Saltwater Crocodile Crocodylus porosus E10 Chinese Alligator Alligator sinensis E11 47 Pen 5 Gharial Gavialis gangeticus E12 29 Pen 11 Salwater Crocodile ( Jaws III ) Crocodylus porosus E13 48 Pen 1 Mugger Crocodile Crocodylus palustris E14 9 Pen 15 Morelet’s Crocodile Crocodylus moreletii E15 15 Pen PP2 Cuban Crocodiles Crocodylus rhombifer E16 Orinoco Crocodile Crocodylus intermedius E17 3 Pen 19 American Alligator Alligator mississippiensis E18 American Crocodile Crocodylus acutus E19 44 Pen 26 Smooth Fronted Caiman Paleosuchus trigonatus E20 14 Pen 13 A Black Caiman Melanosuchus niger Above: A partE21 of the previously approved inventory. 36 Pen 9C CZA masterplan Cuvier's Dwarf Caiman Paleosuchus palpebrosus Broad Snouted Caiman Caiman latirostris Below: A partE22 of the final 31 inventory Pen list.11B 22 Pen 25B Spectacled Caiman Caiman crocodilus Opposite Top: Existing enclosures; Based on survey plan. E23 20 Pen 25A Spectacled Caiman Caiman crocodilus Opposite Bottom: Initial 12 approach Pen of placing just Spectacled the crocodilians on the plan E24 14 Caiman Caiman crocodilus E25 49 Pen 4 Yacare Caiman Caiman yacare E26 50 Pen 3 West African Dwarf Crocodile Osteolaemus tetraspis E27 45 Pen 7 Nile Crocodile Crocodylus niloticus E28 25 Pen 23 Slender Snouted Crocodile Mecistops cataphractus E29 27 Pen 12A Nile Crocodile Crocodylus niloticus E30 18 Pen 20B Northern River Terrapin Batagur baska E31 32 Aldabra Tortoises Aldabrachelys gigantea E32 Nursery A Turtles (juvenile) E33 Outoffice 2 Turtles (juvenile) E34 37 Nursery C Assorted Turtles (juvenile) E35 21 Pen 25 Leith’s Softshell Turtle Nilssonia leithii NIKHIL LAL SHRESTHA E36 TTB Travancore Tortoise Indotestudo travancorica E37 STB Star Tortoise Geochelone elegans 39 Nursery A Gharial (juvenile) Gavialis gangeticus AFRICA
AMAZON
AMERICAS
ASIA/ AUSTRALIA
13
95
Pen 13
8
4 10 2 2 2 1 1 150 2 5
Following the research phase, I was in charge of understanding and maintaining the complete animal inventory of the Croc Bank. This was an important step to complete before allocating the animals to their new pens. Since the new masterplan envisioned housing all 23 species of crocodilians at the facility, I also created a list of all the species around the world with their specific details like scientific names, the maximum average length of both sexes, their conservation status. In this list, I highlighted the missing species. This was done by understanding their existing inventory and the previously approved masterplan inventory. This list required constant updating and changes at every step of formulating the master plan to arrive at the final list of animals. In total, it took 8 iterations to reach the final inventory list.
3
1 6 2 4 7 8 3 1 3 2 1 3 4 12 7 12 1 24 6 8
GRADUATION PROJECT
Pen Allocation A preliminary exercise was carried out to see if all 23 species of crocodilians would fit on the new master plan. This helped us understand if we needed to create more pens and what their sizes should be. The process of pen allocation involved knowing the existing animal layout, then allocating the animals according to their zones, the size of the animal to the enclosure size and group size. After this, water bodies were also added. Some animals were placed so that visitors could visually make comparisons, these would be discussed in the enclosure signage. This process was followed for each zone. The final guidelines used for the for the pen allocations were provided by the client and had to be studied before beginning; I had to frequently refer to them during the whole exercise.
VISITOR EXPERIENCE OF THE MADRAS CROCODILE BANK
96
Asia/ Australia In this zone, I retained the Tomistomaâ&#x20AC;&#x2122;s enclosure (also known as the False Gharial) and placed the Gharial next to it in the underwater enclosure to allow people to see the similarities and differences of each species of the same family. The placement of the animals in the pens with underwater viewing shows the distinctly shows the three families of crocodilians - Gharial, Crocodile, and Alligator. This would allow people to clearly differentiate between the snout shapes of each and learn a basic thing that makes each of these animals unique.
Above (Left to right): Existing Enclosures with Proposed Zone Outline; Proposed Enclosures; Proposed Water Bodies. Opposite: Isometric View.
97
NIKHIL LAL SHRESTHA
GRADUATION PROJECT
Enclosure 9 2 x Saltwater Crocodile
Enclosure 6 10 x Mugger Crocodile
Enclosure 12 1 x Saltwater Crocodile (Jaws III)
Enclosure 10 Chinese Alligator
Enclosure 2 Australian Freshwater Crocodile
Enclosure 5 Philippine Crocodile
Enclosure 13 150 x Mugger Crocodile
Enclosure 11 1 x Gharial
Enclosure 8 2 x Tomistoma
Enclosure 1 11 x Gharials Enclosure 3 New Guinea Crocodile
Enclosure 4 4 x Saltwater Crocodile
Enclosure 7 2 x Siamese Crocodile
VISITOR EXPERIENCE OF THE MADRAS CROCODILE BANK
98
America Most of the animals in this zone were placed according to enclosure sizes. The Orinoco crocodile and American alligator were placed side by side to allow visitors to be able to reinforce the differences between crocodiles and alligators.
Above (Left to right): Existing Enclosures with Proposed Zone Outline; Proposed Enclosures; Proposed Water Bodies. Opposite: Isometric View.
99
NIKHIL LAL SHRESTHA
GRADUATION PROJECT
Enclosure 18 American Crocodile
Enclosure 15 5 x Cuban Crocodiles
Enclosure 14 2 x Moreletâ&#x20AC;&#x2122;s Crocodile
Enclosure 17 3 x American Alligator
Enclosure 16 Orinoco Crocodile
VISITOR EXPERIENCE OF THE MADRAS CROCODILE BANK
100
Amazon Animals in this zone were placed according to enclosure sizes. Most of the enclosures here are larger than the currently allocated spaces to these species. The smallest of all alligator and caiman species, and also the smallest crocodilian species - Cuvierâ&#x20AC;&#x2122;s dwarf caiman has been placed near the largest caiman species ie. the black caiman for visitors to get a sense of scale.
Above (Left to right): Existing Enclosures with Proposed Zone Outline; Proposed Enclosures; Proposed Water Bodies. Opposite: Isometric View.
101
NIKHIL LAL SHRESTHA
GRADUATION PROJECT
Enclosure 22 2 x Broad Snouted Caiman
Enclosure 21 6 x Cuvierâ&#x20AC;&#x2122;s Dwarf Caiman
Enclosure 24 8 x Spectacled Caiman
Enclosure 20 11 x Spectacled Caiman
Enclosure 25 3 x Yacare Caiman
Enclosure 23 1 x Black Caiman
Enclosure 19 Smooth Fronted Caiman
VISITOR EXPERIENCE OF THE MADRAS CROCODILE BANK
102
Mugger Conservation The enclosures in the Mugger Conservation Zone were to be retained as they currently are. Changes to the shape of the enclosure and shape of the water body were made. These enclosures and their inhabitants were some of the first pens built when the Croc Bank was established.
Above: Proposed Water Bodies. Opposite: Isometric View.
103
NIKHIL LAL SHRESTHA
GRADUATION PROJECT
Enclosure 47 35 x Mugger Crocodiles
Enclosure 46 27 x Mugger Crocodiles
VISITOR EXPERIENCE OF THE MADRAS CROCODILE BANK
104
Lizards, Turtle/ Tortoise & Juveniles While working on this zone, I realized that a few species had been missed out in the survey plan and inventory list. Identifying these errors helped us provide a solution for the master plan and continue to allocate spaces for each animal. Since there were more species to be added to the zone, more enclosures were proposed to accommodate them. There were two iterations for the placement of animals, before reaching the final layout. From my previous reptile research, I knew that green iguanas were an arboreal species (animals that live a majority of their lives in trees) but didnâ&#x20AC;&#x2122;t have access to any trees in their existing enclosure. Therefore, they were in an enclosure which had multiple trees in it. The larger species of turtles and tortoises like the Northern River Terrapin and the Aldabra Giant Tortoise were placed across each other for visitors to visually understand the difference between them.
Above (Left to right): Existing Enclosures with Proposed Zone Outline; Missing Survey Data; Proposed Enclosures; Proposed Water Bodies. Opposite: Isometric View.
105
NIKHIL LAL SHRESTHA
GRADUATION PROJECT
Enclosure 31 4 x Aldabra Tortoises
Enclosure 36 24 x Travancore Tortoise
Enclosure 30 3 x Northern River Terrapin
Enclosure 37 6 x Star Tortoise
Enclosure 40 27 x Saltwater Crocodile (juvenile) Enclosure 35 1 x Leithâ&#x20AC;&#x2122;s Softshell Turtle
Enclosure 41 1 x Komodo Dragon Enclosure 33 7 x Turtles (juvenile)
Enclosure 42 1 x Komodo Dragon Enclosure 32 12 x Turtles (juvenile)
Enclosure 38 28 x Gharials (juvenile)
Enclosure 34 12 x Assorted Turtles (juvenile)
Enclosure 39 22 x Siamese Crocodile (juvenile)
Enclosure 44 1 x Komodo Dragon
Enclosure 43 2 x Green Iguanas Enclosure 45 4 x Water Monitor Lizard
VISITOR EXPERIENCE OF THE MADRAS CROCODILE BANK
106
Africa The animals here were placed according to their group sizes and enclosure sizes. In the underwater gallery, visitors would be able to view a Nile crocodile. An alternate option for the underwater viewing exhibit could be the West African dwarf crocodile, the smallest living species of crocodile. This way visitors would have seen the largest species i.e. the saltwater crocodile as well as the smallest species of crocodile.
Above (Left to right): Existing Enclosures with Proposed Zone Outline; Proposed Enclosures; Proposed Water Bodies. Opposite: Isometric View.
107
NIKHIL LAL SHRESTHA
GRADUATION PROJECT
Enclosure 27 2 x Slender Snouted Crocodile
Enclosure 28 3 x Nile Crocodile
Enclosure 29 1 x Nile Crocodile
Enclosure 26 1 x West African Dwarf Crocodile
VISITOR EXPERIENCE OF THE MADRAS CROCODILE BANK
108
Plan Revisions Lizards, Turtles/ Tortoise & Juvenile: Movement Problem Statement This specific zone, had few issues with movement. Visitors could potentially miss certain enclosures if they took the alternate path. Since there was scope in this area to try a propose a smoother movement, I sketched possible changes in movement.
109
NIKHIL LAL SHRESTHA
GRADUATION PROJECT
Revision 1 The first iteration tried to block paths and create a flow specific to the zone. Dense vegetation was to be used to block the paths, but as a solution this didn't work out fully. So I went back to try another iteration.
Revision 2 (Approved) This was the movement that I proposed that would allow visitors to miss lesser enclosures and prevent backtracking. The deck was shifted to the juvenile crocodile enclosures. The juvenile turtle enclosure was shifted to join the wall, thereby blocking that path. The paths above the underwater exhibit were blocked so visitors would move back through the zone instead of potentially skipping the last enclosures in the zone.
VISITOR EXPERIENCE OF THE MADRAS CROCODILE BANK
110
Specific Display Areas Initial sketches on possibilities of interaction To see how we could give out reptile information in interesting way for the visitors, I skethced some initial ideas that I had based on the research done on the animals behaviour, biology, etc.
111
NIKHIL LAL SHRESTHA
GRADUATION PROJECT
VISITOR EXPERIENCE OF THE MADRAS CROCODILE BANK
112
113
NIKHIL LAL SHRESTHA
GRADUATION PROJECT
Displays Static and interactive displays ideas that could convey information more interactively. The vet lab can show visitors, a 'behind the scenes view' into what the scientists do. There could also possibly be a fossil digging sandpit for children or a display of how alligators perform a 'water dance' during the mating season.
VISITOR EXPERIENCE OF THE MADRAS CROCODILE BANK
114
Mechanisms These ideas focus more on people directly interacting with the displays by applying a force like their body weight or strength to get a result. What if visitors could weigh themselves, and compare it to that of a saltwater crocodile? Maybe test their strength against the bite force of a crocodile?
115
NIKHIL LAL SHRESTHA
GRADUATION PROJECT
Viewing Sketching out possibilities to implement methods of non-invasive observation to the experience, so that the animals exhibit more natural behaviours without exhibiting any signs of stress. This could be carried out using tower binoculars, hidden periscope/ borescope or live webcam feed, from behind some kind of hide.
VISITOR EXPERIENCE OF THE MADRAS CROCODILE BANK
116
Entry Plaza: Orientation Zone
Details Area: 1985 ft² Type: Semi-Outdoor My task to identify what could be done in the given space and allocate an area for it. So, I came up with the idea of using the space as an orientation zone for the visitors.
Considerations: Ticketing line lengths Food court visitor traffic Crowding of visitors
IUCN RED LIST & CONSERVATION INTRODUCTION TO MCBT & ZOO RULES CROCODILIAN DISTRIBUTION MAP AND ZOO MAP
117
NIKHIL LAL SHRESTHA
GRADUATION PROJECT
Elements: Introduction to the 'Croc Bank' and the Zoo Rules This panel would talk briefly about the Croc Bank and the work they do, and what their objectives are. It will also highlight their conservation efforts and struggles, telling people how they could make a difference. The zoo rules would also be shown here and tell visitors the dos and dont's, to have a good experience at the Croc Bank.
IUCN Red List and Conservation Each animal identification signage shows a red symbol showing the conservation status of the animals. But do visitors understand terms like 'least concern' or 'vulnerable' and what they imply? This panel would help visitors get acquainted with how to interpret the information also highlighting the importance of conservation that they would subsequently see.
Crocodile Distribution Map and Zoo Map The distribution map shows all the crocodilian species in the world and also highlights where they are found. To help people understand the information better, I grouped each species into their families - Crocodile, Alligators and Gharials, all represented by an icon. Further, the animals were zonally grouped according to the zones in the proposed masterplan. The zoo map would show each zone and the animals that people would encounter there.
Above: Concept Render. Opposite: Plan View.
VISITOR EXPERIENCE OF THE MADRAS CROCODILE BANK
118
Asia/Australia: Underwater Viewing Gallery Details Area: 2500 sq feet Type: Indoor Lighting: Natural light from the glass viewing windows. Water Level: 3.5 feet from the ground; (water levels at one-half and two-thirds of window height were associated with longer viewing time, refer to pg. 40) I was given this space also to identify what could be done in it and how the areas would be allocated for them. During the pen allocation exercise, I placed the animals in a way that visitors would be able to see all the three families of crocodilians - Crocodiles, Alligators and Gharial, in the underwater gallery. This would give them the opportunity to observe and distinguish the different characteristic features like shape of the snout, dentition, size etc. Appropriate signage would be provided to challenge the visitors to see how many differences they can spot.
Considerations: Crowd size Crowd control
SCALE
CROCODILE VOCALIZATIONS
AMBIENT NATURAL SOUNDS
HYDROPHONES
DISPLAYS
119
NIKHIL LAL SHRESTHA
GRADUATION PROJECT
Elements: Scale The scale of each animal would be shown as an etching slightly raised off the ground in front of the viewing glass. This was placed here considering the possible maintenance issues of the glass window.
Texture The wall could display the scutes and osteoderms of crocodilians. Visitors would be encouraged to touch the scutes to get a sense of the texture.
Displays The displays could show two kinds of things, one would be natural footage of the animals hunting, characteristic behaviour etc, and the other would be live webcam views of the animals, displaying an alternate view like underwater views in which the visitors can see themselves or a view of the nesting site etc.
Sounds There would be three kinds of sounds that visitors could experience. Ambient natural sounds like the sounds of a waterfall (built into the enclosure), the insects and the birds, the breeze etc. This could be done using directional speakers and be a part of the general ambiance of the gallery. The other could be the sounds from a hydrophone. Since, hydrophones have a high output of noise along with any sounds being captured, a button on an interactive sign would allow visitors to hear the live audio from each enclosure using uni-directional speakers of headphone to isolate it. Above: Concept Render.
Another interactive sign would also allow visitors to hear the various vocalizations sounds that crocodilians make. On pressing a button they will be able to hear the various hisses, grunts and chirping sounds. This could also use uni-uni-directional speakers of headphone to isolate the sound.
Opposite: Plan View.
VISITOR EXPERIENCE OF THE MADRAS CROCODILE BANK
120
04 Visitor Experience: Signage System
Analysis Process Scheme To understand the proposed master plan, I created a process scheme. To shows the movement of people in the space and the linkages between the different areas. It also highlights the ticket control points in the space.
123
NIKHIL LAL SHRESTHA
GRADUATION PROJECT
Parking/ Drop off point
IRULA COOPERATIVE SOCIETY Plaza Entry Point
PLAZA Toilets Food Court Irula Entry Point
Plaza Exit Point
Ticket Counter/ Information Point/ Office
Ticket
E - ticket
Pre - booked ( student groups )
Ticket Control
Central Spine
ZONES
ASIA/ AUSTRALIA
AMERICA
AMAZON Deck 2
MUGGER CONSERVATION - E46
LIZARDS, TURTLE/ TORTOISE & JUVENILES
MUGGER CONSERVATION - E47
Deck 3
Vantage point
AFRICA Deck 1
Ticket Control
Deck 4 Ticket Control
Underwater Viewing Gallery
INTERPRETATION CENTER Cafe/ Restaurant Kidâ&#x20AC;&#x2122;s Play Area
HERPETARIUM
Underwater Viewing Gallery 2
History of MCBT Museum Gift Shop Toilets
VISITOR EXPERIENCE OF THE MADRAS CROCODILE BANK
124
Destination List Sl. Name - Working Title No.
Name of the destination, or description of the function
1
A destination list was created to map the areas of the space and give the final names of each destination in both Tamil and English.
Destination - Tamil
Destination - English
Symbol
Type
Is the destination part of a subset of Next to text, symbols can Type of destination Destination name in Tamil, Destination name in English, destinations? be used to represent the ( eg - Facilites/ in communication to the public in communication to the public What is the name of destinations Amenities etc.) the subset?
Parking Area பா�தவயா�� �ி���க Visitor Parking
Facilites
Parking Area
2.1 Ticket Counter/ Office
ப�ெக�
Tickets
Facilites
Entry Plaza
2.2 Food Court
��வகக
Food Court
Facilites
Entry Plaza
Male, Female, Accessible (Symbol only or symbol + text)
Facilites
Entry Plaza
Drinking Water (Symbol only or symbol + text)
Facilites
Entry Plaza
Asia/ Australia
Habitat/ Ecosystems
1.1 Visitor Parking 2
Entry Plaza
க�ி�பத� (ஆ�க�,
Toilets (Male, Female, 2.3 Accessible)
ெப�க�,
2.4 Drinking Water Point
�ப��ே ம�யக
3
ஊவ��ி�ா� )
Zones
3.1 Zone 1 - Asia/ Australia
ஆசியா / ஆ��திேரலிய
3.1. Deck 1 1 3.1. Vantage point 2 3.1. Underwater Gallery 1 3
Zone 1 Zone 1 Zone 1
3.2 Zone 2 - America
அெம�கக
America
3.3 Zone 3 - Amazon
அேமசா�
Amazon
Habitat/ Ecosystems Habitat/ Ecosystems
3.3. Deck 2 1 3.4 Zone 4 - Mugger Conservation
125
Subset
3.4. E42 1 NIKHIL LAL SHRESTHA 3.4.2E43 Zone 5 - Lizards, Turtle/ 3.5
Zones 2
Zone 3 ��தை பராம���
Mugger Conservation
Habitat/ Ecosystems Zone 4 GRADUATION PROJECT Zone 4
Habitat/
3.1. Deck 1 1 3.1. Vantage point 2 3.1. Underwater Gallery 1 3
Zone 1 Zone 1 Zone 1
3.2 Zone 2 - America
அெம�கக
America
3.3 Zone 3 - Amazon
அேமசா�
Amazon
Habitat/ Ecosystems Habitat/ Ecosystems
3.3. Deck 2 1 3.4 Zone 4 - Mugger Conservation 3.4. E42 1 3.4.2E43 Zone 5 - Lizards, Turtle/ 3.5 Tortoise, Juvenile 3.5. Lizards 1 3.5. Deck 3 2 3.5. Juvenile Section 3 3.5. Turtle/ Tortoise 4 3.6 Zone 6 - Africa
Zone 3 ��தை பராம���
Mugger Conservation
Habitat/ Ecosystems Zone 4 Zone 4 Habitat/ Ecosystems
�ோக�க��� �ிரக
Land of Dragons
Zone 5 Zone 5
��தர வ����
Croc Nursery/ Nursery
Zone 5
சி�பபக� �கரி�க
Shell Haven
Zone 5
ஆ�பப��கா
Africa
Habitat/ Ecosystems
3.6. Deck 4 1 3.6. Underwater Gallery 2 2 4
Interpretation Center
4.1 Cafe
Zone 6 Zone 6 ��தி ஊ�வவ க��பபப�� ��தர ப�த�
Reptile Discovery Center Croc Cafe
Facilities
4.2 Childrens Play Area
Facilities
4.3 Museum
Facilities
4.4 Gift Shop
Facilities க�ி�பத� (ஆ�க�,
4.5 Toilets (Male, Female, Disabled) ெப�க�,
Male, Female, Accessible
Facilities
Serpentatrium/ Herpetarium
Habitat/ Ecosystems
ஊவ��ி�ா� ) 5
Herpetarium
Zones 2
வா�வவ கா�பபக
VISITOR EXPERIENCE OF THE MADRAS CROCODILE BANK
Interpretation Center Interpretation Center Interpretation Center Interpretation Center Interpretation Center
126
Sign Inventory
The sign inventory lists out all the signs in the facility and assigns a number for each along with a description of the type of sign and it's intent.
External Signs Sign Number
Sign Type
Sign Description
Notes
All signs are assigned a number.
Describes the sign category
Description of what the sign is trying to communicate
EXT 1
Road Sign_Advertisement
MCBT Advertisement Hoarding
EXT 2
Road Sign_Advertisement/ Facility Food court facility sign
EXT 3
Directional
Way to MCBT Parking
EXT 4
Identification
Visitor Parking
Parking Lines
EXT 5
Identification
Accessible/ Reserved Parking
Parking Lines
EXT 6
Regulatory
No Access Without Permission (Service Lane)
On service Gate
EXT 7
Regulatory
Opening Hours
On Gate
EXT 8
Regulatory
Welcome Sign
Welcome and Zoo Rules and Regulations
1/ 2 kms away 1/ 2 kms away
Internal Signs_Wayfinding Sign Number
127
WF 1 WF 2 WF 3 WF 4 WF 5 WF 6 WF 7 WF 8 WF 9 NIKHIL LAL SHRESTHA WF 10
Sign Type + Code Regulatory Regulatory Idetification Identification Identification Identification Identification Identification Identification Identification
Intent No Entry One way MCBT Entrance Signage Ticket Counter Food Court Drinking Water Toilets Underwater Gallery 1 Cafe/ Restaurant Museum
Notes
Primary Entrance Sign As per food vendors
GRADUATION PROJECT
WF 1 WF 2 WF 3 WF 4 WF 5 WF 6 WF 7 WF 8 WF 9 WF 10 WF 11 WF 12 WF 13 WF 14 WF 15 WF 16 WF 17 WF 18 WF 19 WF 20
Regulatory Regulatory Idetification Identification Identification Identification Identification Identification Identification Identification Identification Identification Identification Identification Identification Zone Sign Zone Sign Zone Sign Zone Sign Zone Sign
WF 21
Directional
WF 22
Directional
WF 23
Directional
WF 24
Directional
WF 25 WF 26
Directional Directional
WF 27
Directional
WF 28 WF 29
Directional Directional
WF 30
Directional
WF 31
Directional
No Entry One way MCBT Entrance Signage Primary Entrance Sign Ticket Counter Food Court As per food vendors Drinking Water Toilets Underwater Gallery 1 Cafe/ Restaurant Museum Toilets Drinking Water Gift Shop Underwater Gallery 2 Herpetarium Asia/ Australia America Amazon Lizards, Turtle/ Tortoise & Juvenile Africa → Zoo Entry Toilets ← Asia/ Australia America ↑ Interpretation Center ← Way to Deck → Way to Underwater Gallery Interpretation Center ↑ America ← Way to Underwater Gallery → America ← Amazon →Interpretation Centre ←Way to Interpretation Center ←Lizards, Turtles/ Tortoise & Juvenile ← Africa → Underwater Gallery 2 ↑ Exit
Internal Signs_Interpretive/ Informational Sign Number INF 1
Sign Type + Code Informational
INF 2
Informational
Intent Ticket prices Events/ Announcements & Briefing on
VISITOR EXPERIENCE OF THE MADRAS CROCODILE BANK
Notes 128
WF 28 WF 29
Directional Directional
WF 30
Directional
WF 31
Directional
←Way to Interpretation Center ←Lizards, Turtles/ Tortoise & Juvenile ← Africa → Underwater Gallery 2 ↑ Exit
Internal Signs_Interpretive/ Informational Sign Number
129
INF 1
Sign Type + Code Informational
INF 2
Informational
INF 3 INF 4
Informational Informational
INF 5
Informational
INF 6
Informational
INF 7 INF 9 INF 10 INF 11 INF 12 INF 13 INF 14 INF 15 INF 16 INF 17 INF 18 INF 19 INF 20 INF 21 INF 22 INF 23 INF 24 INF 25 INF 26 INF 27 INF 28 INF 29 INF 30 INF 31 NIKHIL INFLAL 32SHRESTHA INF 33
Informational Enclosure Signage Enclosure Signage Enclosure Signage Enclosure Signage Enclosure Signage Enclosure Signage Enclosure Signage Enclosure Signage Enclosure Signage Enclosure Signage Enclosure Signage Enclosure Signage Enclosure Signage Enclosure Signage Enclosure Signage Enclosure Signage Enclosure Signage Enclosure Signage Enclosure Signage Enclosure Signage Enclosure Signage Enclosure Signage Enclosure Signage Enclosure Signage Enclosure Signage
Intent Ticket prices Events/ Announcements & Briefing on MCBT Zoo Rules Zoo Directory & Map General Information Zone_Herpetarium General Information Zone_Lizards, Turtles & Tortoises General Information Zone_Crocodilian Asia E1 Asia E2 Asia E3 Asia E4 Asia E5 Asia E6 Asia E7 Asia E8 Asia E9 Asia E10 Asia E11 Asia E12 Asia E13 America E14 America E15 America E16 America E17 America E18 Amazon E19 Amazon E20 Amazon E21 Amazon E22 Amazon E23 Amazon E24 Amazon E25
Notes
GRADUATION PROJECT
INF 22 INF 23 INF 24 INF 25 INF 26 INF 27 INF 28 INF 29 INF 30 INF 31 INF 32 INF 33 INF 34 INF 35 INF 36 INF 37 INF 38 INF 39 INF 40 INF 41 INF 42 INF 43 INF 44 INF 45 INF 46 INF 47 INF 48 INF 49 INF 50 INF 51
Enclosure Signage Enclosure Signage Enclosure Signage Enclosure Signage Enclosure Signage Enclosure Signage Enclosure Signage Enclosure Signage Enclosure Signage Enclosure Signage Enclosure Signage Enclosure Signage Enclosure Signage Enclosure Signage Enclosure Signage Enclosure Signage Enclosure Signage Enclosure Signage Enclosure Signage Enclosure Signage Enclosure Signage Enclosure Signage Enclosure Signage Enclosure Signage Enclosure Signage Enclosure Signage Enclosure Signage Enclosure Signage Enclosure Signage Enclosure Signage
America E14 America E15 America E16 America E17 America E18 Amazon E19 Amazon E20 Amazon E21 Amazon E22 Amazon E23 Amazon E24 Amazon E25 Africa E26 Africa E27 Africa E28 Africa E29 L,TJ E30 L,TJ E31 L,TJ E32 L,TJ E33 L,TJ E34 L,TJ E35 L,TJ E36 L,TJ E37 L,TJ E38 L,TJ E39 L,TJ E40 L,TJ E41 Mugger Conservation E43 Mugger Conservation E42
VISITOR EXPERIENCE OF THE MADRAS CROCODILE BANK
130
External Analysis The external analysis is a study of the areas directly outside the facility, to understand the visitor and traffic flows as a prerequisite to placing the signs that will be required.
131
NIKHIL LAL SHRESTHA
GRADUATION PROJECT
External Traffic Flows
Bus Drop/ Pick up P
P
P
Raised Parking P
P
Service
Service Road Entry/ Exit
P
Visitor Parking
Visitor (Bus Drop)
Staff Entry/ Exit point
P
Staff Parking
Visitor (Parking)
Visitor Entry/ Exit Point
North
Bus Drop/ Pickup
Staff General
VISITOR EXPERIENCE OF THE MADRAS CROCODILE BANK
132
External Pedestrians Flows
Bus Drop/ Pick up
P
P
Raised Parking P
P
Service Person
Service Road Entry/ Exit
Visitor (Bus Drop)
Staff Entry/ Exit point
Visitor (Taxi)
Visitor Entry/ Exit Point
P P
Visitor Parking Staff Parking Bus Drop/ Pickup
North
Visitor (Parking) Staff
133
NIKHIL LAL SHRESTHA
GRADUATION PROJECT
External Signage Locations Ext 1, Ext 2 2kms
EXT 3
EXT 6
P
EXT 4
EXT 5
EXT 7 EXT 8
P
EXT 4
P
Ext 1, Ext 2 2kms
Directional Signs
Identification Signs
Service Road Entry/ Exit Staff Entry/ Exit point Visitor Entry/Exit Point
P
Visitor Parking Staff Parking
North
Bus Drop/ Pickup
Regulatory Signs
*Symbols on plan not to scale.
VISITOR EXPERIENCE OF THE MADRAS CROCODILE BANK
134
Internal Analysis A study of the proposed site helps determine and understand the visitor's decision points and the visitors flows. An understanding of this helps determine the placement of the necessary signage.
135
NIKHIL LAL SHRESTHA
GRADUATION PROJECT
Internal Decision Points
P
Service Road Entry/ Exit
Staff Accessible
Staff Entry/ Exit point
Control Point
Visitor Entry/ Exit Point
Irula Entry/ Exit Point
Decision Points
P
FemaleToilet
Drinking Water
Male Toilet
Ticket Counter/ Office
Disable Access Toilet
Cafe
First Aid
Gift Shop
Food Court
Museum
VISITOR EXPERIENCE OF THE MADRAS CROCODILE BANK
North
136
Internal Flows - Zones
Exit from Underwater Gallery
Entry to Unde rw Galle ater ry
P
Path blocked
Interpretation Center Lizards
Herpetarium
Asia/ Australia America Amazon
Turtle/ Tortoise
Movement
Juveniles
Service Road Entry/ Exit
Viewing Staff Entry/ Exit point Staff Accessible Visitor Entry/ Exit Point
Lizards, Turtles/ Tortoise & Juveniles
Control Point Irula Entry/ Exit Point
P
FemaleToilet
Drinking Water
Male Toilet
Ticket Counter/ Office
Disable Access Toilet
Cafe
First Aid
Gift Shop
Food Court
Museum
Africa
Mugger Conservation
137
NIKHIL LAL SHRESTHA
GRADUATION PROJECT
North
Internal Flows - Underwater Viewing Gallery 1 & 2
Underwater Gallery 1
Entry Point
Exit Point
Underwater Gallery 2
Movement Viewing North Staff Accessible
VISITOR EXPERIENCE OF THE MADRAS CROCODILE BANK
138
Internal Flows - Entry Plaza
1. Irula Snake Catcher’s Society 2. Food Court 3. Ticket Counter/ Office 4. Toilets 5. Orientation Zone
Irula Snake Catcher’s Society
Food Court
P Ticket Counter/ Office
Orientation Zone
Toilets
Visitor Entry/ Exit Point Staff Accessible Control Point
FemaleToilet
P
First Aid
Male Toilet
Food Court
Disable Access Toilet
Drinking Water
North
Movement Ticket Counter/ Office
139
NIKHIL LAL SHRESTHA
GRADUATION PROJECT
Internal Flows - Interpretation Center
1. History of MCBT 2. Gift Shop 3. Museum 4. Toilets 5. Kids Play Area
History of MCBT Childrenâ&#x20AC;&#x2122;s Play Area
Movement
FemaleToilet
Drinking Water
Male Toilet
Cafe
Viewing Disable Access Toilet Staff Accessible
P
First Aid
North
Gift Shop Museum
VISITOR EXPERIENCE OF THE MADRAS CROCODILE BANK
140
Internal - Sign Locations (Wayfinding)
WF 26 WF 2
WF 23
WF 17 WF 24 WF 5 P
WF 22
WF 16
WF 8
WF 25
WF 4
WF 29
WF 21
WF 27
WF 3
WF 18
WF 13 WF 2
WF 9
Main Entrance Signage
WF 6
WF 2 WF 19
WF 7
WF 10
WF 28
WF 11 WF 12
WF 14
WF 31 WF 20 WF 30
WF 15
Directional Signs
Service Road Entry/ Exit
Staff Accessible
Identification Signs
Staff Entry/ Exit point
Control Point
Regulatory Signs
Visitor Entry/ Exit Point
Zone Signs
Irula Entry/ Exit Point
North
*Symbols on plan not to scale.
141
NIKHIL LAL SHRESTHA
GRADUATION PROJECT
Internal - Sign Locations (Info. Dessemination/ Interpretive)
INF 10 INF 13
INF 17
INF 11
INF 22
INF 18
INF 23 INF 20
INF 14 INF 15
INF 24 INF 12
INF 19
INF 16
P
INF 1
INF 25
INF 2
INF 4
INF 26
INF 9 INF 21 INF 7
INF 3
INF 6
INF 51
INF 29
INF 30
INF 49
INF 32
INF 36 INF 34
INF 47
INF 35
INF 48 INF 37
INF 51 INF 40
INF 5 INF 41 INF 38
INF 43
INF 42
INF 31
INF 28 INF 50
INF 33
INF 46
INF 50
INF 45
INF 27
INF 44
INF 39
Enclosure Signs
Informational Signs/ Zones
Service Road Entry/ Exit
Staff Accessible
Staff Entry/ Exit point
Control Point
North
Visitor Entry/ Exit Point Irula Entry/ Exit Point
*Symbols on plan not to scale.
VISITOR EXPERIENCE OF THE MADRAS CROCODILE BANK
142
Sign Design Font Selection To select the font to be used for the signage, I tried out a few that were designed to be used for wayfinding. It was difficult to find a font that could pair up well with a Tamil script, so I started searching for a typeface that had both Latina and Tamil scripts. This would also help keep everything consistent.
143
NIKHIL LAL SHRESTHA
GRADUATION PROJECT
From left to right (Above): Letterforms from 17 feet; Letterforms from 50 feet; Letterforms from 75 feet; Letterforms from 100 feet. From left to right (Below): Mukta Bold (8 inches); Mukta Malhar Bold (10 inches); Kohinoor Tamil Semi Bold (8 inches); Hind Madhurai (9 inches).
Font Testing I checked the reading distances of the fonts to see which would work best for the Main Entrance signage. The various letters were between 8-10 inches (Cap Height)
Insights: All the letters were distinguishable beyond a 100 feet. In terms of legibility, Hindi Madhurai's letterform appeared too dense. Mukta and Mukta Malhar faired well and were pretty clear. Kohinoor Tamil was easily distinguished because of its open counters and organic look.
VISITOR EXPERIENCE OF THE MADRAS CROCODILE BANK
144
Selected Font
சென்னை மதலைப்பண்ணை Madras Crocodile Bank Trust
The final font selected, was Kohinoor Latin, and Kohinoor Tamil, designed by Satya Rajpurohit, released by the Indian Type Foundry.
Reasons for selection: - It is a humanist font, that has an organic feel with curved strokes. - Designed to be used as a wayfinding font. - Open counters, allows easy readability. - Both the Latin and Tamil scripts paired well.
Above: Selected Font Opposite (Left to Right): Rough Granite; Concrete tile; HPL
145
NIKHIL LAL SHRESTHA
GRADUATION PROJECT
Material palette Constraints are fundamental to all creative processes as they help you make initial decisions instead of starting from a blank canvas. They act as guidelines to help make a decision, that would eventually lead to the desired outcome. While developing the signage, I had certain material constraints to keep in mind. These were the material options.
Rough Granite
Natural granite is one of the hardest stones and is a suitable option for outdoor use due to its excellent durability and good workability. It can be used as a base or sign panels.
High-pressure laminate
HPL is a form of decorative laminates in which the layers of Kraft paper impregnated with melamine resin are infused with decorative paper and protective overlay and the resulting laminate is attached to the substrates at high pressures and temperatures. It is considered to be one of the most durable decorative surface materials and is available with special performance properties including chemical, fire, UV and wear resistance, making it suitable for outdoor use.
Cast Vinyl Film
These films are durable, flexible, conformable and dimensionally stable and also retain color well. Cast vinyl does not shrink and will adhere to the contours, recesses and indentations and complex curves of any surface. These qualities make it the best vinyl for graphics for oddly shaped objects, like vehicles or rough surfaces. It is long lasting and is suitable for outdoors.
Ferrocement
Ferrocement is a composite material composed of a mortar reinforced with light steel fabric/mesh, used to form thin sections.
Concrete Tile
These tiles are high-performance fiber reinforced concrete, with a smooth finish, similar to a cement board. They are also UV, water, fire, and freeze-thaw resistant, making them suitable for indoor or outdoor use. .
VISITOR EXPERIENCE OF THE MADRAS CROCODILE BANK
146
Main Entrance Signage The main entrance signage was to act as a site marker, for visitors to make a stop on their way to Pondicherry. The sign was to be incorporated with a planter, behind which the gigantic crocodile head, made of wire mesh would be visible.
Factors considered:
• Speed Limit of East Coast Road - 80 kmph (Cars passing by would initially slow down seeing the gigantic crocodile head) • Height of planter vegetation • Maximum visibility of text - 100 feet
147
NIKHIL LAL SHRESTHA
GRADUATION PROJECT
Above: Initial Sketches. Opposite: Plan view highlighting main entrance signage.
VISITOR EXPERIENCE OF THE MADRAS CROCODILE BANK
148
Concept 1: Hedge A metal frame would hold the logo and letterforms in place. The framework would be concealed behind a hedge. Materials: Concrete cast and Metal frame
16.6 ft
MADRAS CROCODILE BANK 7.46 ft
149
NIKHIL LAL SHRESTHA
GRADUATION PROJECT
Above: Concept Render. Opposite: Schematic View.
VISITOR EXPERIENCE OF THE MADRAS CROCODILE BANK
150
Concept 2: Solid Screen Wooden planks form a solid screen with a low-height hedge all around. Materials: Concrete cast and wooden planks
16.6 ft
MADRAS CROCODILE BANK 7.46 ft
151
NIKHIL LAL SHRESTHA
GRADUATION PROJECT
Above: Concept Render. Opposite: Schematic View.
VISITOR EXPERIENCE OF THE MADRAS CROCODILE BANK
152
Concept 3: See-through screen A see-through screen on which the logo and letterforms would be mounted with a hedge behind it. Material: Wood and concrete cast
16.6 ft
MADRAS CROCODILE BANK
7.46 ft
Selected Direction
153
NIKHIL LAL SHRESTHA
GRADUATION PROJECT
Above: Concept Render. Opposite: Schematic View.
VISITOR EXPERIENCE OF THE MADRAS CROCODILE BANK
154
Proposed Main Entrance Signage: Front View The placement of the individual wooden stilts was randomized in the proposed signage and height increased to improve visibility. Materials: Wooden stilts and Concrete cast Size: 31.50 ft x 7.46 ft Text size: 8.9 inch (Tamil) 9.9 (Latin) Reading Distance: 100 feet All graphics shown are representative
20 ft 16 ft
MADRAS MADRAS CROCODILE BANK CROCODILE BANK
7.46 ft
155
NIKHIL LAL SHRESTHA
GRADUATION PROJECT
Proposed Main Entrance Signage: Top & Side View
3.28 feet 31.50 feet
20 ft 16 ft
7.46 ft
VISITOR EXPERIENCE OF THE MADRAS CROCODILE BANK
156
Proposed Entrance Signage: Graphics
Kohinoor Tamil Bold Size: 8.9 inch (Cap Height)
157
NIKHIL LAL SHRESTHA
MCBT Logo Size: 5.4 x 5.4 feet
Kohinoor Latin Bold Size: 9.9 inch (Cap Height)
MADRAS MADRAS CROCODILE BANK CROCODILE BANK
GRADUATION PROJECT
Proposed Entrance Signage: Details
Lettering Details The letters will be made out of Acrylic. They will be backlit so that they are visible at night.
MCBT Logo Details The logo will be cast in concrete. Its elements will have an embossed look.
Wooden Screen Details The wooden screen will be in front of the hedge. Size: 2 x 2 x 33 inches
MADRAS CROCODILE BANK
33â&#x20AC;?
Planter Details Raised planter made of concrete (RCC). Width: 39.4 inches
* All letters have a thickness of 2.4 inches The concrete logo has a thickness of 1.4 inches
VISITOR EXPERIENCE OF THE MADRAS CROCODILE BANK
158
Above: Final Render. Opposite: Signage in space.
159
NIKHIL LAL SHRESTHA
GRADUATION PROJECT
VISITOR EXPERIENCE OF THE MADRAS CROCODILE BANK
160
Directional Signage To ensure that people move in the correct direction, without instances of being lost, directional signs are placed at all the decision making nodes to help in navigation.
Factors considered:
• Average male height in Tamil Nadu - 5.5 feet to 5.7 feet • Reading angle and distance • Comfortable reading distance and height - also for differently abled users
161
NIKHIL LAL SHRESTHA
GRADUATION PROJECT
Above: Initial Sketches. Opposite: Plan view highlighting directional signage.
VISITOR EXPERIENCE OF THE MADRAS CROCODILE BANK
162
Concept 1: Post Here, the signs are higher than the average visitor height and utilize rough granite columns like the ones used in the interpretation center. Material: Granite column & high pressure laminate (HPL) panel
7.5 ft
America
Underwater Gallery: Asia Interpretation Center
Way to Underwater Gallery Lizards, Turtle/ Tortoise & Juveniles
38 inches
163
NIKHIL LAL SHRESTHA
GRADUATION PROJECT
Above: Concept Render. Opposite: Schematic View.
VISITOR EXPERIENCE OF THE MADRAS CROCODILE BANK
164
Concept 2: Slab These forms explore the possibility to reduce the height of the signs so that they complement the architecture. Material: Reinforced concrete
6 ft.
Underwater Gallery: Asia Interpretation Center
Underwater Gallery: Asia
Interpretation Center
38 inches
165
NIKHIL LAL SHRESTHA
GRADUATION PROJECT
Above: Concept Render. Opposite: Schematic View.
VISITOR EXPERIENCE OF THE MADRAS CROCODILE BANK
166
Concept 3: Totem Slimmer form variations in sync with the architectural language, but also keeping visibility in mind. Material: Ferrocement
6 ft.
Underwater Gallery: Asia Interpretation Center
38 inches
Underwater Gallery: Asia
Underwater Gallery: Asia
Interpretation Center
Interpretation Center
America
Way to Underwater Gallery Lizards, Turtle/ Tortoise & Juveniles
Selected Direction
167
NIKHIL LAL SHRESTHA
GRADUATION PROJECT
Above: Concept Render. Opposite: Schematic View.
VISITOR EXPERIENCE OF THE MADRAS CROCODILE BANK
168
Proposed Directional Signage: Front View The proposed directional signs have a clean look and also complements the architectural language. It is visible against the surroundings and visually not competing for attention. Size: 1.5 x 6 ft Material: Concrete tile with cast vinyl cut sticker
Text size: 1 inch (Cap height) Reading Distance: 10 feet All graphics shown are representative
6 ft.
Underwater Gallery: Asia
America
Interpretation Center
3 ft.
Way to Underwater Gallery Lizards, Turtle/ Tortoise & Juveniles
2 ft.
169
NIKHIL LAL SHRESTHA
GRADUATION PROJECT
Proposed Directional Signage: Top & Side View
18 inches
0.98 inches
6 ft.
VISITOR EXPERIENCE OF THE MADRAS CROCODILE BANK
170
Proposed Directional Signage: Graphics
Directional Arrows Size: 3.8 inches (Tip to tail) Kohinoor Tamil Bold Size: 1 inch (Cap Height) Kohinoor Latin Book Italic Size: 1 inch (Cap Height)
Underwater Gallery: Asia
America
Interpretation Center
Amenities Icons The amenities symbols are free graphics developed by AIGA (American Institute of Graphic Arts) Size: 2 x 2 inches
Way to Underwater Gallery Lizards, Turtle/ Tortoise & Juveniles
Separator Line Size: 2.2 inches from both edges
171
NIKHIL LAL SHRESTHA
GRADUATION PROJECT
Proposed Directional Signage: Details
Underwater Gallery: Asia
America
Interpretation Center
Graphics Details All graphics and lettering will be cut letters out of 3Mâ&#x20AC;&#x2122;s DI-NOC film or other equivalent cast vinyl film. Alternatively, stud mounted metal letters or engraving could be done. UV Printing directly on the substrate is also an option
Way to Underwater Gallery
Sign Substrate Details The sign itself will be made of concrete tile with a smooth finish (similar to cement board)
Lizards, Turtle/ Tortoise & Juveniles
VISITOR EXPERIENCE OF THE MADRAS CROCODILE BANK
172
Above: Final Render. Opposite: Signage in space.
173
NIKHIL LAL SHRESTHA
GRADUATION PROJECT
VISITOR EXPERIENCE OF THE MADRAS CROCODILE BANK
174
Enclosure Signage Give visitors information about each animal on multiple levels and are placed in front of each enclosure.
Factors considered:
• Information that can be shown on it • The height of the sign • Comfortable reading distance - also for differently abled users • Distance from the fence
175
NIKHIL LAL SHRESTHA
GRADUATION PROJECT
Above: Initial Sketches. Opposite: Plan view highlighting enclosure signage.
VISITOR EXPERIENCE OF THE MADRAS CROCODILE BANK
176
Concept 1: Stand Concrete tile at placed at a comfortable angle to provide easy readability. All information like scale, map etc will be provided on the panel. Materials: Concrete tile, high-pressure laminate (HPL) and metal
3 ft
177
NIKHIL LAL SHRESTHA
GRADUATION PROJECT
Above: Concept Render. Opposite: Schematic View.
VISITOR EXPERIENCE OF THE MADRAS CROCODILE BANK
178
Concept 2: Bench These iterations use texture and scale of the animal to communicate information to the visitors along with panels. Materials: Reinforced concrete & high pressure laminate (HPL)
3 ft
179
NIKHIL LAL SHRESTHA
GRADUATION PROJECT
Above: Concept Render. Opposite: Schematic View.
VISITOR EXPERIENCE OF THE MADRAS CROCODILE BANK
180
Concept 3: Slim Bench This option explores how we can communicate the animal's size along with panels while also aiming to make the mesh barrier visually pleasing. Materials: Ferrocement, high-pressure laminate (HPL) & metal mesh
3.28 ft
Selected Direction
181
NIKHIL LAL SHRESTHA
GRADUATION PROJECT
Above: Concept Render. Opposite: Schematic View.
VISITOR EXPERIENCE OF THE MADRAS CROCODILE BANK
182
Proposed Enclosure Signage: Front View Information panels and physical materials are used to communicate the animalâ&#x20AC;&#x2122;s information. Size: 4.92 x 3.28 ft Materials: Concrete tile and high-pressure laminate (HPL) Text size: 1 inch (Cap height) Reading Distance: 10 feet All graphics shown are representative.
6 ft
3.28 ft
2.25 ft
183
NIKHIL LAL SHRESTHA
GRADUATION PROJECT
Proposed Enclosure Signage: Top & Side View 4.92 feet 0.98 inches 1.2 feet
6 ft
3.28 ft
142.7ยบ
VISITOR EXPERIENCE OF THE MADRAS CROCODILE BANK
184
Proposed Enclosure Signage: Graphics
Characteristics & Behaviour Species-specific information on peculiar behaviour, physiology, diet, habitat etc. Size: 10.12 x 16.38 inches
Zone Colour Colours will change as per zone colours on the sign itself.
Animal Identification Shows information like Name, Scientific Name, Introductory line and itâ&#x20AC;&#x2122;s IUCN conservation status Size: 10.12 x 16.38 inches
185
NIKHIL LAL SHRESTHA
Threats & did you know? This panel talks about conservation and threats to the animal. An interactive footprint cast can be placed so visitors can get a better sense of the animalâ&#x20AC;&#x2122;s size. Size: 10.12 x 16.38 inches
GRADUATION PROJECT
Proposed Enclosure Signage: Details
Mesh Detail A full silhouette will be shown at the enclosure. The mesh used will finer than barrier mesh. Size: Average length of each species
Sign Substrate Details The sign itself will be made of concrete tile with a smooth finish (similar to cement board)
Printing Details The graphics on the panels will be UV printed on high pressure laminate sheets. UV Printing prevents the ink from evaporating into the air, thus reducing the emission of volatile organic compounds that are harmful to the environment
10.12â&#x20AC;? 16.38â&#x20AC;?
* All panels have a thickness of 0.39 inches
VISITOR EXPERIENCE OF THE MADRAS CROCODILE BANK
186
Above: Final Render. Opposite: Signage in space.
187
NIKHIL LAL SHRESTHA
GRADUATION PROJECT
VISITOR EXPERIENCE OF THE MADRAS CROCODILE BANK
188
Zone Signage This sign is a combination of both identification, as well as, interpretive signs. It shows relevant information about the ecosystems in a zone, it's different species, etc. They are placed at/ or near the entrance of each zone.
Factors considered:
• Visibility form a distance • Information that can be shown on it • Minimum height of content - 38 inches • Reading distances
189
NIKHIL LAL SHRESTHA
GRADUATION PROJECT
Above: Initial Sketches. Opposite: Plan view highlighting zone signage.
VISITOR EXPERIENCE OF THE MADRAS CROCODILE BANK
190
Concept 1: Post This iteration uses granite columns as the signpost. Information is divided into two panels or can be condensed into one. Zone colours would be shown on the panels themselves. Material: Granite column, concrete & high pressure laminate (HPL) panel
7 ft.
191
NIKHIL LAL SHRESTHA
GRADUATION PROJECT
Above: Concept Render. Opposite: Schematic View.
VISITOR EXPERIENCE OF THE MADRAS CROCODILE BANK
192
Concept 2: Totem This concept incorporates identification, direction, and information signage into a single totem. Colour used to identify the zone would be a part of the totem. Material: Ferrocement & high pressure laminate (HPL) panel
8 ft.
7 ft.
193
NIKHIL LAL SHRESTHA
GRADUATION PROJECT
Above: Concept Render. Opposite: Schematic View.
VISITOR EXPERIENCE OF THE MADRAS CROCODILE BANK
194
Concept 3: Totem with Splay Two panels with a wide splay divide zone specific information and general facts about the zone into two panels. Colour used to identify the zone is a part of the totem. Material: Ferrocement & high pressure laminate (HPL) panel
7 ft.
Selected Direction
195
NIKHIL LAL SHRESTHA
GRADUATION PROJECT
Above: Concept Render. Opposite: Schematic View.
VISITOR EXPERIENCE OF THE MADRAS CROCODILE BANK
196
Proposed Zone Signage: Front View A slim two-panel totem was proposed as the zone signage. Size: 2.28 x 7 ft Materials: Concrete tile & high pressure laminate (HPL) Text size: 1 inch (Cap height) Reading Distance: 10 feet All graphics shown are representative
7 ft
5.5 ft
Asia Australia
3.3 ft
197
NIKHIL LAL SHRESTHA
GRADUATION PROJECT
Proposed Zone Signage: Top & Side View 2.28 feet 0.98 inches 18
105ยบ in
ch
es
7 ft. Asia Australia
3.3 ft
VISITOR EXPERIENCE OF THE MADRAS CROCODILE BANK
198
Proposed Zone Signage: Graphics
Kohinoor Tamil Semibold Size: 1 inch (Cap Height) Kohinoor Latin Bold Italic Size: 1 inch (Cap Height)
World Map Highlights the area where the animals are found Size: 8.81 x 14.25 inches
Zone Colour Colours will change as per zone colours Size: 4 inches x 18 inches(per panel)
Asia Australia Zone Facts talks about facts of the animals found in this zone, threats to the ecosystem and conservation efforts currently in place Size: 33 x 14.25 inches
Focus Map zooms into the highlighted areas Size: 8.81 x 14.25 inches
Zone Map shows the animals and enclosures in the zone and a â&#x20AC;&#x2DC;you are hereâ&#x20AC;&#x2DC; indicator Size: 8.81 x 14.25 inches
199
NIKHIL LAL SHRESTHA
GRADUATION PROJECT
Proposed Zone Signage: Details
4â&#x20AC;?
Colour Strip Details The colour strip will be painted on the substrate. Alternatively, a pigment coloured block of concrete or colored corian may be used
Lettering Details The letters will be cut letters out of 3Mâ&#x20AC;&#x2122;s DI-NOC film. Alternatively, stud mounted metal letters or engraving could be done
Asia Australia
Sign Substrate Details The sign itself will be made of concrete tile with a smooth finish (similar to cement board)
Printing Details The graphics on the panels will be UV printed on high pressure laminate sheets. UV Printing prevents the ink from evaporating into the air, thus reducing the emission of volatile organic compounds that are harmful to the environment
33â&#x20AC;?
8.81â&#x20AC;?
14.25â&#x20AC;?
14.25â&#x20AC;?
* All panels have a thickness of 0.39 inches
VISITOR EXPERIENCE OF THE MADRAS CROCODILE BANK
200
Above: Final Render. Opposite: Signage in space.
201
NIKHIL LAL SHRESTHA
GRADUATION PROJECT
VISITOR EXPERIENCE OF THE MADRAS CROCODILE BANK
202
07 Conclusion
Learning & Reflections
Above: Sketch that I made of a mugger crocodile at the Madras Crocodile Bank.
205
NIKHIL LAL SHRESTHA
GRADUATION PROJECT
“Every element in the zoo or aquarium that affects the zoo experience must be examined and its implicit communication turned to resonance your overall message. Everything from benches to beverage containers should demonstrate an environmental consciousness. Homocentric habitats should be limited to people areas of the zoo while biocentric habitats immerse visitors in wonderful replications of wild landscapes and aquatic realms”. - Jon Coe It was 2010 at the peak of summer in Thailand when I saw a polar bear for the first time in my life. This majestic creature was housed in a zoo with several people including me gawking at it from the glass. For a moment I felt as though we exchanged gazes but my excitement soon gave way to a sense of sadness which seemed to fill the enclosure. The weather condition was one of the several things that were for from ideal and to be able to truly appreciate this majestic animal, it needed to be happy in its habitat. My opinion on zoos was formed this very moment- I had this sinking feeling that they were something I had to dislike. When the opportunity to get on board with this project was presented to me, I was unsure but at the same time intrigued, and finally decided I needed to understand this from the inside out so that I could make a positive difference and I’m glad I did! I was inspired by the work of Jon Coe, David Handcocks and Ron L. Kagan- all very influential figures in zoo design. They are all advocates for bio-centrism, animal welfare in their approach to zoos and zoo design which inspired me throughout my research and design activities. The curiosity to know not just the specifics but also all the peripheral factors of a topic helped me to get a much deeper understanding during my research. I began to understand what zoos should be like, and how there were multiple possibilities for me to improve them. My initial aim was to improve the animal's habitat, thinking that was the only way a zoo could improve, but ultimately I understood
that in order add value to zoos they needed to improve holistically which of course included the animal’s habitats, but also the visitors, the staff and other aspects related to zoos which I had not considered earlier. With this fresh perspective, I began to work on the idea of visitor experience, narrowing down to focus on two aspects- spatial planning and signage system. Asking the right questions at the right time was crucial- I recall constantly asking myself, "How can I add more value to a visit?", "How can I facilitate a better learning experience for the visitors?" and "What can I do to help people interpret the signage better?". Empathy was a key factor that motivated me throughout the project. Viewing things at par with the visitors, the staff and of course with the animals, brought in a whole bunch of things to consider while making any decisions, big or small. While allocating enclosures to the animals, I used the knowledge gained from my research on the animals to draw meaningful connections between that and the visitor's interpretation of the same. I also addressed the visitor’s needs while developing the signage system, always checking on adding value to a sign, making them want to know more about the animals or trying to make it easier to interpret the conservation status that they would see on every animal identification board. To me, a good zoo is one that keeps it's animals’ welfare as it's top priority, supported by good and ethical management practices, while also educating visitors, so that they gain a sense of empathy and understanding towards animals that carries on into their daily lives. If we remove the visitor from the equation, the zoo would be redundant, as there would be no way for a human to feel close to animals and see them in real life as the majestic living creatures that they are, rather than some image off the internet. Although I didn't get the opportunity to work directly with the animal's habitats, doing in-depth research surfaced possibilities for positive design interventions in the context of zoos and has given me a strong base to build on. Every end has a new beginning, and I think I found mine after this project.
VISITOR EXPERIENCE OF THE MADRAS CROCODILE BANK
206
References Articles Foote DJ, Louder MIM, Balakrishnan CN. (2017) Visitor perceptions and reliance on active and passive communication techniques in zoos. PeerJ Preprints 5:e2754v2. Coe, Jon. (2017). Embedding Environmental Enrichment into Zoo Animal Facility Design. Patnaik, S.K. & Bonal, B.S. & Rustagi, S.K. & Malhotra, Dr. A.K. & Dung Dung, L. (2014). Designing of enclosures for Indian zoos. Ross, Stephen & Melber, Leah & Gillespie, Katie & Lukas, Kristen. (2012). The Impact of a Modern, Naturalistic Exhibit Design on Visitor Behavior: A Cross-Facility Comparison. Visitor Studies. 15. 3-15. 10.1080/10645578.2012.660838. Coe, Jon. (2011). Zoo Environments for People, Plants and Animals Designing Enclosures and Landscape Planning for Indian Zoos Workshop for Indian Zoo Directors. Ross, Stephen & Gillespie, Katie. (2009). Influences on Visitor Behavior at a Modern Immersive Zoo Exhibit. Zoo biology. 28. 462-72. 10.1002/zoo.20220. Gupta, Brij Kishor. (2008). Barrier Designs for Zoos. Central Zoo Authority. Ministry of Environment & Forest, India. Visitor Studies Today. (2005). 8th vl. [ebook] pp.1-10, 22-28. Available at: http://www.informalscience.org/visitor-behavior-zoo-exhibits-underwaterviewing. Coe, Jon C. (1989). Children's Drawings May Make Good Evaluation Tools for Zoo Exhibits in Visitor Studies 1988: Theory, Research and Practice, S. Bitgood, J. Roper, A. Benefield, Eds. Center for Social Design, P. O. Box 1111, Jacksonville, Alabama 36265.
207
NIKHIL LAL SHRESTHA
L. Marcellini, Dale & Jenssen, Thomas. (1988). Visitor behavior in the National Zoo's Reptile House. Zoo Biology. 7. 329 - 338. 10.1002/zoo.1430070404. Visitor Behavior. (1987). 2nd vl. [ebook] p.4. Available at: http://www. informalscience.org/principles-exhibit-design. Coe, Jon. (1985). Design and Perception: Making the Zoo Experience Real. Zoo Biology. 4. 197 - 208. 10.1002/zoo.1430040211. Coe, Jon C. (1985). Design and Perception: Making the Zoo Experience Real" in Zoo Biology, vol. 4 no. 2 , pp. 197-208. Coe, Jon. C. (1982). Bringing It All Together: Integration of Context, Content and Message In Zoo Exhibit Design in AAZPA 1982Annual Conference Proceedings, American Association of Zoological Parks and Aquariums, Wheeling, WV, pp. 268-274.
Books Gibson, D. (2009). The wayfinding handbook: information design for public spaces. 1st ed. New York: Princeton Architectural Press.
Conference papers Coe, J., Rowe, R., Sherwen, S. (2017). Animal welfare driving the zoo design process: Tools and examples from Zooâ&#x20AC;&#x2122;s Victoria. Wroclaw Zoo Design Conference, en press. Coe, Jon., (2012). The Future of Zoos. ZAA Annual Conference, 28-20 Australia 2012.
GRADUATION PROJECT
Web pages Coe, Jon. (2012). Design and Architecture: Third Generation Conservation, Post-Immersion and Beyond " Future of Zoos Symposium, 10-11 February 2012. Coe, Jon. (2011). Architects and Enrichment. 10th International Conference on Environmental Enrichment. Coe, Jon. (2009). Third Generation Conservation. 2009 ARAZPA Conference Proceedings, Australia.
Crocodilian.com. Crocodilians: Natural History and Conservation - Crocodiles, Caimans, Alligators, Gharials. [online] Available at: http://crocodilian.com. IUCN Red List of Threatened Species. The IUCN Red List of Threatened Species. [online] Available at: https://www.iucnredlist.org/. Nationalgeographic.com. Reptiles | National Geographic. [online] Available at: https://www.nationalgeographic.com/animals/reptiles/.
Coe, Jon C. and Mendez, Ray. (2005). The Unzoo Alternative. 2005 ARAZPA Conference Proceedings, Australia.
Wayfinding & Navigation Expert. 2018. Wayfinding Consultants. Courses, navigation, training, audits and signage. [online] Available at: https://www. travelwayfinding.com/.
Coe, Jon C. (2004). Mixed Species Rotation Exhibits. 2004 ARAZPA Conference Proceedings, Australia.
Blackbox-av. 2018. Blog - blackbox-av. [online] Available at: https://www. blackboxav.co.uk/blog/.
Coe, Jon C. (1994). Landscape Immersion – Origins and Concepts in “Landscape Immersion Exhibits: How Are They Proving as Educational Settings?” J. Coe, Moderator, 1994 AZA Convention Proceedings, American Zoo and Aquarium Association, Bethesda, MD.
Letter Sizing Calculator. Letter Sizing Calculator. [online] Available at: https:// www.thesignchef.com/letter-sizing-calculator.
Coe, Jon C. (1987). What's The Message? Exhibit Design for Education in AAZPA 1987 Regional Conference Proceedings, American Association of Zoological Parks and Aquariums, Wheeling, WV, pp. 19-23.
Thesis Asquith, Rachel Ann. Elements of Visitor Experience that Affect Visitor Satisfaction in U.S. Museums. (2012). University of Colorado Museum of Natural History Graduate Theses & Dissertations. 1. https://scholar.colorado.edu/cumuse_gradetds/1
Gwwoinc.com. Pacing, Pulsing or Pulling Your Hair Out? Part 1 of 3. [online] Available at: https://www.gwwoinc.com/news-insights/pacing-pulsing-orpulling-your-hair-out-part-1-of-3. Designing Zoos. The Next Zoo Design Revolution?. [online] Available at: https://designingzoos.com/2008/07/15/the-next-zoo-design-revolution/. Here Be Dragons. 2018. Here Be Dragons. [ONLINE] Available at: http:// madrascrocbank.blogspot.com/.
VISITOR EXPERIENCE OF THE MADRAS CROCODILE BANK
208
Video Crocodile Blues, English, 52 minutes. (2008). [video] A documentary on the mixed fortunes of the gharial. Icon Films for BBC Natural World/Animal Planet. Presenter and Consultant A Perspective on Zoos | Andreas Kaufmann | TEDxVilnius. (2016). [video] Available at: https://www.youtube.com/watch?v=-ArnxHPyVB0 [Accessed 15 Nov. 2018]. Animal Welfare and the Future of Zoos | Ron Kagan | TEDxOaklandUniversity. (2015). [video] Available at: https://www.youtube.com/watch?v=h_ FRY4FIkws. Romulus Whitaker: The real danger lurking in the water. (2010). [video] Available at: https://www.youtube.com/watch?v=vW99KFD-Bk8. Why We Need Zoos | Gabriela Mastromonaco | TEDxToronto. (2014). [video] Available at: https://www.youtube.com/watch?v=VGBzwnTW-O4.
209
NIKHIL LAL SHRESTHA
GRADUATION PROJECT
Image Credits Page 19
Page 25
Captured man-eating tiger blamed for 200 deaths, Calcutta, India (2017) Magnolia Box. Available at: https://www.magnoliabox.com/products/ captured-man-eating-tiger-blamed-for-200-deaths-calcutta-india-2496829
Woodland zoo park | PLACES BEAUTIFUL (2013) Placesbeautiful.com. Available at: http://www.placesbeautiful.com/woodland-zoo-park/
Page 20
Crocodile training : The final chapter (2011) Naja.in. Available at: http://naja. in/crocodile-training-the-final-chapter/
Zoo Basel-Wissen-Geschichte (2018) Zoobasel.ch. Available at: https://www. zoobasel.ch/de/wissen/zoo/geschichte/index.php
Page 26
https://www.facebook.com/DailyMail (2016) Fascinating photographs show conditions inside Australia’s first zoos, Mail Online. Available at: https://www. dailymail.co.uk/news/article-3523886/Fascinating-photos-inside-Australia-szoos.html
(3) (PDF) Coe, J. (2011) How Can Zoo Architects Build-In Animal Enrichment Opportunities …And How Can Enrichment Specialists Help? Available at: http://www.joncoedesign.com/pub/PDFs/ArchitectsAndEnrichment2011.pdf (3) (PDF) Coe, J. (2006) Naturalistic Enrichment. Available at: http://www. zoolex.org/publication/coe/NaturalisticEnrichment2006.pdf
Page 21 Unsplash (2018) Aquarium Visit photo by Vidar Nordli-Mathisen (@vidarnm) on Unsplash, Unsplash.com. Available at: https://unsplash.com/photos/ njDnOteVf6c
Page 27 Northern Trail - Grizzly Bear Exhibit (2008) Zoochat.com. Available at: https://www.zoochat.com/community/media/northern-trail-grizzly-bearexhibit.55545/
Page 22 Marketwired (2018) Available at: http://www.marketwired.com/pressrelease/denver-zoos-benson-predator-ridge-nominated-for-best-zooexhibit-2012105.html
Page 23 Anon, (2018). [ebook] Available at: http://www.zoodesignconference.com/ wp-content/uploads/2017/10/06.-Stanley-Zoo-evolution.pdf
Page 24 (3) (PDF) One-Hundred Years of Evolution in Great Ape Facilities in American Zoos 1896 - 1996 (2008) ResearchGate. ResearchGate. Available at: https://www.researchgate.net/publication/242236929_One-Hundred_ Years_of_Evolution_in_Great_Ape_Facilities_in_American_Zoos_1896__1996/figures Helpern Architects (2018) Helpern Architects | Congo Gorilla Forest Exhibit, Helpern.com. Available at: http://www.helpern.com/projects/institutional/ bronx-zoo-congo
Page 28 (3) (PDF) Design and Perception: Making the Zoo Experience Real (2008) ResearchGate. ResearchGate. Available at: https://www.researchgate. net/publication/229631570_Design_and_Perception_Making_the_Zoo_ Experience_Real/comments Woodland Park Zoo: The early years (2014) seattlepi.com. Available at: https://www.seattlepi.com/local/seattle-history/slideshow/Woodland-ParkZoo-The-early-years-99479/photo-7265612.php?cmpid=pinterest-tablet Zoo Basel-Wissen-Geschichte (2018) Zoobasel.ch. Available at: https://www. zoobasel.ch/de/wissen/zoo/geschichte/index.php
Page 29 Oklahoma City Zoo | Greteman Group | Marketing Communications (2017) Greteman Group | Marketing Communications. Available at: https://www. gretemangroup.com/work/oklahoma-city-zoo/
VISITOR EXPERIENCE OF THE MADRAS CROCODILE BANK
210
Reptiles: The Beautiful and the Deadly | Peeling Productions (2015) Peeling Productions. Available at: http://peelingproductions.com/travelingexhibitions/reptiles-the-beautiful-and-the-deadly/
Project. Available at: https://whalesanctuaryproject.org/our-work/ Anon, (2018). [ebook] Available at: http://www.zoodesignconference.com/ wp-content/uploads/2017/10/06.-Stanley-Zoo-evolution.pdf
Page 30
Page 45
Polar bear - Detroit Zoo (2013) Detroit Zoo. Available at: https://detroitzoo. org/animals/zoo-animals/polar-bear/
Pxtx | Thread -The crocodile classification is detailed, distributed, and appearance features. Available at: http://bbs.pxtx.com/thread-172934-1-1. do
Page 31-32 (3) (PDF) Coe, J. (2004) Mixed Species Rotation Exhibits. Available at: http:// www.joncoedesign.com/pub/PDFs/MxdSpRo.pdf
Page 39 Smithsonian Institution Archives (2011) Alligators, Reptile House, National Zoo, Smithsonian Institution Archives. Available at: https://siarchives.si.edu/ collections/siris_sic_9316
Nuwer, R. (2008) Crocodiles Balance Twigs on Their Heads to Lure NestBuilding Birds, Smithsonian. Available at: https://www.smithsonianmag.com/ smart-news/crocodiles-balance-twigs-on-their-heads-to-lure-nest-buildingbirds-180948107/
Page 40
A Caiman Wearing a Crown of Butterflies Photographed by Mark Cowan (2017) Colossal. Available at: https://www.thisiscolossal.com/2016/09/acaiman-covered-in-butterflies-photographed-by-mark-cowan/
Mark O’Shea - The Official Website (2000) Markoshea.info. Available at: https://www.markoshea.info/research_fieldwork_usa11-3c.php
Page 49
Page 41
masuzi (2018) Does Fort Worth Zoo Have Aquarium, Laairfan.co. Laairfan.co. Available at: http://laairfan.co/does-fort-worth-zoo-have-aquarium/
(2003) Zoochat.com. Available at: https://www.zoochat.com/community/ media/lincoln-park-zoo-2003-african-wild-dog-exhibit.87780/full
Page 42 Bronx Zoo- Pheasant Aviaries- Himalayan Monal Signage (2008) Zoochat. com. Available at: https://www.zoochat.com/community/media/bronx-zoopheasant-aviaries-himalayan-monal-signage.183534/
Page 43 Wikipedia Contributors (2011) File:Evolution of zoos.jpg, Wikipedia. Wikimedia Foundation. Available at: https://en.wikipedia.org/wiki/File:Evolution_of_zoos. jpg#file
Page 44 (2016) The Whale Sanctuary Project | Back to Nature. The Whale Sanctuary
211
Page 46
NIKHIL LAL SHRESTHA
Zoo Miami’s mission: to make sure the zoo isn’t the last place you see these animals | Key Biscayne Citizen Scientist Project (2017) Key Biscayne Citizen Scientist Project. Available at: https://www.keyscience.org/zoo-miamismission-to-make-sure-the-zoo-isnt-the-last-place-you-see-these-animals/
Page 50 Chester Zoo (2018) Facebook.com. Available at: https://www.facebook.com/ chesterzoo1/photos/p.10153897804090912/10153897804090912/?typ e=1&theater Knight, C. and Steigerwald, S. (2016) Family: Boy who fell into gorilla exhibit “doing just fine,” Cincinnati.com. Cincinnati. Available at: https://www. cincinnati.com/story/news/2016/05/29/boy-who-fell-into-zoo-gorillaexhibit-out-hospital/85131108/
GRADUATION PROJECT
HT Correspondent (2014) Tiger kills youth who jumped inside its enclosure at Delhi zoo, https://www.hindustantimes.com/. Hindustan Times. Available at: https://www.hindustantimes.com/delhi-news/tiger-kills-youth-who-jumpedinside-its-enclosure-at-delhi-zoo/story-s1BWv8XRBzBpJnogfHx7rN.html
The Worldâ&#x20AC;&#x2122;s Largest Dinosaurs Exhibit at the American Museum of Natural History in New York City (2000) Kids Out and About Fairfield County, CT. Available at: https://fairfieldcounty.kidsoutandabout.com/content/ world%E2%80%99s-largest-dinosaurs-exhibit-american-museum-naturalhistory-new-york-city
Page 55 Mairs, J. (2017) Tasmanian kangaroos move into White Arkitekterâ&#x20AC;&#x2122;s new Copenhagen Zoo enclosure, Dezeen. Dezeen. Available at: https://www. dezeen.com/2017/01/06/tasmanian-kangaroos-white-arkitekter-enclosurecopenhagen-zoo-denmark/
Page 56 https://www.facebook.com/ManyaraRanchConservancy (2014) hides04 | Manyara Ranch Conservancy - Tanzania, Manyara Ranch Conservancy Tanzania. Available at: http://manyararanch.com/hides04/ Mwamba Bush Camp (2018) Mwamba Bush Camp. Available at: https://wetu. com/iBrochure/en/Photos/9822/Mwamba_Bush_Camp
Exploratorium (2013) Sunset. Sunset. Available at: https://www.sunset. com/travel/insider-guides/exploratorium-attraction-san-francisco I amsterdam (2000) Iamsterdam.com. Available at: https://www.iamsterdam. com/en/see-and-do/things-to-do/museums-and-galleries/museums/ artismicropia
Page 65-68 A wayfinding mission for NYC - Opencity Projects (2015) Opencity Projects. Available at: http://opencityprojects.com/a-wayfinding-mission-for-nyc/
Page 57
FrostSydney (2014) Creating Impactful Spatial Experiences by Carlo Giannasca, Slideshare.net. Available at: https://www.slideshare.net/ FrostSydney/creating-impactful-spatial-experiences
(3) (PDF) Dr. Gupta. B.K, Barrier Designs for Zoos (2008) Cza.nic.in. Available at: http://cza.nic.in/publications/en
Page 66
Page 61 Unsplash (2018) Photography, iphone, people and museum HD photo by Alicia Steels (@aliciasteels) on Unsplash, Unsplash.com. Available at: https:// unsplash.com/photos/PA2rnR4pF9A
Page 62 Caribou diorama at the American Museum of Natural t (2013) Picmoonco. pw. Available at: http://picmoonco.pw/Caribou-diorama-at-the-AmericanMuseum-of-Natural-t.html
Page 64 Museum of Food and Drink (MOFAD) (2008) Museum of Food and Drink (MOFAD). Available at: https://www.mofad.org/private-events/
Central Park Zoo 2010 - Entrance to Tisch Childrens Zoo (2008) Zoochat. com. Available at: https://www.zoochat.com/community/media/centralpark-zoo-2010-entrance-to-tisch-childrens-zoo.129800/
Page 67-68 FrostSydney (2014) Creating Impactful Spatial Experiences by Carlo Giannasca, Slideshare.net. Available at: https://www.slideshare.net/ FrostSydney/creating-impactful-spatial-experiences
Page 69 Santa Ana Zoo Wayfinding (2017) Hunt Design. Available at: http://www. huntdesign.com/projects/signage-wayfinding/zoos/santa-ana-zoo/ Longwood Gardens Meadow - Gecko Group (2013) Gecko Group. Available at: https://geckogroup.com/work/longwood-gardens-meadow/
VISITOR EXPERIENCE OF THE MADRAS CROCODILE BANK
212
Page 70 ImageBox | Display and interpretive graphics. Bronze feature displays and signage elements (2015) Imagebox.com.au. ImageBox. Available at: https:// www.imagebox.com.au/display/1506055_083/
Illustrations on pages 26, 28, 31, 32 originally by Jon Coe, reworked by Nikhil Lal Shrestha. Illustrations on 26, 57 by Jon Coe Design.
Page 76
Illustrations on 57 by Central Zoo Authority of India.
India, A. (2017) How I Discovered Fearlessness and Positivity at Tamil Naduâ&#x20AC;&#x2122;s Crocodile Bank, The Better India. Available at: https://www.thebetterindia. com/104414/tamil-nadu-croc-bank-reptile-conservation/
Tables on pages 47-48 based on Central Zoo Authority of India guidelines and European Association of Zoos and Aquaria guidelines.
Page 80 (2013) Wikimedia.org. Available at: https://upload.wikimedia.org/wikipedia/ commons/d/d6/Madras-Crocodile-Bank-6.JPG Madras Crocodile Bank Trust/Centre for Herpetology - Posts (2018) Facebook.com. Available at: https://tinyurl.com/y8zy392z
Illustrations and information graphics on pages 45,46,58,75 by Nikhil Lal Shrestha. All site models and all architectural plans were modelled and drafted by Nishant Gautam, and are the property of Alva Architects.
Page 81 YouTube (2018) Youtube.com. Available at: https://www.youtube.com/ watch?v=Ax-pKQbMkPU
Pages 76, 81, 82 Here Be Dragons (2018) Blogspot.com. Available at: http://madrascrocbank. blogspot.com/
Pages 77, 78, 79, 80 Casual Walker (2018) Casual Walker. Available at: http://casualwalker.com/ madras-crocodile-bank-tour/
213
NIKHIL LAL SHRESTHA
GRADUATION PROJECT