Doomsday Museum, Pune by Nishant Vats

DOOMSDAY MUSEUM

B. Arch. Final Year Thesis, 2013‐14 Dept. of Architecture and Regional Planning IIT Kharagpur

09AR1014 Nishant Vats Supervisor: Prof. (Dr.) Jaydip Barman

DOOMSDAY MUSEUM, PUNE A project thesis submitted in partial fulfillment of the requirements for the degree of Bachelor of Architecture. Submitted By: Nishant Vats 09AR1014 Under the supervision of: Prof. (Dr.) Jaydip Barman

Indian Institute of Technology Kharagpur Department of Architecture and Regional Planning May, 2014

INDIAN INSTITUTE OF TECHNOLOGY KHARAGPUR Department of Architecture and Regional Planning May, 2014 I hereby recommend that the Project prepared under my supervision By Mr. Nishant Vats, entitled “ Doomsday Museum, Pune” be accepted in the partial fulfillment of the requirement for the degree of Bachelor of Architecture.

Prof. (Dr.) Jaydip Barman Project Supervisor

Prof. (Dr.) Jaydip Barman Head of the Department

Approved External Examiner ‐ I

Approved External Examiner ‐ II

ACKNOWLEDGEMENT

WHAT IS WAR?

I would like to take this opportunity to express my deep and heart‐felt gratitude to Prof. (Dr.) Jaydip Barman, for his contribution and never ending support, guidance and fatherly affection. He generously offered me time and effort to provide me with his valuable inputs and suggestions. His insightful knack for architecture and exuberant creativity inspired me to think beyond the normal. His timely scolding and never‐ending faith in me always showed me the right path and inspired me to bring out the best in me. I am very grateful for his undying faith in my abilities. I wish to thank all the jury members and the professors of the Department of Architecture and Regional Planning at IIT Kharagpur for their valuable inputs at various design stages. Special thanks to Prof. S. Basu for her help in shaping my thesis as a narrative, Prof. S.P. Bhattacharya for his valuable inputs in structures and Prof. S. Gupta for her constant presence in all my presentations and giving critical inputs throughout. I would like to thank my parents who have been my pillars of supports throughout my life, especially my father whose military personality with a soft heart inspired me for this thesis. I would also like to extend my regards to Lt. Cdr. Pratyush Chauhan for her guidance with regard to defense laws. Thanks to my friends Nanditha Uppada and Vikram Voleti which gave me confidence not to lose in hard times. Thanks to my juniors Ashris Choudhary, Mridul Mittal and Jugal Kishore Banikya for their invaluable time and help. Also, my sincere thanks to Arjun Mukherjee for finding time out to extend his invaluable help. Thank you Nishant Vats

“ The idiot bird leaps out and drunken leans Atop the broken universal clock: The hour is crowed in lunatic thirteen's. Out painted stages fall apart by scenes While all the actors halt in mortal shock: The idiot bird leaps out and drunken leans. Streets crack through in havoc‐split ravines As the doom struck city crumbles block by block: The hour is crowed in lunatic thirteen's. Fractured glass flies down in smithereens; Our lucky relics have been put in hock: The idiot bird leaps out and drunken leans. The monkey’s wrench has blasted all machines; We never thought to hear the holy cock: The hour is crowed in lunatic thirteen's. Too late to ask if end was worth the means, Too late to calculate the toppling stock: The idiot bird leaps out and drunken leans, The hour is crowed in lunatic thirteen's. “ ‐Sylvia Plath 5

PROLOGUE It was the year 1999, I do not remember my age or class perfectly but what I remember precisely was an incident that had a lasting impact on me. It was a phone call for one of our neighbor. My dad was in army and it is customary for dependents of army people to follow the army person. However, when the person serving in army is posted to some sensitive area like Kashmir etc, they are not allowed to take their families with them owing to security reasons. Hence, they are provided with accommodation in the nearest area categorized as area in peace by the Ministry of Defense. My dad was then posted in a regiment based in Kalimpong ( a scenic place near Darjelling ) but the entire force was relocated to Kashmir Valley owing to the ongoing Indo‐Pak War. So we too were living in a Separate accommodation like all others in our locality. It was the late 90’s, the mobile wasn’t common enough and getting a BSNL landline connection then was same as booking a ‘tatkal’ ticket on IRCTC today. Hence, more than half of the locality was dependent on our personal landline connection for messages from their friends and family. It was a wintery afternoon and I was sitting on my table trying to finish my homework so that I could go out and play with a new neighbor who had just arrived in the locality. She was pretty and it would indeed be a nice jealous discussion topic among my friends if they saw me playing with her. So I was hastily trying to finish off my work. I was stuck on the last question when the phone rang. My mother picked up the phone in her monotonous “hello” tone and suddenly asked me to rush and call ‘Haseena ki mummy’. For once I tried to ignore the order once but on her second shout I reluctantly went to the door and set out to her house. The next door aunty rushed to my house after dressing her dupatta when I told her the phone was on hold. I followed her too but only after having the juice that her son offered me. As I entered the house what I heard was the loudest cry of my life. Unaware of the real reason and too scared to ask anybody anything I just moved to my room. It was only after she left when my mother called me and asked me to call up my dad and ensure that he is fine. She told me how aunty’s husband has been shot in the leg by a sudden attack on his regiment by the Pak forces. I started dialing all the numbers that our dad had given us as emergency contact, but sadly there was no reply. My mom got very anxious and wanted to know about my dad. It was for the first time I saw fear in her eyes in the last five years of staying in the Separate Accommodation. She had always come across to me as the ‘Iron Lady’. It did not take me time to understand the seriousness of the situation. Well in the end we did get to my dad on phone but the hours we had spent trying to reach him left a mark on me. 6

PROLOGUE A mark that would make me ponder is war really important. I am sure their would be mothers and children in Pakistan as well. When everyone across the borders would have the same response to a war which is not at all positive then why does a war ever happen? Questions about the integrity of war and its justifications have haunted me since then. Around 15 years later when I was informed about a B.Arch. Thesis by our thesis coordinator it was a bell ringing again in my head to see if I could answer these questions or at least make an attempt to answer them. I was quick enough to discuss the idea with my current thesis coordinator Prof. Barman. He spoke at length with me to make me understand that war is just a manifestation of the current situation of humanity. Things similar to war like riots, terrorism and man‐ made disasters are a result of human greed and his excessive yielding to his senses. I could immediately relate this to the idea of a barbaric civilization as defined in the ‘Aryan Supremacy Theory’. I went to him to seek some answers but on the contrary was left with more questions, this time much harder to answer. I felt bad for the most biologically developed race called the human race which was loosing its humanitarian character. Winston Churcill’s famous words “We shape our buildings, thereafter they shape us” have always impressed me as an architect. I went back to Prof. Barman and discussed the idea with him to create an architecture that could teach humans humanity and envisage a peaceful future. It seems ironical to me today that my attempt for making a “School for Humanity” was inspired by a person who held a central position in the biggest war of greed, mankind had ever seen. Nevertheless, next few nights were spent trying to understand the practicality of the idea. Prof. barman was here too to rescue me of my naïve thoughts and help me to determine my scope and the initial proposal draft. I was very happy when it got accepted as my formal thesis topic. The next step was to learn from similar design via the method of case study. I was disappointed to find out that in the name of war museum(s) and memorial(s), India only had parks and museums decorated with tanks and airplanes. However, studying the design philosophy of Daniel Lebiskind (whom I take as my second guide after Prof. Barman) taught me the idea behind a manmade disaster and how to capture that philosophy in architecture. 7

PROLOGUE After some research on responsible and unbiased journalism I concluded that despite being inquisitive the human race is not receptive to new information especially if it is preached. Hence, the idea of the museum as a school was dropped and a new idea emerged. A idea that would display both the sides of the coin the war and the peace, the riots and the feeling of fraternity, the greed and the sacrifice. Humanity is essential to humans. It is not we humans who make humanity, but humanity that makes us humans. With this idea and an attempt to present a neutral viewpoint towards man’ made disasters I present my thesis titled “Doomsday Museum, Pune” supervised by Prof. Jaydip Barman. This is not to be taken as just another museum design but as a role that we architects can play in shaping the society.

Nishant Vats | 09AR1014

Stage 1 Contextual Need Challenge Client’s Brief Design Methodology Site Overview Final Objectives and Scope Case Studies Literature Review Bye‐ Laws

Stage 2 Design: Implementation of Work Done in Stage 1

contents 01 INTRODUCTION| 12 1.1 War 1.2 Clients 1.3 Client’s Brief 1.4 Objectives 1.5 Scope 1.6 Area Programme

02 METHODOLOGY| 40 1.1 Thesis Scope 1.2 Design Consideration 1.3 Design methodology

03 SITE| 43 1.1 About Pune 1.2 Site Location 1.3 Site Study

contents 04 LITERATURE REVIEW| 74 1.1 Behavioral Analysis 1.2 Museum Architecture 1.3 Sustainable Practices 1.4 Barrier Free Architecture 1.5 Spatial Norms 1.6 Bye‐Laws 1.7 Services

05 CASE STUDY| 127 1.1 Jewish Museum 1.2 Nanjing Massacre Museum 1.3 US Holocaust Memorial Museum 1.4 Museum of the Ruins of Sao Paolo 1.5 Coventry Cathedral 1.6 Siza School of Architecture 1.7 Museum Winnipeg

06 AREA PROGRAMME| 177 1.1 Space Definition 1.2 Area Allocation

contents 07 DESIGN| 191 1.1 Concept 1.2 Initial Draft 1.3 Circulation 1.4 Landscaping 1.5 Services 1.6 Final Drawings 1.7 Views

THESIS BRIEF

WHAT IS WAR?

Earliest documented records of wars and fight in India dates back to the mystical era and has been reported in the form of Ramayana and Mahabharata. In Indian scriptures war has been used as a symbolic feature to signify triumph of good over evil. In the pre‐British period wars have primarily been used as a means to attain territorial supremacy. The colonial period in India saw the emergence of another form of internal war named riots. Even, though terrorism has been a recent phenomenon but is not less worse than a war. Both the riots and the terrorism can be described as war fought internally and can not be defended on any religious and/or philosophical grounds. Historically war has brought about misery to all the ends. The war of Kalinga is a realistic example of the same. A section of Mahabharata describes the post‐ war state of women and children in a horrifying manner. Similar documentation is also available in Nehru’s book ‘ The Discovery of India’. With the aim to make people aware about the ill effects of war, I propose the design of a India Doomsday Museum. It is not to be taken as a revisit of the horrifying incidents but a pedagogical method to prevent any such incidents in the future. The scope of the project would include Information Archival Centre, Peace Memorial, Public Awareness Spaces, Centre for War Technology, Centre for Historical War Studies and International Centre for Interaction and sharing incidents on War along with other allied formal spaces like administrative etc. and informal spaces.

WHAT IS WAR? Based on St. Augustine’s theory of justification of war

Justice ??? An effective tool to attain peace ??? A fight for my religion ??? A way to punish ??? A means to get my rights ??? 14

Justice ???

A painting depicting the horrific destruction caused during the war of Mahabharata that was fought on the pretext of getting justice. But ultimately everything ended and everything was destroyed for both the Pandavas and the 15 Kauravas

An effective tool to attain peace ??? ???

Destruction caused in Hiroshima and Nagasaki post atom bomb dropping in the pretext of restoring peace

A fight for my religion ???

Riots in the name of religion are common and cause mass destruction of life and property

A way to punish ???

Didn’t they bring Peace ?

A means to get my rights ???

LTTE (Liberation Tigers of Tamil Eelam) aim to get back their rights in Sri Lanka via war Mass Genocide by LTTE and an image of LTTE Graveyard

Bhopal Gas Tragedy

Chernobyl Disaster

ADVENT OF A NEW WAR: TERRORISM Today the threat of terrorism is becoming more and more serious. Terrorism is considered the greatest threat against the safety of the world, and especially the USA, today. The extent of the terrorism has increased significantly over the last couple of years, since the terrorist attacks against the US on the 11th of September 2001. After these attacks former president of the US, George Bush declared a war against terrorism. There are various opinions about what can be defined as terrorism. Because there are so many situations that can be defined as terrorism, it is be very difficult to find an exact definition. Many countries have different definitions, and the definitions have also changed over the years. Not even the UN has managed to agree about one common definition. In short we can say that terrorism is some sort of attack at civilians to achieve a political goal. Terrorism has existed for many centuries, but in the last couple of years the attacks have become more extensive and the devastations has become greater. In the future scientists expect that the terrorists will carry out actions with weapons of mass destruction such as chemical, radiological and biological weapons. The war on terrorism is a global campaign. The goal is to fight international groups that are considered to be terroristic. They especially focus on radical Islamic terror groups, such as the Al‐Qaida. Today the war on terrorism goes on in countries such as Afghanistan, the Philippines, Indonesia, Iraq, Israel and South East Aisa. Many human rights organizations have criticized the war on terrorism because they think it in many cases can lead to violations of the human rights. Around the globe there are various terrorist organizations, all with different goals and reasons for their terrorist‐ activities. 21

9/11: The biggest chasm in mankind

What was my crime?

26/11: Another chasm in mankind

Number of Terrorist Incidents, 2010

The above image displays the current scenario of terrorist attacks across the globe. Russia. Pakistan and England seem to top the list, followed by other South Asian Nations and North America. Source: Wikipedia.org

This terrified baby was the only human being left alive in Shanghai's South Station after brutal Japanese bombing, August 28, 1937

WAR is a RATIONAL manifestation of an IRRATIONAL self

Where are we heading: ‘Apocalypse’ or ‘Pralaya’ ? I have drawn a huge portion of my inspiration for the doomsday from the cinema Movies Based on War: The World, the Flesh and the Devil (film 1959) A man emerges from a caved‐in mine that trapped him for days to find a deserted world wiped out by nuclear war. On the Beach (novel 1957, film 1959 and TV movie 2000) A nuclear World War III has wiped out most of the planet, except for a band of survivors on Australia. This story follows the lives of these ordinary people as an impending radioactive cloud nears their refuge, bringing certain death. A Canticle for Leibowitz (novel 1959) Set in a Catholic monastery, the story chronicles the rebuilding of society after a devastating nuclear war. Planet of the Apes (novel 1963, film 1968) Astronauts crash land on a distant planet with a civilization of walking, talking apes that are hostile to humans. Sequels to the 1968 movie include Beneath the Planet of the Apes and Escape from the Planet of the Apes. Stop the Planet of the Apes, I Want to Get Off! (musical 1996 from The Simpsons) I hate every ape I see, from chimpan‐A to chimpanzee… A Boy and His Dog (short story 1969, film 1974) A young man and his telepathic dog roam a desolate world obliterated by a nuclear war. .

Where are we heading: ‘Apocalypse’ or ‘Pralaya’ ? Mad Max (film 1979) Set in the wastelands of post‐apocalyptic Australia, the film tells the story of a vengeful policeman and his clashes with a violent motorcycle gang. Sequels: The Road Warrior (1981) and Mad Max Beyond Thunderdome (1985). The Day After (film 1983) Fictional account of the devastation wreaked by a nuclear war between the U.S. and the Soviet Union. Testament (film 1983) This film chronicles the lives of people in a small California town after nuclear blasts destroy civilization. Threads (TV drama 1984) Documentary‐style look at the medical, economic, social and environmental consequences of a nuclear war in northern England. The Postman (novel 1985, film 1997) A war has devastated the planet, and bands of people, led by a stranger in a postal uniform, struggle to survive. Book of Eli (film 2010) Thirty years after a devastating world war, a man named Eli travels on foot to the west coast of the U.S. to deliver the last remaining copy of the Bible to a safe location.

TIMELINE Timeline of Wars/Battles during Maratha Empire (1674‐1818) Third Anglo‐Maratha War

Second Anglo‐Maratha War

Fourth Anglo‐Mysore War

Third Anglo‐Mysore War

Maratha‐Mysore War

First Anglo‐Maratha War

First Anglo‐Mysore War

Conquest of North‐West India

Expeditions in Bengal

Siege of Trichinopoly

Battle of Vasai

Deccan Wars 1681 1686 1691 1696 1701 1706 1711 1716 1721 1726 1731 1736 1741 1746 1751 1756 1761 1766 1771 1776 1781 1786 1791 1796 1801 1806 1811 1816

Source: Created by author based on data available at Wikipedia

TIMELINE Timeline of Wars/Battles during Company Rule in India (1757‐1858) Indian Rebellion of 1857 Anglo‐Persian War Second Anglo‐Burmese War Second Anglo‐Sikh War First Anglo‐Sikh War First Opium War First Anglo‐Afghan War First Anglo‐Burmese War Third Anglo‐Maratha War Anglo‐Nepalese War Second Anglo‐Maratha War Fourth Anglo‐Mysore War Third Anglo‐Mysore War Second Anglo‐Mysore War First Anglo‐Maratha War First Anglo‐Mysore War Battle of Buxar Battle of Plassey 1757 1762 1767 1772 1777 1782 1787 1792 1797 1802 1807 1812 1817 1822 1827 1832 1837 1842 1847 1852 1857 Source: Created by author based on data available at Wikipedia

TIMELINE Timeline of Wars/Battles during British India (1858‐1905) Second Boer War First Mohmand Campaign Boxer Rebellion Hunza‐Nagar Campaign Sikkim Expedition Third Anglo‐Burmese War Anglo‐Egyptian War Mahdist War Second Anglo‐Afghan War Bhutan War Second Opium War 1856

1861

1866

1871

1876

1881

1886

1891

1896

1901

Source: Created by author based on data available at Wikipedia

TIMELINE Timeline of Wars/Battles during British India (1903‐1947) World War II Second Waziristan Campaign Second Mohmand Campaign Pink's War Iraqi revolt First Waziristan Campaign Third Anglo‐Afghan War British expedition to Tibet World War I British expedition to Tibet 1903

1908

1913

1918

1923

1928

1933

1938

1943

Source: Created by author based on data available at Wikipedia

TIMELINE Timeline of Wars/Battles during British India (1947‐Present) Kargil War Operation Cactus Indian intervention in Sri Lanka Operation Blue Star Third Indo‐Pakistani War Second Indo‐Pakistani War Sino‐Indian War Invasion of Goa Operation Polo First Indo‐Pakistani War 1947

1952

1957

1962

1967

1972

1977

1982

1987

1992

1997

Source: Created by author based on data available at Wikipedia

PROJECT CLIENTS Ministry of Defense, Govt. of India, under its Social Responsibility Directive in collaboration with both/either of the following:

National Defense Academy(NDA), Pune is a national Joint Services academy of the Indian Armed Forces, where cadets of the three services, train together before they go on to serve the nation

Centre for Armed Forces Historical Research (CAFHR) under United Services Institution of India (USI,1870)

National Commission for Justice, Peace and Development, Govt. of India involved in addressing human rights issues, peaceful resolution of conflicts and initiation of social advocacy 35

CLIENTS’ BRIEF

Premier Institute of War History for high‐end research in the field of war‐history

Unique Learning and Resource Center for adults and children of all age‐groups to increase awareness leading to abatement of war

Participatory Museum with dynamic exhibits and programs to stimulate inquiry and spark curiosity

OBJECTIVES

Temple of Peace and War Awareness, The ultimate destination for all peace lovers from across the globe

A premier Institute of War History of International repute housing top notch researchers in the field

To house a comprehensive and unique repository of text on War, one of a kind

INDIAN CONTEXT

National Awareness: To educate masses over the ill‐effects of violence given our long history in war, riots, insurgency and militancy

Iconic Global Landmark: Indian Peace Ambassador, international interaction center for peace and anti‐war international Convention Centre

Architectural Challenge: A unique pedagogical building, merger of Peace, Engineering and Architectural Expression

SOCIAL ASPIRATRIONS

Education Center: To create a better understanding and awareness of the subject to the general populace

Museum: A‐learning‐amusement hub for people of all age group, religion, caste, sex, creed etc. to understand the ill‐ effects of war

Urban get‐away: An interesting city level refuge for the general populace, families and the young

AREAS OF FOCUS  A comprehensive Behavioral Analysis : to understand the spatial properties, Ergonomics, Learning Environment, Form, Scale, Light, Sounds, Defensive space etc.  To understand the site, i.e., factors in context to the site, culture, history and importance.  Concept development towards creation of an organic whole.  Climate Analysis and inputs.  Sustainable Design Approach.  Barrier Free Inclusive Environment  Comprehensive understanding and study of emerging and compatible structural Systems.  Sociology of War and Peace with reference to masses

METHODOLOGY: Overview

Formulation of the Problem Statement

Behavioral Research

Synthesis and Analysis

Design Expression

Design

Feasibility

Final Proposal

Scope for Technology

Final Proposal: Total Design Solution

Research Stage

Design Development and Feasibility Stage

Final Stage

METHODOLOGY: Detailed Client’s Brief Goals and Objectives

Case‐Study Formulation of the Problem Statement

Site Visit Literature Review

Scope and Limitations Cursory Case‐Studies Theme Exploration

Urban Setting Synthesis and Analysis

Design Concept

Architectural Details Landscape Details

Project Requirements

Concept Evaluation

Concept Evolution

Final Proposal: Total Design Solution

Structural Details Model and Simulation BMS Innovative Details

METHODOLOGY STUDY 1. Study on Psychological factor on Human Behavior and Built Environment 2. Study on the Sociology of War and Peace. 3. Case Studies and Literature Review 4. Site Environment Study

SCOPE

LIMITATIONS

1. Architectural Programming and Layout

1. Detailed Cost analysis

2. Phase wise development schedule & provision for its future expansion 3. Landscaping 4. Maintenance and Services

2. Details of Green Technologies Used ( as applicable) 3. Detailed Specifications 4. Detailed Structural Design

5. Evolution of Design Theory and Design 43

SITE STUDY

SITE: The City of Pune 45

eighthÂ largestÂ metropolis in India 46

ABOUT PUNE Pune, is the eighth largest metropolis in India and the second largest in the state of Maharashtra. It is situated 560 metres (1,837 feet) above sea level on the Deccan plateau at the right bank of the Mutha river. Pune city is the administrative headquarter of Pune district and was once the centre of power of the Maratha Empire. Pune is known to have existed as a town since 847 AD. It was the first capital of Shivaji. In the 18th century, Pune became the political centre of Indian subcontinent, as the seat of Peshwas, the Maratha Empire's prime ministers. Pune is the cultural capital of Maharashtra. Since the 1950‐60s, Pune has had traditional old‐ economy industries which continue to grow. It is the site of many ancient and medieval monuments, archaeological sites and remains. Many great wars like Maratha Mughal War, Battle of Poona, Third Anglo‐Indian War etc.

In the struggle for freedom Pune was the hub of Bal Gangadhar Tilak and other radical activists. The famous Yerwada Jail which stands as a epitome of Indian struggle is housed in the city. Recently Pune has been abject to several terrorist attacks as well. Given the cultural significance of the landmark and the location of National Defense Academy the building is proposed to be built in Pune by the year 2015‐16. 47

banks of Khadakwasla Lake

SITEÂ STUDY The proposed site for the project Is located on the banks of Khadakwasla Lake with the backdrop of Sinhagad Fort. The site is adjacent to Military Institute Of Technology and is in the near vicinity Of National Defense Academy.

Site Study

Vicinity Analysis Dam

N.D.A.

Vacant Land

M.I.T.

Residential Area Farmland

Sinhagad Fort

Hilly terrain

Connectivity From Pune

Peacock Bay

Water Connectivity Road Connectivity

To Sinhagad

Site Study: Viewports

Site Study

CLIMATE STUDY

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Monthly Wind Roses

Cool breeze from the lake (Microclimate Effect)

Predominant wind direction from North West during winters

SITE

Predominant wind direction from South West during summers

Monthly Temperature Data

ANALYSIS: Pune records a maximum mean temperature of 36.9 deg C in May, however the south western periphery of Pune records a highest mean temperature of 25 deg C in May. The reduction in temperature is a result of the microclimatic effect. The south western part of Pune is flanked by the mountains of Western Ghats keeping the temperature much lower than the temperature in central Pune. The average temperature ranges between 20 to 28 deg C during summers. The minimum temperature is observed during January. In a nutshell the site climate is cool throughout the temperature with ambient temperature around human comfort zone. 70

Annual Temperature Data

ANALYSIS: The above graph shows the frequency distribution of temperature on the site. Most of the data is concentrated between 32 to 84 deg F consolidating the idea established through the monthly temperature data.

Diurnal Weather Average

Humidity

ANALYSIS: After establishing through the temperature frequency distribution it can further be validated through humidity temperature variation data that the ambient climate conditions (both temperature and humidity combined) create a comfortable outdoor environment zone for humans. A direct consequence of this analysis on the design would be that open spaces can be integrated with the design without any extra for human comfort level. Also, while designing nonâ&#x20AC;?air conditioned spaces many restrictions imposed due to ambient climatic conditions are also removed. 73

The yellow line shows the sun on the site wherein the sun goes from East to west via south.

MUSEUM ARCHITECTURE LITERATURE REVIEW

MUSEUM ARCHITECTURE Museology The Evolution of Museums The modern public museum is a descendent of the ancient Greek museion, a place dedicated to the Muses, the nine daughters of Zeus and Mnemosyne (or Memory) and so dedicated to artistic creation and memory It was in Renaissance that the idea of modern Museum was born. Art collecting began with the Italian Renaissance, for the Renaissance developed a sense of history and enthusiasm for the products of Classical antiquity.

• •

•

In Western Society, in the late 18th and early 19th centuries, public museums were developed by various governments to extol influence and control the general public . The birth of the museum as we recognize today is coincident with, and supplies a primary institutional condition for, the emergence of a new set of knowledge‐ geology, biology, archeology, anthropology, history and art history […] This new interest grew when an issue was raised by the cultural bourgeois reformers in the 19th century concerning “ the nature of the museum as a space for representation. Rather than merely evoking wonder and surprise, [museum should seek to instruct by displaying artifacts]” Source: Based on my understanding of Bennett Tony ,The Birth of Museum: History, Theory, Politics

MUSEUM ARCHITECTURE Modern definition of a museum Today, the International Council of Museums founded in Paris in 1946, is a unique organization that brings together museums and museum professionals to help promote the institutions and knowledge associated with museums. It defines museum as:

An institution in the service of humanity and it’s development

Acquires, conserves, researches, communicates and exhibits tangible and intangible history and environment

Open to public

For the purpose of education, study and enjoyment 77

MUSEUM ARCHITECTURE New Role of Museums As Charles Jencks pointed out, the contemporary museum is a spectacular contradiction of old requirements and new, mutant opportunities. There are six principle roles it now plays, which are sometimes contradictory but potentially a source of refreshing contrast. From the past it inherits the first two main roles: 1.To preserve and memorialize artifacts and events 2.To education and reaffirm values 3.The museum as a substitute cathedral, with culture and art as ersatz religions 4.The museum as a place of entertainment for the whole family 5.The blockbuster exhibition and shopping precinct 6.The site of the culture industry, the place where thousands of artists, art professionals and media amplifiers must work

Source: Jencks, Charles, “The contemporary Museum”, Architectural Design Profile, No. 130,pp.9‐13 78

MUSEUM ARCHITECTURE Forms of Museums The smallest museum is a cabinet of curiosities, whether as a piece of furniture, or, on a grander scale, a space full of various strange and interesting things. In the UK alone there are an estimated 5000 such private collections – the cabinet of curiosities persists. The largest form of Museum is a protected landscape. It may seem to be stretching a point to regard national park commonly accepted definitions of a museum. Even amongst more recognizable forms of museum – those housed in buildings – there is considerable variety, ranging from the one‐room, special interest collection to the monumental buildings of the great, encyclopedic collections of the national museum. Contemporary museums, it seems, can no longer be judged as architectural frameworks, both on the basis of unity with their contents and even as catalyst for new work

Source: Matthews, Geoff, Museums and Art Galleries: A design and development guide, Butterworth Architecture, Oxford, 1991

MUSEUM ARCHITECTURE New Museum and Technology Problem: Every individual has n dimensional cultural setting for a given object, where n lies in [0,Inf)

Characteristics of electronic media: 1. Has only two dimensional physical setting 2. Deals with a wide spectrum of cultural setting 3. It’s just an image

Characteristics of Museum Architecture: 1. Has three dimensional physical setting 2. Deals with a wide spectrum of cultural setting which is less than electronic media Source: Stephen E Weil, Rethinking the Museum and other Meditations, Smithsonian Isntitute,1990

MUSEUM ARCHITECTURE New Museum and Technology Solution: Integrating the wide spectrum cultural setting advantage of electronic media with the three dimensional physical setting of Museum Architecture

“We have the means of setting objects in a multi‐dimensional frame. Digital and wireless technology can allow visitors to make an individual mental setting for every object seen in reality. Interpretations will be infinitely more subtle than crass contemporary displays.” Source: Stephen E Weil, Rethinking the Museum and other Meditations, Smithsonian Isntitute,1990

MUSEUM ARCHITECTURE Types of Visitors, Target Audiences and Their Expectations Hooper‐Greenhill (1999) stated that more than thirty years ago, many museum theorists assumed the audiences were passive recipient with no act of personal interpretations .Nowadays, museum experts accept that visitors are not passive rather, they are to be seen as individuals. Therefor the notion of passive general public has now become the new ‘active audience’ Constructivism in museums refers to the idea that learners construct their own perception, knowledge, and meaning based on each individual perspective. As mentioned by Hein (1991, pp.30‐ 34), there were various key principles for such constructivist thinking and learning in museums. Learning is an active process in which the learner uses sensory input and constructs meaning out of it. The successive learning involves physical and mental actions, including the engagement of learners in their participation within exhibits or programs. Besides, learning involves language and social activity as the visitors come in families or groups to share and discuss what they have learned. Learning is contextual and needs cumulative or previous knowledge to build new learning experiences. In fact, learning takes time to pay attention and requires motivation as a key component for learning reinforcement.

MUSEUM ARCHITECTURE Types of Visitors, Target Audiences and Their Expectations To understand the motivation of adult visitors to the museum is complex owing to their various and divergent interests. Thus, no museum can expect to meet all the interests of all their visitors because adult visitors want to set their own learning pace and use their own style and structure of the learning process (Matthew 1987, pp.70‐72). Similarly, to capture children’s interests within the museum, Regnier (1987) argued that the creation of activities within the museum is important to let them pay attention along their visits such as interactive exhibitions with light and sounds, role‐ play or costume dressing activities, objects to assemble and disassemble, and so forth. Exhibits that require the participation of several members of the group are necessary. Children will also adapt situations to conform to their current enthusiasms and interests. For example, the Television Studio at the Inventorium in La Villette, Paris, was an exhibit which appealed to a wide age range and offered a considerable variety in the types of activities offered. At a simple level, children can appear in front of the camera and present news and other programs of their invention.

MUSEUM ARCHITECTURE Types of Visitors, Target Audiences and Their Expectations It is also important to acknowledge the needs of disabled people in the society who could be one of the prospective museum’s visitors. It is required that all public, commercial and government buildings and services should be made ‘readily accessible’ to people whatever their disability. In the Great Britain museums are now forging links with local societies of disabled people. The idea of disability culture begins with the recognition that all of us are valuable people in ourselves. (McGinnis 1994, pp.27‐29).

In fact, visitors are increasingly expecting a greater degree of involvement and participation in the museums as they are becoming more interested in displays, exhibitions, collections, and data‐bases herein. Thus it is not enough for museums to present collections and information in a passive way, rather; they have to engage interest through active involvement with their users. As Ambrose and Paine (1993, p.18) proposed, the rising public demand for involvement and participation in the museum’s activities meant that museums have to understand the social and economic context within the public sphere.

MUSEUM ARCHITECTURE

Window Approach to Museum Architecture (Davis & Gardner, 1996) 1. 2. 3. 4. 5.

‘Narrative Window’ is the story telling approach ‘Quantitative Window’ for those interested in facts and monetary value information ‘Foundational Window’ is telling the importance of the objects ‘Aesthetic Window’ is giving a freedom to every individual ‘Experiential Window’ is a participatory approach

CIRCULATION PATTERN

COLOR AND PSYCHOLOGY

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Recognized as a stimulant, red is inherently exciting and the amount of red is directly related to the level of energy perceived. Red draws attention, and a keen use of red as an accent can immediately focus attention on a particular element.

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A close relative of red. Associated with happiness, energy and warmth. It is also associated with ambition.

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Associated with optimism, enlightenment, and happiness. Yellow is thought to instill optimism and energy, as well as spark creative thoughts.

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The color of growth, nature, and money. Dark forest green is associated with terms like conservative, masculine and wealth. Hospitals use light green rooms because they too are found to be calming to patients.

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Seen as calming and constant (sky, ocean). Large amounts of blue can feel cool or uncaring. Blue associated with steadfastness, dependability, wisdom and loyalty (note how many uniforms are blue).

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Stability, reliability, and approachability. Brown is the color of earth and is associated with all things natural or organic.

Color associated with wealth, prosperity, rich sophistication and royalty.

Pink is the most calming of all colors ‐‐ often our most dangerous criminals are housed in pink cells as studies show that color drains the energy and calms aggression. 92

BYE‐LAWS

DEVELOPMENT CONTROL RULES & GENERAL BUILDING REQUIREMENTS (NBC) Land Use Classification Museum falls under the category of Public and Semi Public Zone. (PS – 5) Means of Access Under Sub Clause 4.3.2, a 3 m pathway would be given as a pedestrian pathway. Under Sub Clause 4.6 (c), the entrance and exit would be minimum 6 m wide. Classification of Buildings Under Sub Clause 7.1.1, Museums fall under the category of occupancy as Assembly building; Subdivision 3 (D‐3) Open Space Under Sub Clause 8.3.1 (c), the open space around the building shall not be less than 12 m. Off‐Street Parking Spaces Under Sub Clause 10.3‐10.5, a minimum setback of 3.6 m is to be maintained. 94

DEVELOPMENT CONTROL RULES & GENERAL BUILDING REQUIREMENTS (NBC) Requirements of parts or buildings Under Sub Clause 12.17, an independent and ventilated meter room shall be provided as per the electric supply requirements with a direct access from outside on the ground floor with a fire rating of 2 hours. Under Sub Clause 12.18, the minimum width of staircases for all assembly buildings shall be 2.0 m. FIRE AND LIFE SAFETY (NBC) Under Clause 3.1.5, Museum falls under Sub Division 3 of Assembly buildings (D‐3). Under Sub Clause 3.2.2.2: Fire Zones, Museum falls under Fire Zone 1 and the construction could be of any type (Type 1, 2, 3, 4). (Clause 3.3.1) Tables 1‐ 18 shall be referred to decide the minimum thickness of various elements. e.g. The minimum dimensions of columns should be 450 mm, of beams should be 280 mm and of slabs should be 170 mm etc. Table 14 and 15 state the specifications for steel construction.  The occupant load per unit width shall be 1.5 m2/person. (Table 20: Clause4.3)  The occupants per unit exit width shall be 40, 50 and 60 for stairways, ramps and doors respectively. (Table 21: Clause 4.4.2 and 4.4.3).  The maximum travel distance shall be 30 m (Table 22: Clause 4.4.1, 4.5.1 and 4.5.2)  A minimum of 2 exit staircase, with at least one opening outside to be provided for buildings with height greater than 15m (Clause 4.6.2)

DEVELOPMENT CONTROL RULES & GENERAL BUILDING REQUIREMENTS (NBC) Table 23 specifies the minimum requirements for Fire safety: Required: Fire Extinguisher, Hose Reel, Wet Riser, Yard Hydrant, Automatic sprinkler system, Alarm system (Manual and automatic) Not Required: Dry Riser, Down Comer Underground Tank: 100000 l Special Considerations:  Width of doors shall be 2000 mm. It shall have 2 separate exits located as remotely as possible. (Clause 6.4.4: Exit Facilities)  Clear aisles of 1200 mm width with not more than 14 seats in a row to be provided in auditoriums with a gradient of 1 in 10. For capacity greater than 300, the seats would be fastened to the floor.  Waiting lobby space as per 0.3 m2/ person shall be provided apart from exit corridors.  No display or exhibit shall be installed in the lobby that interferes with the required exit or any sign indicating so. All exhibits of combustible nature shall be limited so that they are not hazardous to the public.  Wet riser system to be capable of handling water with a velocity of 1800 l/min.  Internal hydrants to be installed at every additional 1000 m2 area for area greater than 2000 m2. 96

DEVELOPMENT CONTROL RULES & GENERAL BUILDING REQUIREMENTS (NBC) The following are to be adhered to: Internal Hydrants, Portable extinguishers, Manual Call Box: 2 at each concourse Detectors in the false ceiling. First Aid reel points: At every 1000m2 for area greater than 2000 m2. The above are to be additional provided for equipment room and service areas.

LIGHTING:  Exhibits Sensitive to Light : 200‐300‐500 lux  Light Sensitive Exhibits (oil, wood, etc.) : 150 lux  Extremely light sensitive exhibits : 50 lux  Conservation studies and workshops : 300‐500‐750 lux  Class rooms and libraries : 150‐300 lux  Toilets : 150 lux  General spaces : 300‐750 lux  An apt daylight correction factor is to be added in the above cases.  Charts for fenestration percentage of floor area are to be followed. 97

DEVELOPMENT CONTROL RULES & GENERAL BUILDING REQUIREMENTS (NBC) ACOUSTICS:  Large dome or concave ceilings cause problems.  Floor finishes are very important. The impact noise of footsteps on different materials is to be judged and taken care of.  The library is to be placed in low noise zone.  The reverberation is to be taken care of in auditoriums with proper ceiling design and acoustic pads.  Building services produce a lot of noise. They have to be properly insulated. HVAC: The quality of the air being delivered to the environment by an HVAC system is measured in parameters that include:  Relative humidity (Between 40% and 55%, fluctuations to ± 3%)  Temperature ranges (Between 65° and 75° F, fluctuations to ± 5° F)  Air quality (particulates and gaseous matter)  Pest/mold infestations  Mechanical system emergencies (Shock, Vibration Control) 98

DEVELOPMENT CONTROL RULES & GENERAL BUILDING REQUIREMENTS (NBC) LIFTS: The lifts are to be complied with the prevailing standards. Special lifts for physically challenged to be provided. Fire lifts for fire fighting services to be provided. WATER SUPPLY: An average supply of 45 l/ head/ day is to be assumed for the calculation of water. This figure has to be enhanced to 70 l/ head/ day for the restaurant and 15 l/ seat for auditoriums.

DEVELOPMENT CONTROL RULES & GENERAL BUILDING REQUIREMENTS (NBC) SANITATION

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BARRIER FREE SPACES: DESIGN REGULATIONS

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BARRIER FREE CONSIDERATIONS: ENTRANCES • • • • •

Each accessible entrance should be connected by accessible pathways to accessible indoor or outdoor parking areas, local public transit stops and drop‐off areas (fig. 1). Accessible entrances should be clearly identified using the international symbol of accessibility including alternate locations of accessible entrances (fig. 2). Where the entrance door opens outward, the minimum landing dimensions should comply with figure 3. Where the entrance door opens inward, the minimum landing dimensions should comply with figure 4. Jute door mats should be avoided. When used however, the upper surface of the mat should be level with the floor finish (fig. 5).

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BARRIER FREE CONSIDERATIONS: RAMPS

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Ramp configuration Straight run (fig. 1) 90 turn (fig. 2) Switch back or 180 turn (fig. 3) Width Width varies according to use, configuration and slope. The minimum width should be 0.90 m. Slope The maximum recommended slope of ramps is 1:20. Steeper slopes may be allowed in special cases depending on the length to be covered (fig. 4). Handrail A protective handrail at least 0.40 m high must be placed along the full length of ramps. For ramps more than 3.00 m wide, an intermediate handrail could be installed (fig. 5). The distance between handrails when both sides are used for gripping should be between 0.90 m and 1.40 m (fig. 5).

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BARRIER FREE CONSIDERATIONS: HANDRAILS

Height (fig. 1) • To facilitate use by ambulant disabled and elderly people, handrails should be mounted between 0.85 m and 0.95 m above the finished floor level. • For the benefit of wheelchair users, a second handrail can be mounted between 0.70 m and 0.75 m from the floor. • To facilitate use by children and short people, a third handrail can be mounted at a height of 0.60 m. • To guide sightless people using a long cane, a rail should be mounted at a height between 0.10 m and 0.15 m (fig. 1); or a low curb should be installed at a height between 50 mm and 75 mm (fig. 2). Low curbs also act as wheel stops. Form (fig. 3) • Handrails should allow a firm and easy grip. • Circular cross‐sections with a diameter of 40 mm are preferable. • Sharp edges should be avoided. 104

BARRIER FREE CONSIDERATIONS: HANDRAILS Handrails for ramps and stairs • Handrails should continue uninterrupted (except for doorways) on both sides and around the landing. • Handrails should extend horizontally for a distance between 0.30 m and 0.45 m at the top and bottom of stairs and ramps, except in places where extensions could obstruct the pedestrian flow (fig.4). • For stairs or ramps more than 3.00 m wide, a continuous intermediate handrail could be provided. Wall‐mounted handrails • The space between the handrail and the wall should be between 40 mm and 50 mm for smooth walls and 60 mm for rough textured walls (fig. 5). • Where handrails are fully recessed into walls, a space of at least 0.15 m should be allowed between the top of the rail and the top of the recess (fig. 6).

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BARRIER FREE CONSIDERATIONS: CORRIDORS Width • The unobstructed width of a low‐traffic corridor should not be less than 0.90 m. This also allows maneuverability in 90 turns (fig. 1). • The unobstructed width of a public corridor should not be less than 1.50 m. The recommended width is 1.80 m (fig. 2). • To allow maneuverability in 180 turns, the minimum circulation space should be as shown in figure 3. • The corridor width should allow maneuverability through the doors located along its length (fig. 2) (fig. 4). Obstructions •Obstacles protruding into the corridor, such as drinking fountains or public telephones, should be placed outside the circulation path, in alcoves or cul‐de‐sacs (fig. 5). •Overhanging signs and obstacles should be mounted at least 2.00 m high (fig. 6).

BARRIER FREE CONSIDERATIONS: RESTROOM Turning circles of 1.50 m diameter are recommended inside the rest room to allow for full‐turn maneuvering of a wheelchair. The ease of transferring from a wheelchair to a toilet seat or bidet depends on the approach. In general there are four different approaches:

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BARRIER FREE CONSIDERATIONS: RESTROOM • A full‐length urinal is the most accessible. • Urinals with a protruding lip should be mounted at a height of 0.45 m from the finished floor level.

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SPATIAL REQUIREMENTS

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GALLERIES

Desired Characteristics Perception and interpretation of various exhibits through:  Concise and unambiguous interpretation.  Development of focus on an unfolding theme/ story and on one/ group of items at a time.  Sequential shift of focus as the story unfolds.  Well paced and stimulating visitor experience 110

PARAMETERS INVOLVED Interpretive Information in the form of:  Passive Communication – Label, Graphic Information.  Active Communication – Automatic/ Continuous soundtrack, animated graphic, audio‐visual presentation or kinetic device.  Reactive Communication – User activated (Push button, pressure pad, proximity switch), sound, animation, audio‐ visual or kinetic.  Interactive Communication – Educational Technology, micro processor controlled devices, on line data bases etc… 111

DISPLAY AND LIGHTING

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BASIC DESIGN CONCEPTS

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SPATIAL RELATIONSHIP: LIBRARY Book shelving: Units are 900 mm wide, 2 m high (4‐5 shelves) and 300 mm deep. The number of volumes per single sided unit 75% full is 90‐100. Finishes: to create a warm, informal relaxed atmosphere. Soft flooring such as carpet to reduce noise levels. Mechanical: 3‐6 air changes per hour. Illumination: 150 lux at floor level, 300 lux at desk top.

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SPATIAL RELATIONSHIP: LIBRARY

The adjoining figures explain the Guidelines for the spatial arrangement and relationship in a library

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SPATIAL RELATIONSHIP: AUDITORIUM Floor area: 1.1‐1.5 sq.m. area per seat including the circulation and the stage area. Queuing space of 0.5 sq.m. per person outside. Finishes: to create a warm, informal relaxed atmosphere. Soft flooring such as carpet to reduce noise levels. Mechanical: 10 air changes per hour. Illumination: 150 lux at floor level. Use of dimmers.

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SERVICES

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HVAC Apart from the physical security and state of restoration of the collection, maintaining the actual environment within the building is one of the greatest challenges of a museum. The major component affecting the environment is the Heating, Ventilating and Air Conditioning (HVAC) System. The quality of the air being delivered to the environment by an HVAC system is measured in parameters that include temperature, humidity, dust particulate and odours. The presence of high concentrations of CO2 and other gases can also be detrimental to certain museum artifacts. MAJOR COMPONENTS: A typical large museum HVAC system will contain a chiller, a cooling tower, a boiler, and one or more air handlers:  The chiller circulates cold water to the various air handler coils in the HVAC system, and air passing over these coils is cooled prior to distribution around the museum.  The cooling tower is used to dissipate the heat collected by the refrigerants used in the chiller coils.  The boiler produces either steam or hot water. Both can be used for heating purposes (used in the coils the same way as the chilled water) or for dehumidification. In our context, it will be required for dehumidification.  The air handlers consist of a fan, filtration, and the coil. They are used to distribute the clean cooled or heated air around the museum. 118

HVAC

Essential Elements of proper HVAC systems based design for museum include: 1. 2. 3. 4. 5. 6.

The use of Constant Air Volume System Design based on humidity The use of Electronic controls Use of Reheat coil for Dehumidification of Air and clean steam humidification The use of Prefilters and Final High Efficiency Filters Constant operation of the HVAC System to ensure adequate environmental control

Low Cost Museum HVAC Design Options: 1. Sealing the building envelope 2. Stabilizing the environment 3. Better cleaning 4. Using only Preservation Quality Materials and avoiding materials that release gas 5. Supplemental Air Purification – like gas adsorption etc. 6. Better Filtration using combination fiberglass/ potassium permanganate etc.

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HVAC

Monitoring Equipment: 1. 2. 3. 4.

Hygrometers Data Loggers Humidity Indicator plugs Sling Thermometers

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FIREFIGHTING Smoke Detection New air‐sampling units have been developed that use tiny tubes which are easy to hide, and yet are extra sensitive and provide early warning. Multi‐sensor units with a combination of photoelectric, ionization, thermal, or gas detection allow better fire detection and screening of false signals. Air Sampling VESDA Early Warning Systems The VESDA air sampling fire detection system detects the invisible by‐ products of materials as they degrade during the pre‐combustion stages of an incipient fire. And, by actively and continuously sampling air, the system operates independently of air movements.

Inert Gas Extinguishing Agents As a replacement to Halon because of its ozone depletion potential, Inert gas systems such as Inergen and Argonite have been developed for total flooding systems. These are environmentally inert and fairly inexpensive, and require no clean up after accidental discharge.

FIREFIGHTING Halocarbon Extinguishing Agents The most popular replacement for Halon in the United States for total flooding systems is the Halocarbon extinguishing agent, primarily FE‐13 and FM 200. The volume and weight of the agent required is significantly lower than that for the inert gasses, and there is no clean up required after accidental discharge. Water Mist Systems These are the best alternates for total flooding agents. These create a fine fog that fills the room and extinguishes primarily by cooling action. The mist droplets are tiny, so there is no wetting of surfaces and, like a gas, the mist can be drawn into areas such as underneath equipment that standard sprinkler droplets cannot reach. Softex low pressure systems are examples of this type. Arc Fault Circuit Interrupters It is estimated that the new arc fault circuit interrupters could eliminate a large percentage of the electrical fires that are the number one cause of loss in museums and number two for libraries. These are designed to sense a change in electrical demand and act as a circuit breaker (only faster), shutting off the electricity in the event of problems

RAIN WATER HARVESTING Rain water harvesting is the accumulating, gathering, storing and using of rain water. The domestic way of doing this would be to collect of the rainwater through effective drainage channel from the site runoffs and the roof tops. They will be channelled into the pump room from where they would be further supplied for irrigation facilities. This idea has been adopted as an attempt to go for a sustainable development and make the building green.

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SECURITY  CCTV and Surveillance System  Burglar Detection Systems  Access Control Systems

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DIGITAL SCENES/FACADE  LED embedded in metal mesh  LED embedded in glass  LED embedded in fabric  LED opaque surfaces

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GREEN ARCHITECTURE  Solar Louvers  Solar Glazing  Solar Façade  Green Roof

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GREEN ARCHITECTURE

A double skin façade is an additional external skin for a building that can optimize the indoor climate and reduce the energy requirements of a building. The double‐ skinned façade includes an exterior and interior glazing layer, shading system, and interior gap. The gap created by the skins has many benefits for cooling, ventilation and insulation. 127

CASE STUDY

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JEWISH MUSEUM ‐Daniel Lebiskind 129

INSPIRATION

Daniel was inspired by the two following things: 1. Walter Benjamin’s book “One Way Street” focusing on Historical materialism and Jewish mysticism. 2. Moses and Aaron, opera by Arnold Schoenberg which has no music beyond the 2nd act. He though of Jewish museum as the 3rd act of the opera as a metaphor to complete the unsung part of the Jewish people.

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The entry is hidden and so is the entire building, not overshadowing the adjoining Baroque Building signifies the minimalism and the supportive nature of Jewish people. Historically, the origin of Judaism has been to support other segments of humanity, helping and nurturing everybody but yet taking a back seat. The building façade is hidden from the main road by the trees surrounding the entire structure. Also, the building appears to be an appendix to the German building rather than having its own sense of individuality. Lebskind looked at the property not as a piece of real estate where he would glorify Jews but as a place to signify the depth of 6 feet where the Jews were all buried.

The entrance to the Jewish Museum is from the adjoining German building. The large entrance in untreated concrete with sharp angles, which open sup into a staircase which goes underground. But, Lebiskind immediately reverses this idea in a way that if we lift our head up we can see that the staircase is at the bottom a huge dark concrete well which without any functional justification pierces the old building at every level.

The old German building is intertwined with the Jewish Museum in a very similar fashion in which the German history is intertwined with the history of Jews not only in Germany but across the globe

The circulation is rather simple than it appears and comprise of three axis symbolic of three experiences of Judaism namely continuity, exile and death. Even though the geometry of the building looks complex when viewed aerially, the Circulation structure of the entire building is very simple and is based on the three axis, that metaphorically signify the Three axis of Judaism and the entire circulation design of the museum is based on the geometry of these three axis.

The central triangular island is symbolic of an apology both from the architect and the Germany, in a way that one can not see everything while standing in the island. The island is a metaphor for apology from an architect to forgive him in case he has been unjust to any feelings of the Jews and also a sense of apology from the German government for atrocities committed on them by the then German government before World War II. The island is a metaphor for the fact that human being can not see everything from an angle all the time.

Axis are sharply emphasized by the lines of light There exists a beautiful interplay between lighting and the spaces. All the axis are marked by lines of light and demarcate a very clear movement pattern. Also the dark spaces marked by light lines give a sense of depth and infinity to the spaces. It creates a mental image of the infiniteness of these three axis and that they are never ending. Even though life ends but its memories are always there.

The color scheme of the Jewish museum turns brighter as we move up from on e floor to another. There is a sense of progression from the dull grey shades to bright red and yellow color. The transition of the color scheme is very smooth and adds to the experience of the theme of the galleries, and also does not shock a visitor by any sudden or abrupt change. Psychologically it is very important to avoid any abruptness to maintain the attentiveness of the visitors. Also, a progressive change in color acts as a prelude for the message of hope that the museum is giving and the sense of contemplation it aims at arising in its visitors.

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The longest axis is the Axis of continuity and is the only axis that leads to the museum. The axis of continuity leads to a staircase which at first seems to be modest. But as you approach it reveals its grandeur. A straight line raising from the basement to the third floor. A narrow staircase from darkness to light 136

The Axis of Continuity opens up into a huge staircase that runs continuously without any break from the basement to the third floor. In the way of the staircase there are doors leading to different floors where the exhibits are presented to the audience. The staircase leads to a very dark and small looking staircase. However, its grandeur is exposed to the audience as they approach towards the staircase. The staircase is covered by walls which appear to fall on each other due to perspective and these falling walls seem to be supported by the concrete beams that randomly appear to support the two walls from falling on each other. The material of the staircase is raw black in color which highlight the sadness associated with the journey. However the staircase are lit by roof slit windows signifying a ray of hope at the end of the journey. The doors to other floors are hidden and hence do not spoil the continuity of the staircase. The architect has beautifully used the elements of surprise, perspective, scale and materiality at its best to create a narrative of a sad journey leading to a positive end. 137

The above image shows the slanting wall along the pathway leading to Tower of death and the left image is that of the Tower of Death

The second axis of the building is the Axis of Death. The axis is surrounded by walls that are slanting in nature and appear to fall on the pathway. The axis terminates abruptly into a dark gate that opens up into the tower of death. The tower of death is a huge dark well with all blank walls with no illumination except the small slit window located at the top of the well. The well is all dark symbolizing the darkness of death that Jewish had to face at the hands of German people under the Adolf Hitler regime. In this context I would like to bring in the context of a small movie “ The boy in the stripped pajamas” which highlights how the Jewish people irrespective of gender or age were forced ruthlessly into concentrations camps with inhumane conditions and finally thrown into gas chambers. The movie beautifully shows how the dead people were mass incinerated and how the foul smell created as a result of mass incineration of the Jews created a bad environment of German children and women. The death of Tower is a symbol of those sufferings and how dark their ending was, even after the death they were not left and cremated as per their religious beliefs but were incinerated in mass and create a inhumane environment not only for the Jews but for 138 themselves as well.

The Tower of Holocaust is intentionally kept away from the main building as Judaism believes death to be a very separate and individualistic experience. Another reason was the architect wanted the design to be a harbinger of hope and not inciting the feelings of anger or vengeance among its audience. The tower of holocaust is symbolic of death and hence kept away from the entire building which is a metaphor for life. Also the tower is built with exposed concrete and is not covered with zinc like the entire remaining building.

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The third axis is the Axis of Exile which leads to the Garden of exile, having plated shrubs on 49 concrete columns as an imagery of uprooting. Garden is like a labyrinth and destabilizes the visitor. The exile is an important part of the life that Jews were supposed to dwell in by the Hitler regime. Hundreds of Jews and supporters of Jews were forced to leave their home country and stay outside. Emotionally, dislocating from the past and ones root is very dreadful from any individual. The architect has fortified the entire garden to symbolize that there is no way to come out of an exile rather to return to the home country and again face the same atrocities. Hence, architecturally the entire garden of exile is landlocked and one feels trapped in the garden. It is the only open space in the entire structure, but still the locking of the structure creates a feeling of a prison. 140

The creation of the form of the garden of exile was again a systematic synthesis of shape geometry and philosophy. A regular cube was created and the tip of the cube was pressed to create a dynamic piece of structure with a regular pitch which describes a systematic and uniform decline and creates a non‐symmetric three dimensional structure wherein the spaces changes plane as one moves along the garden. The green plats planted on the top of the concrete columns that incorporate the feeling of uprooting in the conscious of the visitor.

The Zinc facade

Daniel intentionally choose unoxidized zinc as the covering material as he wanted to hide the inner structure and wanted the building to change color as per different weather conditions. This is a way to humanize the building and stands as a metaphor for human beings, as humans change and adapt to outside conditions similarly, the building changes it color and adapts to the outside conditions. Another significant element of the façade is the fenestration design which gives a dynamic outlook to the façade. The fenestration design which appears to be random at the first look is actually a process of systematic synthesis of philosophy and space creation. The fenestration pattern was created by joining the residential location of main sufferers of the Jewish tragedy living in Berlin and then 142 superimposing the same on the façade.

The fenestration design is the much debated upon because of a constant clash in functionalism and impressionism. They create a beautiful imagery of the interconnectedness of the Jews and simultaneously create a huge problem for the curator.

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The Fenestration: A Problem or A Marvel?

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The Fenestration: A Problem or A Marvel?

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The Six Voids of Memory Lane

The voids created in the entire building structure are six in number and are completely different in volume and shape. These voids are instrumental in creating the shape of the building as the building changes line at these voids. These voids are strategically located as per the site conditions to ensure minimum destruction of the existing site. These voids represent are heavily criticized by the functionalists but the architect claims these voids to be imperative to the creation of the narrative and these voids stand as a metaphor for the deep holes created in the thinking and the lives of the Jews because of the atrocities committed on them. The figure on the next page shows how all the voids lie on the same line and how the form changes its line of movement at these voids 146

The Reason behind the form

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The Anatomy of the Museum

The above image shows the entire anatomy of the building starting from its entrance up to the different spaces contained or are a part of the entire built form. 148

Void of Memory

One of the voids in the structure is accessible whereas the other voids are all inaccessible deep wells. The accessible void is called the void of memory wherein the emoticons with sad faces are kept on the floor made in wrought iron. A visitor due to the darkness of the space is unaware of these emoticons and accidently walks on them which creates a shrieking voice and forces the audience to contemplate over the cries of the Jews who were stuck by the massacre of the Hitler regime.

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NANJING MASSACRE MUSEUM ‐Qi Kang 150

Memorial Hall to Victims in Nanjing Massacre by Japanese Invaders

Aerial View

Introduction To mark the 40th anniversary of the victory of the Anti‐Japanese War, the Nanjing local government decided to build a memorial to commemorate the historical event. Jiandong Gate (IP) was chosen to locate the Memorial since it was one of the thirteen concentration cemeteries for the victims during the massacre. The project was completed on August 15, 1985. 151

Entrance

Memorial Hall to Victims in Nanjing Massacre by Japanese Invaders Design The memorial speaks the tragedy of the Rape of Nanjing. Widespread cobble ground, wrecked walls, withered trees and the grand relief sculpture were set to make up a scene of sonow, reappearing with architectural language. The 1700 square metres memorial hall sits at the northeast corner of the site. Arriving at the square in front of the hall, the words 'VICTIMS 300,000' in both Chinese and English appear stunningly in front of the visitors at the entrance, with granite wall engraved with Deng Xiaoping's handwriting of 'Memorial to Victims in Nanjing Massacre by Japanese Invaders'. Ascending the steps the view of the memorial courtyard opens up to the visitors with a sharp contrast between grey cobble paved ground and the green lawn, which means life vs death, peace vs war. On the wall on the south are grand relief sculptures which describe the Massacre so lively that visitors would be deeply moved.

Disaster in the Ancient City

The Bridge of History

Memorial Hall to Victims in Nanjing Massacre by Japanese Invaders Appraisal The difference between the Memorial of Qi Kang and Libeskind's Jewish Museum or Freed's U.S. Holocaust Memorial Museum lies in the treatment to the surrounding. Qi considers scale should not just involve man and buildings, but also buildings and their surroundings as a whole. Here the buildings of the memorial hall or the skeleton hall itself are not so important, but the setting of the whole composition between the garden and the buildings, the sequence of space leading through the Memorial, the scale and contrast of spaces, which convince the idea of tragic.

The Main Courtyard

The Old Museum Building

The New Museum Building

Design The skeleton hall and the sculpture of the mother which are situated on the southeast corner also strengthen the atmosphere of the surroundings. Especially the former, its form derived from ladder ‐ shaped roof of ancient mausoleums, which naturally reminds people the image of the 'tomb'. In concern with above, the rough impression of the memorial hall, which behind the skeleton hall on the circulation, is that kind of massive wild tombs, one beside another. On stepping the stone steps and walking along the inclined stone wall, visitors would have the feeling of entering the memorial hall through the door of a 'tomb'. Here they will be struck by the photographs and descriptions which reflect the process of the massacre and many souvenirs from friends home and abroad, especially from the Japanese.

160

US HOLOCAUST MEMORIAL MUSEUM ‐ James Igno Freed

161

The United States Holocaust Memorial Museum

Entrance

Stairway to Hall of Witness

Introduction The United States Holocaust Memorial Museum is a narrative historical museum, with its display organized along a story line. Unlike most historical museums, it is based on a narrative rather than on a collection of works of art and artifacts relating to history. Located in Washington, D.C., on a 1.7 acre parcel of federal land in the heart of America's civic culture, the museum overlooks the Lincoln and Jefferson memorials. Like its neighbors, the Holocaust Museum defines and celebrates the meaning and importance of democracy, but it does so by 162 demonstrating the worst that can happen through the absence of liberty and law.

The United States Holocaust Memorial Museum Design For James Ingo Freed, the architect of the United States Holocaust Memorial Museum, the building is a 'resonator of memory.' Freed, who is a senior partner of Pei, Cobb, Freed & Partners in New York, decided to make his building speak of the Holocaust's horrors by means of allusion and metaphor. The architecture was to be in part a distillation of Holocaust death camp construction, intended to disturb, upset and forewarn its visitors, a prelude to the more focused exhibits.

163

Design The architecture of this immense death camp consists of simple industrial construction, a system of steel plates and double angles riveted together, infilled with loadbearing brick, like the tectonics of turn of the century factories, train sheds, and market halls. The early Modernist effort to perfect systems of structure had been carried forward with high technical ambition by the Nazis and lavished upon the construction of a killing complex. In rationalizing his design, Freed recounts that the proponents of early Modernist architecture believed that emerging industrialized building technology could bring about an ideal built world. Their buildings were Case Studies Hall of Remembrance charged with optimism and hope. In the death camps, by contrast, the Germans demonstrated the demonic side of technology. Therefore, in deciding to base the design of the memorial on Holocaust architecture, Freed intended the museum to become a metaphor of destruction to signify the moral and ethical collapse of German civilization under the Nazis.

164

Appraisal Freed's architecture resonates with memories of evil, horror, and loss, but not exclusively. The Hall of Witness and the Hall of Remembrance are so superbly crafted that they are as beautiful as they are ominous. The circulation path of the building intertwines harmonically with that of the exhibition. The memorial building envelops the exhibition with right ambiance; the exhibition endows the memorial building with historical context. The concept of this museum building, however, entailed a certain tension between the function of a memorial and the function of a museum. This tension between function of a memorial and that of a museum was never totally resolved, but most of the practical difficulties were eventually remedied.

165

The Museum of the Ruins of Sao Paulo, Macau Introduction The Jesuits settled in Macau in 1565 and soon set to work on their policy of spreading Christianity. In 1602, a new church was set up after former buildings had been destroyed in fires. This church turned out to be an impressive basilica with three naves. In 1762, with expulsion of the Jesuits, the building was abandoned and then handed over to the Leal Senado. After a few decades, a military battalion was accommodated in the premises but in 1835 a fire erupted in the kitchens of the barracks, ravaging the other building and destroying the church and almost all the complex. From 1990 to 1995 work was carried out to restore the precinct where the church stood in former years, turning it into a museum. 166

The Museum of the Ruins of Sao Paulo, Macau Design The ruins are the emblem of Macau and now offer visitors a new monument where they can view the remains of the former Church of the Mother of God and then visit a Crypt where the relics of the Martyrs of Japan and Vietnam rest, and a Museum of Sacred Art where there are exhibits of paintings, sculptures and liturgical objects from churches and monasteries in the city.

167

The Museum of the Ruins of Sao Paulo, Macau Design The facade is like an altar piece reached by going up the imposing flight of steps. The three naves of the church can be seen in the reconstructed plan drafted according to archaeological work on the site. The most important of these spaces is the Crypt, specially built in the area which has been previously occupied by the chancel of the church of the Mater Dei College. The bones of the martyrs of Japan and Vietnam are thus conserved and displayed, so that worshippers may be allowed to express their devotion. The mortal remains are partially exhibited in elegant urns, opened on the side and covered with red orange marble specially ordered from Italy. Visitors may go in and observe the crypt walking through the upper balustrade or through the lower sidewalk. In either case, a silent and respectful attitude is requested of those who inside of a sacred place. When leaving the quiet atmosphere of the inner area of the crypt, visitors will move into the singular adjacent room where a Sacred Art Museum has been organized. A long glassed wall divides the inner and outer parts of the room, allowing objects to be seen in two ways.

168

The Museum of the Ruins of Sao Paulo, Macau Appraisal The design of the museum is strongly based on the historical aspects of the site. The space flow between the building and the outside is remarkable. Visitors walk between series of open, close, semi‐enclosed spaces. Besides, the position of exhibits is carefully through throughout the museum, from the crypt, to the glass wall to the inside of the museum.

169

Coventry Cathedral An Architectural Conservation Project

170

The Coventry Cathedral just like the Museum of Ruins of the Sao Paulo, is a heritage project which has been restored to its previous glory wherein several artisans from the across the globe have contributed their artifacts and time. The idea herein is not to remember the horrific past but to realize that we did make mistakes in the past and today we realize them and will strive not to repeat such things again in future. It symbolizes the importance of self realization and apology in creation of peace.

SIZA SCHOOL OF ARCHITECTURE ‐ by Alvaro Siza

172

The idea to study the Siza School of Architecture was to understand the innovative natural illumination techniques used by the architect in creating naturally lit spaces without any glare. Siza was a functionalist and hence supporter of the idea that the walls of the museum must be blank for the maximum ease of the curator and this naturally created the problem of illumination. The problem was solved by introducing the natural illumination from the roof by multiple reflections to create diffused light which can lit up the museum without causing any glare.

The library of the school is very well lit because if the inverted prism roof created for the atrium of the library. The inverted prism allows diffused light to lit the atrium of the library. The location of prism allows light to be incident on the reading tables from the side and not from the top avoiding problems of shadow causing. The prism ends outside the library creating a beautiful scene in the dark adjoining space. 174

MUSEUM WINNIPEG ‐ Charles Correa The very form of the museum is shaped to express the epic struggle that is its theme – not only in the exterior massing, but also in the powerful and primordial spaces that lie within. Beyond the Great Hall, are located the 4 theme pavilions, grouped around the garden of contemplation, in a manner which allows visitors to experience these pavilions in any order they prefer, with the Garden in the center becoming a place to rest the eye and contemplate the immensity of the narrative that one has just visited. This multi leveled garden, filled with trees and water bodies, has various path ways and ramps, presenting to the visitor a multitude of choices a paradigm of the responsibility of every human being to the crucial issues this Museum personifies. 175

As one goes through the exhibits, the floor levels of the pavilions are successively raised, symbolizing the gradual ascent of humankind through the centuries. The final release from the highest level, comes not from climbing in the tower but by entering the garden of contemplation, with the daylight streaming through the glass roof above â&#x20AC;&#x201C; a climactic moment that symbolizes that crucial element of hope, so essential to this task. From all the various approaches that lead to the site, the Museum will be sensational with its dynamic ever changing form. The museum is a palpable symbol of the never ending struggle for Human Rightsâ&#x20AC;? and the promise as well of its ultimate triumph.

176

AREA PROGRAMME

177

AREA PROGRAMME S. No.

BROAD SPACES

SUB‐SPACES

PARTICIPATORY MUSEUM SPACE

Permanent Gallery + Reception Foyer

ACTIVITY Participatory exhibits, displays

USAGE Public

Temporary Exhibition Fairs, Exposition, etc. Hall

Public

Museum Shop

To sell souvenirs, books and war artifacts

Public

Children Center

Special Children’s Section/day care center for female employees’ wards

Semi‐ Public

Administrative Block

Offices of the Museum curator and dignitaries, accounts office

Private

Hope Memorial and Garden of Contemplation

Public 178

AREA PROGRAMME

S. No.

BROAD SPACES

History Research Centre

SUB‐SPACES

ACTIVITY

USAGE

Administrative Block

Account’s Office+ Dean’s Office +Admin Office

Semi‐Private

Faculty Block

Faculty Chambers

Private

Classroom Block

Lecture Rooms

Semi‐Public

Research Cubicles

Researcher’s Office

Private

Conference Room

Discussion, Semi‐Public Conference, Moot Court 179

AREA PROGRAMME

S. No.

BROAD SPACES

PUBLIC LIBRARY

SUB‐SPACES

ACTIVITY

USAGE

Administration

Librarian’s Office + Semi‐ Private General Administrative Office

Book Stacks

Library Spaces

Public

Reference Section Reading Area Discussion Area

180

AREA PROGRAMME

S. No.

BROAD SPACES

SUB‐SPACES

ACTIVITY

Conferences, Regular documentaries and shows

USAGE

Public

AUDITORIUM + THEATRE

RESTAURANT/ FOOD COURT/CANTEEN

Public

LANDSCAPED OUTDOOR HUBS AND NATURAL RETREATS

Public

181

AREA PROGRAMME The tentative area Programme as derived from Neufert’s Architectural Data, NBC, Time Savers Standards for Architectural Design maybe outlined as follows:

Administrative Spaces Description

Area (in SQM)

Quantity (Nos.)

Total Area (in SQM)

Office

200

Director’s Office

100

P.A. Office

Meeting Room

160

Toilet

Storage

Media Room

Total

600 182

AREA PROGRAMME

Galleries Description

Area (in SQM)

Quantity (Nos.)

Total Area (in SQM)

National Galleries

1500

International Galleries

1500

Mixed Galleries

1500

Temporary Galleries

750

1500

Other Display (Distributed)

1000

Varies

1000

Total

7000

183

AREA PROGRAMME

Research Area Description

Area (in SQM)

Quantity (Nos.)

Total Area (in SQM)

Curatorial Office

Storage (Main)

300

Storage (Secondary)

300

Conservation

500

Workshop

150

450

Classrooms

200

Interactive Spaces

400

varies

400

Total

2200 184

AREA PROGRAMME

Additional Spaces Description

Area (in SQM)

Quantity (Nos.)

Total Area (in SQM)

Open Air Theatre

1000

Auditorium

550

Library

450

Café

250

500

Audio Visual Room

120

Seminar Room

120

Total

2740

185

AREA PROGRAMME

Services Description

Area (in SQM)

Quantity (Nos.)

Total Area (in SQM)

Security

100

Firefighting

100

HVAC (Distributed)

1000

Varies

1000

Electric (Distributed)

400

Varies

400

Plumbing

100

Total

1700

186

AREA PROGRAMME Servant Spaces Description

Area (in SQM)

Quantity (Nos.)

Total Area (in SQM)

Lobby

400

Ticketing

Membership

Cloak Room

100

Souvenir shops

250

Security, Server & BMS

Staff Areas

Toilet

210

Storage

Total

1120

AREA PROGRAMME Description

Area (in SQM)

Administrative Space

600

Galleries

7000

Research Area

2200

Additional Spaces

2740

Services

1700

Servant Spaces

1120

Total

15400

Circulation (30%)

4700

Gross Total

20100 188

AREA PROGRAMME Others Description

Area (in SQM)

Landscaping

20000

Parking (250 cars)

3200

Water Bodies

4000

189

SPATIAL PROGRAMMING

Storage

Educational Wing

Administrative Block Galleries

Open Plaza

Orientation Space

Commercial Block

Parking

Entry to the Site Entry to the Museum

CONCEPT

191

NARRATIVE The idea of the thesis was not just to create a built space but to give birth to a piece of architecture that speaks and interacts with the visitors, just like it happens in a novel or a theatre show. The anatomy of a story‐ line was analyzed to gain inspiration for the design. The idea was to use elements of literature which act as a primary form of human expression in a narrative as elements of architecture to create a similar metaphor for expressions of victory, joy, love, disgust, hatred and fear. Based on my understanding from the works available at the repository of “Centre of Study of Novel” at Stanford University the following structure of a narrative in a sequence was finalized .

01 PRELUDE A prelude is a short piece of music, the form of which may vary from piece to piece. The prelude can be thought of as a preface. While, during the Baroque era, for example, it may have served as an introduction to succeeding movements of a work that were usually longer and more complex, it may also have been a stand alone piece of work during the Romantic era. It generally features a small number of rhythmic and melodic motifs that recur through the piece. Stylistically, the prelude is improvisatory in nature. The prelude can also refer to an overture, particularly to those seen in an opera or an oratorio.

192

NARRATIVE

02 PLOT A Plot is a literary term defined as the events that make up a story, particularly as they relate to one another in a pattern, in a sequence, through cause and effect, how the reader views the story, or simply by coincidence. According to author Jenna Blum a plot "insures that you get your character from point A to point Z". One is generally interested in how well this pattern of events accomplishes some artistic or emotional effect. An intricate, complicated plot is called an imbroglio, but even the simplest statements of plot may include multiple inferences, as in traditional ballads. Gustav Freytag considered plot a narrative structure that divides a story into five parts, like the five acts of a play. These parts are: exposition (of the situation); rising action (through conflict); climax (or turning point); falling action; and resolution.

Freytagâ&#x20AC;&#x2122;sÂ Pyramid

193

NARRATIVE

03 ANTI‐CLIMAX An anti‐climax is where something which would appear to be difficult to solve in a plot is solved through something trivial. For example, destroying a heavily guarded facility would require advanced technology, teamwork and weaponry for a climax, but in an anti‐climax, it may just consist of pushing a red button which says "Emergency Self‐Destruct", or even more so, simply filling out an eviction notice and destroying the building. Another example could involve the protagonist faced with insurmountable odds and ultimately being killed, without accomplishing their goal, despite what appears to be a turning point for the character

04 CLIMAX Climax is a literary element. The climax (from the Greek word “klimax” meaning “staircase” and “ladder”) or turning point of a narrative work is its point of highest tension or drama or when the action starts in which the solution is given. In rhetoric, a climax is a figure of speech in which words, phrases, or clauses are arranged in order of increasing importance.

194

SPATIAL CONFIGURATION

Entrance Hall

Preparation Gallery PRELUDE

Peace Gallery CLIMAX

Horseman Gallery PLOT

Graveyard ANTI‐CLIMAX

Garden of Contemplation 195

SPATIAL PROGRAMMING

Storage

Educational Wing

Administrative Block Galleries

Open Plaza

Orientation Space

Commercial Block

Parking

Entry to the Site Entry to the Museum

CONCEPT: IMAGERY

197

GUERNICA

198

GUERNICA Guernica is a painting by Pablo Picasso. It was created in response to the bombing of Guernica, a Basque Country village in northern Spain, by German and Italian warplanes at the behest of the Spanish Nationalist forces on 26 April 1937 during the Spanish Civil War. Guernica shows the tragedies of war and the suffering it inflicts upon individuals, particularly innocent civilians. This work has gained a monumental status, becoming a perpetual reminder of the tragedies of war, an anti‐war symbol, and an embodiment of peace. Upon completion, Guernica was displayed around the world in a brief tour, becoming famous and widely acclaimed. This tour helped bring the Spanish Civil War to the world's attention. Guernica is grey, black and white, 3.5 meters high and 7.8 meters wide, a mural‐size canvas painted in oil. Picasso's purpose in painting it was to bring the world's attention to the bombing of the Basque town of Guernica by German bombers, who were supporting the Nationalist forces of General Franco during the Spanish Civil War. Picasso completed the painting by mid‐June 1937. Guernica shows suffering people, animals, and buildings wrenched by violence and chaos. The overall scene is within a room where, at an open end on the left, a wide‐eyed bull stands over a woman grieving over a dead child in her arms. The centre is occupied by a horse falling in agony as it had just been run through by a spear or javelin. The large gaping wound in the horse's side is a major focus of the painting. Two "hidden" images formed by the horse appear in Guernica: 1. 2.

A human skull overlays the horse's body. A bull appears to gore the horse from underneath. The bull's head is formed mainly by the horse's entire front leg which has the knee on the ground. The leg's knee cap forms the head's nose. A horn appears within the horse's breast. 199

GUERNICA The bull's tail forms the image of a flame with smoke rising from it, seemingly appearing in a window created by the lighter shade of gray surrounding it. Under the horse is a dead, apparently dismembered soldier; his hand on a severed arm still grasps a shattered sword from which a flower grows. On the open palm of the dead soldier is a stigma, a symbol of martyrdom derived from the stigmata of Christ. A light bulb blazes in the shape of an evil eye over the suffering horse's head (the bare bulb of the torturer's cell). Picasso's intended symbolism in regards to this object is related to the Spanish word for lightbulb; "bombilla", which is similar to the word "bomba" for bomb in Spanish. To the upper right of the horse, a frightened female figure, who seems to be witnessing the scenes before her, appears to have floated into the room through a window. Her arm, also floating in, carries a flameâ&#x20AC;?lit lamp. The lamp is positioned very close to the bulb, and is a symbol of hope, clashing with the lightbulb. From the right, an aweâ&#x20AC;?struck woman staggers towards the center below the floating female figure. She looks up blankly into the blazing light bulb. Daggers that suggest screaming replace the tongues of the bull, grieving woman, and horse. A dove, holding an olive branch is scribed on the wall behind the bull. Part of its body comprises a crack in the wall through which bright light (hope, or the outside world) can be seen. On the far right, a figure with arms raised in terror is entrapped by fire from above and below. The right hand of the man suggests the shape of an airplane. A dark wall with an open door defines the right end of the mural.

200

KALKI: INCARNATION ON A WHITE HORSE In Hinduism, Kalki is the final incarnation of Vishnu in the current Mahayuga, foretold to appear at the end of Kali Yuga, the current epoch. Religious texts called the Puranas foretell that Kalki will be atop a white horse with a drawn blazing sword. He is the harbinger of the end time in Hindu eschatology, after which he will usher in Satya Yuga. The name Kalki is a metaphor for eternity or time. In Buddhist Kalachakra tradition, 25 rulers of the Shambhala Kingdom held the title of Kalki, Kulika or Kalki‐king. During Vaishakha, the first fortnight in Shukla Paksha is dedicated to fifteen deities, with each day for a different god. In this tradition, the twelfth day is Vaishakha Dwadashi and is dedicated to Madhava, another name for Kalki. The return of Kalki in Sikhism is also predicted to be the end of the "Iron Age" and beginning of end time. Kalki was described by Guru Gobind Singh in Sri Dasam Granth. Kalki is also mentioned in the oral traditions of Guru Gobind Singh known as the sau sakhis, and possibly the Sarbloh Granth. He is foretold to return on horseback with sword, manifesting himself at the village Sambhal and sounding his trumpet before fighting the wicked. 201

THE BOOK OF REVELATIONS: NEW TESTAMENT The Book of Revelation, often known simply as Revelation or the Apocalypse, is the final book of the New Testament and occupies a central place in Christian eschatology. Written in Koine Greek, its title is derived from the first word of the text, apokalypsis, meaning "unveiling" or "revelation." The author of the work identifies himself in the text as "John" and says that he was on Patmos, an island in the Aegean, when he was instructed by a heavenly figure to write down the contents of a vision. Recent scholarship has suggested other possibilities including a putative figure given the name John of Patmos. Most modern scholars believe it was written around AD 95, with some believing it dates from around AD 60. The book spans three literary genres: epistolary, apocalyptic, and prophetic. It begins with an epistolary address to the reader followed by an apocalyptic description of a complex series of events derived from prophetic visions which the author claims to have seen. These include the appearance of a number of figures and images which have become important in Christian eschatology, such as the Whore of Babylon and the Beast, and culminate in the Second Coming of Jesus Christ. 202

THE BOOK OF REVELATIONS: NEW TESTAMENT Chapter 1 The angel gives St. John the Book of Revelation. The Revelation of Jesus Christ is communicated, through an angel, to John the Apostle when he was on the island of Patmos. John records the prophetic vision, in written text, and is instructed to send the document to the seven churches of Asia. Chapter 2 John addresses the church of Ephesus to repent from the ways of the Nicolaitans. John addresses the church of Smyrna to warn them of ten days of tribulation that may cost them their lives or imprisonment. John addresses the church of Pergamum to repent from the doctrines of Balaam and the Nicolaitans. John addresses the church of Thyatira to repent from the teachings of the prophetess Jezebel. Chapter 3 John addresses the church of Sardis for being "dead" or unaware of things to come, whose works are not perfect before God. John addresses the church of Philadelphia to persevere with what little strength they have; to hold fast so that no one takes their crown. John addresses the church of Laodicea to repent from investing in material riches that make them miserable; rather, invest in the refined gold of Him who has overcome. 203

THE BOOK OF REVELATIONS: NEW TESTAMENT Chapter 4 The heavenly throne with a rainbow around it, having the One seated in it, is revealed. Twenty‐four surrounding thrones seated with twenty‐four crowned elders appear. The four living creatures present themselves; each having six wings full of eyes, one having the face of a lion, another as a calf, the third as a man, and the last as an eagle. Chapter 5 A book secured by seven seals is revealed in the right hand of Him who sits on the throne. It is made known that only "the Lion that is from the tribe of Judah" is worthy to open this book. The Lamb, with seven horns and seven eyes, takes the book from Him who sits on the throne. All heavenly beings sing praise and honour the Lamb. Chapter 6 The first seal is broken and the first of the four living creatures introduces a white horse whose crowned rider, equipped with a bow, goes out to conquer. The second seal is broken and the second of the four living creatures introduces a red horse went out, whose rider wields a great sword. The third seal is broken and the third of the four living creatures introduces a black horse, whose rider carries a pair of scales, goes out. The fourth seal is broken and the fourth of the four living creatures introduces an ashen horse comes out, whose rider has the name Death and Hades follows him. The fifth seal is broken revealing the souls of those who had been slain for the "Word of God". The sixth seal is broken "and there was a great earthquake; and the sun became black as sackcloth made of hair, and the whole moon became like blood; and the stars of the sky fell to the earth, The sky was split apart, every mountain and island were moved out of their places.“ Mankind hides themselves in the caves and mountains acknowledging the presence of Him who sits on the throne and the wrath of the Lamb. 204

THE BOOK OF REVELATIONS: NEW TESTAMENT Chapter 7 The servants of God are revealed, those who are to be sealed before the destruction of the Earth. The number of these servants is given as one hundred and forty‐four thousand who are from twelve tribes of Israel. Twelve thousand from each tribe are sealed: from Judah, Reuben, Gad, Asher, Naphtali, Manasseh, Simeon, Levi, Issachar, Zebulun, Joseph, and Benjamin. A great multitude who came out of the Great Tribulation present themselves in white robes, with palm branches in their hands. Chapter 8 The seventh seal is opened and heaven is silent for about a half an hour. An angel offers incense and the prayers of all the saints, at the golden altar before the throne. After the smoke and the prayers ascend to God, the angel fills the censer with fire, from the altar, and throws it to the Earth causing noises, thundering's, lightning's, and an earthquake. The first angel of seven sounded his trumpet: "And hail and fire followed, mingled with blood, and they were thrown to the earth" burning a third of the Earth's flora, scorching all green grass. The second angel sounded his trumpet: "And something like a great mountain burning with fire was thrown in the sea, and a third of the sea became blood" killing a third of everything in the ocean, including ships. The third angel sounded: And a great star, named "Wormwood", fell from heaven poisoning the water from rivers and water springs. The fourth angel sounded: The sun, the moon and stars are struck, so that a third of their light diminished to the point of complete darkness for a third of a day, even during the night. Another angel appears to declare three "Woes" for the next three trumpet blasts. 205

THE BOOK OF REVELATIONS: NEW TESTAMENT Chapter 9 The fifth angel sounds his trumpet; this signals the "First woe". A star, falls from heaven to the earth and is given the key to the bottomless pit. It opens the pit and smoke rises, darkening the air and sunlight. The Locusts come out of the smoke, from the pit, and Abaddon commands them to torment any man who does not have the seal of God on his forehead for five months. The sixth angel sounds his trumpet for the "Second woe". The four angels who are bound at the great river Euphrates are released. The four angels of the Euphrates raise an army of 200 million cavalry who kill a third of mankind. Chapter 10 Another mighty angel appears standing with one foot on the sea and the other on land, holding an opened little book. The angel cries out and seven thunders utter their voices. The apostle John is commanded to seal up what the thunders uttered in the little book, and is told not to write about what was said. The angel declares that the mystery of God would be revealed on the sounding of the seventh trumpet. John is instructed to take the little book and to eat it. Rest of the Book The remaining chapters give a detailed description sof the events that follow and how the Lord reconstructs the entire world. 206

CONCEPTUALIZING THE FOUR HORSEMEN

PESTILENCE WAR FAMINE

The idea was to create an imagery of the four horseman as depicted in the New Testament. The first horseman of war, pestilence and the famine were utilized to create a gallery and the four horseman, the horseman of death was used to construct a tower giving a vertical element to the horizontal composition

207

CONCEPTUALIZING THE FOUR HORSEMEN

208

CONCEPTUALIZING THE FOUR HORSEMEN

209

THE INITIAL COMPOSITION

GALLERY OF WAR

GALLERY OF PESTILENCE GALLERY OF FAMINE

210

THE INITIAL COMPOSITION: CIRCULATION

GALLERY OF PESTILENCE GALLERY OF WAR

GALLERY OF PESTILENCE GALLERY OF FAMINE GALLERY OF WAR

211

THE INITIAL COMPOSITION

TOWER OF DEATH

212

THE INITIAL COMPOSITION

GRAVEYARD

213

CONCEPTUALIZING THE PEACE GALLERY

Initially a free flowing form and grounded for a peace museum was selected to signify freedom and its groundedness, Several architects like Charles Correa have employed the grounded buildings as in Sabarmati Ashram to signify peace. Peace is often associated with humbleness and freeness. Hence a free flowing form was selected. However, a very important factor that went to change of the free flowing form to a sharp cornered form was having a uniform shape grammar of all the built spaces across the site.

214

THE INITIAL COMPOSITION

TOWER OF DEATH

GALLERY OF PESTILENCE PEACE GALLERY GALLERY OF WAR GALLERY OF FAMINE GRAVEYARD

The elevation shown above was an initial composition of vertical and horizontal spaces. Based on requirements from different factors such as functionality, services on the site ; inputs from the faculty members and understanding of the Architectural elements from D.K. Ching the initial design underwent a marathon session of changes and the final form that emerged is shown as follows 215

THE FINAL COMPOSITION

4. 2. 1.

1. 2. 3. 4. 5.

HORSEMEN GALLERY GALLERY OF PEACE INSTITUTE OF PEACE STUDIES MEMORIAL TOWER AUDITORIUM

216

CIRCULATION DESIGN: ENTRY/EXIT

SITE EXIT 50 M WIDE ACCESS ROAD SERVICE/HEAVY VEHICLE ENTRY

217 SITE ENTRY

CIRCULATION DESIGN: FIREFIGHTING ENGINE

50 M WIDE ACCESS ROAD

218

CIRCULATION DESIGN: PEDESTRIAN MOVEMENT

50 M WIDE ACCESS ROAD

219

CIRCULATION DESIGN: VEHICULAR MOVEMENT

AUDITORIUM CAR PARK

PEACE GALLERY CAR PARK

VISITOR’S CAR PARK

50 M WIDE ACCESS ROAD

220

CIRCULATION DESIGN: TOURIST BUS MOVEMENT

BUS PARK

BUS DROP‐OFF POINT 50 M WIDE ACCESS ROAD

221

CIRCULATION DESIGN: VIP MOVEMENT

VIP CAR‐ PARK

50 M WIDE ACCESS ROAD

222

CIRCULATION DESIGN: SERVICE ENTRY

50 M WIDE ACCESS ROAD

223

SERVICES: SPRAY POOL LOCATION

1. 2.

SPRAY POOL FOR THE HORSEMEN GALLERY SPRAY POOL FOR THE AUDITORIUM

50 M WIDE ACCESS ROAD

224

CONCEPT: STRUCTURAL

225

STRUCTURAL SYSTEM: TENSILE STEEL TREE

226

STRUCTURAL SYSTEM: CABLE SYSTEM

227

STRUCTURAL SYSTEM: CABLE SYSTEM

228

STRUCTURAL SYSTEM: GABION WALL

INTERIOR VIEW

FRAMING GROUTING TO THE EARTH

INTERIOR VIEW

229

STRUCTURAL SYSTEM GREEN ROOF DETAIL

DETAIL WITH TURF

DETAIL WITH GREEN ROOF 230

CONCEPT: LANDSCAPING

231

LANDSCAPING As stated in the narrative section the movement designed is from a plot to a climax via an anti‐climax. Hence, to match the design intention of built form a proposal for landscaping was formulated which is as follows:

Site Entry

Hard Paving with pathways arranged like a lightening

Cacti and thorny landscape

Dry Trees as sculptures

PRELUDE

Grass Mound

Lotus Pond

CLIMAX

Green Roof

Graveyard

ANTI‐CLIMAX

The following is the explanation of each specific segment and details of landscaping employed in each.

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LANDSCAPING

2. 5.

1. 2. 3. 4. 5.

CACTI GARDEN GRAVEYARD LOTUS POND GRASSMOUND TIERED LANDSCAPE

50 M WIDE ACCESS ROAD

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LANDSCAPING: CACTUS GARDEN The cacti garden will in a progressive form starting from short heighted cacti to cacti larger in length. The short heighted cacti would include Aloe brevifolia, Thelocactus hexaedrophorus, Epithelantha micromeris, Ariocarpus fissuratus, Ariocarpus trigonus, Astrophytum capricorne, Coryphantha radians, Discocactus araneispinus, Dolichothele uberiformis, Echinocactus grusonii. These short cacti would also include some flowering cacti giving a full picture of what is to follow next. The flowering cacti would include Dolichothele sphaerica, Echinocereus fitchii, Echinocereus pectinatus, Echinopsis aurea, Echinoposis multiplex, Echinopsis mammilosa, Echinopsis lau, Epiphyllum ackermannii,Epithelantha micromeris, Gymnocalycium mihanovinchii and Harissia eriophora. Long stemmed cacti would include Huernia kirki, Pachypodium geyi, Monadenium lugardae, Seneo stapeliaeformis, Machaerocereus eruca, Carnegiea gigantea, Caphalocereus albispinus and Cleistocactus strausii.

Carnegiea gigantea

Echinoposis multiplex

Aloe brevifolia

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235

236

LANDSCAPING: DRY TREES (ARTIFICIAL LANDSCAPE)

LANDSCAPING: GRAVEYARD (HARD LANDSCAPE)

239

LANDSCAPING: GRAVEYARD (HARD LANDSCAPE)

240

LANDSCAPING: LOTUS POND Nelumbo nucifera (pink lotus) and Nymphaea lotus (white lotus) would be used in combination in the shallow pond behind the Peace Gallery.

241

LANDSCAPING: TREES “Tree is a living symbol of boundless benevolence. It does not demand anything from anybody for its own nourishment; it goes on giving enormous quantities of useful materials to the world. Not only this; but it goes on giving shade even to a wood cutter who has come to cut it” ‐ Lord Gautam Buddha

The species of trees to be used in the design are Cassia fistula, Delonix regia, Lagerstroemia speciosa, Plumeria lutea, Albizzia julibrissin, Baikiaea insignis, Bombax ceiba, Tabebuia chrysantha and Cassia lancasteri.

Plumeria lutea

Cassia fistula

242

LANDSCAPING: TREES

Delonix regia

Bombax ceiba

Lagerstroemia speciosa

Tabebuia chrysantha

Baikiaea insignis

Cassia lancasteri

243

LANDSCAPING:Â GRASSMOUND

The grass mound construction is based on the cut and fill method wherein the earth excavated for the shallow pond and the Open Air Theatre is utilized to fill the space needed for making grass mounds. The grass mounds are located in the garden of contemplation and are strategically placed to have a view of Sinhagad fort on one side and the museum built space with the foreground of lotus pond on the other side. 244

TIERED LANDSCAPE

245

SERVICES

246

HVAC

SPRAY POOL

BUILT SPACE

CHILLER PLANT

AIR HANDLING UNIT

The HVAC system has been designed keeping in accordance with HVAC guidelines mentioned in the Literature Review. 247

FIRE FIGHTING Air Sampling VESDA Early Warning Systems The VESDA air sampling fire detection system detects the invisible by‐ products of materials as they degrade during the pre‐combustion stages of an incipient fire. And, by actively and continuously sampling air, the system operates independently of air movements.

Halocarbon Extinguishing Agents The most popular replacement for Halon in the United States for total flooding systems is the Halocarbon extinguishing agent, primarily FE‐13 and FM 200. The volume and weight of the agent required is significantly lower than that for the inert gasses, and there is no clean up required after accidental discharge. Arc Fault Circuit Interrupters It is estimated that the new arc fault circuit interrupters could eliminate a large percentage of the electrical fires that are the number one cause of loss in museums and number two for libraries. These are designed to sense a change in electrical demand and act as a circuit breaker (only faster), shutting off the electricity in the event of problems

248

SECURITY  CCTV and Surveillance System  Burglar Detection Systems  Access Control Systems

249

SCHEMATIC SECTIONAL PERSPECTIVE

HVAC DUCT THROW GRILL ELECTRICAL CONDUIT FLASE CEILING FLUSHED LUMAINAIRE SECURITY CAMERA

TAPPING POINT FOR ELECTRICAL AND ELECTRONIC CONDUITS

ELECTRIC CONDUITS ELECTRONIC RACEWAY

250

FUTURE EXPANSION

Area for future Expansion

251

Bibliography Books: 1. Majumdar, Mili ‐ Energy Efficient Buildings in India, TERI 2. Council of Architecture ‐ Archiving’10 Architectural Thesis 3. Council of Architecture ‐ Archiving ’06 ’07 ’08 Architectural Thesis 4. Piloo Modi College of Architecture ‐ Hall of Fame Thesis Works 5. Lang, Jon and Reinhold, Nostrand Van‐ Creating Architectural Theory, The Role of Behavioral Sciences in Environmental Design 6. Cerver, Francisco Asensio – The World of Architecture 7. Lee, Yun Jung et. al. ‐ The Leaders of Architecture: Top Architects Asia, Archiworld 8. Bose, Chowdhury, Sharma ‐ Tropical Garden Plants in Colour, Horticulture and Allied Publishers 9. The Book of Revelations ‐ The New Testament 10. Kalki Mahapurana Internet Sources: 1. Wikipedia.org 2. MIT Thesis Web Portal 3. University of California Thesis Web Portal

Disclaimer: Several other references have been provided as foot notes wherever needed. 252

Where the mind is without fear and the head is held high Where knowledge is free Where the world has not been broken up into fragments By narrow domestic walls Where words come out from the depth of truth Where tireless striving stretches its arms towards perfection Where the clear stream of reason has not lost its way Into the dreamy desert sand of dead habit Where the mind is led forward by thee Into ever widening thought and action Into that heaven of freedom, my Father, let my country awake. â&#x20AC;? RabindranathÂ Tagore