BARCH THESIS REPORT | Museum Of Urban History, Bhubaneswar by Preetish Nayak

MUSEUM OF URBAN HISTORY BHUBANESWAR, ODISHA

A project thesis submitted in partial fulfilment of the requirements for the degree of Bachelor of Architecture

Submitted by Preetish Priyadarshi Nayak 15AR10024 Under the supervision of Dr. Arjun Mukerji

DEPARTMENT OF ARCHITECTURE AND REGIONAL PLANNING INDIAN INSTITUTE OF TECHNOLOGY KHARAGPUR JUNE, 2020

MUSEUM OF URBAN HISTORY BHUBANESWAR, ODISHA

A project thesis submitted in partial fulямБlment of the requirements for the degree of Bachelor of Architecture

Submitted by Preetish Priyadarshi Nayak 15AR10024

Under the supervision of Dr. Arjun Mukerji

DEPARTMENT OF ARCHITECTURE AND REGIONAL PLANNING INDIAN INSTITUTE OF TECHNOLOGY KHARAGPUR JUNE 2020

Museum of Urban History, Bhubaneswar

CERTIFICATE

Department of Architecture and Regional Planning Indian Institute of Technology Kharagpur June 2020

I hereby recommend that the Project prepared under my supervision by Mr. Preetish Priyadarshi Nayak, Roll no.:15AR10024, entitled “Museum of Urban History, Bhubaneswar, Odisha” be accepted in the partial fulfilment of the requirements for the degree of Bachelor of Architecture.

_________________________ Prof(Dr) Arjun Mukerji Project Supervisor

_________________________ Prof(Dr) Joy Sen Head of Department

A final year Bachelor of Architecture Dissertation Thesis by Preetish Priyadarshi Nayak | v

vi | Department of Architecture and Regional Planning, IIT Kharagpur

Museum of Urban History, Bhubaneswar

ACKNOWLEDGEMENT

The success and final outcome of this report required a lot of guidance and assistance from many people and I am extremely privileged to have got this all along the completion of this report. All that I have done is only due to such supervision and assistance and I would not forget to thank them. First of all, I would like to take this opportunity to express my gratitude to my supervisor Dr. Arjun Mukerji. A person with an amitable and positive disposition, he always made himself available to discuss and clarify my doubts despite his busy schedules. With his spontaneous design inputs,constructive criticism and constant encouragement, he has been more than a project guide. A note of thanks goes to all the professors of the jury during the various stages of viva whose comments and suggestions have helped me constantly better my work and do justice to my thesis report. I owe my heartfelt thanks to my parents who have been my pillars of support in my every action. Thanks to my friends Runjhun, Shubham, Keshav and Atul for always motivating me. Also thanks to my juniors Sharon and Gauri for their assistance. They are the source of my inspiration and energy. Thanks to all my batch mates who have made the entire duration of thesis an easier journey. And I would like to aknowledge the support of all the people who have been instrumental in any step development of this thesis project. Thank You Preetish Priyadarshi Nayak 15AR10024

A final year Bachelor of Architecture Dissertation Thesis by Preetish Priyadarshi Nayak | vii

TA BL E

C ONTE NTS

CERTIFICATE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . v ACKNOWLEDGEMENT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . vii vii LIST OF TABLES. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . TABLES. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . xi LIST OF FIGURES. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . FIGURES. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . xii xii

CHAPTER 1: INTRODUCTION . . . . . . . . . . . . . . . . . . . . . 1

1.1. I N T R O D U C T I O N . . . . . . . . . . . . . . . . . . . . . . 2 1.2. B A C K G R O U N D

OF THE

P R O J E C T . . . . . . . .

1.3. PROJECT BRIEF . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5 5 1.4. CONCEPTUAL FRAMEWORK . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

CHAPTER 2: LITERATURE REVIEW . . . . . . . . . . . . . . . . . . 1 1

2.1. INTRODUCTION. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . INTRODUCTION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12 12 2.2. BHUBANESWAR. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . BHUBANESWAR. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12 12 2.3. FUNCTIONS & SPACES. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . SPACES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17 2.4. USER BEHAVIOUR. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . BEHAVIOUR. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19 19 2.5. CIRCULATION TYPES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20 2.5. CIRCULATION TYPES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20 2.5. CIRCULATION TYPES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20 2.6. EXHIBITION GALLERY DESIGN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22 2.7. INTERPRETATION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23 2.8. DISPLAY TECHNIQUES. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . TECHNIQUES. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24

viii | Department of Architecture and Regional Planning, IIT Kharagpur

Museum of Urban History, Bhubaneswar

2.9. LIGHTING TECHNIQUES. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . TECHNIQUES. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30 2.9.1 NATURAL LIGHT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31 31 2.9.2 ARTIFICIAL LIGHT. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . LIGHT. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34 2.10. COLOUR. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . COLOUR. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38 2.11. SOUND. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . SOUND. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39 2.12. SAFETY & SECURITY. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . SECURITY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39 2.13. INTERACTIVES. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . INTERACTIVES. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41 41 2.14. BDAâ&#x20AC;&#x2122;S BUILDING BY-LAWS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . BY-LAWS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42

CHAPTER 3: CASE STUDIES . . . . . . . . . . . . . . . . . . . . 5 1

3.1.1. THE BIHAR MUSEUM . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52 3.1.2. CHANDIGARH ARCHITECTURE MUSEUM. . . . . . . . . . . . . . . . . . . . . . . . . MUSEUM. . . . . . . . . . . . . . . . . . . . . . . . . 61 61 3.2.1. SHANGHAI URBAN PLANNING EXHIBITION CENTER . . . . . . . . . . . . . 65 3.2.2. ACROPOLIS MUSEUM, ATHENS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ATHENS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68 3.2.3. CENTRE POMPIDOU, PARIS,. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . PARIS, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72 72 3.2.4. WEXNER CENTER FOR THE ARTS, OHIO. . . . . . . . . . . . . . . . . . . . . . . . . . OHIO. . . . . . . . . . . . . . . . . . . . . . . . . . 75 75

CHAPTER 4: AREA PROGRAMMING . . . . . . . . . . . . . . . . . 7 9 CHAPTER 5: THE SITE . . . . . . . . . . . . . . . . . . . . . . . 8 5

5.1. SITE LOCATION. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . LOCATION. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86 5.2. CLIMATE ANALYSIS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ANALYSIS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89 5.3. SITE ANALYSIS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ANALYSIS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94 5.4. SITE VIEWS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . VIEWS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95 CHAPTER 6: SPACE ANALYSIS . . . . . . . . . . . . . . . . . . . 9 9

A final year Bachelor of Architecture Dissertation Thesis by Preetish Priyadarshi Nayak | ix

6.1. SPACE PROGRAMMING. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . PROGRAMMING. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100 6.2. SITE ZONING. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ZONING. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105

CHAPTER 7: CONCEPT DEVELOPMENT . . . . . . . . . . . . . 1 0 9

7.1. SEMANTIC CONCEPTS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110 110 7.2. MORPHOLOGICAL CONCEPT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113 7.3. CIRCULATION CONCEPT. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . CONCEPT. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114

CHAPTER 8: DESIGN . . . . . . . . . . . . . . . . . . . . . . . .

117

8.1. SITE CIRCULATION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 118 8.2. THE GROUND FLOOR. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . FLOOR. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120 8.3. THE FIRST FLOOR. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . FLOOR . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125 125 8.4. THE SECOND FLOOR . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 126 8.5. THE THIRD FLOOR . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 128 128 8.6. THE FOURTH FLOOR. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . FLOOR . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 130 8.7. THE BASEMENTS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . BASEMENTS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 130 8.8. MATERIAL PALLET. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . PALLET. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 131 8.9. FINANCIAL FEASIBILITY. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . FEASIBILITY. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 132 132

CHAPTER 9: DRAWINGS . . . . . . . . . . . . . . . . . . . . . . 1 3 5 LIST OF REFERENCES. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . REFERENCES. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 166

x | Department of Architecture and Regional Planning, IIT Kharagpur

Museum of Urban History, Bhubaneswar

LIST

O F

TAB L ES

Table 2.1. Broad listing of museum functions and space requirements. . . . . . . . requirements. . . . . . . . 17 Table 2.2. Common Circulation plans for visitors . . . . . . . . . . . . . . . . . . . . . . . . . . 20 Table 2.3. List of information sharing techniques in a museum. . . . . . . . . . . . . . museum. . . . . . . . . . . . . . 23 Table 2.4. Viewing Bands. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Bands. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29 Table 2.5. Recommended minimum light levels. . . . . . . . . . . . . . . . . . . . . . . . . . . . levels. . . . . . . . . . . . . . . . . . . . . . . . . . . . 30 Table 2.6. Measurements for controls and operating systems. . . . . . . . . . . . . . . . systems. . . . . . . . . . . . . . . . 41 41 Table 2.7. Land Uses Permitted/Prohibited in different Land Use Zones . . . . . . 43 Table 2.8. Minimum distance from the electric line . . . . . . . . . . . . . . . . . . . . . . . . 43 Table 2.9. Provision of Exterior Open Spaces around the Buildings . . . . . . . . . . 44 Table 2.10. Occupant Load. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Load. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47 47 Table 2.11. Sanitation Requirements for Assembly Buildings (Art, Galleries, Libraries and Museums). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Museums) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49 Table 3.1. Different positions and their staff requirements. . . . . . . . . . . . . . . . . . . requirements. . . . . . . . . . . . . . . . . . . 60

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F I GU R E S

fig. 1.1. Bindu Sagar, Bhubaneswar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 fig.1.2. Logos of (a) Bhubaneswar Development Authority, (b) Bhubaneswar Smart City Limited, (c) Housing and Urban Development Department, Government of Odisha. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Odisha . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 Retrieved from the website: https://www.smartcitybhubaneswar.gov.in/

fig. 1.3. I love Bhubaneswar installation. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . installation. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5 5 fig. 1.4. Jaydev Vihar Overpass, Bhubaneswar. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Bhubaneswar. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6 fig. 2.1. (left) Bhubaneswar city and its functional areas, (right) Master Plan for the new capital. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . capital . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15 Source: Bhubaneswar: From a Temple Town to a Capital City

fig. 2.2. CDP of Bhubaneswar. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Bhubaneswar. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15 Source: Bhubaneswar: From a Temple Town to a Capital City

fig. 2.3. Broad timeline of Bhubaneswar. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Bhubaneswar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16 16 Source: Time Saver Standards for Building Types

fig. 2.4. Space Organization Diagram. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Diagram. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18 18 Source: Time Saver Standards for Building Types

fig. 2.5. Different types of circulation in a museum . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21 21 Source: Time Saver Standards for Building Types

fig. 2.6. Different ways of dividing up exhibition space. . . . . . . . . . . . . . . . . . . . . . space. . . . . . . . . . . . . . . . . . . . . . 22 Source: ArchDaily

fig. 2.7. Wall mounted displays at, (left) Acropolis museum, Athens. . . . . . . . . . . Athens. . . . . . . . . . . 24 (right) Historical Museum of Resistance, Italy. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Italy. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24 Source: Museum Display Design

fig. 2.8. Hanging displays at, (left) Dornier Museum, Germany, . . . . . . . . . . . . . . 25 (right) Gaylord-Pickens Oklahoma Heritage Museum, Oklahoma. . . . . . . . . . . . Oklahoma. . . . . . . . . . . . 25 Source: Museum Display Design

fig. 2.9. Container displays at, (left) Saints Museum, Spain, . . . . . . . . . . . . . . . . . . 25 (right) Bach House, Germany. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Germany. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25 xii | Department of Architecture and Regional Planning, IIT Kharagpur

Museum of Urban History, Bhubaneswar

Source: Museum Display Design

fig. 2.10. Interactive displays at, (left) Jewish Museum, Berlin,. . . . . . . . . . . . . . . . Berlin,. . . . . . . . . . . . . . . . 26 (right) The Cleveland Museum of Art, Ohio. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Ohio. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26 Source: https://www.clevelandart.org/

fig. 2.11. Container displays at, (left) California Academy of Sciences Exhibits, USA,. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . USA, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26 (right) Modular Display Frames designed by Mobile Studio Architects. . . . . . . . Architects. . . . . . . . 26 Source: Museum Display Design

fig. 2.12. Open displays at, (left) Acropolis museum, Athens, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27 27 (right) BMW Museum, Munich. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Munich. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27 27 Source: Museum Display Design

fig. 2.13. Container displays at, (left) A VR scene created in National Museum of Finland,. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Finland, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27 27 (right) The Cleveland Museum of Art, Ohio. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Ohio. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27 27 Source: https://www.kansallismuseo.fi/fi/kansallismuseo/etusivu

fig. 2.14. Viewing distance should increase with greater size ofobject. . . . . . . . . . ofobject. . . . . . . . . . 28 Source: Time Saver Standards for Building Types

fig. 2.15. Difficulties encountered in viewing details more than 3 ft below or 1 ft above oneâ&#x20AC;&#x2122;s eye level.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . level.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28 Source: Time Saver Standards for Building Types

fig. 2.17. (right) Viewing bands for adults (pink) and pre-fives (blue). . . . . . . . . . . 28 Source: Time Saver Standards for Building Types

fig. 2.16. (right) Measurements of adult and six-year-old visitors in relation to cases. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . cases . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28 Source: Glasgow Museums Display Guidelines

fig. 2.18. Natural lighting techniques used in(left) in(left) Jewish Museum, Berlin, (middle) Louvre Abu Dhabi, (right) Kimbell Art Museum, Texas. . . . . . . . . . . . . . . . . . . . . . Texas. . . . . . . . . . . . . . . . . . . . . . 31 31 Source: ArchDaily

fig. 2.19. Different arrangements of roof lights. lights. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32 Source:Ernst & Peter Neufert (1936). Architectâ&#x20AC;&#x2122;s Data

fig. 2.20. Redirection of light; light from above. . . . . . . . . . . . . . . . . . . . . . . . . . . . . above. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33

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Source:Ernst & Peter Neufert (1936). Architect’s Data

fig. 2.21. (left) San Francisco Museum of Modern Art, (right) Neues Museum, Berlin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34 fig. 2.22. (left) Kimbell Art Museum, Texas, Texas, (right) Guangdong Museum, China. China.34 Source: ArchDaily.

fig. 2.23. (left) The Bihar Museum, Bihar, (right) Penn Museum, Pennsylvania .35 Source: https://www.tripadvisor.in/

fig. 2.24. (left) British Museum, London, London, (right) 171 Collins Street, Melbourne. Melbourne. 35 Source: ArchDaily

fig. 2.25. (left) Artist Jim Sanborn Angry at Toronto Installation, (right) The Bihar Museum, India. India. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36 fig. 2.26. (left) Istanbul Modern Museum, Museum, (right) Lapidarium Museum, Novigrad, Croatia. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Croatia . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36 Source: ArchDaily

fig. 2.27. Artificial Lighting Techniques . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37 37 Source:Ernst & Peter Neufert (1936). Architect’s Data

fig. 2.28. Notice the contrast betwwen the painting and the wall colour which directs user’s focus towards the painting. A painting at Contemporary Art Museum St. Louis, Missouri . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38 Source: ArchDaily

fig. 2.29. (left) Recommended distance, (right) Exhibits should be visible to all users. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39 Source: Glasgow Museums Display Guidelines

fig. 2.30. Schematic picture showing all the possible security steps that can be taken . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40 Source: Jim Lane (2016). Art Museum Security

fig. 3.1. Main entrance gate of The Bihar Museum . . . . . . . . . . . . . . . . . . . . . . . . . . 52 fig. 3.2. Entry porch of The Bihar Museum . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53 fig. 3.3. Gallery spaces in first floor. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . floor. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54 xiv | Department of Architecture and Regional Planning, IIT Kharagpur

Museum of Urban History, Bhubaneswar

fig. 3.4. Gallery spaces in ground floor. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . floor. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54 fig. 3.5. Ground floor plan of the museum. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . museum . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55 fig. 3.6. (left) A block layout with all exhibits alligned with the wall, (middle) some galleries were further devided by the use of modular partitions for displaying more exhibits, (right) exhibits arranged around a central sculpture. . . . . . . . . . . sculpture. . . . . . . . . . . 56 fig. 3.7. (left) Corridor infront of modern art gallery, (middle) open air theatre, (right) cafeteria . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56 fig. 3.8. (left) Recreating Bihar during the Mauryans, (middle) binoculars, (right) interactive digital displays . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57 57 fig. 3.9. (left) Exposed service lines (right) Cooling Unit room of HVAC system. system.57 fig. 3.10. (light) Sky light used to light up the circulation space in the modern art gallery, (right) full height facade fenestrations to bring in natural light into the circulation spaces. Note: the smaller fenestrations light up the corridor on first floor.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . floor. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58 fig. 3.11. (left) Light well at the center of the entrance lobby, (right) wall fenestrations of different patterns inside the museum to direct light into the building. . . . . . building. . . . . . 59 fig. 3.12. The above four figures are examples showing wall slits, fenestrations and jali pattern on glass being used in circulation spaces to bring in natural light.. light.. 59 fig. 3.13. The Chandigarh Architecture Museum as seen from the entry to the museum complex. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . complex. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61 61 fig. 3.14. (left) Wall mounted panels showing different development stages of Chandigarh, (right) Furniture display . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62 fig. 3.15. (left) Master Plan of Chandigarh, (right) The Modular. . . . . . . . . . . . . . . Modular. . . . . . . . . . . . . . . 63 fig. 3.16. (left) Building models displayed in glass container boxes. . . . . . . . . . . . boxes. . . . . . . . . . . . 63 fig. 3.17. (left) Lighting the ramp using artificial light, (right) North light admission into the building. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . building. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64

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fig. 3.18. (left) Light patches on the display reduces the visibility of content, (right) Day light lights up only one part of the model, other sides are darker and are not clearly visible. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . visible. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64 fig. 3.19. Shanghai Urban Planning Exhibition Center. . . . . . . . . . . . . . . . . . . . . . . Center. . . . . . . . . . . . . . . . . . . . . . . 65 Source: https://www.tripadvisor.in/

fig. 3.20. City model of Shanghai in the Urban Planning Museum of Shanghai (China)Source: https://www.tripadvisor.in/. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66 fig. 3.21. A scene comparing old Shanghai and the modern planned Shanghai. Shanghai. 67 Source: https://www.tripadvisor.in/

fig. 3.22. (left) Atrium of Shanghai Urban Planning Exhibition Center, with revolving model of Lujiazui, (right) physical model displays of different sectors . Source: https://www.tripadvisor.in/

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67

fig. 3.23. Interactive dispaly techniques used in the exhibition. . . . . . . . . . . . . . . exhibition. . . . . . . . . . . . . . . 67 Source: https://www.tripadvisor.in/

fig. 3.24. The Acropolis MuseumSource: ArchDaily. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68 fig. 3.25. Archaeological site below the main entrance to the museum. . . . . . . . museum . . . . . . . . 69 fig. 3.26. Glass floor above the excavationSource: ArchDaily.. . . . . . . . . . . . . . . . . . . . . 70 fig. 3.27. Sculpture display using natural lightSource: ArchDaily.. . . . . . . . . . . . . . . . . . 70 fig. 3.28. Sculptures displayed as a reflection of Parthenon . . . . . . . . . . . . . . . . . . 71 fig. 3.29. Floors can also be used for displaySource: ArchDaily.. . . . . . . . . . . . . . . . . . . 71 fig. 3.30. Centre Pompidou Source: ArchDaily. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72 72 fig. 3.31. Entry at Centre Pompidou Source: ArchDaily.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73 73 fig. 3.32. PlanSource: ArchDaily.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74 74 fig. 3.33. Section Source: ArchDaily. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74 74 fig. 3.34. Wexner Center for the ArtsSource: ArchDaily.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75 75 fig. 3.35. Use of Deconstructivist ArchitectureSource: ArchDaily. . . . . . . . . . . . . . . . . . 76 fig. 3.36. White scaffold-like spine on Eastern FacadeSource: ArchDaily. . . . . . . . . . . 77

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Museum of Urban History, Bhubaneswar

fig. 3.37. Axonometric view showing the referential grids Source: ArchDaily.. . . . . . . 77 fig. 5.1. Wall painting of the site boundary wall . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86 fig. 5.2. Site Adjacent access roads. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . roads. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87 87 fig. 5.3. Project Site on Google Map along with adjacent landuse plots. . . . . . . . plots . . . . . . . . 88 fig. 5.4. Average temperatures and precipitation retrieved from meteoblue.com. meteoblue.com. 89 fig. 5.5. Windflow direction Jan-Mar (top), windflow direction Apr-Jun (buttom). (buttom) . 90 fig. 5.6. Windflow direction Jul-Sept (top), windflow direction Oct-Dec (buttom). (buttom). 91 fig. 5.7. Contour diagram of the site . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92 fig. 5.8. Sunpath diagram for Bhubaneswar Source: harvesting rainwater.com . . . . . . . . 93 fig. 5.9. Site Analysis Plan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94 fig. 6.1. Broad category of spaces. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . spaces. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100 fig. 6.2. Proximity chart for broader spaces . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100 fig. 6.3. Proximity chart for Education block(above), Proximity chart for museum (below). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . (below) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101 101 fig. 6.4. Proximity chart for informative spaces. . . . . . . . . . . . . . . . . . . . . . . . . . . . spaces. . . . . . . . . . . . . . . . . . . . . . . . . . . . 102 fig. 6.5. Bubble diagram for the gallery spaces. . . . . . . . . . . . . . . . . . . . . . . . . . . . . spaces. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102 fig. 6.6. Bubble diagram for the museum spaces. . . . . . . . . . . . . . . . . . . . . . . . . . . spaces. . . . . . . . . . . . . . . . . . . . . . . . . . . 103 fig. 6.7. Bubble diagram for the education block(above), bubble diagram for administration (below). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . (below). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104 fig. 6.8. Schematic site zoning plan. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . plan. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105 fig. 7.1. Massing of the built form . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110 110 fig. 7.2. Boxed projections from the building. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . building. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111 fig. 7.3. Patachitra painting at the entrance wall(left), laterite stone wall (right). (right). 111

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fig. 7.4. Elevation from Hospital Road . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 112 fig. 7.5. Grid aligned with site (left), grid aligned with cardinal directions (right). . (right). . 113 fig. 7.6. View of the atrium with city model. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . model. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113 fig. 7.7. Schematic inter gallery circulation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114 fig. 8.1. Legend for the map to the right. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . right. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 118 fig. 8.2. Change in view frame as an user moves towards the central plaza. . . . plaza. . . . 120 fig. 8.3. View of the central covered plaza. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . plaza. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120 fig. 8.4. Queueing space for ticket & cloak room. . . . . . . . . . . . . . . . . . . . . . . . . . . room. . . . . . . . . . . . . . . . . . . . . . . . . . . 121 fig. 8.6. Patachitra painting at the entrance. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . entrance. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121 fig. 8.5. Metal jali on laterite stone wall . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121 fig. 8.7. Red arrow marks the separate administration entrance . . . . . . . . . . . . . . . . . . . . . . . . . . 122 122 fig. 8.8. Rear plaza being used for hosting small events and seasonal shops. . . shops. . . 123 123 fig. 8.9. Rear plaza being used for informal interactions. . . . . . . . . . . . . . . . . . . . interactions. . . . . . . . . . . . . . . . . . . . 123 123 fig. 8.10. Patachitra painting of a bull. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . bull. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 124 124 fig. 8.11. View of the courtyard. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . courtyard. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 124 124 fig. 8.12. Visual connection of spaces outside and through the gallery. . . . . . . . gallery. . . . . . . . 125 125 W . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125 125 fig. 8.13. View of the temporary gallery. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . gallery. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125 125 fig. 8.14. View of the library cafeteria. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . cafeteria . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 126 fig. 8.15. View of the Master Plans Gallery. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Gallery. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 127 fig. 8.16. View of the Atrium. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Atrium . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 127 fig. 8.17. Interior view of temple gallery. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . gallery. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 128 128 fig. 8.18. View of the courtyard from the cafeteria balcony. . . . . . . . . . . . . . . . . . balcony. . . . . . . . . . . . . . . . . . 129 fig. 8.19. View of the Atrium. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Atrium . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 129 fig. 8.20. View of the lattice framework. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . framework. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 130users. ffig. 8.3. View of the central covered plaza . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120 xviii | Department of Architecture and Regional Planning, IIT Kharagpur

Museum of Urban History, Bhubaneswar

fig. 8.4. Queueing space for ticket & cloak room. . . . . . . . . . . . . . . . . . . . . . . . . . . room. . . . . . . . . . . . . . . . . . . . . . . . . . . 121 fig. 8.6. Patachitra painting at the entrance. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . entrance. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121 fig. 8.5. Metal jali on laterite stone wall . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121 fig. 8.7. Red arrow marks the separate administration entrance . . . . . . . . . . . . . . . . . . . . . . . . . . 122 122 fig. 8.8. Rear plaza being used for hosting small events and seasonal shops. . . shops. . . 123 123 fig. 8.9. Rear plaza being used for informal interactions. . . . . . . . . . . . . . . . . . . . interactions. . . . . . . . . . . . . . . . . . . . 123 123 fig. 8.10. Patachitra painting of a bull. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . bull. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 124 124 fig. 8.11. View of the courtyard. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . courtyard. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 124 124 fig. 8.12. Visual connection of spaces outside and through the gallery. . . . . . . . gallery. . . . . . . . 125 125 fig. 8.13. View of the temporary gallery. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . gallery. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125 125 fig. 8.14. View of the library cafeteria. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . cafeteria . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 126 fig. 8.15. View of the Master Plans Gallery. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Gallery. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 127 fig. 8.16. View of the Atrium. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Atrium . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 127 fig. 8.17. Interior view of temple gallery. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . gallery. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 128 128 fig. 8.18. View of the courtyard from the cafeteria balcony. . . . . . . . . . . . . . . . . . balcony. . . . . . . . . . . . . . . . . . 129 fig. 8.19. View of the Atrium. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Atrium . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 129 fig. 8.20. View of the lattice framework. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . framework. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 130

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â&#x20AC;&#x153;People are trapped in History and history is trapped in them â&#x20AC;&#x153; -James Baldwin

Museum of Urban History, Bhubaneswar

CHAPTER 01

INTRODUCTION

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1.1. I N T R O D U C T I O N

Bhubaneswar, the glorified capital city of Odisha was not built in a day. The evolution of the city from a temple town to becoming a smart city was not an easy step. The city during the course of history have been ruled by a number of dynasties. It has also been influenced a variety of religions. Bhubaneswar experienced several changes in its physical form, ethnic compositions , its religious character and its role as a subcontinental socio-religious center from one century to another. The cityâ&#x20AC;&#x2122;s character alternating with Buddhism, Jainism, Shaivism, and Vaishnavism religions which found a home in Bhubaneswar at one time or another with the changing dynasties of Kalinga. Each of these elements have left their mark on the urban history of Bhubaneswar. One can witness the influence of different architecture styles promoted by different religions and dynasties on the urban landscape of Bhubaneswar. Natural calamities like frequent cyclones and historical events like the Odia Language Movement and the Na Anka Durbhikshya (the great famine) also have played a crucial role in shaping the city. The modern city of Bhubaneswar was designed by the German architect Otto KĂśnigsberger in 1946 and was formally established in 1948. It replaced Cuttack as the capital city on 19 August 1949. On 28 January 2016, Bhubaneswar was declared as a smart city. The city has now become a center of economic, educational and cultural importance of East India. With a large myriad of opportunities that attracts people to move into the city, the population of the city constantly kept on increasing. The lifestyle of people in the city has also evolved over the past years to adapt to these changes making their life more busy and hectic. The constant thought of being the best in their respective fields sometimes make them forget about the past glories of the city which has constantly nurtured them and has helped them to be in the position where they are today. This museum is an attempt to recreate the instances that shaped the urban landscape of the city in the mind of its users. The museum will speak for the glory of the city, showcasing the evolution of Bhubaneswar through ages from a tribal settlement to the contemporary capital city while constantly motivating the younger generations to work constructively towards the development of the city.

2 | Department of Architecture and Regional Planning, IIT Kharagpur

Museum of Urban History, Bhubaneswar

1.2. B A C K G R O U N D

OF THE

PROJECT

WHY AN URBAN HISTORY MUSEUM ? The history of Bhubaneswar dates back to 400BCE and even earlier when there very small tribal settlements and small kingdoms. With time the city witnessed many foreign invasions and exposure to different religions like Jainism, Buddhism and Hinduism. All of these events had major impacts on the cityâ&#x20AC;&#x2122;s urban-scape. The city has witnessed a lot many things and time to time alterations and modifications to the city has finally developed it into a planned smart city. But the sad thing relatable to the city is that most of its citizens are not aware about this rich and glorious past of the city. Although there are many museums in the city but none of them have tried to capture this aspect of the city. This project if completed will give critical insights to its citizen regarding the development of the city.

fig. 1.1. Bindu Sagar, Bhubaneswar

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PROJECT CLIENTS AND CONTEXT Bhubaneswar after being declared as a Smart City has got approval and funding for a wide variety of projects. The Museum of Urban History is one among the many Smart City Proposals of Bhubaneswar under the social development subplan, I am Bhubaneswar. The project has been granted with a total project budget of Rs. 9.40 Crores.

(a)

(b)

fig.1.2. Logos of (a) Bhubaneswar Development Authority, (b) Bhubaneswar Smart City Limited, (c) Housing and Urban Development Department, Government of Odisha

Bhubaneswar Development Authority and Bhubaneswar Smart City Limited, with support from the Housing and Urban Development Department, Government of Odisha, proposes to develop a new museum in Bhubaneswar. This project, is envisioned to be the first of it kind facility in Odisha, showcasing the evolution of the cityâ&#x20AC;&#x2122;s history and its position in the State of Odisha. The museum is expected to complement the existing museums in the city, and house new exhibits, audio visual and interactive attractions that will appeal to all age groups and backgrounds.

4 | Department of Architecture and Regional Planning, IIT Kharagpur

Museum of Urban History, Bhubaneswar

1.3. P R O J E C T

B RIE F

The Bhubaneswar Museum of Urban History aims to be a destination dedicated to documenting, restoring and exhibiting the rich history of the city’s urban transformation and contribution to Odisha and India from ancient to modern civilization. The museum galleries will integrate state of the art exhibits explaining the tangible and intangible aspects of Bhubaneswar’s heritage and its journey in transforming into a place of knowledge sharing, learning and urban experience, with a special emphasis on the juxtaposition of the ancient and the modern. The museum will be a powerful educational tool for teaching local history and culture, a symbol of Bhubaneswar’s uniqueness in India as well as an important part of the Government of Odisha’s tourism initiatives.

fig. 1.3. I love Bhubaneswar installation

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1.4. C O N C E P T U A L

FRA ME WO RK

PROJECT AIMS 1. The museum will make people relive through the sands of time, making them aware about the rich culture and the efforts their forefathers have put in to preserve it. 2. The Museum will contribute towards the development of the city by providing a platform for people with constructive thoughts

PROJECT OBJECTIVES 1. 2. 3. 4. 5. 6. 7.

Educate people with Interactive Galleries Creation of formal & Informal Discussion spaces Platform to Spread Awareness on Social Issues A Barrier Free Design Passive techniques to reduce carbon footprint Promote Tourism Give a Landmark to the city

fig. 1.4. Jaydev Vihar Overpass, Bhubaneswar

6 | Department of Architecture and Regional Planning, IIT Kharagpur

Museum of Urban History, Bhubaneswar

PROJECT SCOPE The following aspects of building design are within the scope of the thesis project: 1. Study the history of Bhubaneswar 2. Study the broad category of spaces in a museum 3. Study the layout and designs 4. Study different display techniques 5. Graphical and visual aspects of the building 6. Building materials 7. Detailed Site Study 8. Climatology and Solar Passive Heating Techniques 9. Behavioral Studies in Architecture 10. Energy 10. Energy Efficient Design 11. Acoustics 12. Landscape 12. Landscape Design 13. Barrier 13. Barrier free Architecture 14. Legal 14. Legal Considerations for designing a museum in Bhubaneswar

PROJECT LIMITATIONS Only tentative schemes of HVAC, electrical and plumbing systems shall be designed. The project will only design conceptual ideas of interior galleries and exhibition spaces. A detailed cost estimation and structural analysis of building structural systems shall remain out of the scope of this project.

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PROJECT METHODOLOGY This thesis will be a product of a 3 Step- Methodology, which shall cover the below highlighted topics: 1. Formulation of Problem Statement 2. Synthesis and Analysis 3. Final Proposal: Total Design Solution

Task 1. Formulation of Problem Statement Need for an Urban History Museum Aims and Objectives Scope and Limitations 2. Synthesis and Analysis Literature Review Case Studies Site Visit Design Concept 3. Final Proposal: Total Design Solution Architecture Details Structure details Landscape details 3D Model

8 | Department of Architecture and Regional Planning, IIT Kharagpur

Museum of Urban History, Bhubaneswar

A final year Bachelor of Architecture Dissertation Thesis by Preetish Priyadarshi Nayak | 9

Museum of Urban History, Bhubaneswar

CHAPTER 02

LITERATURE REVIEW

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2.1. I N T R O D U C T I O N

In order to design the museum, thorough study of the following listed fields have been done: 1. A study of contemporary museums and modern museum display techniques 2. A study of Bhubaneswar’s time line to identify the different artifacts and instances required to be portrayed in the museum 3. Different spatial requirements for different activity spaces 4. Building services required for proper functioning of the building 5. Passive design techniques to reduce energy footprint 6. Universal design methods to make the building accessible to all 7. Building By-Laws prescribed by BDA

2.2. B H U B A N E S W A R

Old Bhubaneswar, as a Hindu cultural and religious center, included an area much wider than the one occupied by the present temple town. The orthodox Sanskrit text ‘Svarnnadri-Mahodaya,’ a topographical manual for the pilgrims, defines Bhubaneswar as lying between modern Khanda- giri on the west and the temple of Vahirangesvara situated on the top of Dhauligiri (Dhauli) on the south. Bhubaneswar derives its name from the temple city’s chief deity, the Lingaraja: the Lord of the Three Worlds, Tribhuvneshvara. The excavations at Sisupalagarh, take the origin of the old city back to the fourth or third century B.C. Sisupalagarh was a well-planned and well-fortified city, square in shape, each side measuring three-quarters of a mile and each having two elaborately constructed gates and some small exits. The Gandhavati river (modern Gangua) served as the city’s natural moat on the western and northern side.

12 | Department of Architecture and Regional Planning, IIT Kharagpur

Museum of Urban History, Bhubaneswar

Ashoka became the ruler of Bhubaneswar after the Kalinga war fought in 261 BCE. The war completely changed him as a person. He started to spread the message of Dhamma and gradually the architecture of bhubaneswar came under the influence of Buddhism. The elephant sculpture represents the sacred symbol of Buddhism. Other than this two artifacts from Mauriyan period were found in Kalinga, which remained a source of anxiety to imperial Magadha, rose to power under the Chedi kings of the Mahameghavahana family, probably in the first century B.C. (159 BCE). King Kharavela, the most noteworthy of the Chedis, left a long inscription, which includes a biographical sketch, at Hathigumpha-the Elephant’s Cave in the Udayagiri hills. Kharavela’s reign witnessed the rise of Jainism, and under his patronage the Udayagiri and Khandagiri hills, 6.5 kilometers away from the capital city of Bhubaneswar, became strong Jain centers. The Jain caves from the two sisters hills represent a changing trend in cave art, displaying definite preference for ornamentation. The Ranigumpba sculptures provide information on the lifestyle of the Kharavela court. The Kusanas came to power in Bhubaneswar and they promoted Hindu architecture. This was followed by the Gupta period when the temple architecture known as the Nagara in the Silpa-sastras flourished. The sudden outburst of temple building in Bhubaneswar in the seventh century can only be understood in light of a long period of Buddhist predominance, bridging the ‘gap’ between the 1st century A.D. The Somavamsi kings came to power in 830 AD. The Lingaraja temple was erected during the reign of these kings. the Somavamsi were followed by the Ganga rulers. Bhubaneswar was not to experience another great effort in public works until after independent India decided to build the new capital. The Paika rebellion of 1817 was the first expression of Oriyas against the bankrupt British administration. Bakshi Jadabandhu masterminded the alliance between the Khurda, Paiks and the tribal Khonds from Gumsar. The Britishers ruthlessly suppressed the rebellion. The Paika rebellion became a symbol of unity. The christian missionaries opened the first English medium school in Cuttack in 1823.

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The main reason of the great famine of 1866 was the failure of monsoon in 1865. It lead to abnormal rise in the prices of rice. The 1865 drought was followed by the 1866 floods, which submerged all the rice production. The famine forced the British to make some administrative reforms in Orissa. As a result, roads were built to link different parts of the province, canals were made, railways were also The main reason of the great famine of 1866 was the failure of monsoon in 1865. It lead to abnormal rise in the prices of rice. The 1865 drought was followed by the 1866 floods, which submerged all the rice production. The famine forced the British to make some administrative reforms in Orissa. As a result, roads were built to link different parts of the province, canals were made, railways were also The earliest Oriya proposal for integrating the scattered Oriya speaking tracts was made by Raja Baikunth Nath De. The new executive order was to go into effect on January 1, 1896. The creation of the new province of Bihar and Orissa was announced by king George V on December 12, 1911. The imperial legislative council in February 1920 passed a resolution , which directed the governments of Bihar and Orissa to provide relevant statistics on Oriya population and the areas where Oriya was spoken. It is decided that Bhubaneswar will be the new capital. The decision to place the capital at Bhubaneswar was taken under the governorship of Sir C.M Trivedi in September 1946. In December 1947, Premier Mahtab requested to borrow the services of Koenigsberger as a town planner. Koenigsberger enthusiastically accepted

Koenigsbergerâ&#x20AC;&#x2122;s task in Bhubaneswar therefore was to devise a master plan which would accommodate all the modern needs of bureaucracy in the city with an essentially medieval character, a master plan which would satisfy the emotional needs of the Oriyas, while at the same time meeting the new complex needs of a modern government, a master plan which would be a blend between the old Kalinga spirit and the new hope for the young province- a nearly impossible task

14 | Department of Architecture and Regional Planning, IIT Kharagpur

Museum of Urban History, Bhubaneswar

Bhubaneswar’s master plan has been changed 3 times, in the 1960’s, the 1970’s, and the 1980’s. Bhubaneswar gradually becomes an education hub hosting premier institutes like IIT, AIMS, NISER. It is slowly changing into a commercial hub too. Bhubaneswar was declared as a smart city on 28 January 2016.

fig. 2.1. (left) Bhubaneswar city and its functional areas, (right) Master Plan for the new capital

fig. 2.2. CDP of Bhubaneswar

A final year Bachelor of Architecture Dissertation Thesis by Preetish Priyadarshi Nayak | 15

fig. 2.3. Broad timeline of Bhubaneswar

16 | Department of Architecture and Regional Planning, IIT Kharagpur

Museum of Urban History, Bhubaneswar

2.3. F U N C T I O N S

SPACE S

The basic objective of the Museum is to collect, preserve, study and exhibit significant objects of the community, and provide related educational services in order to increase public knowledge and stimulate creative activity. A good museum includes these basic functions : (1) curatorial, (2) display, (3) display preparation, (4) education . In order to realize both objectives and functions, certain facilities and spaces are essential . There must be sufficient diversification of spaces to allow each function to be undertaken separately while at the same time combining certain activities in a single area as per the requirements. A broad listing of museum functions and space requirements (table 2.1) along with space organization figure (fig. 2.4) for smooth functioning has been provided in the following sections.

FUNCTIONS

SPACE REQUIRED

Curatorial Functions a. Collection, preservation, identification, documentation, study, restoration . b. Storage of collections

a . Office-workroom, Workshop b . Reserve Collection Room

Display Function Thematic and changing displays of Display Gallery selected objects and . documents from the collections arranged to tell a story .

Display Preparation Function The preparation of exhibits.

Workshop, Office-workroom

Educational and Public Functions This term has been expanded to include all public functions . a . Lectures, school tours, society meetings, films, and social functions . b . Reception, information, sales, supervision of display gallery . c . Public requirements .

a . Lecture room, Chair storage closet, Kitchenette b. Lobby Sales and Information Counter c. Cloak room, Washrooms

Other Services a . Mechanical b . Janitorial

a . Heating-ventilation plant b . Janitorâ&#x20AC;&#x2122;s closet

Table 2.1. Broad listing of museum functions and space requirements Source: Time Saver Standards for Building Types

A final year Bachelor of Architecture Dissertation Thesis by Preetish Priyadarshi Nayak | 17

18 | Department of Architecture and Regional Planning, IIT Kharagpur Source: Time Saver Standards for Building Types

fig. 2.4. Space Organization Diagram

Museum of Urban History, Bhubaneswar

2.4. U S E R

B E HAV IO UR

A museum collects its primary revenue from its users. Therefore it is very important to study different types of users and their purpose of visit. Purpose of visiting the museum could be to gain knowledge, for research purpose, for collaboration work, or could be for attending talks and workshops. It could also be a part of tourism itinerary or could simply be a leisure activity. As argued by few researchers, ( J. Langir, T. Kuflik, 2016), 2016), it is imperative for museum curators and personnel to understand and be able to analyze the activity and behavior of visitors at their museum. The behavior of visitors can provide personnel with feedback on what is happening at the museumâ&#x20AC;&#x201D;which exhibits are successful, where do people go, and in general, how people interact with the content and exhibit that they have designed. This can provide them with means to evaluate their work, assess how the placement and layout of the objects in the museum affect the way visitors interact, and enable planning and improving of the design and practices of the museum. The museum should have sufficient space to host temporary exhibitions and talks which will attract people to visit the museum more than once. The landscaped areas should be well integrated with the built form so that people can come only to indulge in leisure activities rather than moving only in galleries and exhibition spaces. User behavior considerations will help model strong crowd pulling and retaining factors for the museum so that it remains financially stable throughout its lifetime. Different types of user that are going to visit the museum are: 1. College Students 2. School Children 3. Families (that it, adults or older siblings with children) 4. Adults 5. Tourists 6. Research scholars 7. Scientists 8. Visually impaired people 9. Hearing-impaired and deaf people 10. Sensory-impaired 10. Sensory-impaired 11. Elderly People A final year Bachelor of Architecture Dissertation Thesis by Preetish Priyadarshi Nayak | 19

2.5. C I R C U L A T I O N

TYPE S

How visitors circulate through museums determines what they will see, where they will focus their attention, and, ultimately, what they will learn and experience. The entrance to exhibitions should be clearly signed. Avoid projections onto circulation routes if possible, or provide visual and tactile warnings. Use colour, tone and decoration to contrast wall, floor and ceiling planes. Avoid strong vibrant patterns as they can be disorienting. Some common circulation patterns are illustrated bellow.

TYPE

ILLUSTRATION

DESCRIPTION

Chain

The main aim is to allow visitors to navigate in regard to their interest in displayed exhibits

Window

From the central point, visitors are allowed to move towards the rooms according to their interests

Central

Designing the collection in the centre, the aim is to allow visitors to see it from different viewpoints

Block

It Provides navigation voluntarily and in a random fashion

Brush

The main aim is to allow visitors to move through the rooms voluntarily

Table 2.2. Common Circulation plans for visitors Source: Linda Hsu.(2004).Circulation In Museums.

20 | Department of Architecture and Regional Planning, IIT Kharagpur

Museum of Urban History, Bhubaneswar

Seating and wheelchair spaces should be provided in main display spaces adjacent to the main circulation routes and evenly dispersed throughout the building. The minimum width of space for one wheelchair user is 760mm; space for two wheelchair users together is a minimum of 1675mm. Avoid tortuous circulation routes and cul-de-sac. Primary circulation and exit routes should be 1500mm wide, but may be reduced to 1200mm wide where unavoidable. The circulation route around displays can be reduced to 900mm wide, if necessary. Allow 1500 x 1800mm for turning points. Entrances and doors: level access should be maintained at all entrances and exits, with a circulation space of 1500mm2 at each door.

fig. 2.5. Different types of circulation in a museum

A final year Bachelor of Architecture Dissertation Thesis by Preetish Priyadarshi Nayak | 21

2.6. E X H I B I T I O N

GA LLE RY

DE SIGN

To show works of art and objects of cultural and scientific interest, the institution should provide protection against damage, theft, damp, aridity, sunlight and dust, and also show the works in the best light. This is normally achieved by dividing the collection into (a) objects for study, and (b) objects for display. Exhibits should be displayed in a way which allows the public to view them without effort. This calls for a variety of carefully selected, spacious arrangements, in rooms of a suitable shape and, in an interesting and logical sequence. As far as possible, each group of pictures in an art gallery should have a separate room and each picture a wall to itself, which means small rooms. This option also provides more wall space in relation to floor area than large rooms, which are nevertheless necessary for big pictures.

fig. 2.6. Different ways of dividing up exhibition space

22 | Department of Architecture and Regional Planning, IIT Kharagpur

Museum of Urban History, Bhubaneswar

2 . 7 .

I NT E R P R E TATIO N

Proper presentation of exhibits is display. It is the primary source of passing information in a museum. Some of the communication techniques used to convey information to users in a museum are listed below.

Interpretative Methods, Communication Methods, Scripting 1.

Graphic Panels

Incorporate text and images

Object Labels

For individual objects

E-labels

Images and Illustration

Audio

Video

Immersive Effects

Lighting Effects

Sequenced presentations

Low-tech Interactives

Incorporate text, film, flipbooks, audio

Incorporate

text,

images, video,

audio

and

interactivity Photographs, maps, drawings and diagrams Spoken word, oral testimony, music, foreign languages Film, interviews, archive film, moving image effects Sequenced presentations with audio, film and lighting

10. High-tech Interactives

Programmed and computerized

11. Hand Boards

Incorporate text and images

12. Models

Scale models, dioramas, props, reconstructions

13. Live Interpretation

Staff or actors in role-play

14. Printed text

Leaflets, trails and education packs

15. Events

Workshops Table 2.3. List of information sharing techniques in a museum Source: Glasgow Museums Display Guidelines

A final year Bachelor of Architecture Dissertation Thesis by Preetish Priyadarshi Nayak | 23

2.8. D I S P L A Y

TE CHNIQU E S

1. Simplify your exhibition area – Be selective with objects on display. It is not necessary (and not advisable) to have every item in your collection on display 2. Tell the story – Does the display emphasize the most important aspects of the story or object? Does it grab you? An effective display technique is to follow a planned scheme which systematically outlines the exhibitions story line. 3. Explain the Object – Is the display easy to understand? Always try to show an artefact so that its function is apparent. 4. Information – Is the text easy to read? 5. Design and Aesthetics – Does the spatial relationship between the items help the display? It should be obvious at a glance which parts of the display are related and which are not and how labels relate to objects. Begin designing the layout of the exhibition well before it is scheduled to take place. With this in mind think about how you can ‘set the scene’ or introduce the exhibition. A different coloured wall featuring the title of the exhibition and any sponsor logos, provides an introduction for the viewer and can be used to orient them into the exhibition space.

WALL MOUNTED DISPLAYS

fig. 2.7. Wall mounted displays at, (left) Acropolis museum, Athens (right) Historical Museum of Resistance, Italy

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Museum of Urban History, Bhubaneswar

HANGING DISPLAYS

fig. 2.8. Hanging displays at, (left) Dornier Museum, Germany, (right) Gaylord-Pickens Oklahoma Heritage Museum, Oklahoma

CONTAINER DISPLAYS

fig. 2.9. Container displays at, (left) Saints Museum, Spain, (right) Bach House, Germany

A final year Bachelor of Architecture Dissertation Thesis by Preetish Priyadarshi Nayak | 25

INTERACTIVE DISPLAYS

fig. 2.10. Interactive displays at, (left) Jewish Museum, Berlin, (right) The Cleveland Museum of Art, Ohio

MODULAR DISPLAYS

fig. 2.11. Container displays at, (left) California Academy of Sciences Exhibits, USA, (right) Modular Display Frames designed by Mobile Studio Architects

26 | Department of Architecture and Regional Planning, IIT Kharagpur

Museum of Urban History, Bhubaneswar

OPEN DISPLAYS

fig. 2.12. Open displays at, (left) Acropolis museum, Athens, (right) BMW Museum, Munich

VIRTUAL REALITY and AUGMENTED REALITY DISPLAYS

fig. 2.13. Container displays at, (left) A VR scene created in National Museum of Finland, (right) The Cleveland Museum of Art, Ohio

A final year Bachelor of Architecture Dissertation Thesis by Preetish Priyadarshi Nayak | 27

fig. 2.14. Viewing distance should increase with greater size ofobject

fig. 2.15. Difficulties encountered in viewing

fig. 2.16. (right) Measurements of adult and six-year-old

details more than 3 ft below or 1 ft above oneâ&#x20AC;&#x2122;s

visitors in relation to cases

eye level. Source of above 3 figures: Time Saver Standards for Building Types

fig. 2.17. (right) Viewing bands for adults (pink) and pre-fives (blue). Source: Glasgow Museums Display Guidelines

28 | Department of Architecture and Regional Planning, IIT Kharagpur

Museum of Urban History, Bhubaneswar

Viewing Bands - General Wall, screen and rail mounted interpretation optimum viewing bands for main text

Min height FFL mm

Max height FFL mm

E-Introduction NB Glare at child height falls between 1000mm and 1060mm

1100

1675

Graphic panels

1100

1675

Label rails

750

1225

Braille rails

750

900

Optimum Centering Level

Height FFL mm

Panels

1100

Labels (for pictures, etc)

1225

Viewing Bands - Pre-five Wall, screen and rail mounted interpretation optimum viewing bands for information

Min height FFL mm

Max height FFL mm

Screen based interpretation NB Glare at child height falls between 1000mm and 1060mm

700

1075

Graphic panels

700

1075

Optimum Centering Level

Height FFL mm

Panels

1400

Labels (for pictures, etc)

1225 Table 2.4. Viewing Bands

Source: Glasgow Museums Display Guidelines

A final year Bachelor of Architecture Dissertation Thesis by Preetish Priyadarshi Nayak | 29

2.9. L I G H T I N G

TE CHNIQU E S

Lighting assists visitor circulation and provides visual access and task lighting. It’s important for interpretation, decoration, and to create pace and ambience, and the modelling may take different forms to meet these different functions. Light levels can vary depending on the type of exhibition, the material being displayed and the desired ambience. The balance between conservation and display requirements must be carefully considered. Objects can be grouped into three categories of light sensitivity: • Insensitive to light: metals, stone, ceramics, glass and enamels. • Sensitive to light: oil paintings, wood, ivory, bone, some works on paper. • Textiles, art on paper, fur and feathers, dyed leather. Task

Maintained Illuminance

Limiting Glare Rating

Ambient lighting

50–300 lux

Visitor circulation routes

100–300 lux

Insensitive to light displays

50 lux

Sensitive to light displays

150 lux

Very sensitive to light displays

No maximum

Work surface (general)

300–400 lux

Work surface (detailed work)

400–1000 lux

Text panels

100–300 lux

Directional signage

200–300 lux

150–300 lux

10. Ramps, stairs 11. Objects, specimens 12. Reading Areas

Min Colour Rendering

90T > 4000K 500 lux

Table 2.5. Recommended minimum light levels Source: Glasgow Museums Display Guidelines

30 | Department of Architecture and Regional Planning, IIT Kharagpur

Museum of Urban History, Bhubaneswar

2.9.1 N A T U R A L

L IGHT

There are some basic principles to be followed and aspects to be considered when daylighting a museum. •

Direct sunlight should be avoided completely in display spaces.

•

UV exposure should be limited using UV filters. These filters can be built into the glazing and should be specified appropriately.

•

A range of components should be considered: - Side lighting (view windows), - top lighting (clerestories and skylights), - Shading systems (interior and exterior), - Sensors (light and occupancy), etc.

•

There are 3 ways to bring daylight into a space:

•

Side lighting—windows, etc.

•

Top lighting—skylights, light wells, etc.

•

Reflected light technique—clerestories, light-shelves, etc.

fig. 2.18. Natural lighting techniques used in(left) (left) Jewish Museum, Berlin, (middle) Louvre Abu Dhabi, (right) Kimbell Art Museum, Texas

A final year Bachelor of Architecture Dissertation Thesis by Preetish Priyadarshi Nayak | 31

fig. 2.19. Different arrangements of roof lights Source: Ernst & Peter Neufert (1936). Architectâ&#x20AC;&#x2122;s Data

32 | Department of Architecture and Regional Planning, IIT Kharagpur

Museum of Urban History, Bhubaneswar

Both daylight and artificial light contain rays which may cause exhibits to fade, dry out or become discoloured or deformed if exposed to the light for long periods. But daylight is certainly the more dangerous. Directing day light on to artifacts should therefore be avoided and should be maximized in the circulation spaces

fig. 2.20. Redirection of light; light from above Source: Ernst & Peter Neufert (1936). Architectâ&#x20AC;&#x2122;s Data

A final year Bachelor of Architecture Dissertation Thesis by Preetish Priyadarshi Nayak | 33

2.9.2 A R T I F I C I A L

LIGHT

GENERAL LIGHTING This type of lighting is ambient lighting for illuminating workplaces or traffic zones that includes wide beam light distributed all over the space.

fig. 2.21. (left) San Francisco Museum of Modern Art, (right) Neues Museum, Berlin

ACCENTUATION Narrow beam accent lighting brings high luminance to sculptures and paintings, provide centre of attention in the space.

fig. 2.22. (left) Kimbell Art Museum, Texas, Texas (right) Guangdong Museum, China

34 | Department of Architecture and Regional Planning, IIT Kharagpur

Museum of Urban History, Bhubaneswar

WASH LIGHTING This type of lighting includes wide beams of light and it is applied for lighting of spatial zones or illumination of large objects

fig. 2.23. (left) The Bihar Museum, Bihar, (right) Penn Museum, Pennsylvania

WALL WASHING This type of light includes vertical luminance that structures and defines spatial situations. The effect of this brightness gives feeling of security to visitors

fig. 2.24. (left) British Museum, London, London (right) 171 Collins Street, Melbourne

A final year Bachelor of Architecture Dissertation Thesis by Preetish Priyadarshi Nayak | 35

PROJECTION Projectors are applied for projecting signs, and images. This type of lighting applies for creating light effects and pattern by using different lens and gobos.

fig. 2.25. (left) Artist Jim Sanborn Angry at Toronto Installation, (right) The Bihar Museum, India

ORIENTATION LIGHTING This type of lighting helps in perception of space by applying light point along pathways and during stairs to give visitors direction on their movement

fig. 2.26. (left) Istanbul Modern Museum, Museum (right) Lapidarium Museum, Novigrad, Croatia

36 | Department of Architecture and Regional Planning, IIT Kharagpur

Museum of Urban History, Bhubaneswar

fig. 2.27. Artificial Lighting Techniques Source: Ernst & Peter Neufert (1936). Architectâ&#x20AC;&#x2122;s Data

A final year Bachelor of Architecture Dissertation Thesis by Preetish Priyadarshi Nayak | 37

2.10. C O L O U R Colors set the mood for the space but in perceiving information color combinations plays major role. In general visitor areas, display spaces and rooms, colours for graphics panels and labels must maintain a high contrast (80%) between text and background. When choosing colours: 1. Walls, doorways, and furniture are visually separated from the floor colour. People with low vision and visual perceptual difficulties require at least 70% contrast in colour and hue to negotiate a space. 2. If adequate colour contrasts between structures are not achievable then think about using contrasting strips of colour around the bases of walls, structures or furniture 3. If a space requires low lighting for conservation or atmospheric reasons, think about using lighter colour ranges to compensate. 4. Colours and patterns of display floor surfaces must give accurate information about the depth, height, and condition of the floor surface. Avoid patterned carpets and floor tiles on uneven surfaces and in low-lit areas. 5. Avoid certain colour combinations, particularly those within the same tonal range, such as red on green or vice versa and blue/yellow

fig. 2.28. Notice the contrast betwwen the painting and the wall colour which directs userâ&#x20AC;&#x2122;s focus towards the painting. A painting at Contemporary Art Museum St. Louis, Missouri

38 | Department of Architecture and Regional Planning, IIT Kharagpur

Museum of Urban History, Bhubaneswar

2.11. S O U N D

According to t good acoustical environments are essential in a museum due to the following reasons: 1. Avoid intrusive overlapping sound between different sound sources within a display area. Some people with hearing impairments or people who have difficulty filtering multiple stimuli cannot separate foreground from background noise 2. Avoid intrusive overlapping sound from interactive activities; and 3. Design display layouts and specific story display structures to minimize sound overlap.

2.12. S A F E T Y

SE CU RITY

1. Donâ&#x20AC;&#x2122;t place objects in such a way that they could present a hazard to visitors. 2. Avoid placing objects less than 305mm in height on the floor. If objects smaller than this must be placed at floor level, they should be placed away from the circulation route, be well lit, and placed against a contrasting background or protected by psychological barriers. 3. All object displays, cased or otherwise, must be viewable by all, including people who are small in stature or in wheelchairs. 4. Cased objects will where possible be displayed within the optimum viewing band. Smaller 2D or detailed objects will be displayed within the narrower recommended viewing band.

700 mm 2000 mm

750 mm

fig. 2.29. (left) Recommended distance, (right) Exhibits should be visible to all users. Source: Glasgow Museums Display Guidelines

A final year Bachelor of Architecture Dissertation Thesis by Preetish Priyadarshi Nayak | 39

fig. 2.30. Schematic picture showing all the possible security steps that can be taken Source: Jim Lane (2016). Art Museum Security

Jim Lane in his article Art Museum Security (2016), has enlisted a number of steps that can be taken to ensure proper security of the museum. 1. Small and wireless, vibration sensors placed behind a painting can detect the lightest finger tap. 2. Inventory numbers written on the canvas back and recorded in a registrarâ&#x20AC;&#x2122;s catalog. 3. At the bottom centre of the painting, a metal boiler plate screws into both the frame and the wall. 4. Glazing protects some paintings. 5. Environmental sensors for fire, temperature changes and other hazards can be used to complement theft-deterrent sensors. 6. Around the edge of the room, a low rail creates a border discourages people from getting too close to the artwork (purely psychological). 7. Motion-detection devices beamed directly over the painting sound a chirping alarm to startle the too-close observer. 8. Saturation motion detection used in any given exhibit space. 9. Closed-circuit TV cameras. 10. Fire 10. Fire alarms, sprinklers and temperature controls are mandated in any exhibit space. 11. Windows fitted with alarms. 12. Security 12. Security guards need to remain alert all the time and stay prepared for any sort of adverse situation.

40 | Department of Architecture and Regional Planning, IIT Kharagpur

Museum of Urban History, Bhubaneswar

2.13.

I NT E R AC T IV E S

Glasgow Museums Display Guidelines (n.d.) Suggests that all interactives will be designed so that they are accessible and usable by all visitors. Operating instructions should be clear and featured on the desktop or wall mounted. The following table gives an idea about the maximum and minimum distances of interactives placement for easy operation.

Interactive Controls

Min height FFL mm

Max height FFL mm

Table mounted – Under 5s

1100

600

Table mounted – standing 5–14

520

825

Table mounted – standing general

670

925

Table mounted – standing general

670

825

Wall mounted controls – Under 5s

460

800

Wall mounted controls – standing 5–14

520

1020

Wall/rail mounted controls – standing general

670

1050

Wall mounted controls – wheelchair general

670

1020

The recommended control mounting height for general use is 725mm FFL 10. Listening device – standing 5–14

1017

11.

Listening device – standing general

1500

12.

Listening device – wheelchair general

1017

13.

Speaking device – standing 5–14

1015

14.

Speaking device – standing general

1350

15.

Speaking device – wheelchair general

1015

16. Viewing device – standing 5–14

1010

1475

17.

Viewing device – standing general

1365

1700

18.

Viewing device – wheelchair general

1060

1275

19.

Reach – standing 5–14

545

880

20. Reach – standing general

827

1048

21.

410

705

624

835

Reach – sitting 5–14

22. Reach – sitting general

Table 2.6. Measurements for controls and operating systems Source: Glasgow Museums Display Guidelines

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2.14.

B D A’ S

B U ILD ING

BY-L AW S

Bhubaneswar Development Authority (BDA) has prescribed a set of guidelines for building Museums in the city. All those guidelines has been detailed out in this section. All information provided in this section has been collected from BDA (Planning & Building) Regulations Report- 2018. Only data relevant to Urban History Museum and its site have been discussed. Construction near important buildings (p. 27) No building exceeding 10 meters height shall be permitted without clearance from Commissioner of Police within 200 meters radius from the boundary of the Governor’s House, Odisha State Secretariat, Odisha Legislative Assembly, Residence of the Chief Minister and any other such important building as may be notified by the Competent Authority, from time to time. Major buildings and their distance from the site: 1. Governor House to site : 825m 2. Odisha State Secretariat : 600m Height of a Building (p. 51) The site is at a distance of 2000 meters from the airport towards the Transitional Area. As per Table No. 9, BDA (Planning & Building) Regulations Report- 2018, the maximum permissible height above the elevation of the airport reference point of the building can be 30 meters without any restrictions. If in any case the building height exceeds 30 meters then a ‘No- Objection Certificate’ from the Airport Authority needs to be issued. Height exemption of a building (p. 54) The following appurtenant structures shall not be included in the height of the building, namely: 1. Roof tanks and their supports (with support height not exceeding 1 meter) 2. Ventilating, air conditioning, lift rooms and similar service equipments 3. Stair cover (mumty) not exceeding 3.0 meter in height 4. Chimneys, parapet walls and architectural features not exceeding 1.2 meter 5. Height of the ceiling of the upper basement roof not exceeding 1.5 meter from the average surrounding ground level 42 | Department of Architecture and Regional Planning, IIT Kharagpur

Museum of Urban History, Bhubaneswar

Table 2.7. Land Uses Permitted/Prohibited in different Land Use Zones Source: BDA (Planning & Building Standards) Regulations-2018

Distance from Electric Lines (p. 44) No verandah, balcony or the like shall be allowed to be erected or re-erected or any additions or alterations made to a building within the distances mentioned in table below

Table 2.8. Minimum distance from the electric line Source: BDA (Planning & Building Standards) Regulations-2018

A final year Bachelor of Architecture Dissertation Thesis by Preetish Priyadarshi Nayak | 43

Plantation (p. 45) 1. Provision for plantation shall be given at the rate of minimum one tree per every 80 square meters of plot area for plot sizes more than 100 square meters and planted within the setback of the plot, but the existing trees within the plot shall be considered for this purpose. 2. Where trees need to be cut, compensatory plantation for felled trees in the ratio 1:3 (i.e., planting 3 trees for every 1 tree that is cut) within the premises shall be done and maintained. 3. At least 20% of the open spaces shall be pervious and use of grass pavers, paver blocks with at least 50% opening, landscape would be considered as pervious surface. Means of access (p. 45) 1. Every building or plot shall abut on a public or private means of access like streets, roads of duly formed of width as specified in the National Building Code of India. 2. In case of institutional, administrative, assembly, industrial and other nonresidential and non-commercial activities, the minimum road width shall be 12 meters. Minimum setbacks for non-high rise buildings (p. 47) 1. In case of Assembly buildings, the open space in front shall be not less than 12 meters and the other open spaces around the building shall not be less than 6 meters Minimum setbacks for high rise buildings (p. 48)

Table 2.9. Provision of Exterior Open Spaces around the Buildings Source: BDA (Planning & Building Standards) Regulations-2018

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Museum of Urban History, Bhubaneswar

Floor Area Ratio (p. 49) 1. In case of Institutional and Assembly buildings, the maximum permissible FAR shall be 1.5 for plots up to 1000 square meters and 1.75 for plots above 1000 square meters 2. FAR shall not include,— • Basements or cellars and space under a building constructed on stilts and used as a parking space, and air conditioning plant room used as accessory to the principal use; • Electric cabin or substation, watchman booth of maximum size of 10 square meters with minimum width or diameter of 1.732 meters, pump house, garbage shaft, space required for location of fire hydrants, electric fittings and water tank, society room of maximum 12 square meters; • Projections and accessories buildings are specifically exempted from the open space/setback requirement; • Staircase room and lift rooms above the topmost storey, architectural features, and chimneys and elevated tanks of dimensions as permissible under the National Building Code of India Note.—The area of the lift shaft shall be taken only on one floor; • Service Floor shall not be counted in FAR if it adheres to the provisions of these regulations Off Street Parking Space (p. 52) 1. For Museums, the parking area to be provided as percentage of total built-up area towards FAR = 50% 2. Parking to be provided at ground level, Basement or stilt floor. Permissible services in these areas shall not be accounted for parking 3. The parking spaces may be provided in for all schemes and which shall be— (i) in Basements or cellars; or (ii) on stilt floor (iii) on open parking area (iv) exclusive multi-level parking (v) a Stacked or Multi-level or Automated parking (vii) in a combination of any or all of the above. 4. For parking purposes, multiple basements shall be allowed in case of plot size of 1,000 square meters or more. 5. The roof top parking with car lift shall be allowed only in case of plinth area or roof area of 2,000 square meters or more. 6. The parking spaces to be provided shall be in addition to the open spaces (setback) required around a building under these regulations and parking may be provided in the front open space and other side open spaces A final year Bachelor of Architecture Dissertation Thesis by Preetish Priyadarshi Nayak | 45

7. For parking spaces in basements and upper storey of parking floors, at least two ramps of minimum 3.6 meters width or one ramp of minimum 5.4 meters width and in maximum 1:10 slope shall be provided and such ramps may be permitted in the side and rear setbacks after leaving 6 meters space for movement of fire-fighting vehicles and access to these may also be accomplished through provisions of mechanical lifts. 8. The museum will have parking space earmarked for ambulance, fire tender and physically challenged person and such spaces shall be clearly indicated by painting the purpose for which the parking space is reserved. Exemption in open space (p. 55) A guard room, electric cabin, sub-station, area for generator set, ATM of area less than 10 square meters shall be allowed in the mandatory open space subject to condition that the same shall leave clear vehicular driveway way of not less than 6.0 meters and 7.5 meters, respectively Barrier Free Design Strategies (p. 57) To promote universal and barrier free access for persons with disabilities, the owner of all buildings and facilities used by the public such as educational, institutional, assembly, commercial, business, mercantile buildings and Housing Projects constructed on plots having an area of more than 2000 square meters excluding private residential buildings, shall make provisions as per the guidelines in â&#x20AC;&#x2DC;Handbook on Barrier Free and Accessibility, 2014â&#x20AC;&#x2122;, published by Central Public Works Department (CPWD), Ministry of Urban Development, Government of India. The design considerations have been studied from the handbook and shall be used while designing the museum spaces

46 | Department of Architecture and Regional Planning, IIT Kharagpur

Museum of Urban History, Bhubaneswar

Fire and Life Safety (p. 118) General Exit Requirements 1. An exit may be a fire exit doorway; an internal staircase, exit passageway, external doorway, external staircase and these having access to the street or to a Veranda or to a refuge area or to the terrace or roof of a building. An exit may also include a horizontal exit leading to an adjoining building/fire compartment having its further access to unlocked/public exit at the same level. 2. For non-naturally ventilated areas, fire doors with 120 min fire resistance rating shall be provided 3. Doors in exits shall open in the direction of exit. Exit door shall not open immediately upon a flight of stair and all such entries to the stair shall be through a landing, so that such doors do not impede movement of people descending from a higher floor when fully opened 4. At least half of the required exit stairs from upper floors (rounded to the next higher number) shall discharge directly to the exterior or through exit passageways. 5. All the exits and exit passageways to exit discharge shall have a clear ceiling height of at least 2.4 m. However, the height of exit door shall be at least 2.0 m 6. Where changes in elevation of more than 300 mm are encountered in the exits, ramps or sloped surfaces shall be used with handrails and floor finish materials that contrast with the adjacent finish materials 7. The lifts, escalators, moving walks, turnstiles and revolving doors shall not be considered in determining the required capacity of means of egress for the individual floor(s) or the building. 8. In no case shall there be less than two independent basement exits

Group of Occupancy

Occupant Load Factor (m2/person)

Concentrated use without fixed seating

0.65

Less concentrated use without fixed seating

1.40

Fixed seating

Dining areas and restaurants with seating and table

The number of seats x 1.2 1.80

Table 2.10. Occupant Load Source: BDA (Planning & Building Standards) Regulations-2018

A final year Bachelor of Architecture Dissertation Thesis by Preetish Priyadarshi Nayak | 47

Egress Components 1. Exit access to firemanâ&#x20AC;&#x2122;s lift and refuge area on the floor shall be step free and clearly signposted with the international symbol of accessibility. 2. Exit access shall not pass through storage rooms, closets or spaces used for similar purpose. 3. Maximum travel distance from remote most point should be 30m. 4. The dead end corridor length in exit access shall not exceed 6 m for museums. 5. Width per person for stairways should be 10mm and level components and ramps should be 6.5mm 6. Door width shall be not less than 2 000 mm. Doorways shall be not less than 2 000 mm in height.

Staircase 1. The minimum width of tread without nosing shall be 300 mm for Museums and the maximum height of riser shall be 150 mm. The number of risers shall be limited to 12 per flight. The width of staircase shall be 2000mm. 2. Internal stairs shall be constructed of noncombustible materials throughout, and shall have fire resistant rating of minimum 120 min. 3. A staircase shall not be arranged round a lift shaft. 4. The minimum headroom in a passage under the landing of a staircase and under the staircase shall be 2.2 m 5. No external staircase, shall be inclined at an angle greater than 45Â° from the horizontal. 6. Handrails, to be provided on both sides, shall be of a height not less than 1 000 mm and not exceeding 1 200 mm. There shall be provisions of balusters with maximum gap of 150 mm. Ramps 1. The slope of a ramp shall not exceed 1 in 12 2. Ramps shall have landings located at the top, at the bottom, and at doors opening onto the ramp. 3. Any changes in travel direction in ramp shall be preceded by landings of 1.5 m Ă&#x2014; 1.5 m size.

48 | Department of Architecture and Regional Planning, IIT Kharagpur

Museum of Urban History, Bhubaneswar

Standards for sanitation requirements (p. 99)

Table 2.11. Sanitation Requirements for Assembly Buildings (Art, Galleries, Libraries Source: BDA (Planning & Building Standards) Regulations-2018

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Museum of Urban History, Bhubaneswar

CHAPTER 03

CASE STUDIES

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3.1.1. T H E

B I H A R

MUSE U M

The Bihar Museum houses a rich variety of treasures from the region, and includes event and education spaces nurturing a newfound sense of pride and connection to Biharâ&#x20AC;&#x2122;s storied history. It has been opened for public in the year 2018 and is the most recently established museum in our country. Though it is not an urban history museum but still it organizes its galleries in a story telling fashion tracing all the major events from the history that influenced Bihar. This museum creates an image of Biharâ&#x20AC;&#x2122;s evolution using interactive display techniques, artifacts, light and sound. It is an interconnected landscape of buildings and exterior spaces that maintains a modest but dynamic profile, and allows for planning flexibility in harmony with the existing site conditions.

Date of site visit: 27th September 2019

fig. 3.1. Main entrance gate of The Bihar Museum

52 | Department of Architecture and Regional Planning, IIT Kharagpur

Museum of Urban History, Bhubaneswar

PROJECT DETAILS YEAR : 2018 ARCHITECT : Maki and Associates, Opolis CLIENT : Department of Art, Culture, and Youth (DACY), Government of Bihar, India SITE AREA : 53,480 m2 TOTAL BUILT UP AREA : 24,653 m2

fig. 3.2. Entry porch of The Bihar Museum

AIM OF THE STUDY 1. 2. 3. 4. 5. 6. 7.

Understand different activity spaces in a museum Modern display techniques used Study indirect natural lighting techniques Study the integration of nature with the built form The integration of building services with other functions Building materials To understand the staff Hierarchy A final year Bachelor of Architecture Dissertation Thesis by Preetish Priyadarshi Nayak | 53

SITE PLANNING • Shaded corridor defining the building edges runs all through the perimeter of the building. This gives the building an added layer of security. • There are 5 entry points to the site each equipped with a check point. • Separate pedestrian and vehicular entry • Administrative entry and service entry are separated from public entry • Separation between service areas and display areas

fig. 3.3. Gallery spaces in first floor

fig. 3.4. Gallery spaces in ground floor

54 | Department of Architecture and Regional Planning, IIT Kharagpur

Museum of Urban History, Bhubaneswar

Storage and Workshop

Service Water Tank

Service and Administrative areas

fig. 3.5. Ground floor plan of the museum

A final year Bachelor of Architecture Dissertation Thesis by Preetish Priyadarshi Nayak | 55

GALLERY LAYOUTS There were primarily three types of galleries as shown in the figure bellow.

fig. 3.6. (left) A block layout with all exhibits alligned with the wall, (middle) some galleries were further devided by the use of modular partitions for displaying more exhibits, (right) exhibits arranged around a central sculpture

REST SPACES The museum had long galleries, due to which there were long corridors outside the museum. Seatings have arranged in a rectilinear manner in these corridors for people. There are also large grounds and open air theaters which act as resting spaces. People also go to the cafeteria situated inside the museum to relax

fig. 3.7. (left) Corridor infront of modern art gallery, (middle) open air theatre, (right) cafeteria

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Museum of Urban History, Bhubaneswar

INTERACTIVE DISPLAY TECHNIQUES The museum uses standard display techniques that were discussed in literature review chapter. Other than those discussed the museum also uses certain interactive display techniques as described in the figure below.

fig. 3.8. (left) Recreating Bihar during the Mauryans, (middle) binoculars, (right) interactive digital displays

BUILDING SERVICES The building has all its services and administrative spaces segregated from the public spaces and are arranged at the back side of the building. There are separate provisions for workshops and storage close to the office building. The major building services live HVAC units have dual machines installed at site so that if one fails than the other would replace it without affecting the experience of users.

fig. 3.9. (left) Exposed service lines (right) Cooling Unit room of HVAC system

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NATURAL LIGHT IN THE MUSEUM

The architect has very carefully included natural lighting in the museum through design. Natural light is used to light up the circulation spaces and is avoided in the exhibit areas. Direct sunlight is restricted from entering the building and only diffused light is admitted. In some galleries the circulation space is also lit using sky lights making sure that the light doesnâ&#x20AC;&#x2122;t directly fall on any exhibit.

fig. 3.10. (light) Sky light used to light up the circulation space in the modern art gallery, (right) full height facade fenestrations to bring in natural light into the circulation spaces. Note: the smaller fenestrations light up the corridor on first floor.

58 | Department of Architecture and Regional Planning, IIT Kharagpur

Museum of Urban History, Bhubaneswar

fig. 3.11. (left) Light well at the center of the entrance lobby, (right) wall fenestrations of different patterns inside the museum to direct light into the building

fig. 3.12. The above four figures are examples showing wall slits, fenestrations and jali pattern on glass being used in circulation spaces to bring in natural light.

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STAFFS IN THE MUSEUM

Position

Number of people

Director+ secretary

3+3

Asst. Director+ secretary

3+3

Accountant

Human resources department

IT manager

Security

Curator

Department guides

Advertisement and promotion

10. Restaurant

11.

Coordinators

12.

Graphics and exhibition manager

13.

Library

14.

Info Kiosk

15.

Entry staff

Table 3.1. Different positions and their staff requirements

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Museum of Urban History, Bhubaneswar

3.1.2. C H A N D I G A R H A R C H IT E C T U R E MUSE U M The Chandigarh Architecture Museum shows the birth of the city by displaying the master plans, sketches and photographs from its archival collection. It hosts some of the original plans that were conceptualized during the planning of the city. It is a museum very close to the proposed urban history museum. It has been chosen for case study to understand the display techniques that can be used to Date of site visit: 29th September 2019

fig. 3.13. The Chandigarh Architecture Museum as seen from the entry to the museum complex

PROJECT DETAILS YEAR : 1997 ARCHITECT : Ar. S.D. Sharma

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DISPLAY TECHNIQUES IN THE MUSEUM The Chandigarh museum is divided into three levels namely the first floor, the ground floor and the basement level. Each level is associated with a certain time period with respect to Chandigarh. As one moves from the basement to the first floor, one moves ahead in time. The basement level, unfolds the trauma of partition of the country and the debate around building a new capital city. Rare documents, maps and drawings show the immense effort of Indian administrators in conceptualizing a new city-from the Garden City concept to the financial input needed to create it. Evocative original sketches, studies and drawings prepared by the American team of Albert Mayer and Mathew Novicki demonstrate the enormous amount of pioneering work they did in evolving the first Master plan for the new capital city before Corbusier. The ground floor is dedicated to Corbusier’s team and their work in Chandigarh. The philosophy behind each aspect of the city is explained through studies, sketches and drawings and rare models of the Capitol buildings. Very interesting correspondence between Corbusier, Jawaharlal Nehru and Indian administration reveal the challenges of the Capital Project. Detailed models, photographs and drawings explain the monumental buildings designed by Corbusier personally for the city. Many unique pieces of furniture designed by Pierre Jeanneret are a major attraction of this section. The first floor theme “Chandigarh today and tomorrow” highlights the city’s evolution through its second phase and the beginnings of the third phase,

fig. 3.14. (left) Wall mounted panels showing different development stages of Chandigarh, (right) Furniture display

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Museum of Urban History, Bhubaneswar

fig. 3.15. (left) Master Plan of Chandigarh, (right) The Modular

fig. 3.16. (left) Building models displayed in glass container boxes

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The building has used daylighting in a very effective manner. The circulation spaces are all lit using daylight. Excessive wall openings with all its advantages also comes with certain disadvantages. This prevents the user from looking at the displays clearly. The light from the wall openings are stopped using curtains when the directly fall on the display containers.

fig. 3.17. (left) Lighting the ramp using artificial light, (right) North light admission into the building

fig. 3.18. (left) Light patches on the display reduces the visibility of content, (right) Day light lights up only one part of the model, other sides are darker and are not clearly visible

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Museum of Urban History, Bhubaneswar

3.2.1. S H A N G H A I U R B A N E X H IB IT I O N C E NTE R

PL A NNING

The Shanghai Urban Planning Exhibition Center is located on Peopleâ&#x20AC;&#x2122;s Square, Shanghai, adjacent to the municipal government building. This building showcases the city development of Shanghai with all its existing buildings along with planned development schemes used to design the city. The exhibition center displays the cityâ&#x20AC;&#x2122;s development and is therefore chosen to study the different display techniques that can be used in designing the urban history museum.

fig. 3.19. Shanghai Urban Planning Exhibition Center

Project Architect: Ling Benli of the East China Architecture Design & Research Institute The Exhibition Center is 43 meters (141 ft) high and covers a area of 3600 square meters, has a white aluminium panel cladding and a symbolic membrane structure roof. It opened to the public in 2000.

A final year Bachelor of Architecture Dissertation Thesis by Preetish Priyadarshi Nayak | 65

Shanghai Urban Planning Exhibition Hall was built to show the achievement of the city planning and construction. It has many functions, such as exhibition, reference, research, communication, recreation and entertainment. The main body of the building covers Shanghai’s development from ancient times to the present and beyond. The theme of this building is ‘City, People, Environment and Development’. There is a city model made to a scale of 1/500. The appearance of the old streets in the 1930s reminds people to think of the old passing days in Shanghai. The view of a future Shanghai is presented with high technology such as virtual reality and fantasy-view magic vision. The big city planning lifelike model displays for you the city’s vista of the future.

fig. 3.20. City model of Shanghai in the Urban Planning Museum of Shanghai (China)

The Exhibition Center is a six-story building, with two basement levels, which displays Shanghai’s urban planning and development. The focus of the exhibit is a large scale model of the entirety of urban Shanghai, showing existing buildings and approved future buildings. Other exhibits relate to Shanghai’s history and planned development, including smaller scaled models focusing on particular areas of interest such as the Bund. The Exhibition Center also has space for temporary exhibitions with a wide range of subject matter. 66 | Department of Architecture and Regional Planning, IIT Kharagpur

Museum of Urban History, Bhubaneswar

fig. 3.21. A scene comparing old Shanghai and the modern planned Shanghai

fig. 3.22. (left) Atrium of Shanghai Urban Planning Exhibition Center, with revolving model of Lujiazui, (right) physical model displays of different sectors

fig. 3.23. Interactive dispaly techniques used in the exhibition

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3.2.2. A C R O P O L I S ATH E NS

MUSE U M,

The Acropolis museum was selected for case study because similar to Bhubaneswar the Acropolis is also built on a land with a very rich and glorious history. The Acropolis Museum is an archaeological museum focused on the findings of the archaeological site of the Acropolis of Athens. The museum was built to house every artifact found on the rock and on the surrounding slopes, from the Greek Bronze Age to Roman and Byzantine Greece. It also lies over the ruins of a part of Roman and early Byzantine Athens. The aim of the study is to understand the different types of displays that could be used to display history.

fig. 3.24. The Acropolis Museum

Architects: Bernard Tschumi Architects Area: 21000.0 square meters Year: 2009

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Museum of Urban History, Bhubaneswar

The Acropolis Museum tells the story of life on the Athenian Acropolis and its surroundings by uniting collections formerly dispersed in multiple institutions, including the small Acropolis Museum built in the 19th century. The rich collections provide visitors with a comprehensive picture of the human presence on the Acropolis, from pre-historic times through late antiquity. Integral to this program is the display of an archaeological excavation on the site: ruins from the 4th through 7th centuries A.D., left intact and protected beneath the building and made visible through the first floor. This part of the museum was not the part of planning but was discovered while clearing the site. The plan was then re modified to take into account this wonderful archaeological discovery. The Museumâ&#x20AC;&#x2122;s collections are located on three different levels. Entry to the first level is by a sloping ramp with a glass floor, giving views of the ancient urban settlement below.

fig. 3.25. Archaeological site below the main entrance to the museum

A final year Bachelor of Architecture Dissertation Thesis by Preetish Priyadarshi Nayak | 69

fig. 3.26. Glass floor above the excavation

The collection consists primarily of works of sculpture, many of them being architectural pieces that originally decorated the monuments of the Acropolis, so the building exhibits them in ambient natural light as they were being displayed earlier. Inference: If the museum primarily uses natural light then the displays or articrafts, not affected by light, can be placed in top floors around the circumference of the building.

fig. 3.27. Sculpture display using natural light

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Museum of Urban History, Bhubaneswar

fig. 3.28. Sculptures displayed as a reflection of Parthenon

The columns reflects the columns of the Parthenon and between them lies the sculptures exactly at the same position as of Parthenon thus creating and reflecting Parthenon in a modern way.

fig. 3.29. Floors can also be used for display

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3.2.3. C E N T R E F RA NC E

P O MPIDO U,

PA RIS,

The Centre Pompidou is a complex building in the Beaubourg area of the 4th arrondissement of Paris, near Les Halles, rue Montorgueil, and the Marais. It was designed in the style of high-tech architecture by the architectural team of Richard Rogers, Su Rogers, Renzo Piano, along with Gianfranco Franchini. It houses the Bibliothèque publique d’information (Public Information Library), a vast public library; the Musée National d’Art Moderne, which is the largest museum for modern art in Europe; and IRCAM, a centre for music and acoustic research.

fig. 3.30. Centre Pompidou

Architects: Renzo Piano, Richard Rogers and Gianfranco Franchini Structural System: Steel superstructure with reinforced concrete floors Type: Culture and leisure

72 | Department of Architecture and Regional Planning, IIT Kharagpur

Museum of Urban History, Bhubaneswar

fig. 3.31. Entry at Centre Pompidou

The idea for a multicultural complex, bringing together in one place different forms of art and literature, developed, in part, from the ideas of France’s first Minister of Cultural Affairs, André Malraux, a western proponent of the decentralization of art and culture by impulse of the political power. In the 1960s, city planners decided to move the food-markets of Les Halles, historically significant structures long prized by Parisians, with the idea that some of the cultural institutes be built in the former market area. Hoping to renew the idea of Paris as a leading city of culture and art, it was proposed to move the Musée d’Art Moderne to this new location. It was the first major example of an ‘inside-out’ building in architectural history, with its structural system, mechanical systems, and circulation exposed on the exterior of the building. Initially, all of the functional structural elements of the building were colour-coded: green pipes are plumbing, blue ducts are for climate control, electrical wires are encased in yellow, and circulation elements and devices for safety (e.g., fire extinguishers) are red. According to Piano, the design was meant to be “not a building but a town where you find everything – lunch, great art, a library, great music”.

A final year Bachelor of Architecture Dissertation Thesis by Preetish Priyadarshi Nayak | 73

fig. 3.32. Plan

fig. 3.33. Section

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Museum of Urban History, Bhubaneswar

3.2.4. W E X N E R A RTS, O HI O

CE NTE R

FO R

THE

The Wexner Center for the Arts is The Ohio State University’s “multidisciplinary, international laboratory for the exploration and advancement of contemporary art”. The Wexner Center opened in November 1989, named in honor of the father of Limited Brands founder Leslie Wexner, who was a major donor to the Center. Current director Johanna Burton was appointed in November 2019 after director Sherri Geldin ended her 25-year tenure at the institution.

fig. 3.34. Wexner Center for the Arts

Architects: Peter Eisenman, Richard Trott and Laurie Olin Area: 10,000 m2 Type: Contemporary art

A final year Bachelor of Architecture Dissertation Thesis by Preetish Priyadarshi Nayak | 75

fig. 3.35. Use of Deconstructivist Architecture

The design includes a large, white metal grid meant to suggest scaffolding, to give the building a sense of incompleteness in tune with the architect’s deconstructivist tastes. Eisenman also took note of the mismatched street grids of the OSU campus and the city of Columbus, which vary by 12.25 degrees, and designed the Wexner Center to alternate which grids it followed. The result was a building of sometimes questionable functionality, but admitted architectural interest. The center’s brick turrets make reference to the medieval-like armory building that occupied the site until the 1958. Included in the Wexner Center space are a film and video theater, a performance space, a film and video post production studio, a bookstore, café, and 12,000 square feet (1,100 m²) of galleries.

76 | Department of Architecture and Regional Planning, IIT Kharagpur

Museum of Urban History, Bhubaneswar

fig. 3.36. White scaffold-like spine on Eastern Facade

The distinctive white scaffold-like spine that runs along the entire east faĂ§ade of the building points toward the future, evoking the impression of something continually evolvingâ&#x20AC;&#x201D;like contemporary art itself.

fig. 3.37. Axonometric view showing the referential grids

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78 | Department of Architecture and Regional Planning, IIT Kharagpur

Museum of Urban History, Bhubaneswar

CHAPTER 04

AREA PROGRAMMING

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The area requirements for different activities have been calculated using the Literature review and Case Studies. Some of the areas have been over estimated and may change during the course of design.

Spaces

Area (sqm)

Units

Total Area

Entrance Hall

General Staff

110

Meeting Room

Technical officer

Directorâ&#x20AC;&#x2122;s Office

Administrative offices

100

Toilets

Store

Public Section

100

Mauriyan Gallery

400

Jainism Gallery

400

Temples gallery

500

Na-anka Durbhikhya Gallery

200

Language Movement gallery

300

Master Plans Gallery

700

Bhubaneswar Today

800

Information Galleries

200

Kids Zone

100

ADMINISTRATION

MUSEUM EXHIBITION AREAS

80 | Department of Architecture and Regional Planning, IIT Kharagpur

Museum of Urban History, Bhubaneswar

Spaces

Area (sqm)

Units

Total Area

Lobby

Cloak room

Atrium

300

Reception

Ticket/Info desk

Shops

Offices

150

450

Mechanical rooms

Electrical rooms

Indoor cafÃ©

Janitors Room

Private restroom

Public Rest Rooms/toilet

200

Sitting Area

Service lobby

Storage

100

200

Service storage

100

Private lounge

Conference

Security

100

Meeting Plazas

250

Restaurant and food Plaza (50 people)

200

400

SUPPORT SERVICES

RECREATIONAL ACTIVITIES

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Spaces

Area (sqm)

Units

Total Area

Digital Library

200

Library + Archive

200

Discussion Area (50 capacity)

Multi purpose Hall (50 capacity)

100

Toilets

Store

Public Section

100

Store

100

Server rooms

100

Electrical rooms

Mechanical rooms

Power Backup

Pump

EDUCATION & RESEARCH

SUPPORT SPACES

Total

7736

Circulation (30%)

2320.8

Grand Total

10056.8

82 | Department of Architecture and Regional Planning, IIT Kharagpur

Museum of Urban History, Bhubaneswar

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84 | Department of Architecture and Regional Planning, IIT Kharagpur

Museum of Urban History, Bhubaneswar

CHAPTER 05

THE SITE

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5.1. S I T E

L OC AT IO N

Bhubaneswar is the capital and largest city of the Indian state of Odisha. It is a center of economic, educational and cultural importance of East India. Along with the old town, the region historically was often depicted as Ekamra Kshetra (Temple City). With the diverse ranges of heritage resources, it showcases significant sacred cultural landscape components which have evolved with the support of available natural resource base and cultural trigger. The site chosen for this project is located at the heart of the city, surrounded by buildings of state importance. It is a rectangular plot (125m x 75m) with a total area of 2.3 acres owned by the Government of Odisha. The site is adjacent to the AG square, which is the intersection of two major roads of the city the Raj Path and the Sachivalaya Marg. On either sides of the Sachivalaya Marg, this road hosts a lot of assembly buildings like the State Secretariat building, AG Office, Odisha Legislative Assembly, Keshari movie theatre and cultural event halls like the Jayadev Bhawan, Rabindra Mandap and Utkal Mandap. The Raj Path directly connects the site with the Governor house and the main market of the city. Recreational parks like the Indira Gandhi park and the Biju Patnaik Park are located very close to the site. As a result closer proximity to all these major buildings, recreational spaces and commercial spaces the site has potential to attract a large number of visitors. The site also has excellent connectivity since it is only 2Km away form the railway station and the Biju Patnaik International Airport. It is also well connected with the existing city bus network. The site also has three cycle parks and bus stops adjacent to its boundary.

fig. 5.1. Wall painting of the site boundary wall

86 | Department of Architecture and Regional Planning, IIT Kharagpur

Museum of Urban History, Bhubaneswar

SITE OWNERSHIP : Government of Odisha SITE PLOT NO.: NO.: Plot number 554, Ganganagar PLOT TYPE: TYPE: Public and Semi Public Use zone SITE AREA : 123m x 75m = 9375 sq.m. DISTANCE FROM MAJOR LANDMARKS RAILWAY STATION : 2 Km AIRPORT : 2 Km GOVERNORâ&#x20AC;&#x2122;S HOUSE : 1 Km MAIN MARKET : 350 m ODISHA STATE SECRETARIAT: 600 m

fig. 5.2. Site Adjacent access roads

A final year Bachelor of Architecture Dissertation Thesis by Preetish Priyadarshi Nayak | 87

fig. 5.3. Project Site on Google Map along with adjacent landuse plots

88 | Department of Architecture and Regional Planning, IIT Kharagpur

Museum of Urban History, Bhubaneswar

5.2. C L I M A T E

ANA LYSIS

As per the Wikipedia, Bhubaneswar has a tropical savanna climate, designated under the Köppen climate classification. The annual mean temperature is 27.4 °C (81.3 °F); monthly mean temperatures are 22–32 °C (72–90 °F). Summers (March to June) are hot and humid, with temperatures in the low 30s C; during dry spells, maximum temperatures often exceed 40 °C (104 °F) in May and June. Winter lasts for only about ten weeks, with seasonal lows dipping to 15–18 °C (59–64 °F) in December and January. May is the hottest month, when daily temperatures range from 32–42 °C (90–108 °F). January, the coldest month, has temperatures varying from 15–28 °C (59–82 °F). The highest recorded temperature is 46.5 °C (115.7 °F), and the lowest is 8 °C (46 °F). Rains brought by the Bay of Bengal branch of the south west summer monsoon lash Bhubaneswar between June and September, supplying it with most of its annual rainfall of 1,542 mm (61 in). The highest monthly rainfall total, 330 mm (13 in), occurs in August.

fig. 5.4. Average temperatures and precipitation retrieved from meteoblue.com

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fig. 5.5. Windflow direction Jan-Mar (top), windflow direction Apr-Jun (buttom)

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Museum of Urban History, Bhubaneswar

fig. 5.6. Windflow direction Jul-Sept (top), windflow direction Oct-Dec (buttom)

A final year Bachelor of Architecture Dissertation Thesis by Preetish Priyadarshi Nayak | 91

From the previous four wind direction charts of Bhubaneswar we can see that the major prevailing wind direction is from the South direction. South west direction being the second most prominent direction of wind flow. This is true for all four seasons except for the winter. During winter the prevailing wind direction is from the North and North east direction. Since Bhubaneswar has a humid climate so the wind flow direction should be taken into consideration during the design to maximize cross ventilation during the operational hours of the museum. The site is mostly a flat land with trees planted along its boundary. There is a level difference of 3 meters between the highest and the lower most point within the site.

fig. 5.7. Contour diagram of the site

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Museum of Urban History, Bhubaneswar

fig. 5.8. Sunpath diagram for Bhubaneswar

A final year Bachelor of Architecture Dissertation Thesis by Preetish Priyadarshi Nayak | 93

A NA LYSIS

fig. 5.9. Site Analysis Plan

5.3. S I T E

94 | Department of Architecture and Regional Planning, IIT Kharagpur

Museum of Urban History, Bhubaneswar

The site is well connected with the existing service lines of the city. It has service lines like sewage line, water supply line, drainage pipe lines and high tension cable line all running closely along its edges. The Raj path and the Hospital road being among the most busiest streets of the city bring lots of noise into the site. The site already has some existing vegetation within its perimeter which are marked in the plan to the left.

5.4. S I T E V I E W S

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96 | Department of Architecture and Regional Planning, IIT Kharagpur

Museum of Urban History, Bhubaneswar

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98 | Department of Architecture and Regional Planning, IIT Kharagpur

Museum of Urban History, Bhubaneswar

CHAPTER 06

SPACE ANALYSIS

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6.1. S P A C E

P R OGRA MMING

The museum will broadly host five category of spaces as mentioned below. From these broad category of spaces a group of sub spaces were identified which were required for the proper functioning of the museum. A proximity analysis was done to identify the relationship and adjacency of different space. Based on these proximity analysis a set of bubble diagrams were developed to understand the scale, proximity and adjacency of different spaces and services.

fig. 6.1. Broad category of spaces

fig. 6.2. Proximity chart for broader spaces

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Museum of Urban History, Bhubaneswar

fig. 6.3. Proximity chart for Education block(above), Proximity chart for museum (below)

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fig. 6.4. Proximity chart for informative spaces

fig. 6.5. Bubble diagram for the gallery spaces

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Museum of Urban History, Bhubaneswar

fig. 6.6. Bubble diagram for the museum spaces

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fig. 6.7. Bubble diagram for the education block(above), bubble diagram for administration (below)

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Museum of Urban History, Bhubaneswar

6.2. S I T E

Z O NING

A set of five different zones were identified based on different considerations listed later. Three different zoning plans were developed and compared to finally settle with the plan as shown below.

fig. 6.8. Schematic site zoning plan

The different properties of individual zones along with the spaces identified for them are as follows: 1) ZONE A Zone A is located adjacent to the Raj Path road which is one of the most busiest road of the city and is therefore very noisy, and for its close proximity with this road it is easily accessible by the public. Therefore this zones suits for spaces like main entrance, parking, public plazas, etc.

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2) ZONE B Similar to zone A, zone B also falls adjacent to one to one the most bust streets of the city that is the Hospital road, and for the very same reason it is easily accessible by public and is also noisy. Zone A comes with the side with larger frontage therefore it is suitable for the main public entrance for the museum, whereas zone B can accommodate spaces like the administration. Administration needs to be accessible by public as well as it shouldnâ&#x20AC;&#x2122;t be directly accessible from the main museum entrance. 3)ZONE C Zone C is away from the main roads and is therefore less noisy and less publicly accessible. This zone gets maximum amount of heat and sunlight. It is the back side of the site. Therefore it is the most suitable space for hosting building services. 4)ZONE D It has both the major roads adjacent to its edges, therefore this zone enjoys maximum frontage and has the potential to give the best view of the site from the main roads. This zone also receives eastern and northern sunlight. This place is best suited for spaces like the museum, meeting plazas, viewing balconies, etc. 5)ZONE E This place is a semi public space and is the quietest zone of the site. This zone gets maximum of north light. It is best suited for spaces like library, archive, multipurpose hall, etc.

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Museum of Urban History, Bhubaneswar

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Museum of Urban History, Bhubaneswar

CHAPTER 07

CONCEPT DEVELOPMENT

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7.1. S E M A N T I C

CO NCE PTS

MUSEUM AS A BUILDING IN LAYERS As discussed in the introduction, the city of Bhubaneswar during the course of history has been through various social, political, physical and cultural interventions. All these had significant impact on shaping the city into its current form. Later on different disaster management techniques coupled with advancement in technology took the city forward in the path of progress. During all this time the city constantly grew adopting to all modern modifications while keeping its ancient values intact. The city is constantly getting modified by the addition and deletion of different things. This idea has been captured in the museum in the form of different building layers and masses. The projected out masses along with the sharp cornered walls symbolically represent the adaptation of the city to the constantly modified modern lifestyle. This has been done to create an impact of visual movement.

fig. 7.1. Massing of the built form

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Museum of Urban History, Bhubaneswar

fig. 7.2. Boxed projections from the building

Along with these projections and angular walls there are simple boxed masses with glass to give transparency which symbolizes the old values that are still intact in the city. Local contextual elements like the patachitra paintings, laterite stone walls, etc., give the building an authentic taste and heps in tieing the old with the new, making the building more relatable with its users.

fig. 7.3. Patachitra painting at the entrance wall(left), laterite stone wall (right)

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MUSEUM AS A REFLECTION OF A CITY The museum is also supposed to act as a landmark for the city. In order to make the museum identifiable as a urban history museum the elevation of the museum towards the Hospital road is developed as an urban fabric which is a tessellation of several forms. These colorful walls representing a cityscape are basically exterior walls of the galleries folded in this particular manner to increase the wall space within the galleries. This helps in increasing the display areas within each gallery. Symbolically the user before entering the museum creates a visual connection with the galleries, which he/she later relates to once inside those galleries.

fig. 7.4. Elevation from Hospital Road

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Museum of Urban History, Bhubaneswar

7.2. M O R P H O L O G I C A L

CO NCE PT

The heart of the museum is a 1:750 scaled modeled of the entire city. This model is aligned with the true cardinal directions generating the core grid. The peripheral layers of the museum relate to the site and surroundings following a grid aligned with the site axes. The structural system mutates from the core grid to the site grid through successive layers. The museum foyer is fragmented and a significant part of it is conceived as an external open plaza.

fig. 7.5. Grid aligned with site (left), grid aligned with cardinal directions (right)

fig. 7.6. View of the atrium with city model

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7.3. C I R C U L A T I O N

CO NCE PT

Circulation is a major factor that will define the type of experience an user gets in the museum. Bhubaneswar in its earlier days used to be very close to nature, and now also due to its hot and humid climate courtyards with some vegetation is very common here. Once the user enters the museum main gate he/she is directed towards the main plaza visually by means of nature (landscaping, this will be discussed further in plans). In this museum the galleries are so arranged that if an user climbs up through the floors then he/she will symbolically travel back in time. A schematic diagram showing the flow of users from one floor to other is shown below.

fig. 7.7. Schematic inter gallery circulation

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Museum of Urban History, Bhubaneswar

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116 | Department of Architecture and Regional Planning, IIT Kharagpur

Museum of Urban History, Bhubaneswar

CHAPTER 08

DESIGN

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8.1. S I T E

C I R C UL ATIO N

The site has very good connectivity with all major city locations through the various public transportation services. Therefore the expected pedestrian footfall is much higher then the vehicular footfall. The pedestrian pathways are kept completely segregated from the vehicular pathways to avoid any conflict of interest. All the services are located at the backside of the site. They include HVAC, electrical, pump rooms, loading unloading areas, workshop and stores and the service lifts. The service entry and exit are located at the back side of the building so that the museum users do not get a direct view of the service areas. The vehicular movement for these services are expected to happen at the back side and a separate access has been provided for that. If in future, the museum demands more service spaces then those can also be accommodated in the basement and a separate service entry has been provided for the same. The service exit from the basement will be same for the service vehicle and the vehicular users. In case of fire, multiple entry points have been provided for the fire tender to enter the site. fig. 8.1. Legend for the map to the right

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Museum of Urban History, Bhubaneswar

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8.2. T H E

G R O U N D

FLO O R

The entrance is one of the most prominent part of any building. Here the entrance is very carefully designed. Once the user enters the site his vision is directed towards the tree at the center of the courtyard by means of two converging walls as shown in the image below (fig 8.2 left). as the user moves towards the tree his field of view is further reduced (fig 8.2 right). And then suddenly the entire covered plaza opens up for the user towards his left as he moves forward.

fig. 8.2. Change in view frame as an user moves towards the central plaza

fig. 8.3. View of the central covered plaza

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Museum of Urban History, Bhubaneswar

The entrance plaza has escalators, lifts and a staircase which takes the user directly to the first floor, from here the display areas start. The entrance plaza has jali frames placed over the laterite stone walls which acts as a physical barrier as well as marks the boundary of the plaza at one end. The laterite stone wall, along with patachitra paintings give the plaza a local contextual touch.

fig. 8.4. Queueing space for ticket & cloak room

fig. 8.5. Metal jali on laterite stone wall

fig. 8.6. Patachitra painting at the entrance

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There is a separate access for the administrative people and the museum staffs (fig 8.7). All the services of the building are taken care of at the ground floor level. These services include HVAC, electrical and pump rooms for both the museum and the knowledge and awareness zone. There are total three service lifts in the building. These service lifts are used for moving display objects in and out of the gallery spaces, for servicing of the cafeteria and library. At the ground floor there is also an multipurpose hall with a 200 people capacity . The multipurpose hall is supposed to be used for large stake holders meetings, for awareness plays and performances, for workshops, etc. The rear plaza is a large, paved, open to sky space which can be used for hosting small functions, events or workshops. Spaces like this plaza and aimed to improve the social interaction among people.

fig. 8.7. Red arrow marks the separate administration entrance

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Museum of Urban History, Bhubaneswar

fig. 8.8. Rear plaza being used for hosting small events and seasonal shops

fig. 8.9. Rear plaza being used for informal interactions

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The central courtyard is basically a resting space. It is the space where the user after his journey through the museum will come and introspect his learnings. Since our site is a hot and humid therefore this courtyard was essential to provide proper cross ventilation to the building. The courtyard also has a patachitra image of a bull on one of its wall. This courtyard is visually accessible from multiple parts of the building. fig. 8.10. Patachitra painting of a bull

fig. 8.11. View of the courtyard

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Museum of Urban History, Bhubaneswar

8.3. T H E

F I R ST

FLO O R

From the ground floor the users via the escalator, lift and stair come to first floor. Here we have the awareness zone which host different panel displays, modular displays and hanging displays intented to spread awareness among the citizens. Then we have the temporary gallery for temporary exhibitions and can accommodate all type displays as discussed in the literature review section. The user in first floor has visual access to all exit points of the building from the escalator. The wall fenestrations are so arranged that a user from one point can see different layers of activities happening one after the other without being

fig. 8.12. Visual connection of spaces outside and through the gallery

fig. 8.13. View of the temporary gallery

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physically present there. The director and curator rooms are on the first floor. Each of them have an attached toilet and separate waiting spaces. The library is positioned to get maximum north light. There is a small cafeteria overlooking the courtyard in front of the library.

fig. 8.14. View of the library cafeteria

8.4. T H E

S E C OND

FLO O R

The second floor of the museum hosts a 1:750 scaled model of the entire city of Bhubaneswar. This model is glass cased with metal frames in the form of latitudes and longitudes to provide structural support. This acts as the floor for the atrium.

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Museum of Urban History, Bhubaneswar

fig. 8.15. View of the Master Plans Gallery

fig. 8.16. View of the Atrium

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8.5. T H E

T H I R D

FLO O R

The city developed from a temple city. So all the four stages of temple architecture development in Bhubaneswar shall be displayed in the temple gallery. This gallery will have wall mounted displays, container displays, modular displays, open and interactive displays. The language movement and famine gallery will showcase the fight that the people of Odisha have put together to conserve their language and will also showcase the damage to life and property caused by the great famine (Na- anka Durbhikhya). It will have augmented reality and virtual reality display systems. There is a small cafeteria overlooking the courtyard and the entire 3d model can be seen from the corridor.

fig. 8.17. Interior view of temple gallery

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Museum of Urban History, Bhubaneswar

fig. 8.18. View of the courtyard from the cafeteria balcony

fig. 8.19. View of the Atrium

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8.6. T H E

F O U RT H

FLO O R

The fourth floor hosts the Mauryan and the Jainism galleries. These will mostly have container displays, wall mounted and modular displays. This floor also allows the users to closely appreciate the lattice structure that covers the atrium.

fig. 8.20. View of the lattice framework

8.7. T H E

BASE ME NTS

The basements are accessible by lifts, staircase blocks and two ramps. Except for some administration people the parking for the museum is entirely located in the basement. The basement floors have a capacity to accommodate 316 cars. The existing column grid of the building is also followed in the basement and the car parks are arranged in 90o, 60o and 30o angles to maximize the number of car parks and provide unobstructed circulation spaces. The basement levels have separate HVAC units for proper ventilation. An user can directly enter into the museum by buying tickets from the various ticket collection points in the basement. The second basement has two water tanks with a total capacity of 210

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Museum of Urban History, Bhubaneswar

8.8. M A T E R I A L

PA LLE T

Self- Healing Concrete This is the major construction material of the museum. Self healing nature contributes to a longer life and makes the building more durable and sustainable. Self- Cleaning Double Glazed Glass The exterior facade and the roof (lattice structure) of the museum are made of this material. Double glazing reduces the heat gain of the building and self cleaning nature makes it easier for maintenance. Structural Steel Steel has been used to in the atrium cover skeletal system. It is also used in the multipurpose hall in order to achieve larger spans with column free area. Laterite stone Laterite stones are locally available and they give the building a local contextual touch. They are cheaper and more durable.

Ita gold stone This is used as the flooring material for the entrance plaza. It gives that glow of gold which adds life to the plaza.

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8.9. F I N A N C I A L

FE ASIBILITY

The Museum of Urban History, not only acts as a platform for showcasing urban history, spreading awareness and promoting community participation but it also acts as a channel for making commercial profit. The museum has been planned by keeping these things in mind. The central location of the building in the city among all other important places itself will attract large number of visitors. The building itself derives the necessary funds for its operation and maintenance. The primary source of income for the facility shall be the ticketing for visitors as well as funds acquired through renting out devices, like an audio guide or augmented reality tablets to enhance the user experience A museum app that could be chargeable could also be developed that could notify the users about the new exhibits, events, and experiences added to the museum. The temporary exhibition gallery could be rented out to companies and organizations for a small duration to help them advertise their new inventions in different industries like science, technology, agriculture, food, etc. Spaces like the rear plaza and the multipurpose hall could also be rented for private events and functions. This would be another financial support to keep the museum functioning. The different kinds of visitors have different preferences, the zones like the souvenir shop and the cafeterias cater to these and also add another source of Financial Income for the Museum

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Museum of Urban History, Bhubaneswar

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Museum of Urban History, Bhubaneswar

CHAPTER 09

DRAWINGS

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LIST

O F

R E F E R E NCE S

List of Projects as per Smart City Proposal : Bhubaneswar, (Sl. no.- 21). (n.d.). Retrieved from http://smartcities.gov.in/upload/uploadfiles/files/BMC_ projects.pdf

Paul v Naredi-Rainer. (2004). Museum Buildings- A Design Manual. Basel: BirkhĂ¤user Architecture

Jasmin Yu (Eds.). (2010). Museum Display Design. Hong Kong: Design Media Publishing Ltd.

Ravi Kalia. (1994). Bhubaneswar: From a Temple Town to a Capital City. Illinois: SIU Press

Josept C., & John C. (Eds.).(1980). Time Saver Standards for Building Types. Retrieved from https://archive.org/details/ TimeSaverStandardsForBuildingTypes/page/n3

6. Ernst & Peter Neufert (1936). Architectâ&#x20AC;&#x2122;s Data. B. Baiche, Nicholas W.(Eds.). Retrieved from https://archive.org/details/Architectural_Standard_Ernst_Peter_Neufert_ Architects_Data 7.

National Building Code (2016). BIS. Retrieved from https://archive.org/ details/nationalbuilding01

Handbook on Barrier Free and Accessibility, (2014). (n.d.). Retrieved from:https://cpwd.gov.in/Publication/HandbookonBarrier.pdf

BDA (Planning & Building Standards) Regulations-2018. (n.d.). Retrieved from: https://cms.bhubaneswarone.in/uploadDocuments/Notice/ Notice20190301_114914.pdf

10. Glasgow Museums Display Guidelines. (n.d.) Retrieved from: https://www. britishcouncil.in/sites/default/files/guidelines_for_museum_display.pdf

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Museum of Urban History, Bhubaneswar

11. Bhubaneswar Smart City Proposals. (n.d.) Retrieved from: https://www. smartcitybhubaneswar.gov.in/ 12. Land Use Maps retrieved on November 02,2019 from: https:// bhubaneswarone.in/bhubaneswarone/ 13. Bhubaneswar Map retrieved from: https://www.google.com/maps/place/ Bhubaneswar,+Odisha/@20.3008702,85.7504127 14. ArchDaily. (n.d.)retrieved from: https://www.archdaily.com/ 15. The Cleveland Museum of Art (n.d.). Retrieved from: https://www. clevelandart.org/ 16. TripAdvisor (n.d.). Retrieved from: https://www.tripadvisor.in/ 17.

Jim Lane (2016). Art Museum Security. Retrieved from: http://art-now-andthen.blogspot.com/2016/09/art-museum-security.html

18. Glasgow Museums Display Guidelines. (n.d.) Retrieved from: https://www. britishcouncil.in/sites/default/files/guidelines_for_museum_display.pdf 19. Travel China Guide. (n .d.). Retrieved from: https://www.travelchinaguide. com/attraction/shanghai/urban-planning-exhibtion-hall.htm 20. Linda Hsu.(2004).Circulation In Museums. Retrieved from: https:// scholarship.shu.edu/cgi/viewcontent.cgi?article=2141&context=dissertations

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