Thesis // DIALOGIC SPACE IN A CITY OF CONFLICT

Thesis Report

Godhra Museum and Memorial complex

Pulkit Mogha A/2397/2011 Guide Ar. Archana Khanna Mentor Prof. Shirish Malpani & Prof. Sanjeev Sood Studio Director Prof. M. Bahri

SYNOPSIS

Godhra Museum and Memorial Complex: Dialogic Space in a City of Conflict The city of Godhra in Gujarat holds immense economic potential because of the proposed DMIC belt, however it remains ignored on the social and political front because of its tarnished history being the centerstage for the Gujarat Riots 2002. The presence of a museum and memorial complex in the city shows the potential for architecture to intervene in a city of social anxiety and create possibilities for people to have a dialogue. Proposed on a 2.16 hectare institutional land, the complex has a total built-up area of 24000 square meters comprising of the museum building, a community hall, and rentable office space for NGOs. The complex becomes a strong conceptual playground playing on the Idea of two contrasting elements coming together to create an in-between which I hypothesize as the dialogic space.

Keywords: Rapid Urbanization, Museum Design, Institutional building, Memorial, Gujarat Riots 2002, DMIC

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Godhra Museum and Memorial Complex

सार

गोधरा संग्रहालय और स्मारक परिसर : संघर्ष के एक शहर में संभाषण की जगह गोधरा के शहर प्रस्तावित डीएमआईसी बेल्ट की वजह से भारी आर्थिक क्षमता रखती है , लेकिन यह क्योंकि इसके कलंकित इतिहास गुजरात दंगों 2002 के लिए सुर्खियों में रहने की सामाजिक और राजनीतिक मोर्चे पर नजरअंदाज कर दिया रहता है। शहर में एक संग्रहालय और स्मारक परिसर की उपस्थिति वास्तुकला के समाज में हस्तक्षेप करने और संभावनाएं पैदा करने के लिए लोगों को एक बातचीत करने के लिए क्षमता का पता चलता है। एक 2.16 हेक्टेयर भूमि पर प्रस्तावित संस्थागत , परियोजना 24,000 मीटर वर्ग संग्रहालय के निर्माण , एक सामुदायिक भवन , और गैर सरकारी संगठनों के लिए कार्यालय के शामिल कुल क्षेत्र का निर्माण हुआ है। संस्था बनाने के लिए एक साथ आने के दो परस्पर विरोधी तत्वों के विचार पर एक मजबूत खेलने का वैचारिक खेल का मैदान बन जाता है एक के बीच में जो मैं सार्थक संवाद अंतरिक्ष के रूप में परिकल्पना करता है। कीवर्ड: तेजी से शहरीकरण, संग्रहालय डिजाइन, संस्थागत भवन , स्मारक, गुजरात दंगों 2002, डीएमआईसी

How can architecture create a space for dialogue in a site of controversy?

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DECLARATION 4th May 2016 The thesis titled “Godhra Memorial and Museum Complex” has been carried out by the undersigned as part of the Bachelors Program in the Department of Architecture, School of Planning and Architecture, New Delhi – 110002, India under the supervision of Prof. Sanjeev Sood & Prof. Shireish Malpani, and Ar. Archana Khanna.

I hereby submit 2 hard copies of the report for internal and external evaluation respectively.

The undersigned hereby declares that this is their original work and has not been plagiarized in part or full from any source. Furthermore this work has not been submitted for any degree in this or any other University. __________________ Pulkit Mogha A.2397/2011 Section-B

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Godhra Museum and Memorial Complex

CERTIFICATE 27th May 2016 This thesis was carried out during the January – May 2016 semester in the Department of Architecture under our guidance. Thereafter, based on the declaration dated 4th May 2016 by the candidate, the work was placed in front of the Juries held on 23rd, 25th & 26th May 2016. On successful completion of the Jury process and completion of the Report in all respects including the last chapter by the Candidate we provisionally accept the Thesis Report and forward the same to the Studio Director. ______________________ Archana Khanna (Research Guide)

______________________ Prof Shireish Malpani (Design Guide)

______________________ Prof Sanjeev Sood (Design Guide)

On successful completion of the course by the candidate I hereby accept this completed report on behalf of the Head of the Department to be placed in the Library of School of Planning and Architecture, New Delhi.

______________________ Prof. M.L. Bhari (Studio Director) Fifth Year Section-B Department of architecture, School of planning and architecture, New Delhi -110002

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Godhra Museum and Memorial Complex

ACKNOWLEDGEMENTS I would like to thank the university for providing me the opportunity to undertake a project of this nature, which would otherwise not materalize outside the realm of theory.

I would like to thank Sidharth, Deovrat & Dipjyoti for helping me when I needed it the most and for Rishi, Manyu, Kiran, Huzaifa, Oorvi and Shhiv for being there.

Thanking Professor Leon Morenas for that one inspiring discussion in the library on the 22nd April, Prof. Suneet Mohindru for some very constructive criticism after a stage jury and Ar. Archana Khanna for helping me structure my thoughts better than I thought possible.

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CONTENTS 1.0 DESIGN INVESTIGATION INTRODUCTION PROPOSITION PROJECT CONCEPTUAL FRAMEWORK 2.0 CORE RESEARCH POLITICAL AGENTS INFERENCES CASE STUDIES

16 21

CASE STUDY MATRIX

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3.0 PROJECT PROGRAMME PROJECT SCOPE FUNCTIONAL COMPONENTS AREA PROGRAM SITE INFORMATION

46 47 48 50

JEWISH MUSEUM GUGGENHEIM MUSEUM NY VIRASAT E KHALSA SABARMATI ASHRAM VIETNAM MEMORIAL STEILNESET MEMORIAL

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10 12 14 15

23 28 31 35 38 41

Godhra Museum and Memorial Complex

4.0 PROJECT SITE ABOUT GODHRA PRECINCT NEIGHBORHOOD SITE

52 56 58 60

5.0 DETERMINANTS MEMORIAL DETERMINANTS MUSEUM DETERMINANTS

62 64

6. DESIGN TRANSLATION EVOLUTION OF CONCEPT PROCESS EXPLORATION

72 74

7. DESIGN DEVELOPMENT STAGE 1 STAGE 2 STAGE 3

76 78 80

8. FINAL DRAWINGS

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BIBLIOGRAPHY ILLUSTRATIONS

94 95

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Design Investigation

Introduction Godhra is a town of over 462,516 (figures from Census 2011) in the State of Gujarat. Currently it is a largely dormant agricultural settlement where the rural population is twice that of the urban. This is quickly set to change because of the rapid urbanization that will be seen in this region along with surrounding Vadodara because of the Delhi-Mumbai Industrial Corridor running in close proximity to these two nodes. As a result Godhra will see a steady introduction of agro based industries in the future and this development seems to comfortably accommodate in the proposed land use scheme.

In 2002, Godhra became the epicenter of widespread communal riots in Gujarat that resulted from a case of alleged arson in a train causing the death of 58 Hindu pilgrims and led to widespread violence against a Muslim minority in following three months. The city suffered incredibly as a result of the pogrom and made visible the collapse of civil society in the city and most of Gujarat. The violence demonstrated the loss of a dialogic space in the city and the need for such a space in Godhra.

From the beginning Godhra has rich historic roots, and was an important node during the Mughal and Maratha and later under British rule (District Census Handbook, 2001). It housed important leaders of the independence movement of India, Sardar Vallabhbhai Patel, Morarji Desai and Gandhi. The father of India Cinema, Dadasaheb Phalke began his journey as a professional photographer here. The 2009 City Development Plan on Godhra submitted by PRUDA highlights the need to regenerate activity centers within the city and develop historical linkages through modern architecture.

It is in this political context that I wish to address the need for a community dialogic space in response to the tragedies of the past. I thus propose a Museum-Memorial Complex on untouched public institutional land in close proximity to the town center. A museum to encapsulate the historical time-

Godhra Museum and Memorial Complex

line of the town in all its glory and destruction built in a carefully controlled manner so as to reflect the politics of the times and a memorial that provides a meditative and peaceful environment built on utopian principles. I argue that a combination of the contrasting dialectic environment will offer a hopeful space for dialogue and hence achieve a possible intervention within an otherwise controversial context.

How can architecture create a dialogic space?

The proposal aims to understand how design can intervene in a site of controversy. By choosing Godhra because of its associated connotation for violence, I hope to create a site of peace and a building typology that reimagines the identity of a city in conflict.

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Design Investigation

Proposition Godhra suffers from a history of communal violence. In my brief visit to the town, I personally experienced a state of unrest and anxiety in society there.

Any discussion surrounding the Gujarat riots are met with visible discomfort or even hostility. For the people of a city to emerge from such a past is not easy. Such an incident can not be easily forgotten and should not be. How does a society come to terms with its own conflicts? Moreover, how does a site heal from a past of such violence and move forward?

Under no circumstance do I suggest that offers a solution to the problem faced by the city but I believe that the first step towards resolving a conflict is in being able to have a dialogue around it. Cities in conflict, bearing the scars of a violent past are not rare. While the cause may be different, the consequences are similar. Cities under seige, facing oppression, fighting for human rights, fighting to recover, fighting ignorance all leading to countless lives lost, and an uncomfortable silence. The silence must be broken.

I proposed the Museum-Memorial Complex to bring the community together and create a space for dialogue and meditation. The complex performs as: A. a site of peace, community building and engagement.

B. a site to remember the horrific past and a platform to think about it, heal as a community.

C. a site to celebrate the rich history of the city (connection to the past/traditions to gain a sense of identity).

“There would have been no riots in Gujarat if there was no Godhra.�

-Narendra Modi on Seedhi Baat, AajTak*

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Godhra Museum and Memorial Complex

The 2002 riots had big impact on Indian politics. The then Chief Minister of Gujarat, Narendra Modi, came under fire for these riots. Since then, Godhra has vanished from the political map, it has become an embarassment to the current government and resurfaces time and again through efforts of the media, activists, artists and intellectuals.

One of Modi’s pet project, the Delhi-Mumbai Corridor offers this ignored town a possibility to undertake a project of this nature. Located along the DMIC influence area strip in Gujarat, Godhra has immense economic potential that makes it important for the city to utilize it and reclaim its image.

Hence I use this (rapid urbanization under DMIC) as the reason and cause of the proposition to exist in the first place.

In a rapidly urbanizing Godhra, a memorial of peace and positivity will help pull the town into an international map. It will offer sanctuary to those seeking peace, where locals and visitors both come out feeling good. Through a center for the local community and international peace foundations, I hope to provide the city with an emblem for peace vis-a-vis what it was ill-reputed for.

*http://indiatoday.intoday.in/story/communal-riots-in-gujarat-were-unfortunate-narendra-modi/1/218781.html viewed on 20:02 IST, 05/02/2016

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Design Investigation

Project Godhra Museum and Memorial Aim: A museum to highlight the cultural differences and glories of the past of the Godhra along with the downfalls of communal riots through a memorial. A one of a kind center for peace, the complex should additionally bring together people across the spectrum to work together and collaborate, and take pride at the history of the city. Functions in the museum will do so along with generating revenue and catering to the tourism potential of the city.

I. Museum The Museum is a reflection of reality, encapsulating the historical timeline of the city. A narration of traditions/roots, that provides a sense of identity to the local and a changed perspective towards Godhra to the visitor. The museum becomes the linear transitional journey leading up to the memorial.

II. Memorial The Memorial is a reflection of the aspirations of the people; of peace and harmony. The Memorial is a utopian space that offers a meditative introspective environment.

Apart from the two elements the center should encourage community building activities, including vocational training as well as providing space for various non-governmental peace organizations to establish a base in the city.

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Godhra Museum and Memorial Complex

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Godhra Museum and Memorial Complex

Socio-Political Agents By the decision to build in Godhra, I automatically find myself working in response to a political context. The political context thus becomes a layer over the geographical context that needs careful deliberation as it is key to the beginning of a conceptual foundation. Of this context I focus on the main political players which are instrumental in framing the proposal and subsequent design decisions.

In a nutshell, Gandhi’s Gujarat has seen metamorphosis in social degeneration.

The poor remain passive in offering no challenge to the domination and power-politics of the state. The growing middle class finds itself seeking a new identity at the cusp of industrialization to validate its stake in the present and to protect its future.

Historically, caste and community has played an important contributor to this state in Gujarat. Rapid urbanization and industrialization has lead to the breakdown of the caste society and absence of traditional validation among the elite and land-holding. To bring the masses under a common majority identity, and aligning to political interests, the idea of Hindutva came to exist.

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In 1980, with KHAM (kshatriya-harijan-adivasi-Muslim combine), for the first time the upper castes sensed a political and economic threat to their domination. The temporary success of KHAM led to a massive distribution of power from the upper castes to backward castes. The educated middle class, mainly the brahmins, banias and patidars reacted sharply by starting an agitation against the reservation system in 1981. The myth of Gandhi’s Gujarat - peaceful, tolerant and non-violent - exploded. A modem industrial metropolis stood witness to extreme forms of caste violence.

the issue in the second anti-reservation agitation in 1985 was the hike in job quotas of the non- dalit backward castes, the victims were all dalits. During these two agitations, the brahmin-bania-patidar combine acquired a swarna unity. By the mid-1980s the message of the Vishwa Hindu Parishad, the ideology of Hindutva came to replace swarna as the binding cement for the Hindus.

Earlier the ultimate symbolic target of hate was the Dalit; now it was the Muslim. At last, the Gujarati middle class had begun to foster a new ‘brotherhood’. The ideology became a ready anchor for rootlessness and as a substitute for traditions, they found security within the ideology of Hindutva. For the dalits and adivasi middle class it was a chance to cast off their ‘inferior’ identity by joining the expanding Hindutva fold.

It was not surprising to see many young people who became active participants in the violence and loot at the time of the riots. These youngsters, in their late teens and early twenties have grew up on a diet of anti-minority invective and the voicThe first anti-reservation agitation es of moderation, of liberal thought was aimed at the dalits. Although and tolerance have been missing

from their environment and not emphasized or valued in their formal education. That along with ghettoization of hindu and muslim communities was responsible for the decline in social interaction between the communities. There are fewer and fewer chances for children to play together and establish any bonds.

[All the above information is credited and quoted from the mentioned sources(s)]

From here I take the idea that this rootlessness and loss of identity that was seen in society was a product of industrialization, rapid urbanization, unprecedented development, modernization. And while the physical infrastructure was accounted for, the societal front was left vulnerable to the hands of those who saw them as steady vote banks they could yield power from. A society still grappling with its identity, was grounds for easy communal conflict. The result was the Gujarat Riots of 2002.

Godhra Museum and Memorial Complex

Gujarat Riots –Godhra as site for communal violence On the 27th February, following the demolition of Babri Masjid; four coaches of the Sabarmati Express carrying 58 passengers, mostly ‘karsevaks’ of VHP returning from Ayodhya were found burned alive. Most of them women and children. The incident happened some distance from the Godhra station, and local newspapers and politicians were quick to dissipate what became common knowledge that the muslims in Godhra were responsible for the incident. Allegedly previous trainloads of karsevaks had established a reputation for harassing Muslims along the way , and Godhra Muslims had their own reputation for violence: ‘Few Gujaratis have forgotten the burning alive of a family of five Sindhis by Godhra’s Ghanchi Muslims during the 1980 Sindhi-Ghanchi riots. The town is notorious for communal riots .’ Godhra’s population was politicized and communalized.

were killed and some 140,000 were left homeless. The chief minister of Gujarat, Narendra Modi, immediately explained the sequence of events as ‘action-reaction. ‘ He referred to the events in Godhra as a conspiracy supported by Pakistan. India’s Prime Minister at the time, Atal Behari Vajpayee said ‘If there had been no Godhra, the tragedy in Gujarat would not have occurred. If a conspiracy had not been hatched to burn alive the innocent passengers of the Sabarmati Express, then the subsequent tragedy in Gujarat could have been averted. The subsequent events were no doubt condemnable, but who lit the fire?’

Gujarat’s tragedy has received abundant scholarly and journalistic attention as one of the worst outbreaks of communal violence in India since independence and partition. Most accounts and interpretations are highly politicized. No explanation of the events at the Godhra station will ever be fully accepted.

be pre-planned. By the evening of 27 February, the Vishwa Hindu Parishad (VHP), an intensely militant Hindu organization, allied with the BJP, called for a state-wide bandh, a general strike, for the next day.

Historically, at times of such acute tensions, such bandhs served as only-vaguely-disguised calls for rioting and violence. For the first three days, the bloodiest period, the police, apparently under orders from the state’s chief minister, did little to intervene.

Sometimes they joined in the attacks.

The attacks thus became a pogrom, that is, an assault by one community on another in which the government turns a blind eye or even supports the attackers.

Economic losses were incredible. The riot was extensively seen by round the clock media coverage making it the first live televised riot in India.

On April 7 they broke up a peace meeting in the historic ashram of Mahatma Gandhi himself, forcing some of Gujarat’s best known figures to flee. The ashram then closed Within 24 hours of the attack in its doors to further peace-keeping By the next day reprisal attacks on Godhra, Hindus there and through- efforts. Militants targeted Muslim Muslims began through much of out the state began retaliatory raids students in the schools. VHP threats Gujarat state. Almost 2,000 people on Muslims. The raids appeared to made sure headmasters were forced

to relay to muslim parents that they could no longer guarantee the safety of their children . Tombs of revered saints and scholars were vandalized, destroyed and paved over, sometimes with state resources. The tomb of the famous seventeenth-century Urdu poet Shah Wali Gujarati , located just outside Ahmedabad’s main police headquarters, was destroyed on 2 March and a make-shift Hindu temple with a saffron flag was briefly put in its place. Sadism, especially sexual sadism against women , amplified the horror and has been described elsewhere at great, and horrifying, length.

Investigations into the causes of the violence cited the Gujarati language press as a force instigating and perpetuating it. The Editors Guild of India dispatched a Fact Finding Mission to Gujarat on 31 March which found that most local and national reporting had been exemplary and impartial, with the glaring exception of the two largest Gujarati language newspapers in the state. A women’s fact-finding group also cited both the Gujarat Samachar and Sandesh, each of which sells nearly a million copies each day across the state, for 17

Core Research

publishing especially inflammatory, false, accounts of attacks on Hindu women . Subsequently, Chief Minister Modi congratulated Sandesh, the more flagrant of the two, on the high quality and even-handedness of its reporting.

Television reporting divided similarly between local broadcasting, which tended to condone the violence, and national broadcasting, which tended to condemn it . K.K. Shastri, a past president of the Gujarat Literary Society, and chairman of the VHP, spoke out in appreciation of the violence against Muslims: cIt had to be done, it had to be done. We don’t like it but we were terribly angry. Lust and anger are blind ... the rioters were well bred Hindu boys ... charged because in Godhra women and children were burnt alive. The crowd was spontaneous. All of them were not VHP people ... They are angry because Hindutva [the Hindu nation] was attacked’.

Despite the large proportion of Jains, for whom ahimsa [non-violence] is a fundamental principle, and of Hindu Vaishnavas, for whom it is also an important value, 18

The violence went on for months, although in less intense and more scattered form. In early May, when incidents of violence spiked again, the central government dispatched the former director general of the Punjab Police, K.P.S. Gill as an advisor to Chief Minister Modi on bringing state back to normal. Gill encouraged dialogue between Hindus and Muslims, transferred police officers who were allied with Hindu mobs. It took three months for the situation to subside.

Quoted: AHMAD, R. (2002). Gujarat Violence: Meaning and Implications. Economic and Political Weekly. 37, 1870-1873.

SPODEK H. (2010). In the Hindutva Laboratory: Pogroms and politics in Gujarat, 2002. Modern Asian Studies. 44, 349-399.

YAGNIK, A., & SUCHITRA SHETH. (2002). Whither Gujarat? Violence and After. Economic and Political Weekly. 37, 1009-1011.

Gujarat was a crucial site of Mahatma Gandhi and his ashram was established here. He insisted on values of ahimsa and on hindu-muslim alliances. Demographically pre-Independence Gujarat had a lot of Muslim residents. Thus Gandhi politicized non-violence in his efforts to bring society together. The political undertone at the time Gandhi was based in his ashram was centered on communal peace and harmony. However this dissolved soon after Gandhi’s departure from Ahmedabad (1930) marking a shift in politics of non-violence to violence.

Around Independence, a large part of the Hindu population in Gujarat was after all refugees who fled Pakistan at the time of the partition and almost half the population then was Muslim. Since then Gujarat saw riots in 1969, 1981, 1985, 1986, 1993, 1999 and the Gujarat Pogrom now. The 1969 riots were worse. With thousands of people killed, a mostly muslim majority, these riots were declared spontaneous but incited by members of extremist Hindu political organizations. The economy gradually suffered immense losses across the years.

Around 1990s, the New-liberal economy came to be. An unpredictable scenario, society witnessed new opportunities, investments but also experienced disparate poverty and wealth in one place. There were new anxieties and displacement from a familiar context for the people in Gujarat.

Social hierarchies were simultaneously roused by the attempts of the Congress to introduce policies to protect the rights of dalits and OBCs thus adding to anxiety Liberalization and globalization contributed to the changing social atmosphere.

Godhra Museum and Memorial Complex

DMIC –Godhra as Special Investment Zone Since Economic Liberalization policies of 1991, the Delhi-Mumbai Industrial Corridor is one of the largest, most ambitious projects witnessed in India. A transportation spine (consisting of the DFC (Dedicated Freight Corridor) that connects northern states to the western ports, reducing travel time and boosting revenue in goods. The mega-infrastructural project covers over 1480 km with cost projections of around 100 billion USD. The project materialized after promises of investment from Japan as a product of the Japan-India Summit (April 2005).

When completed, the DMIC will feature an industrial zone spanning the length of the corridor with “smart cities” that will accelerate the expansion of industry and infrastructure throughout the region. One of the main goals of the DMIC is to foster a stronger, globally competitive economic base in India that additionally creates favorable conditions for local commerce, foreign direct investment

and long-term sustainable develop- 2009, the Special Investment Region ment.

(SIR) Act. This Act further simplifies and smoothens the procedure for The DMICDC and other purveyors setting up special investment nodes of the DMIC, in their various press (which include SEZs) by creating an releases and statements describe the Apex Authority empowered to be the creation or formation of 24 new cit- “single window system and the first ies as central to the projects goals. contact for setting up any economic However, the most important per- activity or amenity in the SIR” .10 fomative criterion employed to de- Measures such as the SIR Act have scribe and discuss projects is the ease led Amitabh Kant, the CEO of the in facilitation of the flow of global in- DMICDC to describe Gujarat as vestment and capital. An ‘Investment having taken the “leadership in the Region’ as classified by the DMICDC DMIC.” It is also entirely unsurprisis a “specifically delineated industrial ing that Government of Gujarat has region with a minimum area of over approved more than 60 SEZs since 200 square kilometers while an ‘In- the announcement of the DMIC dustrial Area’ has a minimum area project. of over 100 square kilometers . These “special investment nodes” contain Episodes like the SIR Act make it amwithin their extents combinations ply clear that the DMIC might very of food processing zones, industri- well be a ‘fast track’ bureaucratic real parks, business parks and SEZs. gime to facilitate a constellation of Along with actively encouraging the new SEZs and ‘integrated townships’ creation of Special Economic Zones, which will in effect, transform the the DMIC makes the setting up of Western half of India into a containSEZs radically simpler with ‘single er for agglomerations of small and window’ clearances and low upfront medium sized ‘zone cities’ – a form costs. of SEZ urbanism that will be unprecedented in size and scale.

The State of Gujarat under its erstwhile Chief Minister Narendra Modi On one end of the spectrum of poswent one step further by enacting in sibilities is the optimistic promise of

a project that will produce a decentralized urbanism that relies on the disposition of a linear bundle of hard as well as soft infrastructures, to establish a set of new, as well as nourish a set of existing urban economies in the form of small cities. On the other end, it is entirely possible that the DMIC will devolve into a belt of special investment regions which will house special economic zones – and leave in its wake widespread dispossession, acute disparity, and resource depletion and environmental damage. In both cases, the DMIC will have changed the landscape of India, and that of Godhra, and it is imperative that we follow it very closely.

[All the above information is credited and quoted from the mentioned sources(s)]

Quoted: EASTERLING, K. (2014). Extrastatecraft: the power of infrastructure space.

GHOSH, S. DMIC(http://extrastatecraft. net/Projects/DMIC)

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Core Research

A zone, many-named, unique in economic policy, governed by an extrastate (cited from Extrastatecraft), is the future of urbanization in India. In the context of economic liberalization, global policymaking, and foreign trade and service, the zone emerges as an enclave of special opportunities of economic gains that seem to benefit all those involved. Seen across scales and sizes, the zone is a collection of urban forms, complete with residential, recreational, commercial, educational and administrative facilities.

The DMIC comes cloaked in possibilities and aspirations, which not only appear manifold, but in doing so, transcend political, financial and economic ideologies with alarming ease. Its promises a future of rapid urbanization and a new distributed urbanism of small and big industrial townships, of smart cities and the future of infrastructural growth in India.

The alignment of the proposed DFC passes through Palanpur, Mahesana, Ahmedabad, Vadodara, Bharuch and Valsad in Gujarat. The DMIC influences a belt of investment region within 200 kms along the corridor. About 62% of area of the state is covered within this influence area. The state of Gujarat, with longest coastline of 1600km along the west coast and other natural resources offers wide range of opportunities for development of new SEZs. Key industrial sectors in the state include Gems & Jewellery, Engineering, Chemicals & Petrochemicals, Oil& Gas, Textiles & Apparels and Food processing. The emerging sectors include IT/ITES, Auto/Automobile, ship repairing/building, tourism and Knowledge Hubs. Based on the strengths of specific regions across the state, five development nodes are identified in the influence area of DMIC. One of the major nodes in discussion, the Vadodara-Ankleshwar Industrial area is set to be a major station for the DFC. Its proximity to Godhra makes the town likely to undergo rapid urbanization, and formation of Indutrial townships in the regions, which reflects in the land use of Godhra. Godhra itself has over 147ha of industrial land (Godhra Development Plan 1988) subject to re20

vision now that it falls under investment region.

Because of the contribution of the DMIC to rapid urbanization and the unique bylaws that will apply in it politics as a result of belonging to an investment region, I wish to explore working in such an environment that promises to be the future of urbanization in the country. Further I supplant a context of industrial townships, commercial zones and large public infrastructure instead of the existing low density rural sprawl and farmlands which will soon be consumed by the DMIC.

Godhra Museum and Memorial Complex

Inferences The history of communal riots in Gujarat and Godhra are a matter of concern to any urbanist or architect dealing with Gujarat. It is important to understand the reason for this history and to respond to it.

Society in Gujarat is/has been experiencing a loss of identity and rootless-ness. That combined with the rapidly modernizing conditions contribute to the unrest and anxiety. The project hence seeks to anchor the local population and society in gujrat to their traditions. Provide them with an outlet to subscribe to their traditional roots.

The city of Godhra will forsee immense urbanization, the bylaws applicable will reflect these possibilities.

The project will hence respond to the needs of an urbanized ‘zone’. The program will include functional elements that respond to an extra-state, SEZ environment.

The project aims able to sustain through a revenue generating model by investment opportunities within the program requirements to make it more viable and likely to perform on ground. This includes providing spaces catering to capitalist needs and its countering subcultures in CSRs, NGOs and unions.

The Project will approach the design with an understanding of the forces of Globalization and liberalization in the context. This comes with an understanding that economic and technological forces play crucial roles in how cities work. This becomes relevant in the wake of promises of smart sustainable cities in Gujarat.

The response to matters of religion and caste are of a sensitive nature and hence will be addressed (unfinished) The project will seek to highlight, without directed intent, the complex issues at hand. It will respond to the violent tragedies of the past and present, the anxieties of the middle class, a loss of identity and the search for a new one, negotiation with culture and technology, the growth of a neoliberal economy, and stepping into threshold of a new decentralized urbanism.

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Core Research

Godhra Museum and Memorial Complex

Jewish Museum

1. Basic Information: Architects- Daniel Libeskind Site Area- 15000 m sq.

Location- Berlin, Germany, Europe Client- Government of Berlin, Year Built- 1992-1999 2. Context: Geographical Analysis Berlin is situated in northeastern Germany, in an area of low-lying marshy woodlands with a mainly flat topography, part of the vast Northern European Plain which stretches all the way from northern France to western Russia. Located in northeast-

ern Germany on the banks of Rivers Spree and Havel, it is the centre of the Berlin-Brandenburg Metropolitan Region, which has about six million residents from over 180 nations.

Around one-third of the city’s area is composed of forests, parks, gardens, rivers and lakes.

Climatic Analysis Generally, it is cold and temperate in Berlin. Berlin is a city with a significant rainfall. Even in the driest month there is a lot of rain. According to KĂśppen and Geiger, this climate is classified as Dfb (Humid 23

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Continental - Cold without dry season but warm summers). The temperature here averages 9.1 °C. The rainfall here averages 570 mm.

Figures: (Anti-clockwise from center-left) Exhibition spaces and fenestrations; the built with adjoining Gardens; “Fallen leaves” representing the Jews murdered by the Nazis; (Top) Initial sketches, Libeskind.

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Demographics and Infrastructure On 31 December 2014, the citystate of Berlin had a population of 3,562,166 inhabitants in an area of 891.85 km sq. The city’s population density was 3,994 inhabitants per km sq. Berlin is the second most populous city proper in the EU. The urban area of Berlin comprised about 4 million people making it the seventh most populous urban area in the European Union.

Historical / Socio-cultural Influence The history dates back to 1933 when ill-treatmentof Jews in Germany was started. During the World War II, this took a more ugly face. Jews right to own property was confiscated followed by right to life. Upon Hitler’s authorization, German authorities began systematic deportations of Jews from Germany in October 1941, even before the SS and police established killing centers in German-controlled Poland. German Jews “deported to the East” suffered automatic confiscation of their prop-

erty upon crossing the Reich frontier.

The Germans and their collaborators killed between 160,000 and 180,000 German Jews in the Holocaust, including most of those Jews deported out of Germany.

The origins of the Jewish Museum Berlin date back to the 1970s in West Berlin. At that time, there was no museum in Germany devoted solely to German-Jewish history, but just a few exhibitions on the history of Jewish culture had been shown throughout the 1960s. An independent museum governed by the Jewish community – like the museum in the Oranienburger Straße that was forced to close in 1938. The desire was rather to integrate Jewish history into general city history, but still keep it separate. The concrete administrative and conceptional implementation of these ideas was fertile ground for conflict, particularly against the backdrop of the profound historical upheaval since 1989.

In 1988, the Berlin government announced an anonymous competition for the new museum’s design. A year later, Daniel Libeskind’s design was chosen by the committee for what was then planned as a “Jewish Department” for the Berlin Museum.

Godhra Museum and Memorial Complex

While other entrants proposed cool, neutral spaces, Libeskind offered a radical, zigzag design, which earned the nickname “Blitz” (“Lightning”).

3. Vision (of the client/building/architect) The museum exhibits the social, political and cultural history of the Jews in Germany from the fourth century to the present, explicitly presenting and integrating, for the first time in postwar Germany, the repercussions of the Holocaust. Daniel Libeskind’s design, which was created a year before the Berlin Wall came down, was based on three insights: • It is impossible to understand the history of Berlin without understanding the enormous contributions made by its Jewish citizens • The meaning of the Holocaust must be integrated into the consciousness and memory of the city of Berlin; and • Finally, for its future, the City of Berlin and the country of Germany must acknowledge the erasure of Jewish life in its history.

4. Design Concept Libeskind believes in architecture as a form of communication. As a deconstructivist, Libeskind often uses

explicit metaphors of fragmentation in his works, especially in regards to historical events like wars and the Holocaust.

“For me, a building is a medium to tell a story. It’s not only about itself ” “Architectural space, as I see it, has to be part of the story it’s trying to communicate. It’s not just a container to be filled; it’s part of the symbolism of the building. And the symbol transports you beyond the material reality and, in architecture, toward that which language itself cannot fully articulate” (Quoted in Libeskind & Goldberger, 2008).

The new Museum building is housed next to the site of the original Prussian Court of Justice building which was completed in 1735 now serves as the entrance to the new building. The visitor enters the Baroque Kollegienhaus and then descends by stairway through the dramatic Entry Void, into the underground. The existing building is tied to the new extension, through the underground, thus preserving the contradictory autonomy of both the old and new structures on the surface. The descent leads to three underground axial routes, each of which tells a different story. The first leads to a dead end – the Holo-

Figures: (Clockwise from top-right) exterior envelope; view down from the central stairway; sketches of the stairway.

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Godhra Core Research Museum and Memorial Complex

caust Tower. The second leads out of the building and into the Garden of Exile and Emigration, remembering those who were forced to leave Berlin The third and longest, traces a path leading to the Stair of Continuity, then up to the exhibition spaces of the museum, emphasizing the continuum of history.

5. Additional highlights:

Figures: (Left) Aerial view of the museum with the main museum building; (Top) Initial sketches, Libeskind.

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The Jewish Museum Berlin is located in what was West Berlin before the fall of the Wall. Essentially, it consists of two buildings – a baroque old building, the “Kollegienhaus” (that formerly housed the Berlin Museum) and a new, deconstructivist-style building by Libeskind. The two buildings have no visible connection above ground. The Libeskind building, consisting of about 161,000

Godhra Museum and Memorial Complex

square feet (15,000 square meters), is a twisted zig-zag and is accessible only via an underground passage from the old building. A line of “Voids,” empty spaces about 66 feet (20 m) tall, slices linearly through the entire building. Such voids represent “That which can never be exhibited when it comes to Jewish Berlin history: Humanity reduced to ashes.”

In the basement, visitors first encounter three intersecting, slanting corridors named the “Axes.” Here a similarity to Libeskind’s first building – the Felix Nussbaum Haus – is apparent, which is also divided into three areas with different meanings.

In Berlin, the three axes symbolize three paths of Jewish life in Germany – continuity in German history, emigration from Germany, and the Holocaust.

The first axis ends at a long staircase that leads to the permanent exhibition. The second axis connects the Museum proper to the E.T.A. Hoffmann Garden, or The Garden of Exile, whose foundation is tilted. The Garden’s oleaster grows out of reach, atop 49 tall pillars. The third axis leads from the Museum to the Holocaust Tower, a 79-foot (24 m) tall empty silo. The bare concrete Tower

is neither heated nor cooled, and its only light comes from a small slit in its roof. The Jewish Museum Berlin was Libeskind’s first major international success.

In recent years, Libeskind has designed two structural extensions: a covering made of glass and steel for the “Kollegienhaus” courtyard (2007), and the Academy of the Jewish Museum (2012).

Daniel Libeskind uses metaphor, fragmentation, void, and disorientation in ways described in the table to communicate the suffering of the Jewish people in and out of Berlin.

6. Conclusion Daniel Libeskind’s addition to the Jewish Museum Berlin utilizes symbolism and metaphor, including fragmentation, void, and disorientation, in order to create a more substantial museum experience for the visitor.

Rather than presenting information as museums often do, Libeskind’s Jewish Museum Berlin uses these effects to communicate the aspects of Jewish history, especially the Holocaust, which cannot be expressed in Figures: (top-bottom) only words. user experience in the Garden of Exile; user

experience whn looking up into the central atrium.

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Guggenheim, New York

1. Basic Information: Architects- Frank Lloyd Wright Site Area- 51,000 sft gallery space, 15,000 sft office, theater, and retail space Location- 5th Ave, New York Project Year- 1959 2. Context: Geographical Analysis Swelling out towards the city of Manhattan, the Solomon R. Guggenheim Museum was the last major project designed and built by Frank Lloyd Wright between 1943 until it opened Figure: (left) typical floor plan to illustrate structure. to the public in 1959, six months af28

ter his death, making it one of his longest works in creation along with one of his most popular projects.

Completely contrasting the strict Manhattan city grid, the organic curves of the museum are a familiar landmark for both art lovers, visitors, and pedestrians alike.

3. Vision The exterior of the Guggenheim Museum is a stacked white cylinder of reinfored concrete swirling towards the sky. The museum’s dramatic curves of the exterior, however, had an even more stunning effect on the

Godhra Museum and Memorial Complex

interior. Inside Wright proposed The design of the museum as one “one great space on a continuous continuous floor with the levels of floor,” and his concept was a success. ramps overlooking the open atrium also allowed for the interaction of 4. Design Concept people on different levels, enhancing Building inspired was by Wright’s the design in section. love for the automobile – Planetarium – designed for visitors to drive up 5. Additional Highlights the ziggurat-like ramps. In the Gug- Although the space within the buildgenheim, Wright intended to allow ing is undeniably majestic and the visitors to experience the collection building itself monumental, it was paintings by taking an elevator to not perfectly successful in terms of the top level then view artworks by function. The curved walls of the indescending the central spiral ramp. terior were intended so that paintings However the Museum currently de- had to be tilted backward, “as on the signs exhibits to be viewed walking artist’s easel.” This was unsuccessful up the ramp rather than walking because the paintings were still very down. From the street, the building difficult to display because of the looks like a white ribbon rolled into concavity of the walls, and because a cylindrical shape, slightly wider at of this before its opening 21 artists the top than at the bottom. signed a letter protesting about their display of work in such a space.

Walking inside, a visitor’s first intake is a huge atrium, rising 92’ in height Many critics also argue that the to an expansive glass dome. Along building competes with the art work the sides of this atrium is a contin- that is intended to be displayed, a uous ramp uncoiling upwards six problem which Museum Director stories for more than one-quarter of James Johnson Sweeney took seria mile, allowing for one floor to flow ously, stating, “This is the most specinto another. The ramp creates a pro- tacular museum interior architecturcession in which a visitor experienc- ally in this country. But my job is to es the art displayed along the walls as show off a magnificent collection to Figures: they climb upwards towards the sky. its fullest. Wright also had a problem Central atrium views 29

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with Manhattan’s building-code administrators who argued with him over structural issues, such as the glass dome that had to be reduced in size and redesigned to include concrete ribs that are extensions of the discreet structural pillars on the exterior walls.

In 1992 the museum built an addition that was designed by Gwathmey Siegel & Associates Architects that Figure: Wright had originally intended. The (from top-bottom) ramps connecting var- architects analyzed Wright’s original ious floors; columns that emerge naturally are negotiated by the ways that art is pre- sketches and from his ideas they created a 10-story limestone tower that sented.

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had flat walls that were more appropriate for the display of art.

6. Conclusion Despite the opinion of critics, there is no doubt that Wright’s design for the Guggenheim Museum provides a spatial freedom that is unique to his style. It took Wright 700 sketches and six sets of working drawings to turn his vision into an extraordinary sculpture of a building overlooking Central Park, that in the very least should be acknowledged as one of the most spatially beautiful International-style works of architecture.

Godhra Museum and Memorial Complex

Virasat-e-Khalsa

1. Basic Information: Architects Principal Architect- Moshe Safdie Associate Architect- Ashok Dhawan, New Delhi Museum Design and Project Head for Concept Design- Amardeep Behl, AB Design Habit, New Delhi Building Construction- Larsen & Toubro Limited, India Site Area- 75/100 acres Location- Anandpur Sahib, Punjab Client- Anandpur Sahib Foundation, Government of Punjab Year Built- 2011 (Visioned in 1999, open to public in November 2011.)

2. Context: Geographical Analysis Anandpur Sahib is a city in Rupnagar (Ropar) district in the state of Punjab, India. It is located on the lower spurs of the Himalayas surrounded by picturesque natural scenery, with the river Sutlej forming a border on the south west barely four miles away.

Climatic Analysis Anandpur Sahib’s climate is classified as warm and temperate. The rain in Anandpur Sahib falls mostly in the winter, with relatively little rain in the summer. This location is classi31

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fied as Csa (Interior Mediterranean – Hot and Dry Summer Temperate)

by Köppen and Geiger. The average annual temperature in Anandpur Sahib is 24.0 °C. Precipitation averages 1107 mm.

Demographics and Infrastructure Population in Anandpur Sahib is 16,282 (3,270 households) of which 8,545 are males and 7,737 females (Census India 2011). Female Sex Ratio is of 905 against state average of 895. Moreover Child Sex Ratio is around 932 compared to Punjab state average of 846. Literacy rate is 82.44% that is higher than state average of 75.84%. In Anandpur Sahib, Male literacy is around 85.75% while female literacy rate is 78.78%.

Figure: Sketches by Safdie.

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Historical / Socio-cultural Influence Towards the end of the fifteenth century, in the Punjab region of Northern India, Guru Nanak Dev founded a faith rooted in the core values of universalism, liberalism, and humanism. The nine Gurus who followed Him built upon and consolidated His teachings, thereby establishing Sikhism not only as a belief system but also as a way of life. Two hundred years later, in 1699, on the

occasion of Baisakhi, the Tenth Guru Gobind Singh formally instituted the Khalsa Panth at Anandpur Sahib, establishing a social order committed to peace, equality and justice for all.

Today, on the same site, stands the majestic Gurdwara Takht Sri Keshgarh Sahib. It was in April 1999, the tercentennial year of the Birth of the Khalsa was celebrated across the world and to commemorate this event, the Government of Punjab envisioned the Khalsa Heritage Complex now known as Virasat-e-Khalsa at Anandpur Sahib as an inspiring tribute to the heroic and poignant saga of the Sikhs and the Punjab.

on behalf of Truth by the Gurus of the Sikh faith and the grandeur of its history.

4. Design Concept The museum’s exhibition concept and design has been conceived by Amardeep Behl, a Delhi based designer.

It has been planned as an experiential space where history is narrated through an interesting juxtapose of a series of paintings and installations.

Since it is not a traditional artefact based museum, the possibilities to experiment with new and different media have been immense. The museum has been envisioned as an immersive environment deriving from 3. Vision (of the client/building/ar- traditional crafts and oral narratives chitect) integrated with state-of-the-art techThe Virasat-e-Khalsa, the first of its nology. kind, provides a space in which the impassioned drama of this heritage The architect of the museum, Moshe unfolds. For the Sikhs, this Complex Safdie, is a Boston based Israeli arwould serve as a reaffirmation of chitect and urban designer. There roots. For the non-Sikhs, it will be an are certain typical characteristic feainspiring journey into a spirited cul- tures that define Safdie’s architecture, providing a fascinating insight tural style, which includes dramatic into the Sikh faith and its history. The curves, arrays of geometric patterns vision building offers the world and and key placement of open and green itself, can only be a crafting of the spaces. His work is oriented towards finest sensibility and aesthetic that creating meaningful and inclusive convey both the incisive stand taken spaces that draw from and represent

Godhra Museum and Memorial Complex

Figures: (left) overlooking the waterbody; (bottom) Gallery for viewing the elaborate mural; lit up in the night time.

the geography and culture of the region. His treatment of this museum building structure evokes the fortress architecture of the region, which forms a dramatic skyline against the surrounding terrain and the foothills of the Himalayas. The design of the Virasat-e-Khalsa can be described as distinctly modern. He simply re-interprets the surroundings and reflects the prevalent architectural styles, decorative motifs and/or building typologies. The structure is a product of inventing something entirely new based on existing traditions. In terms of modern and contemporary museum architecture in India, this building is a unique initiative. The design of the building is

being used to reinforce the profound relationship between the past and the present. It is visualized as a link or a bridge between innovation and tradition where the architectural forms reflect an identity, idea and a way of thought that is specific to the region.

5. Additional highlights: Pen Portraying the Building The entire building is divided into two sections with an artificially created cascading lake flowing in between. A pedestrian bridge links the two sections. The western section contains a large auditorium, a two-storey library, a cafeteria and a space for organizing temporary exhibitions. The eastern section of the

building houses the permanent interpretive exhibition space and consists of two blocks of undulating galleries. The present museum focuses on the lives of the ten Gurus and events during the time. The second phase of the museum, which is yet to open, will explore the socio-political and religious development of the Sikh community from early 18th century to present times. The galleries in this phase will chronicle the trials, tribulations and triumphs of the Khalsa from the time of Banda Bahadur to immediately after Partition, when Sikh dynamism transformed Punjab.

The museum building has three distinct architectural blocks.

The first block has been conceptual33

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Figure: Aerial view of the complex.

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ized as a boat, which is also the first gallery the visitors enter. It showcases the present culture of Punjab in a panoramic almost 360 degree view.

It is one of the world’s largest mural work spanning over three floors displaying the various seasons, festivals, daily life and traditions of Punjab.

The second block is the flower shaped building. Its roof is in the form of five petals. It can be interpreted as either depicting the five virtues – Sat (truth), Santosh (contentment), Daya (compassion), Namrata (humility) and Pyar (love) – and/or the Panj Piaras (literally, the five beloved ones) of Guru Gobind Singh who formed the nucleus of the Khalsa as the first batch to receive the Khanda di Pahul, that is the rites of the double-edged sword. The exhibits in each of the five petals trace the life history of the first five gurus from birth to attaining salvation or martyrdom.

The third block is a crescent shaped building with petal like projections forming its roof. The exhibits here narrate the life of Guru Har Gobind, Guru Har Rai, Guru Har Krishan, Guru Teg Bahadur and Guru Gobind Singh through an interesting display of murals, installation, animations and short films. The rooftops of all

petals are covered with special stainless steel sheets, which symbolically reflects the skylight towards the Gurudwara. After sunset the entire building is illuminated and the light reflected off the metal sheets create a large silhouette forming the night skyline of the historical city of the birthplace of the Khalsa.

To provide a boost to the related co-curricular activities and other various cultural functions, the complex also houses an amphitheater, an exhibition hall, auditorium and a cafeteria.

6. Conclusion Safdie’s approach to the design of the museum architecture reveals an underlying modernist spatial organization, which displays a bold, direct and an unsentimental approach towards the context in which it is set. It thus manages to take broad architectural elements from its surrounding context and yet stand apart from those historical structures around.The robust monumentality of the structure of the museum building aspires to encapsulate the glorious martial heritage of the Khalsa, the legacy of the Sikh Gurus, their vision and the history and culture of Punjab.

Godhra Museum and Memorial Complex

Sabarmati Ashram chitect used modular units 6 metres x 6 metres of reinforced cement concrete connecting spaces, both open and covered, allowing for eventual expansion.

handloom fabric, the project showed

Correa’s eagerness to adapt Modernist form to local materials and spatial ideas. The Gandhi Smarak Sangrahalaya and Correa’s later projects provide example of combining the Hin4. Design Concept Correa’s office’s first project was the du architectural/cosmological idea Handloom Pavilion, designed and of isotropy and Modernist functional built in six months in 1958. Con- planning. The concept of isotropy structed of brick, mud, wood, and (similar to fractals) refers to an in-

1. Basic Information: 3. Vision Architects- Charles Correa This memorial museum is located Site Area- 75/100 acres in the ashram where the Mahatma Location- Ahmedabad lived from 1917 to 1930. Housing his Building Type- Museum, Memori- books, letters and photographs, this um. modest and humanly scaled memorial uses brick piers, stone floors and 2. Context: tiled roofs to find a contemporary The Sabarmati Ashram is located expression for the spirit of swadeshi along the west bank of the Sabarmati along with the original ashram.

River on Ashram Road, in the north of the city. It can be reached by busses The commission was the architect’s heading north from the center on R first important work in private pracC Road (Wadaj bus stop is appx. 1.5 tice. In order to reflect the simplicity km from the Ashram). Open every- of Gandhi’s life and the incremental day 8:30 to 12:00 and 14:00 to 19:00. nature of a living institution the ar35

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finitely scaleable structure and can be seen in the repitition and manipulation of the decorative elements in Hindu temples. In the Smarak Sangrahalaya, the modular pavilion unit is designed for easy extension and emphasizes the accumulation of a single element to make a whole.

Correa placed five distinctly Axonometric floor plan of programmed interior spaces within the asymmetrical grid plan. The plan of the museum has also been compared to village Figure: houses in India’s Banni region. (clockwise from top-right) people sitting next to the central pond; benches; Gandhi’s station.

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5. Additional Highlights

The museum uses a simple but delicately detailed post and beam structure. Load bearing brick columns support concrete channels, which are both support the wooden roof and direct rainwater. Boards are nail underneath the joists and tiles are placed atop the joints. The foundation is concrete and is raised about a foot from the ground.

The monumental and archtypal enclosure allow for variety in the module’s lighting, temperature, and visual permeability.

A square, uncovered shallow pool is located between the five rooms.

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structure of the museum recalls the well-known work of Louis Kahn, who began two projects in the region shortly after Correa’s museum was built.

Wooden doors, stone floors, ceramic tile roofs, and brick columns are the palette of the building.

Figure: (top-right) bench; (below) units continue against each other; (far right) Gandhi’s possessions.

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Godhra Museum and Memorial Complex

Vietnam Veterans Memorial

1. Basic Information: Architect: Maya Lin Location : Washington, D.C. Date : 1982 Building Type: war memorial, monument Construction System: cut stone masonry Climate: temperate Context : urban park Style: Modern Notes: Powerfully evocative minimalist monument 2. Context: The memorial currently consists of 38

three separate parts: the Three Soldiers statue, the Vietnam Women’s Memorial, and the Vietnam Veterans Memorial Wall, which is the bestknown part of the memorial.

The main part of the memorial, which was completed in 1982, is in Constitution Gardens adjacent to the National Mall, just northeast of the Lincoln Memorial. The memorial is maintained by the U.S. National Park Service, and receives around 3 million visitors each year. The Memorial Wall was designed by U.S. architect Maya Lin. One wall points toward the Washington Monument, the oth-

Godhra Museum and Memorial Complex

er in the direction of the Lincoln Me- you of the dead. So I just imagined morial, meeting at an angle of 125° opening up the earth. . . .”

12’.

4. Design Concept: 3. Vision: Two black granite walls, placed be“It was while I was at the site that I low grade, engraved in chronological designed it. I just sort of visualized order with the names of the men and it. It just popped into my head. Some women who gave their lives in the people were playing Frisbee. It was Vietnam War. At the apex where the a beautiful park. I didn’t want to de- two walls meet, the dates 1959 and stroy a living park. You use the land- 1973 (marking the beginning and scape. You don’t fight with it. You ab- end of the war) “meet” thus closing sorb the landscape . . . When I looked the circle of the time span of the war. at the site I just knew I wanted some- A returning veteran can find his or thing horizontal that took you in, her own time upon the wall, making that made you feel safe within the each one’s experience of the memoripark, yet at the same time reminding al very personal and individual. The

Figure: (clockwise from top-left) a jogger stops by to read; Maya Lin with her winning entry; the memorial in snow.

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siting of the piece is directly related to the presence of both the Lincoln Monument and Washington Memorial, tying it physically and historically to the site.

then shipped to Memphis, Tennessee where the names were etched. The etching was completed using a photoemulsion and sandblasting process. The negatives used in the process are in storage at the Smithsonian 5. Additional Highlights: Institution. When a visitor looks The Vietnam War was one of the lon- upon the wall, his or her reflection gest and most controversial wars in can be seen simultaneously with the United States history. A stated goal engraved names, which is meant to of the memorial fund was to avoid symbolically bring the past and prescommentary on the war itself, serv- ent together. ing solely as a memorial to those who served. Nevertheless, a number of 6. Conclusion: controversies have surrounded the “There was always the expectation memorial. that since the war had been controversial, the memorial must be also. It The Memorial Wall, designed by wasn’t so much an artistic dispute as Maya Lin, is made up of two gabbro a political one. The choice to make an walls 246 feet 9 inches (75 m) long. apolitical memorial was in itself poThe walls are sunk into the ground, litical to those who felt only a positive with the earth behind them. statement about the war would make At the highest tip (the apex where up for the earlier antiwar days, a past they meet), they are 10.1 feet (3 m) swing to the left now to be balanced. high, and they taper to a height of It was extremely naive of me to think eight inches (20 cm) at their extrem- that I could produce a neutral stateities. Stone for the wall came from ment that would not become politiBangalore, Karnataka, India, and cally controversial simply because it was deliberately chosen because of chose not to take sides.” its reflective quality. The Lincoln meFigure: (top-bottom) aerial view of memorial morial can be seen in the distance. grounds; a soldier tears up reading the name Stone cutting and fabrication was done in Barre, Vermont. Stones were of a close one on the plaque.

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Godhra Museum and Memorial Complex

Steilneset Memorial

1. Basic Information: Architect: Peter Zumthor and Louise Bourgeois Location : Coastline of Barents Sea in Vardø, Norway.

Date : 2011 Building Type: Memorial Construction System: Wooden frame and fabric, smoked glass 2. Context: In the seventeenth century, a series of witch trials occurred in Norway, of which the Vardø witch trials were among the most substantial. Over a hundred people were tried for witch-

craft, with 77 women and 14 men being burned at the stake. The northern district of Finnmark, within which Vardø lies, experienced the highest rate of accusations of witchcraft of any part of Norway, and an unusually high proportion of executions arising from the trials. The trials peaked in 1662–1663; the memorial was built 348 years later.

The Steilneset Memorial was jointly commissioned by the town of Vardø, Finnmark County, the Varanger Museum, and the Norwegian Public Roads Administration, and has been 41

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associated with the development of the National Tourist Routes in Norway. Norwegian architects designed the public architecture associated with the routes, such as lookouts, under competitive tender, but the memorial was the result of a specific commission.

Figure: (top-bottom) Bourgeois’ Zumthor’s corridor.

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of the 91 individuals who were convicted of sorcery and burnt at the stake. Each window is accompanied by a plaque that reveals the story of each individual.

Serving as Bourgeois’s last major installation, “The Damned, The Possessed and The Beloved” contains 3. Vision: an endless flame burning upon a Zumthor describes his collabora- steel chair that lies within a hollow tion with Bourgeois in an interview concrete cone. Reflections of the (ArtInfo) as the following, “I had my flame bounce off of every surface as idea, I sent it to her, she liked it, and the chair is surrounded by a series she came up with her idea, reacted to of circular mirrors. The installation my idea, then I offered to abandon is housed within a smoky, reflecmy idea and to do only hers, and she tive glass structure that contrasts said, ‘No, please stay.’ So, the result is Zumthor’s long, wooden installation. really about two things — there is a line, which is mine, and a dot, which 5. Additional Highlights: is hers… Louise’s installation is more Bourgeois’s box, through the reabout the burning and the aggres- flection of the fire and the looming sion, and my installation is more quality of the mirrors recreates the about the life and the emotions .” emotional essence of the accusers and the accused. We feel the pow4. Concept er of the mirrors surrounding the Zumthor’s pine scaffolding supports lonely subject, but we can sense the a suspended silk cocoon. Within fear of the accused just as the fire is the cocoon, visitors walk along a lit beneath them. The power of the 400-foot long and barely 5 feet wide elements is in Bourgeois’s ability recoak-floored corridor. A hanging light reate these effects with the use of orinstallation; bulb floats behind each of the 91 win- dinary elements. The mirrors take on dows, illuminating them in memory the judgmental quality of eyes, their

Godhra Museum and Memorial Complex

arrangement creates the looming relationship of a circle of accusers, and the glowing light box’s similarity to that of the lighthouse creates a symbolic warning for future generations.

The strength in Zumthor’s design is the ability understand both the phenomenological and tectonic essences of the context of the site. In doing so The structure holding the sail clothe material structure up is constructed of weather wood bundled together at connection points similar to the ways in which the fish-drying frames are tied together with rope. The windows in a traditional Norwegian town exhibit life, “where the presence of people is still felt most strongly at night when light is lit in the windows of the houses that are still occupied” 5 Zumthor understands this essence and reverses it creating an eerie inversion where death and emptiness replace life and warmth.

Pictures by Andrew Meredith for Arch Daily Figure: (right) corridor sections; (clockwise from far right) view from the rocky shore; structural frame holding the the cocoon; inside Bourgeois’ box; both parts leading to one another..

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Godhra Museum and Memorial Complex

Case Study Matrix

Concept Metaphor , fragmentation, void, disorientation. Deconstructing the star of David.

Organic curves against Manhattan’s strict lines, continuous floors.

Sikh Fortress architecture. Dramatic curves, floral motifs and building types, link or bridge between innovation and tradition.

Modular units, simple materials, asymetric grouping with a central water body. Resonating an Indian village.

Park within park, mirror polished walls, homage to adjacent memorial/ monuments.

Line and dot, contrasts between the burning and the aggression, and about the life and its emotion.

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Context

Godhra Museum and Memorial Complex

Circulation

Construction

Inferences 1. Libeskind’s Jewish Museum: The Jewish Museum has a linear movement pattern which controls the narrative and the user experience. The idea of a central staircase to connect to all floors is adopted in the idea of the secondary building.

2. Guggenheim NY: The idea of a central ramps around a void connecting various exhibitions spaces is adopted in the museum block. The floors however are flat slabs.

The entire building has ramps to make the building handicap accessible.

3. Virasat-e-Khalsa: The symbolism adapted is a lesson learn in planning arragement to site. The use of surrounding water body as an element. Design of exhibition spaces.

4. Correa, Sabarmati Ashram: The homage to surrounding water body and the use of simplicity and nature to encourage a peaceful environment become the key learnings.

5. Maya Lin’s Vietnam Memorial: Homage to surrounding context, connection to sky and earth become cruicial aims of the proposal memorial.

6. Steilneset Memorial User experience in claustrophobia, corridor exhibits, response to context.

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Project Programme

Project Scope

The project is set in a site of contro- pirations of the city, the authority as versy, in such a political context the well as the imaginations of the sociidea of proposing a means to remedy ety. can happen in three ways: III. The cultural/community I. The cultural/community complex can follow middle ground. complex can directly respond to the It can pay homage to the history of Gujarat Riots, however such a sce- the city as well as serve as the center nario is unlikely because the riots of peace. In his book “Collage City�, pose an embarrassment to the gov- authors Colin Rowe and Fred Koeternment in Power who serves as the ter suggest that for new architecture, client for the project. The silence on the way forward is to marry tradition behalf of the then-CM Modi, mis- and utopia because both attitudes are used policing in the state, and incited integral components to operate on, hostility by the locals are factors that criticize and change. cannot be taken lightly, and a monument that confronts with the facts From the above possibilities I chose will only complicate the issue than to go with the third as this line of serve a purpose. thought enables me with a more grounded approach towards the site II. The cultural/community and context. complex can build on a foundation of positivity and peace that doesn’t deal with the Riots but is tabula-rasa for creating a new image of the city.

Hence the project does not directly deal with the event in the historical timeline but offers a counter utopian landscape for contributing to the as46

Godhra Museum and Memorial Complex

Functional Components

The project has two major components, a Museum and Memorial. Of these, the division can be further split into major components. The Area program is suited to the needs of a Museum and cultural/community space and an outdoor symbolic memorial.

Major Components/Zones - Program and Events Space for public functions, conferences, large gatherings and events.

- Collection Storage and Management Studio spaces and storage for museum artifacts

- Maintenance and Operations - Multi-Purpose Zone (Project Space) Space serves as transient active space that serves multiple functions and ex- Control rooms, IT, grounds and building maintenance, staff facilities tends into surrounding functions of exhibitions, atrium.

- Exhibition Spaces Museum exhibition component.

- Visitor Services Screening/ticketing/information desk, point of entry - Galleries Museum gallery component, temporary and permanent.

- Retail Merchandising store, collectibles, artifacts and produced craft for sale - Workshops Space for locals to seek vocational classes and training, site for local NGOs to - Dining engage with community Restaurant and cafes serving the museum and offices - Small Coworking Offices - Museum Offices Administrative and various branches of everyday functioning of the complex Space for NGOs and peace organizations to set permanent base in the city.

47

Godhra Museum and Memorial Complex

Area Program

With an FSI of 1.2 for any Public Institutional Buildings according to the Gandhinagar Development Control Regulations, The total built up area of the site comes to be around 23708.26sqm. With a 30% permissible built up for ground floor, the floor comes around 6400sqm for 6.5 floors. The Area Program as a result:

48

Program and Events Banquet/Community Hall Lobby/Buffer/Dining Green Room x3 Control Room/Projection Room x1 Translation Booth x1 Movable Stage Platform Seating and Equipment Storage Technician’s Office Dressing Eoom

1000m 350m2 15m2 25m2 15m2 50m2 50m2 15m2 50m2

2

Multi-Purpose Zone Project Space and/or Atrium

500m2

Visitor Services Screening/ Checking Coat Room/ Lockers Ticketing and Information Desk Storage

300m2 100m2 50m2 50m2 100m2

Retail Museum and Design Store Stock Room and Offices x2

120m 40m2

Dining Cafe with Kitchen Formal Restaurant Kitchen Catering Prep/Staging Area Office Disposal Room Storage/Pantry

2

400m2 1250m2 75m2 50m2 100m2 75m2 50m2

1600m2

500m2

200m2

2000m2

Godhra Museum and Memorial Complex

Museum Offices Administrative Offices Curatorial, Exhibition Design, Publication, Archives Marketing and Development Offices Conference Rooms x3 Shared Workspace/Copy Room, File Storage Office Lobbies Collection Storage and Management Studio for prep/conservation and equipment storage Art Storage Recieving/Drop-Off Registrar, Conservation, Tech offices Maintenance and Operations Security Office/Control Room IT server, Workroom Supply, equipment, seasonal furniture storage Landscape and Grounds Maintenance Equipments Staff Lunch Room/Lounge Locker Room Exhibition Spaces Larger Exhibition Spaces x4 Smaller Exhibition Spaces x5

700m2

50m

2

200m2 225m2 75m2 100m2 50m2 500m2 150m2 150m2 100m2 100m2 125m 125m2 2

700m2

Galleries Permanent Galleries x2 Temporary Galleries x2

2000m2

300 200

Workshops Training Classes x3 Workshops x3 Lecture Halls x2 Studio x2

50m2 50m2 75m2 75m2

Small Coworking Offices Large Workspace Offices x6

2350m 150m2

600m2

2

Unassigned Areas Lobbies Circulation Restroom MEPs Services/Core

(30% 0f Built-up)

3250m2

7110m2

____________________________________________________________ Total

250m2

23710m2

50m2 75m2 75m2 600m 450m2 2

4250m2

49

Godhra Museum and Memorial Complex

Site Information

Site Area: 1.97569 hA (4.88 Acres) 19756.9 m2 Maximum Premissible FSI (GDCR) for Public Institutional Buildings: 1.2 Maximum Ground Coverage: 30% Therefore, Total Built-up Area 23708.28m2 Taking, Museum Block 8609m2 Secondary Block 5300m2 Community Block 1509m2 (Banquet hall) and 986m2 (Restaurant) Unassigned (Lobbies/Circulation/ Restrooms/MEPs) 7110m2

50

Using occupancy load of 15m2/person (Institutional Building) 537 353 700+100

Total Occupancy: 1626 Persons

Godhra Museum and Memorial Complex

51

Godhra Museum and Memorial Complex

About Godhra

Geomorphology

min of 26 C. Avg annual rainfall is 923.7mm Categorized as one of the drought prone taluka of Gujarat. In summer, temperature soars 45 C with dust laden winds. Mean Summer temp is 31.4 C and avg winter temperature 22 C.

Longitude 73deg 38’E and 74deg 36’E Latitute 22deg 48’N and 23deg 46’N Altitude 138 meters Connectivity Godhra is well connected to the major cities of Gujarat. National Highway No. 59 connects Godhra with Ahmedabad while Vadodra-Indore interstate highway passes throught Godhra.

Rail: Situated on the Delhi-Ratlam-Bombay railway line via Vadodara. Godhra has Rail connectivity on all four sides. There is a railway junction in the heart of the city.

52

Nearest Airport and Major Railway Station is Vadodara, 81 km southKey Mean Temperatures Covered by Godhra granites. This west.

Rock type is developed on the South West part of the district. Granite is medium to coarse grained and pink to grey in color due to feldspar content.

Rainfall 90% of the annual rainfall occurs in Monsoon, July and August being the wettest month.

Geology/Topography

Climate Classified as semi arid with a mean daily max temperature of 39.4 C and

Avg long-term annual rainfaill in Godhra is 887mm (1963-2002), short-term annual rainfall is 620mm.

Humidity around 70% or more (high) but less than 20% (dry) rest of the year.

Godhra Museum and Memorial Complex

Wind Winds are generally light in the post monsoon and winter season. Winds predominantly from south-west or west from April to september. From October onwards, light easterly or north easterly winds begin to blow.

Population The total population of Godhra Urban Agglomeration is 1,31,172 (2001 Census)

Employment Low work participation rate of 28%.

Less employment opportunity in town. Non working population is Urban Economy Godhra is situated in an Argicultural very high. region. center of administrative and business activities. Principle crops Land Use are maize, millets, rice, pulse and oilseeds. Economic growth is supported by agro based small scale industries and engineering units.

Now with the proposed DMIC in proximity Godhra will move away from the an agrarian setup to agrobased industries to pharmaceuticals and chemical allied based industries.

Sandstone and granite are exported.

Manganese deposits.

Fig: Revised Development Plan Godhra 1988 53

Project Site

Present level of water supply is only 55 LPCD, which is much below the desirable standard of 135 LPCD. Acute shortage od water supply in summers..

quite sufficient (at an average of 1.23 Housing m pp against the standard of 1.36 pp) In newly constructed society areas of Godhra, houses are one or two stoGodhra Municipality ave spent 3 ried RCC construction. Gross density- 65person/ha, 150person/ha in crore on roads in the last 5 years. old city.

Public Transport There is a city bus service from rail- Urban Poor About 19% of households live below way station to the bus stand.

Autos and chhakdas are the main poverty line. Majority of the urban modes of transportation in Godhra. poor are concentrated in the old city area and on the river.

Most water supply comes from surface water sources, insufficient supply 21% are dependent on ground water sources and bore wells.

Old City Gamtal of Godhra is very densely populated, lacking in open space and adequate street network.

Water Supply Despite presence of surrounding water bodies, level of water supply is low. Daily demand of supply is around 18 MLD. However, current daily supply is 7MLD.

Sewerage and Drainage No separate sewage and storm water system in Godhra. There are Roads open roadside gutters for wastewater There are a total of 160 km of roads drainage. Usually solid waste collect- in Godhra at the moment which is ed on the roadsides in open drains.

Wastewater of the entire city goes in the River. Individual household toilets are connected to separate septic tanks or soak pits. Almost 85% households have individual toilets either with seplic tank or with soak pits.

54

Most of the houses are as old as 40 years or above. Two, three storied with timber frame construction in brick and lime The old city has four baithaks (temples) for the vaishnava community and three beautiful Jain temples.

Important Heritage Sites in Godhra 1. Mahakaali Gufa 2. Sardar Vallabh Bhai Patel’s house- Soni vad 3.

Morarji Desai’s office- collectorate compound 4. Gandhi Ashram 5.

Four Baithak 6. Public Library

Godhra Museum and Memorial Complex

55

Godhra Museum and Memorial Complex

Precinct 56

Land Use

Godhra Museum and Memorial Complex

Massing Density 57

Godhra Museum and Memorial Complex

Neighborhood

58

Existing Land Use Transport Topography

Godhra Museum and Memorial Complex

Proposed Land Use Existing Roadways Proposed Roadways

59

Godhra Site Project Museum and Memorial Complex

Site Using Digital maps superimposed on Aerial Views, the exact natural vegetation on site has been mapped along with the contours of the surround water body.

Vegetation on Site 60

Godhra Museum and Memorial Complex

Site Analysis 61

Memorial Determinants

The Memorial form was explored as a point (marker, focus), a line (wall, path) and as a plane (space). It made sense to choose the point or plane over the line to lay emphasis on the concept of dielectics. With the museum on one conceptual end and the memorial on the other.

With ideas to design on a point or space, the next exploration was where to situate the point/space on site. The memorial required the following.

1. the memorial itself needed to gain visual prominence from outside the site.

2. the memorial grounds needed a connection to one of the open sides of the site to allow for barrier free access.

3. connection to the adjacent water body in the north.

62

The Memorial was designed to become a site for peace and meditation.

The memorial was to bear a character constrasting from the Museum complex. Untouched, minimum intervention, minimal built, simple, barrier free public zone. Keeping The presence of adjacent water body these in mind, the memorial form became crucial to the design, to use and location on site were explored. the forces of nature to create an am-

Godhra Museum and Memorial Complex

bience of peace and serenity. Locating the memorial to the eastern edge would compromise on the idea of peace and privacy in lieu of being next to a proposed densely populated residential colony. The southern edge of the site connection to the city was too noisy, both in and around the site. While the northern edge was an important connection to the water body, the western edge was key to making the memorial grounds barrier free and accessible from the outside.

Henceforth museum determinants were explored imagining the memorial located along the north and eastern sides of the site.

63

Memorial Determinants The Museum Complex was designed keeping in mind the determinants for the memorial, bearing in mind the idea that the museum built must respond/pay homage to the memorial unbuilt.

The syntax thus was to arrange the three in all their possibilities from the northern connection to the water body (nature) to the southern connection to the face of the site (towards the city center). The central part would bear the responsibility of The Museum was broadly divided bridging the city to the water or siminto three parts and further subdi- ply connecting both the other parts vided into zones. Museum block coherently. As a result, nine combi[M], Secondary Block [S] and the nations were explored to the site. InAssembly Block [A]. ferences were drawn from all.

[S]

[M]

{A] 64

Godhra Museum and Memorial Complex

Design Options/Combination:

KeyMuseum block [M] Secondary Block [S] Assembly Block [A] 65

Determinants

-Both community Hall and Museum pay homage to the memorial by facing it.

-Locating the memorial on the north-western edge justifies its requirements.

-Museum as center and footfall distributed from the center to either sides.

-Peak poplulation distribution will not be met by the vehicular drop off.

-When assembly function is next to the memorial, the memorial grounds become a spillout for the community hall disrupting it.

-Memorial location justified.

-Connection to adjacent water body.

-Visual access to road and pedestrian access to memorial grounds.

-Inner court leads to memorial grounds. This enables buildings to spillout into the inner grounds without disrupting the ambience of the memorial.

-Y-Shaped linear Museum block.

-Secondary block of daily work-going population is far from vehicular access.

-Community hall has no spillout.

67

Determinants

-Multiple courts, multiple public-private functional possibilities that enable a richer user experience.

-Internal vehicular spine makes makes all three blocks reasonably accessible.

-Plenty of Greens.

-Assembly hall if located in the north disconnects connection to waterbody and memorial.

-Memorial achieves subject status and built pays homage to unbuilt.

-Y shaped block with consolidated inner courtyard.

-Memorial no longer accessible from the outside, barrier free environment not achieved.

69

Determinants

-Big consolidated open green.

-Built secures site from adjacent residential.

-Central vehicular access, distributed pedestrian movement.

-Building singular, experientially simple, no room for exploration.

-L shaped block.

-Central vehicular access, distributed pedestrian movement.

-Takes the linear advantages of previous models

-No multiplicity of greens and open spaces.

71

Design Translation

Evolution of Concept

72

Godhra Museum and Memorial Complex

73

Process Exploration

After exploring adequate massing and zoning possibilities on site, the process of detailing the prudent design options emerged. This lead to exploring the response of the built to site and site lines, and the first hints of the concept started to emerge.

The next step was to break zones further into respective rooms in single line format and study their volumes through thermocol models and isometric sketches of schemes. Process drawings were traced over and the best practices were retained.

75

Design Development

76

Design Development I

Highlights: -Building shapes and fom were derived from the site lines. Hence Museum block takes the shape of a hexgon which aids its linear spiral motion.

-Both high rise face the Memorial.

-Both High-Rise Buildings have two cores at either ends. While the office cores are internal the museum cores are in the sides to allow the void to happen.

-Natural Vegetation from memorial ground and in other green spaces retained.

-Two Separate vehicular Drop-offs, one serving major museum population and sencond serving community hall dropoff.

-Multiple Courts, Green spaces fulfilling multiple fucntions under public, semi-public domain.

-Drop-off for public buses, transport around periphery along with thwo-wheeler parking. Pedestrian entries.

-A simple Wind Tower as memorial marker.

Issues-Separate Drop offs are disconnected.

-Spill-out obstructed by parking ramps.

-Office block inaccessible by vehicles.

-Office Block/Public Retail unable to connect with rest of site.

77

Design Development

78

Pulkit Mogha

Design Development II

Highlights: -Vehicular connectivity to the office and Assembly Function are met by the inner road network.

-Both high rise face the Memorial.

The memorial now almost has a hexagonal form at the base with a cantilevering tip that points to the memorial.

-Natural Vegetation from memorial ground retained. Attempt to Landscape other greens.

-Multiple Courts, Green spaces fulfilling multiple fucntions under public, semi-public domain.

-Drop-off for public buses, transport around periphery.

Both vehicular entries connected.

-Pedestrian spine opens around the memorial grounds from the museum to the secondary block.

A/2397/2011

Issues-Assemble Block is completely enclosed by vehicular roads.

-Spill out to assembly block is inadequately met. Green space next to it wasted.

-Ramps breaking pedestrian connectivity to public retail options.

-Inadequate provisions for Surface Parking

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Design Development

80

Godhra Museum and Memorial Complex

Design Development III

Highlights: -Single internal vehicular spine serving all three functions. Frees up freen spaces and allows assembly function to spill pout into adjacent gardens easily.

-Possibilty to create a secure sculpture garden in spill out space that connects to museum as well.

Three separate parking ramps leading in from the internal spine under each building for basements which have scope of building and connecting into one single parking unit.

-Natural Vegetation from memorial ground and Sculpture Garden retained. Attempt to Landscape other greens.

Paths from both buildings leading to memorial. Path emerges from the basement level for the museum.

-Surface Parking Requirements are met.

-STP is organized in the north of the site. Reed pond is included in the program and circles the memorial.

Issues-Vehicular turning radius not met at parking.

-Continuous greens are interrupted.

Sculpture Garden cordoned off.

-Banquet Hall interrupted by columns in large spans.

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Final Drawings

82

Site Plan

Godhra Museum and Memorial Complex

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

Section AA

Section BB

Section CC

Inner Grounds

Sections and Elevations P U L K I T

83

M O G H A A2397 20 DEPARTMENT OF ARCHITECTU SCHOOL OF PLANNING AND ARCHITECTURE, NEW DEL

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

Final Drawings

Views

Path leading upto the Memorial.

84

Godhra Museum and Memorial Complex

Sculpture Garden

View from the main entry

85

Godhra Museum and Memorial Complex

Path leading upto the Memorial.

86

Godhra Museum and Memorial Complex

Inner Grounds

The road leading to the pedestrian spine

87

STORE KITCHEN

LOBBY SERVICE PANTRY

EXBHIT 3 MARATHA HISTORY

OFFICE

GREEN ROOM

CURATOR'S ROOM

EXBHIT 4 COLONIAL HISTORY

ATRIUM

LOUNGE SEATING

EQUIP.

RY

RA PO

INFO RM AT ION

M TE

DE

SK

GREEN ROOM

LL GA ER

COMMUNITY HALL

TICKETING

Pulkit Mogha

Museum Ground Floor Plan 1:100

A/2397/2011

Pulkit Mogha

A/2397/2011

Museum Third Floor Plan 1:100

Dept of Architecture, S.P.A. Delhi

Dept of Architecture, S.P.A. Delhi

Community Hall Ground Floor Plan 1:100

Y

LOBBY

COMMUNITY HALL

Pulkit Mogha

A/2397/2011

Dept of Architecture, S.P.A. Delhi

COUNTER KITCHEN

EXBHIT 5 SIGNIFICANT LEADERS IN INDIAN HISTORY

PANTRY EXBHIT 6 DADA SAHEB PHALKE EXHIBIT

ATRIUM

Museum First Floor Plan 1:100

Pulkit Mogha

Pulkit Mogha

A/2397/2011

Dept of Architecture, S.P.A. Delhi

A/2397/2011

Museum Fourth Floor Plan 1:100

Dept of Architecture, S.P.A. Delhi

Restaurant Upper Floor Plan 1:100

RESTAURANT

OPEN TERRACE

Pulkit Mogha

A/2397/2011

Dept of Architecture, S.P.A. Delhi

CE

EN

LL

HA

OF

SIL

TO HIS RY 7 IT AL BH UN EX MM CO

OF

VIO

EXBHIT 2 MUGHAL ARTIFACTS AND REMNANTS

Pulkit Mogha

Museum Second Floor Plan 1:100

A/2397/2011

Dept of Architecture, S.P.A. Delhi

Museum Fifth Floor Plan 1:100

Pulkit Mogha

A/2397/2011

Dept of Architecture, S.P.A. Delhi

Basement Floor Plan 1:200

E

NC LE

EXBHIT1 GODHRA IN MUGHAL HISTORY

Pulkit Mogha

A/2397/2011

Dept of Architecture, S.P.A. Delhi

ER AHU

Fire Panel

SERVICE ENTRY

SOUVENIR STORE KITCHEN

OPEN PLAN OFFICES

COUNTER

SEMI COVERED PASSAGEWAY

OPEN PLAN OFFICES

OFFICES WAITING

CAFE

ER

ER AHU

OFFICES

AHU

GALLERY MEETING ROOM

ACCOUNTS

OFFICES

Pulkit Mogha

A/2397/2011

Secondary Block Ground Floor Plan 1:100

Dept of Architecture, S.P.A. Delhi

Pulkit Mogha

A/2397/2011

Secondary Block Third Floor Plan 1:100

Dept of Architecture, S.P.A. Delhi

Basement Floor Plan 1:200

OFFICE PANTRY

OFFICE RECEPTION LOBBY

Pulkit Mogha

A/2397/2011

Dept of Architecture, S.P.A. Delhi

10000

600 10000

675

600

600 7400

RECEPTION OFFICES

OFFICES

OFFICES

CONFERENCE ROOM

675

EXHIBITION OFFICES

LOBBY

PUBLICATION OFFICES

600

ARCHIVE OFFICES

8400

7400 600

600

MUSEUM OFFICE 600

ACCOUNTS

600

OPEN PLAN OFFICES STUDIO

600

RECEPTION

ER

ER

600

SECRETARY AHU

AHU

600 600

STUDIO

MEETING ROOM MEETING ROOM

LECTURE ROOM MAIN OFFICE

OFFICE PANTRY

OFFICES

COPY ROOM/STORE

OFFICE PANTRY

1400

1000

1000

8000

1000

600

8000

Not to Scale

600

Pulkit Mogha

Secondary Block First Floor Plan 1:100

A/2397/2011

Dept of Architecture, S.P.A. Delhi

Pulkit Mogha

A/2397/2011

Secondary Block Fourth Floor Plan 1:100

Dept of Architecture, S.P.A. Delhi

PUBLIC VIEWING GALLERY

OPEN PLAN OFFICES

MEZZANINE LVL.

AHU COOLING TOWER

MEETING ROOM

ER LIFT ROOM

AHU

MEETING ROOM

OFFICES

OFFICES

DIRECTOR'S OFFICE

OVERHEAD WATER TANK ACCOUNTS

RECEPTION

SECRETARY

Pulkit Mogha

Secondary Block Second Floor Plan 1:100

A/2397/2011

Dept of Architecture, S.P.A. Delhi

Pulkit Mogha

Secondary Block Fifth Floor Plan 1:100

A/2397/2011

Dept of Architecture, S.P.A. Delhi

Structural Grid

LECTURE ROOM

750

Pulkit Mogha

A/2397/2011

Dept of Architecture, S.P.A. Delhi

Godhra Museum and Memorial Complex

Model 90

Godhra Museum and Memorial Complex

91

Godhra Museum and Memorial Complex

Juror’s Comments: The jurors appreciated the response to a political context. And appreciated the inclusion of Gujarat Riots as the theme surrounding the proposal.

They were interested to find out the reason for the choice of color which was a vibrant red in the model which I explained to them as the need to bring out the built from the greens. The venacular material that the building was clad in was pink granite.

The Jurors wanted to clarify that the museum building was completely handicap friendly, to which i displayed all floor plates to explain how they were completely approachable by ramps connecting all floors.

One of the Jurors wanted to understand the functionality of the central ‘staircase to sky’ to which i replied that apart from being the connecton between various floors and from the memorial to the top floor viewing gallery, the central staircase also acted as a fire escape for the building leading directly to ground and enclosed.

The jurors were curious further but time ran out. They could be seen talking fervently even after the professor in-charge stated that there was no more time to discuss the scheme and that they must move on to the next because the stopwatch dictated so.

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Godhra Museum and Memorial Complex

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Godhra Museum and Memorial Complex

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Kateb, George 2006, ‘Patriotism and Carmona, M 2003, Public places, ur- Other Mistakes’, Yale University ban spaces: the dimensions of urban Press, New Haven London design, Architectural Press, Oxford.

Koolhaas, R Mau, B and Werlemann, Dovey, K 2008, Framing places : me- H 1995, S,M,L,XL - Small, Medium, diating power in built form, Rout- Large, Extra-Large : O. M. A.-Office ledge London, New York for Metropolitan Architecture, 010 Publishers, Rotterdam.

Easterling, K. (2014). Extrastatecraft: the power of infrastructure space.

Sassen S, 2003, Navigators for a Land-

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Godhra Museum and Memorial Complex

List of Illustrations

All illustrations unless specified here belong to the author.

Case studies (In order of apperance, clockwise from top-left) http://www.jmberlin.de/ksl/fuehrung/juedisches_leben/schabbat_635.jpg https://pixelmaedchen.files.wordpress. com/2013/05/architecture.jpg https://lingaraj.files.wordpress. com/2008/10/clip_image002.jpg http://w w w.nh-hotels.com/multimed i a / i m a ge s / 3 1 5 1 9 0 2 4 _ l _ 1 2 8 9 x 5 1 8 - t cm41-125101-32.jpg http://assets.inhabitat.com/wp-content/ blogs.dir/1/files/2015/01/Jewish-Museum-Berlin-by-Daniel-Libeskind-9.jpg

com/223/502944336_e78be5617b_o.jpg

com/1/6/193894/5658983/Slide1.jpg

http://1000thingsnyc.com/wp-content/uploads/2013/08/Guggenheim-NYC.jpg

http://www.dailypost.in/images/Punjab/24aps01.jpg

https://upload.wikimedia.org/wikipedia/ commons/9/98/Guggenheim_New_York. jpg

http://virasat-e-khalsa.net/templates/cms/ images/top_banner.jpg

http://www.hotelswelove.com/wp-content/ uploads/2013/02/Gugg_interior-1256x889. jpg

http://static.dnaindia.com/sites/ default/files/styles/half/public/2015/06/17/347157-sabarmati-ashram-wiki-commons.jpg?itok=c2r6hZGz

http : / / i 0 . w p. c om / w w w. g u g ge n he i m . org/wp-content/uploads/2016/04/ installation-srgm-thannhause r- g a l l e r y - 4 - 1 5 - 2 0 1 6 - h om e p a g e . jp g?w=1170&h=658

http://www.inexhibit.com/wp-content/ uploads/2014/07/jewish-museum-berlin-libeskind-01.jpg

vir http://2.bp.blogspot.com/-15Bj4Wt_ECI/ TtOhy4M0fmI/AAAAAAAAA24/3S6kdWLBvks/s1600/khalsa.jpg

http://blog.sofitel-berlin-kurfurstendamm. com/wp-content/uploads/2014/09/Jewish-museum-2.jpg

h t t p : / / m i n g 3 d . c o m / DA A P / A R C H 203su2011/wp-content/uploads/2011/07/ khalsa-heritage-museum008.jpg

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http://payload167.cargocollective.

http://architexturez.net/doc/az-cf-123736 http://www.kenney-mencher.com/pic_old /20th_century/Photo_Lin.with.VVM.Design_1981.jpg http://1.bp.blogspot.com/-w_twR1P8UMU/Uizn4ISmzCI/AAAAAAAAAQk/36fwtZIso_k/s1600/The-Vietnam-Veterans-Memorial-snow.jpg http://a1.files.biography.com/image/upload/c_fit,cs_srgb,dpr_1.0,q_80,w_620/MTM0MzI4Nzk4ODA3MTAzOTY2.jpg

ht t p s : / / s - m e d i a - c a c h e - a k 0 . p i n i m g . com/236x/f7/03/76/f70376950464ae44c99a d7aa7757822e.jpg ‘About Godhra’ section from the City Development Plan 2009, Godhra by PRUDAsubmitted to Gujarat Urban Development Mission Map base sourced from Google Maps