Experiential Film Museum - Capstone Project by Raivati Dandiwala

SCHOOL O F DESIGN

Bachelor of Design Space Design

CA PSTONE PROJECT RE PORT

Experiential Film Museum Stepping Inside And Beyond The Screen.

Student Name

Raivati Dandiwala

Guide

Pallavi Jain Project Sponsor

Self Sponsored

Copyright © 2022 Student document publication, meant for private circulation only. All rights reserved. No part of this document will be reproduced or transmitted in any form or by any means, electronically or mechanically, including photocopying, xerography, photography and videography recording without the written permission from the publisher, Raivati Dandiwala and Anant National University. All illustrations and photographs in this document are Copyright © 2022 by respective people/organizations.

Designed and Edited by: Raivati Dandiwala Email: raivati.dandiwala@anu.edu.in Processed at: Anant National University, Sanskardham Campus Bopal-Ghuma-Sanand Road Ahmedabad - 382115 Gujarat, India www.anu.edu.in Printed digitally in Ahmedabad, India May 2022

ORIGINALITY S T A T E M E N T

I hereby declare that this submission is my own work and it contains no full or substantial copy of previously published material, or does not even contain substantial proportions of material which has been accepted for the award of any other degree or diploma of any other educational institution, except where due acknowledgment is made in this graduation Project.

Student Name : Raivati Dandiwala Signature

Date

: 18. 07. 2022

Moreover, I also declare that none of the concepts are borrowed or copied without due acknowledgment. I further declare that the intellectual content of this Capstone project is the product of my own work, except to the extent that assistance from others in the project’s design and conception or in style, presentation and linguistic expression is acknowledged. This Capstone project (or part of it) was not and will not be submitted as assessed work in any other academic course.

I hereby grant Anant National University the right to archive and to make available my Capstone Project Report in whole or in part in the University Library in all forms of media, now or hereafter known, subject to the provisions of the Copyright Act.

Student Name : Raivati Dandiwala Signature

Date

: 18. 07. 2022

I have either used no substantial portions of the copyrighted material in my document or I have obtained permission to use copyright material.

CERTIFICATE Student Name : Raivati Dandiwala Enrollment Number : 238816 Dissertation Title : Stepping Inside and Beyond the Screens. The following study is hereby approved as a creditable work on the approved subject carried out and presented in the manner, sufficiently satisfactory to warrant its acceptance as a prerequisite to the degree of Bachelor of Design (Space Design) for which it has been submitted. It is to be understood that by this approval, the undersigned does not endorse or approve the statements made, opinions expressed or conclusions drawn therein, but approves the study only for the purpose for which it has been submitted and satisfies him/her to the requirements laid down in the academic program. The institute does not validate this document’s authenticity and takes no responsibility for any acts of intentional or accidental plagiarism that may be found to be associated with this document or its author.

HOD School of Design, Anant National University

Guide : Pallavi Jain Space Design, Anant National University

ACKNOWLEDGMENTS

I dedicate my dissertation project to my mother, Meeta Dandiwala, my father, Divyesh Dandiwala and my younger sibling, Jaydeep. Without their endless love and encouragement, I would never been able to complete my graduate studies. It gives me great pleasure to recognize the contributions of various individuals who were critical to the completion of my dissertation project. This document is consolidation of my learnings from past four years at AnantU and my practical exposure gained from training at Sachin Gandhi and Associates. It has been overwhelming with everyday challenges that have helped me grow as a designer and wiser person. I would like to thank my guide Prof. Pallavi Jain and Dissertation Coordinators for inspiring me throughout the process. Your guidance helped me conceiving the ideal version of this project. I am grateful to Ar. Shashi Prabhu Sir (Principle Architect - Shashi Prabhu and Associates), Vinayak Joshi ( Art Director of Bhansali Productions ), Staff of Goregaon Film City, Mumbai, for giving the crucial insights regarding the project and site. I am thankful to all my friends, Tanvi Gajjar, Harish Dabhade, Aaradhya Soni, Radha Chudgar, Chitra Rajvaidya, who supported and guided me throughout my journey which was tiring and unmanageable at times. Conclusively, I am obliged for everything God has given me, through the directions and the power to fulfill my passion.

The organic nature of planet is always an unique identity to the naked eye, as to be forwarded into designs. -Raivati Dandiwala

RAIVATI DANDIWALA A Space Design student, fascinated by people, places and stories, of how design evolves around it. Raivati has completed three year diploma course in Architecture and currently pursuing Bachelors of Design (Major : Space Design) from Anant National University. Conceptual and Generative design motivates her to create new spaces. Formerly she has interned with well-known Architectural firms on projects spanning across various sectors such as Sports Complex, Healthcare, Institutional, Residential, Commercial, etc. Currently she is a freelance Interior Designer and Stylist. She has a keen interest in urbanisation, and about how cities get evolved due to people and identities. She gains insights on indigenous design philosophy by studying projects of Sanjay Puri and Zaha Hadid.

ABOUT Anant National University

2022 I Raivati Dandiwala I 238816 I Capstone Project I Bachelors of Space Design I Anant National University

About Anant National University In 2011, Anant Institute of Architecture was established. In 2014, Anant Institute of Planning was established and In 2015, Anant Institute of design was established in affiliation to Gujarat University. In 2016, it was granted the status of Private University. Anant National University, also known as AnantU, is India’s first university with a focus on building a sustainable future. They provide their students with the opportunity to grow as well-rounded designers who are good communicators, collaborative workers, critical thinkers and leaders who are prepared to face a rapidly-changing world. Their pedagogy encourages students to build a revolutionary mindset and cultivate a habit of seeking solutions to local and global problems.

2022 I Raivati Dandiwala I 238816 I Capstone Project I Bachelors of Space Design I Anant National University

Space Design at Anant National University This is a comprehensive undergraduate degree programme that seeks to challenge today’s physical, material and functional reality to create an innovative and sustainable life. It aims at making designers future-ready to cater to the requirements emerging from new realities driven by technological disruptions. This studio-based, research-led practical design course, aims at nurturing space designers as critical thinkers, empathic human beings and innovative makers/do-ers. It offers an array of courses that help designers offer simple, functional and aesthetically appealing solutions to problems

PREFACE

01. INTRODUCTION

30 - 35

1.1 Initial Ideation 1.2 Statement of Intent 1.3 What is Indian Cinema? 1.4 In which aspects Cinema Evolved? 02. CINEMA AND FILM MAKING

38 - 55

58 - 63

3.1 Types of Museums in India and Abroad 3.2 Literature Study - Museums? 3.3 What the world is thinking about Museums? 3.4 Why it is Important to have experiential space? 3.5 How it can be a experiential museum? 04. CASE STUDY 4.1 Chhatrapati Shivaji Maharaja Vastu Sangrahalaya, Mumbai 4.2 Museum of the Moving Images, New York 4.3 Eye Film Museum, Amsterdam

102 - 107

5.1 Site Analysis 5.2 Approach and Location 5.3 Accessibility and Site Surrounding 5.4 Climate study 5.5 SWOT Analysis 5.6 Project Brief 5.7 Concept Development 5.8 Area Requirement 06. PROPOSED DESIGN

110 - 119

6.1 Site Plan 6.2 Master Plan 6.3 Floor Plans 6.4 Overall Sections 6.5 Circulation Diagrams and 3D Views

2.1 Process of Film Making 2.2 Cinema Timeline 2.3 Establishment of Technologies 2.4 Comparative Analysis of methods of Film Making 03. MUSEUMS TYPOLOGIES

05. CONTEXTUAL STUDY AND PROGRAM ANALYSIS

07. DETAIL AREA 01 - MAIN THEATER

122 - 127

7.1 Chair Layout 7.2 Ceiling Layout 7.3 Overall Section 7.4 Screen Fabrication Details 7.5 3D Views and Material Board 66 - 99

08. DETAIL AREA 02 - HISTORIC AND DIGITAL GALLERY 130 - 133 8.1 Furniture Layout 8.2 Program Explanation 8.3 Overall Section 8.4 3D Views and Material Board 09. LIST OF FIGURES 10. BIBLIOGRAPHY

134 - 136 137

STEPPING INSIDE AND BEYOND THE SCREEN Location : Film City, Goregaon Mumbai, Maharashtra Status : Thesis Design Proposal Style of Building : Experiential Film Museum

2022 I Raivati Dandiwala I 238816 I Capstone Project I Bachelors of Space Design I Anant National University

PREFACE The thesis is an applied project, and its goal is to design a Museum for Indian Cinema in Mumbai. Mumbai is home to one of the largest film industries in the world, known as Bollywood. The museum will have the goal of giving impetus to the movement of showcasing the history of Indian cinema and its impact on the world. The project is predicated on research and analysis for the context and its primary characteristics, which is then followed by an in-depth study on the history and architecture of the museum and film production to determine the most effective method to deal with the structure. In the second section, there will be a broad study on how to build a museum in a historical or specific setting. The purpose of this research is to gain an understanding of the characteristics and factors that should be taken into consideration when designing a museum in the modern period. This study will also be supported with worldwide case studies that show how new contemporary museums may be integrated with the historical buildings that are adjacent to them by both preserving the value of the buildings that are already there and bringing new value to the surrounding area. The creation of spaces will be within volumes that not only contribute to the functional component of the design but also help to identify the location is the fundamental idea behind the design. The museum in which the user is allowed to become a participant rather than a spectator since the narration is not presented in a sequential fashion. This engages the user in the telling of the story.

1. INTRODUCTION 1.1 Initial Ideation 1.2 Statement of Intent 1.3 What is Indian Cinema? 1.4 Impact and Evolution

2022 I Raivati Dandiwala I 238816 I Capstone Project I Bachelors of Space Design I Anant National University

INITIAL IDEATION

My initial idea of the project was something related to films and production design. I started the research and went out to write a brief for the project. After few initial talk with art directors and production designers and visits to film studio in Mumbai, I came on to the conclusion that involvement of core set design or any temporary structure is less, and hence I need to widen my scope to find the process behind the project. After researching, I was able to amalgamate an idea of creating a experiential space in which one could show the process of Film Making which includes every division of making process, through history and various uses of technology into the space and show it through its Methodology.

FILM / PRODUCTION DESIGN

VISUALIZER

SPACE DESIGN

SET DESIGN

ART DIRECTION

EXPERIANTIAL SPACE

PROCESS OF FILM MAKING/ VISUAL IDENTITY

MUSEUM DESIGN

STATEMENT OF INTENT Experiential Film Museum

RESEARCH QUESTION

AIM

How a space can narrate or portray the making process of Indian Film?

Stepping Inside and Beyond the Screen returns to a question ‘What is Cinema?’ and in answer presents a compelling overview of new cinematic forms which Atkinson terms ‘emerging cinema’. The aim is to design a Museum for Indian Cinema at Mumbai, which is home to one of the world’s largest film industry, showcasing the history of Cinema - Film Making and its global impact. Spatial storytelling is an interactive form of narration of the story plot through the graphic and thematic display in the museum plot.

STEPPING INSIDE AND BEYOND THE SCREEN

2022 I Raivati Dandiwala I 238816 I Capstone Project I Bachelors of Space Design I Anant National University

OBJECTIVES To design an interactive space with the use of methodology and technology while considering user experience. The Museum will not only provide a store house of information to the l aymen but it will also help film makers, film students, enthusiasts and critics to know and evaluate the development of cinema as a medium of artistic expression not only in the country but also in all parts of the world. To exhibit the work of the noted directors, producers, Institutions etc. for the benefit of visitors/film enthusiasts; To generate interest in the future generation in the field of film movement.

METHODOLOGY Understanding Project Case study - Library study Site study Anthropometrics study Standards and Norms of film making elements Program development Conceptual development Design development

SCOPE AND LIMITATION Scope: To encapsulate the Socio-cultural history of India as revealed through the evolution of cinema; Limitations: Time factors may be the major constraints imposed on this study, so extent of construction detailing shall depend on the duration available. Non availability of prototype case study.

WHAT IS INDIAN CINEMA? Cinema of India consists of films produced in India, where more than 1800 movies are produced annually. Major centres of film production in the country include Mumbai, Hyderabad, Chennai, Kolkata, New Delhi, Amritsar, Kochi, Bangalore,and Guwahati. Over the decades, Indian Cinema has been the source of information, entertainment and education. Cinema is a powerful means of communication, a mirror of society, a cultural agent of change and a source of history.The first films India watched were not made in Bollywood but cinema had indeed arrived on India’s shores. The year was 1896, and thanks to the country’s colonial rulers, it was the Lumiere Brothers who introduced the art of cinema to the sub-continent. Bombay, as it was then called, was the first Indian city to screen Cinematography, six short films by these cinematic pioneers. But it was a portrait photographer called Harischandra Sakharam Bhatavdekar who made Indian ‘motion picture’ history. His short ‘reality’ film screened in 1899 was called The Wrestlers and was a simple recording of a local wrestling match.

ACTING CULTURE

(Entertainment)

(Styling

TECHNOLOGY

Tradition

(Production

Region

Film Making)

Religion)

HISTORY (Transitions Stories)

SENSES (Visual

INDIAN CINEMA

Sound Touch)

SETS (Interior

CELEBRATION

Temporary structure

(Film festivals) GRAPHICS

Story telling )

(Media Radio Editing)

It was only after the turn of the century that Indian entertainment underwent a sea change when the Father of Indian Cinema, Dadasaheb Phalke, released his path breaking film of the Silent Era, Raja Harish Chandra. The film, based on a mythological character, was released in 1913 and was India’s first full-length feature film. Yes, Bollywood had finally arrived! Dadasaheb Phalke laid the foundation for the beginning of a regular feature film industry in India. By 1920 there was a regular industry bringing out films starting with 27 per year and reaching 207 films in 1931. Interestingly the female roles were also played by the male actors. Many new companies and film makers came up during that period. The 1930s saw sweeping changes to the industry, technically and stylistically.

2022 I Raivati Dandiwala I 238816 I Capstone Project I Bachelors of Space Design I Anant National University

IMPACT AND EVOLUTION Bollywood has always had immense influence on the people across the country, the actors set trends and the fans follow them madly. This is often a product of the love that followers have for Bollywood. People worship actors and feel a deep connection with their charisma. Cinema takes the audiences into a dream world and they try to imitate the actors by emulating them. Film allows us the opportunity to escape for a few hours into lives that are not our own - lives that may be, in fact, quite different from our own.

ACTING

CULTURE

LIGHTING

TECHNOLOGY

EVOLUTION

USER EXPERIENCE

FILM MAKING

SETS

GRAPHICS

Fig . 1 Impact of Bollywood celebrities

President Pratibha Patil once said cinema was a very potent medium for conveying a message and had become an important factor in influencing social norms. "Cinema operates within the context of a social scenario and, thus, has a stake in the stability, prosperity and progress of society," she said after presenting the 57th National Film Awards. The main motive behind designing a museum is to bind altogether the development, the Evolution of Information, Set design, Emerging Technology, Pre-historic life, Lighting and Production Techniques; etc, in a historical manner from where it came to where it is, while narrating a design process of correlation of film and spaces.

2. CINEMA AND FILM MAKING 2.1 Process of Film Making 2.2 Cinema Timeline 2.3 Establishment of Technologies 2.4 Comparative Analysis of methods of Film Making

Promotion

PreProduction

Concept and Idea generation

Distribution

Budgeting

Idea Developm ent

Sound and Color

Visual effects

ScriptWriting

PROCESS OF FILM MAKING

Hiring of cast and crew

Color correction

Sound Design

Production Design Editing

Shooting

Story board and shot list

2022 I Raivati Dandiwala I 238816 I Capstone Project I Bachelors of Space Design I Anant National University

PROCESS OF FILM MAKING

The film production process, like most creative art forms, is known to be organized chaos. Projects of any scale or budget can be derailed by failing to follow the best process. Filmmaking is the process of making a film. Filmmaking involves a number of discrete stages including an initial story, idea, or commission, through scriptwriting, casting, shooting, editing, and screening the finished product before an audience that may result in a film release and exhibition. Filmmaking takes place in many places around the world in a range of economic, social, and political contexts, and using a variety of technologies and cinematic techniques. Typically, it involves a large number of people, and can take from a few months to several years to complete.

CINEMA TIMELINE

SILENT ERA

(1896 – 1930)

STUDIO SYSTEMS AND BUDGETS

GOLDEN ERA

(1931-1950)

INTRODUCTION OF TALKIES AND COLOR

(1950-1960)

(1961-1980)

(1981-2000)

MASALA MOVIES AND PARALLEL CINEMA

(2000- Now)

CONTEMPORARY

Fig . 2 Timeline of Cinema

The history of Indian cinema is as rich and vibrant as the history of India as a country. It is full of small stories of little men doing extraordinary things, of seemingly insignificant incidents which later went on to change the face of cinema in a global sense. It is a story which is more than a century long and full of more than 50,000 tales told in celluloid. It starts with a couple of men in 1896 making the first ever short films in the history of India and altering the course of events forever. The stories it holds are in no way less amazing then those seen in cinemas across the world. For convinces sake, the history of Indian cinema can be divided into 6 eras from the time of its conception in the year 1896 till today.

2022 I Raivati Dandiwala I 238816 I Capstone Project I Bachelors of Space Design I Anant National University

THE DEVELOPMENT PROCESSES Dadasaheb Phalke created India’s first silent full-length feature film, Raja Harishchandra, in 1913. The film was quiet throughout its entirety. In a very short amount of time, the Indian film industry expanded into a massive film empire. By the time the 1930s rolled around, the film industry was already cranking out more than 200 pictures annually. Alam Ara, a silent film, was finally produced in 1931 after a number of failed attempts. Ardeshir Irani was the director of the very first Indian film to use sound; the film was named after him. In the latter part of the year 1934, Ardeshir Irani created Noor Jahan, which was India’s first English feature picture. The majority of regional film businesses, as well as Bollywood, made the transition to sound filming rather quickly (Ganti, 2004). Himansu Rai’s Bombay Talkies, which was released in 1934, is credited as being the catalyst for the establishment of the Indian film industry. India was rocked by a number of significant events in the late 1930s and 1940s, including the Great Depression, the Second World War, India’s struggle to win its independence, and the hostility and brutality created by its partition. As a result, India went through a period of tumultuous times during this time period. The majority of the Bollywood films that were released during this time period were characterised by their wishful thinking and shameless escapism in nature. (Mishra, 2002) The vast majority of filmmakers, on the other hand, were able to confront the challenging social climate of the time, and some of them even used the Indian Independence Movement as a backdrop for their films. Kisan Kanya, directed by Ardeshir Irani and released in 1957, is considered to be the first Hindi Indian colour feature film. However, the use of colour did not become commonplace in Hindi cinema until the late 1950s. This was when the trend first started. Melodramas and opulent love musicals quickly became the standard fare in all of India’s movie theatres shortly after their introduction.

A NEW ERA OF BOLLYWOOD: GOLDEN AGE After India gained its independence in 1947, the Indian movie industry never looked back. Film historians regard the period between the late 1940s and 1960s to be Hindi cinemas’ “Golden Age”. This era saw the production of some of India’s most critically acclaimed movies which received recognition not only in India but the world over. This period produced classics like Pyaasa in 1957and Kaagaz Ke Phool in 1959 by Guru Dutt, Awaara in 1951 and Shree 420 in 1955 by Raj Kapoor. These movies dealt with social themes and expressed the lives of the urban working class in India at that time. A number of renowned epic movies of the Indian film industry were also made a this time. The most widely known was Mother India in 1957 by Mehboob Khan, which is still considered to be among the best movies made in India and was also nominated for an Academy Award for Best Foreign Language Film, and Mughal-e-Azam in 1960 by K. Asif. Western cultures were reincarnated in Bimal Roy’s Madhumati produces in 1958. Among the other successful directors of this time were Vijay Bhatt and Kamal Amrohi.

PARALLEL CINEMA MOVEMENT The 1950s also saw the emergence of the Parallel Cinema movement, which although had begun with Bengali cinema, gained a lot of prominence in Bollywood. Hindi movies belonging to this movement include Neecha Nagar of 1946 by Chetan Anand and Two Acres of Land of 1953 by Bimal Roy (Ganti, 2004). Their commercial success and critical acclaim created a path for neorealism Indian filmmakers of the Indian New Wave. Other parallel moviemakers included Shyam Benegal, who continued producing realistic movies all through the 1970s. This period saw a number of action and romance films and was dominated by actors like Dharmendra, Mithun Chakraborty and Rajesh Khanna and actresses like Mumtaz, Sharmila Tagore and Helen. (Mishra, 2002) It also saw the emergence of Amitabh Bacchan, who slowly became a superstar and even today rules not only Bollywood but the hearts of millions of his fans. With movies like Sholay, Jai Shantoshi Ma and Dewar in 1975, Salam Bombay, Qayamat Se Qayamat Tak and Maine Pyar Kiya in the 1980s, and Hum Aapke Hain Kaun and Dilwale Dulhania Le Jayenge in the 1990s the modern era of Indian cinema had dawned (Ganti, 2004).

THE BOLLYWOOD MOVEMENT

Bollywood’s popularity grew with the turn of the century, leading the industry to new heights with actors like Shahrukh Khan, Aamir Khan, Hritik Roshan, Sanjay Dutt and Abhishek Bacchan and actresses like Rani Mukherjee, Kajol, Aishwarya Rai, Juhi Chawla, Madhuri Dixit and Priety Zinta, taking Bollywood to overseas markets and multiplexes having phenomenal success both in India and oversees. The Bollywood movement has been unparalleled all over the world. India has entered into a number of ties up with different nations all over the world, including South Africa, the USA, UK, etc., which has grown stronger over the past few years. The Bollywood Movement has put India on the international movie map forever, single-handedly producing more movies every year than any other film industry in the world. Budding artists from every nook and corner dream of working in

2022 I Raivati Dandiwala I 238816 I Capstone Project I Bachelors of Space Design I Anant National University

ESTABLISHMENT OF TECHNOLOGIES Since its inception in the 1800s, the moving picture industry has undergone significant development. The more than 200 years that have passed since the beginning of time have been defined by artistic exploration as well as technological achievement. Storytelling using shadow puppets has been around for as long as anybody can remember, but it was the magic lantern shows that became popular in the 1600s that were essential to the development of cinema. The images were painted on glass and then projected onto the wall using a lantern that consisted of merely a candle and a lens. This lantern was an early precursor to the projectors used in modern times. Beginning in the 1830s and continuing ahead, an increasing number of people began to discover ways to give the impression that still images were moving. Every one of them applied the scientific theory known as “persistence of vision.” This simply implies that it takes a certain amount of time for the eye to see, so if images flash in front of our eyes before they have the chance to fully perceive them, it gives the impression that the images are moving when in reality they are simply being seen too quickly for the eye to process.

Fig . 3 Illustration of establishing technologies

THE THAUMATROPE FROM THE 1820S

Fig . 4 Visual Process of the Thaumatrope

The thaumatrope was created by astronomer Sir John Herschel in 1824, but made popular by English physicist, Dr. John A. Paris. It was basically a piece of paper with designs on the front and back of it and two strings tied on either side of it. When turned, the designs on either side blended into one and it looked as though the picture was in motion. At the time, the toy was only meant for entertainment, but its invention peaked people’s interest in animation and the moving image.

2022 I Raivati Dandiwala I 238816 I Capstone Project I Bachelors of Space Design I Anant National University

THE PHENAKISHOSCOPE OF THE 1830S

THE ZOETROPE IN THE 1830S

Fig . 5 Visual Process of the Phenakishoscope

Fig . 6 Making of Zoetrope

This was a toy in the form of a giant magnifying glass. It had a disc with pictures on the edges which looked like they were in movement if you looked through the slots at its reflection in the mirror. It was first invented by Simon von Stampfer in 1832, but renamed the phenakishoscope by Joseph Plateau.

In 1834, William Horner invented the zoetrope as an improvement of the phenakishoscope. This optical toy didn’t have mirrors, which allowed the ‘motion picture’ to be viewed by several people at once.

THE PRAXINOSCOPE IN THE 1870S

EADWEARD MUYBRIDGE & ETIENNE-JULES MAREY

Fig . 8 Visual Process of Eadweard Muybridge & Etienne-Jules Marey

Fig . 7 The Praxinoscope

Pictures were attached to the rim of the drum and they looked like they were moving when the drum spun. Its design prevented distortion, so it quickly replaced the other optical toys

Photographer Eadweard Muybridge wanted to capture a horse in movement so he set up 24 cameras with some trip wire. In 1878, he produced a series of pictures that made it seem like the horse was in motion when viewed in a peep show machine. Shortly after Muybridge did it, Marey photographed a bird in movement using a single camera. The camera was in the form of a rifle and it took 12 pictures per second. In 1885, George Eastman created the first celluloid roll film, which allowed inventor Thomas Edison and assistant William Dickson to invent the first camera to record movement in 1891. The Kinetograph produced films that could only be seen by one person at a time through a peep show machine.

2022 I Raivati Dandiwala I 238816 I Capstone Project I Bachelors of Space Design I Anant National University

THE SILENT ERA

Fig . 9 Un Voyage La Lune ( A trip to the moon, 1902 )

the Moon, 1902) Un Voyage VoyageAALa LaLune Lune(A(ATrip Triptoto the Moon, 1902)

The Silent Era marks the birth of cinema when cinema was all about experimentation and pushing boundaries. All of the new discoveries of this era helped shape the eras that followed and the filmmakers and films that came after them. Named for its lack of sound, films from this era were in black and white and some of them were filmed on as little as a single reel of tape (averaging from a few minutes to just over an hour). This period began with the invention of the Cinematographer in 1895 by the Lumière Brothers. This device recorded film stock and projected the footage on screen. The silent era ended in 1929 when the “talkies” started (feature films with sound). It is also important to mention the birth of Hollywood in 1913. American filmmakers Cecil B. De Mille and Oscar C. Apfel ended up in Los Angeles and decided to stay due to the constant sunshine (lighting all year) and the landscape. Several other filmmakers moved to L.A and it quickly became the place for film.

"Workers Leaving the Lumière Factory"

Fig . 10 Worker leaving the factory "Workers Leaving the Lumière Factory"

2022 I Raivati Dandiwala I 238816 I Capstone Project I Bachelors of Space Design I Anant National University

FILMING

THEN

Fig . 11 Air-craft mounted camera

Aerial Shots in 1909 used an aircraft-mounted camera to capture shots from skies. The camera was so heavy that it actually weighed more than the plane. Audiences were able to see the edges and of props and sets, creating an unrealistic viewing experience.

NOW

Drones use algorithms on film making techniques (shot sizes, viewing angles, and screen position) to capture the best shot. 3D printing has led to props and sets that have higher quality and resolution, scalability, speedy turnaround times as well as easy customization. 3D printed objects interact with actors realistically by virtue of actually existing in physical space, unlike CGI.

2022 I Raivati Dandiwala I 238816 I Capstone Project I Bachelors of Space Design I Anant National University

Fig . 12 Drone

CAMERAS

THEN

Fig . 13 Film Cameras

With film cameras, conducting multiple takes of a scene was costly as large amounts of films had to be used. Film cameras needed to be reloaded frequently.

NOW

Fig . 14 Digital Camera

Multiple digital cameras can run on the same shoot, getting various angles of a scene at once. Capturing multiple takes is possible. DSLR have taken over.

EDITING AND POST PRODUCTION

THEN

Fig . 15 Editing Machine

The initial editing of all films was done by physically cutting and pasting together pieces of film, using a splicer and threading the film on a machine with a viewer.

NOW

Fig . 16 Editing Software

The cloud and Advanced Film-editing software has allowed filmmakers to work with production teams from different parts of the world create effects of an imaginary world.

2022 I Raivati Dandiwala I 238816 I Capstone Project I Bachelors of Space Design I Anant National University

ANIMATION

THEN

Fig . 17 Hand-drawn Illustration

Characters were drawn on cells and superimposed on common background images to reduce the number of frames and production times. Hand-drawn by artists, who relied on non-stop animation to create the realistic effects. Computer-generated animation was used alongside the hand drawn animation to digitally ink and color all animated cells getting rid of the need to do it by hand.

NOW

Fig . 18 Animated Illustration

Almost everything animated is created digitally through computers, digital pens, tablets and digital sculpting tools. Thanks to faster computers and the Internet things that were only possible for major studios 20 years ago can be done by one person, or by a small crew of people. Studios put actors in mocap suits and record their motion in a way that fits with the character they’re animating, then save the motion as a skeleton animation that can be attached to a model later.

PROMOTION AND DISTRIBUTION

THEN

Fig . 19 Posters

Prior to the widespread use of Internet film studios could only promote their upcoming film productions via posters, magazine ads, newspaper articles, billboards, etc. Twenty years ago, marketing a brand-new sci-fi film could take significant market research to determine where and when to market it.

NOW

Fig . 20 Websites

Self-distribution platforms create marketing campaigns which can deliver content globally all online. Current promotional material for the film industry is curated on singular websites dedicated to nothing but advertisement. The content is more feature rich, offering site visitors a better user experience and more active engagement. Social Media groups, categories, and hashtags allow filmmakers to specifically target a particular demographic with similar interests.

2022 I Raivati Dandiwala I 238816 I Capstone Project I Bachelors of Space Design I Anant National University

CONSUMPTION

THEN

Fig . 21 Disc Player

Nickelodeons or 5-cent movie theaters, began to offer and easy and inexpensive way for the public to watch movies, increasing the appeal of film and generating more money for filmmakers. The 1970s saw the advent of films on VHS video players and laser disc players, greatly increasing profits and revenue for studios but caused a decrease in theater attendance.

NOW

Fig . 22 Streaming Services

By 2018, revenue from electronic home video ( which includes streaming services and on demand programming) is projected to surpass that of U.S. cinema. While watching films,second screen apps allow viewers to get inside information and behind the scenes looks on their phone. In-theater experiences have been enhanced with advanced speakers that make the audience feel like they are in the movie.

3. MUSEUMS TYPOLOGIES 3.1 Museum through time 3.2 Literature study - Museum 3.3 What the world is thinking about Museums? 3.4 Why it is Important to have experiential space? 3.5 How it can be an experiential museum?

MUSEUM THROUGH TIME ORIGIN OF THE MUSEUM Although records of collections of precious objects go back to Greek and Roman times, art collecting in the modern sense began with the Italian Renaissance, when enthusiasm for the products of classical antiquity and a sense of history first developed. The term ‘museum’ first used during the Renaissance, was a different experience from the present scenario. In a cabinet of curiosities natural and art objects were jumbled together on the walls and ceilings, cupboards and drawers of one or two rooms. Their purpose was to surprise and delight; viewers had to find what attracted them and then make their own connections. Early museums began as the private collections of wealthy individuals, families or institutions of art and rare or curious natural objects and artifacts. These were often displayed in so-called wonder rooms or cabinets of curiosities. One of the oldest museums known is Ennigaldi-Nanna’s museum, built by Princess Ennigaldi at the end of the Neo-Babylonian Empire. The site dates from c. 530 BC, and contained artifacts from earlier Mesopotamian civilizations. Ennigaldi-Nanna’s museum is thought by some historians to be the first museum, although this is speculative, Location within Iraq.

MEDIEVAL HISTORY In 1753 Parliament established the British Museum to house the private collection of the monarch, perhaps the first art museum supported by public revenues. The opening of the Louvre in 1793 was a thoroughly republican event; the revolution arise commonly referred to the Louvre as an institution dedicated to the glory of the nation. Public participation became an important aspect of museum policies; a socio-political organism.

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18TH CENTURY The dramatic rise of the museum in 19th-century Europe was closely allied to industrialization, a concern to gather up and preserve artefact’s from the past which provided a sense of continuity. At the same time, the new collections served to illustrate and reinforce the ideology of linear progress which underpinned and sustained the whole industrial revolution. Collections of pieces of material culture provided public evidence of the progress of human rationale and man's control over the environment. Industrial philanthropists provided money to build museums and also aimed to display the products of national skill for the edification of the public. The 19th-century museum was designed as a piece of ceremonial architecture in which the idea of the sacred was translated into secular or national or CIVIC terms.

THE MUSEUMS TODAY The museum reflects how a society sees itself as well as being a symbol of commercial and cultural achievement for the outside world. For many, the new cathedrals the shopping malls and the museums, the latter combining family entertainment with self-improvement. The contemporary museum is a place with a multiplicity of functions, which has to combine traditional roles of interpreting and conserving wide range of artifacts with requirements for large scale retail areas, complex new technologies and the circulation needs of the public. In competing with other forms of entertainment. Museums are looking to the architecture and techniques of theme parks, themselves an outgrowth of the 19th-century international exhibitions.

TYPES OF MUSEUMS Art museums Agricultural museums Medical museums Natural history museums Architecture museums Memorial museums Science museums Archaeology museums Mobile museums Military & War museum Biographical museums 0pen-air museums Children’s museums Automobile museums Technology museum

TYPES OF DISPLAYS USED IN MUSEUMS

Exhibits maybe of these types : a,b,c Hanging or wall mounted;

Each of exhibit types in figure below, will have combination of the following elements Item or items from the collection Fixing mount, support or plinth. Preservations; protection of vulnerable or removable parts, lock, alarm, barrier, glazing, thermo-hydrometer Lighting Interpretive material : Label, graphic information, sound, visual, interactive devices.

d,e

Free Standing and open exhibits;

f,g,h

Contained exhibits and display cases

Fig . 23 Types of Display

VISUAL STANDARDS The normal human angle of vision Start 277 up from eye level for a standing view, this means that well lit pictures should be bung than 1.90m above 10m away with the top not more and the bottom about 70cm below. The best hanging position for smaller pictures is with the point of emphasis (the level of the horizon in the picture) at eye level. It is necessary to allow 3.5 m hanging surface per picture, 6-10m ground surface per sculpture. According to experiments earned our m Boston a favorable vexing space u between 300 and 600 up, measured from a point in the middle of the floor. This means a still height of 2.13 m for pictured and a viewing range of 3.00 – 3.65m for sculpture is efficient.

Fig .Ideal 24 Ideal uniform lighting uniform lighting from both from (following S. Hursat Seagar) Seagar) bothsides sides (following S.Hursat

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Fig . 25 room Exhibition Exhibition with side lighting lighting

room with side

The Need For Lighting In most cases, the objective of display lighting should be to make the display appealing while simultaneously presenting the exhibits in an authentic manner in terms of the overall object and its features. In most cases, this calls for a mix of the lighting effects known as ambient and accent lighting. It is required that lamps be used that have a decent colour rendering. The most fundamental problems are: should illumination be natural or artificial, or what kind of balance should there be? If natural light is to be used for displays, or if just gallery space is available? Is it possible to prevent sunlight from entering the gallery, and if so, what kind of sun protection equipment is necessary? Working lights for usage during installation, cleaning, maintenance, deconstruction, and security patrols outside of business hours will be necessary. Emergency lighting for visitor safety, Display lighting, and other types of lighting will also be required.

Fig . 26 Illumination

MUSEUM EXAMPLES

Guggenheim Museum Plan Circular Pathway Fig . 28 Plan of Guggenheim Museum Plan

Fig . 27 Illustration - Section - National Museum of Western Art , Tokyo

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WHAT THE WORLD IS THINKING ABOUT MUSEUM ?

WHY IT IS IMPORTANT ?

HOW ?

Through the rapid development of digital entertainment, museums have realised the importance of interactive technologies used in their exhibitions.

We know the cinema through entertainment or drama and not from the actual process of film making.

In today’s museum, there is limited use of methodology within the space. Wherein technology can bring visitors closer to the history of what it conveys.

A growing number of museums are using apps, QR codes, touch screens, virtual and augmented reality, and other interactive technologies that allow easy and direct transfer of information. Digitizing the exhibit space requires collaboration between museum and technology to develop museum into high end virtual experience.

Curiosity and interaction invite people of all ages to explore museums through spatial experiential platforms, where people could get an awareness of the process inside and beyond the screen.

Chief Information Officer at the Cleveland Museum of Art, Jane Alexander, said it best, “The best use of digital is not to make you aware of the technology, but to make you aware of the art.”

4. CASE STUDY 4.1 Chhatrapati Shivaji Maharaja Vastu Sangrahalaya, Mumbai 4.2 Museum of the Moving Images, New York 4.3 Eye Film Museum, Amsterdam

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INITIAL IDEATION

Selection of Case Studies The selection of these case studies and literature study was a tough call in the world of so many architectural masterpieces. The case studies and literature studies has their own design evolution, concepts, requirements and the way of exhibitions which makes them unique in their own categories. The main criteria for selection is to understand the design aspects of a museum not only in an architectural way but also as a way what users’ experience, to understand how an ordinary museum will get differentiated with film making museum or any museum which focuses on Experiential Space. Other criteria for selection was not to take monotonous case studies, they should be different from each other in different aspects. Chatrapati Shivaji Museum, Mumbai Museum of the Moving Image, New York Eye Film Museum, Amsterdam

CASE STUDY

MUSEUM

EXPERIENTIAL SPACE

SCIENCE/ART/FILM MUSEUM

GALLERY

ART

SPACE DESIGN ANALYSIS PROCESS OF FILM MAKING/ VISUAL IDENTITY

IMPLIMENTATION

PRIMARY CASE STUDY Chhatrapati Shivaji Maharaja Vastu Sangrahalaya, Mumbai

Fig . 28 Front view of Museum

Architect : George Wittet Year : 1914 Project Size : 2750 sq.mt

Chhatrapati Shivaji Maharaja Vastu Sangrahalaya, Mumbai, India. Formerly known as the Prince of Wales Museum of Western India. This is one of the premier art and history museums in India. The Museum building, a Grade I Heritage building is a fine example of the Indo- Saracenic style of architecture.

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INTRODUCTION AND LOCATION BRIEF

Fig . 29 Location

Fig . 30 Location - Connectivity

Fig . 31 Site Surrounding

It is situated on the southern tip of Mumbai on a crescent site, at Mahatma Gandhi road, Kala Ghoda, Fort, Mumbai. Due to the large site and garden in front, the skyline of the museum building can be easily seen. The only high-rise buildings are Stock Exchange and Taj Hotel. Selection Criteria : Chhattrapati Shivaji Maharaja Vastu Sangralaya is one of the major museums belonging to the colonial times. It is one of the most significant and conserved museums of the world and helps spreading the awareness about Indian, Japanese and Chinese history and also the pre-historic times. It is one of the places due to which there is increase in visitors in the Kala Ghoda area of South Mumbai. Design Criteria : “ The museum of Western India is an Indian Composition “ - George Wittet Fig . 32 Side View

CONCEPT Indo – Gothic architectural style is applied in the building. The pillared hall at the entrance, the dome arising above it over the intersecting arches, the formation of geometric patterns, the jail work, etc; are the examples for this form. The building is aligned in such a way that the entrance to the building is through the south – west facade. Polished serpentine marble pillars are used to support the dome. The wooden arched pavilion used as a railing on the first and second floor is purchased from a Wada at Nasik in Maharashtra. The dome of the ceiling is inspired from Gol Gumbaj at Bijapur.

Fig . 33 Entrance Lobby

Fig . 34 Entrance Lobby

Fig . 35 Dome

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SPACE MANAGEMENT AND DIVISION As per the ICOM’s definition of the word ‘museum’, a museum building should have storage for the collection; a laboratory for preservation and conservation, a work-room for documentation, exhibition galleries, an auditorium for communication, administrative offices and a library for research. Since a museum is a public institution, it should also provide some public facilities such as reception-cum-sales counter, cloak-room, water closet, public call booth, etc. All these specific areas need to be juxtaposed in such a way so as to facilitate museum’s activities in a most effective manner.

• GALLERIES - Total 20 • Auditorium • Arrangement of Galleries • Entry Exit Patterns • Circular Pathway

• Offices • Storage area • Cloak Room

• Laboratory • Studios • Museum Shops • Library • Children Museum

EXHITBIION

LEARNING

ADMINISTRATION

Public Facilities

• Reception • Parking • Ticket Counter • Water Cooler • Toilets • Cafeteria

Fig . 36 Ground Floor Plan and Sectional Elevation GROUND FLOOR PLAN

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Pre Historic Gallery

Natural History Section

Office Cafeteria Hall

Sculpture gallery

Gallery space

Gallery space Library

Key gallery

Main building

East wing extension building

Office

Main Entrance

PUBLIC SPACES

Office

PRIVATE SPACES

GROUND FLOOR PLAN

Curators' Office

Indian Metal ware & Decorative Art Gallery

Krishna Gallery

The Coins Gallery

Himalayan Art Gallery

Miniature Painting Gallery

Office

Prints Gallery Directors' Office

Gallery

Office

Museum Shop

Main building

East wing extension building

PUBLIC SPACES PRIVATE SPACES

FIRST FLOOR PLAN

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Chinese and Japanese Art Gallery

Office

European Painting Gallery

Indian Textiles & Costum es Gallery

Jehangir Gallery

Arms & Amour Gallery

Main building

Conservation Studio

Office

East wing extension building

PUBLIC SPACES PRIVATE SPACES

SECOND FLOOR PLAN

CHILDREN MUSEUM AT CHATRAPATI SHIVAJI MAHARAJ VASTU SANGRAHALAYA The museum displays a wide range of art, from ancient sculptures to contemporary paintings, depicting India’s rich culture and heritage, re-interpreted through a child’s imagination. The 50 artefacts include a sculpture of freedom fighter Bal Gangadhar Tilak and Mahatma Gandhi’s Charkha.

Fig . 37 Exhibition Area

Fig . 38 Children Museum

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INFERENCES

Fig . 39 The miniature gallery having provision of exhaust fans for ventilation.

Fig . 40 Atrium gallery with natural ventilation

Prints gallery The Miniature gallery Atrium whispering depicting use of having provision of gallery with The Miniature gallery Atrium whispering natural light for The Miniature gallery exhaust fans for natural ventilation Atrium having provision of gallerywhispering with illumination. ventilationhaving provision of gallery with

exhaust fans for exhaust fans for ventilation ventilation

Prints gallery

depicting natural lightuse forof natural light for illumination. illumination.

Fig . 42 Print gallery depicting use of

Fig . 43 Natural History section using fan for

natural light

ventilation as exhibits are in covered spaces.

Bronze gallery depicting artificial

illuminating the cases and passages.

Bronze gallery depicting artificial Natural His Printsilluminating gallery the cases as lights forgallery ventilat Bronze Prints gallery depicting use of well as passage. Bronze gallery covered c lights illuminati

natural ventilation natural ventilation

Natural History section using fan ry depicting use ofgallery depicting Bronze artificial Natural section using fan are in lights illuminating the cases as History for ventilation as exhibits use of natural lights light for illuminating cases as wellthe as passage. for ventilation as exhibits are in covered cases. ht for illumination. well as passage. covered cases. n.

Fig . 41 Bronze gallery depicting artificial lights

lights well asillumina passag well as passa

Fig . 44 Natural ventilation in museum building by air vents.

Natural ventilation in museum

Natural ventilation building by in airmuseum vents building by air vents

SECONDARY CASE STUDY Museum of the Moving Images, New York Opened in 1988, the museum is housed in one of the thirteen buildings of the Astoria Studio Complex (now known as Kaufman Astoria Studios), a filming facility, located in the New York City borough of Queens and once belonged to Paramount Pictures, still in use for the production of popular films and TV shows. The Museum of the Moving Image is housed in a former production building, refurbished and enlarged in 2011 on a design by Leeser Architecture.

Fig . 45 Front facade

Project Location : Astoria, Queens, US Year of Completion : 2011 Architects : Leeser Architecture Height : 56 ft. Project Area :97,700 sqft

The Museum of the Moving Image is an internationally acclaimed institution dedicated to exploring the history and technology of the art of the ‘moving image’. On January 15, 2011, the new, stunningly modern, and versatile museum building opened its doors to the public. Standing at 35 Avenue, you face a grid of transparent and mirrored glass with three and a half feet tall letters spelling out “Museum of the Moving Image”.

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GROUND FLOOR LAYOUT

Fig . 46 Museum of Moving Images - Ground Floor Plan

FIRST FLOOR LAYOUT

Fig . 47 Museum of Moving Images - First Floor Plan

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SECOND FLOOR LAYOUT

Fig . 48 Museum of Moving Images - Second Floor Plan

SPACE ANALYSIS ( GATHERING SPACE AND LOBBY AREA ) As visitors move into the new lobby, across a polyester floor in a cool light blue, they pass along a 50-foot-long wall coated with screen paint, used as the surface for a seamless panorama of projected video, with works selected on a changing basis by the curatorial team. Lending a sense of dynamism to the visitor’s progression through the lobby, the projection wall is canted at an 83-degree angle. Visitors may turn to the right from the lobby and step up through either of two tunnels in Yves Klein blue into the new 264-seat theater: a space designed as a capsule for the imaginary voyage of movie going.

1.Student Lobby Area Fig . 49 Museum of Moving Images - Student Lobby area view

2. Gathering Space

Fig . 50 Museum of Moving Images - Gathering space view

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Ground Floor – Key Plan

SPACE ANALYSIS ( SCREENING ROOM AND MUSEUM 6. The venue for multiple screenings, art installations, and live events during summers; and, the access to the education center of the museum which serves about 50,000 students every year. The capacity- 68 person.

Fig . 51 Museum of Moving Images - Museum shop view

6 9

6. Screening Room

Ground Floor – Key Plan

Fig . 52 Museum of Moving Images - Screening room view

SPACE MAKING ELEMENTS (VIDEO SCREENING ROOM AND MAIN THEATER) 264-seat Theatre is clad all around by 1,136 triangular felt surfaces integrated with lighting between the joints. It features a screen and projection equipment that can run all formats- from 16mm to 70mm, HD, and Digital 3D. Screening Theater is used for student orientation.

1. Screening Theater 2. Main Theater Fig . 53 Museum of Moving Images - Screening room and Main Theater view

First Floor – Key Plan

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SPACE MAKING ELEMENTS (MAIN THEATER)

Fig . 54 Museum of Moving Images - Main Theater view

SECTION

Fig . 54 Museum of Moving Images - Sectional Elevation

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FACADE

Fig . 56 Museum of Moving Images - Front view

Fig . 55 Museum of Moving Images - Rear views

Fig . 56 Museum of Moving Images - Front Elevation

Fig . 57 Museum of Moving Images - Back Elevation

SECONDARY CASE STUDY Eye Film Museum, Amsterdam

Fig . 58 Eye Film Museum - View

Project Location : Amsterdam Year of Completion : 2011 Architects : Delugan Meissl Associated Architects

Eye Film museum is the only museum for film and the art of the moving image in the Netherlands. The Eye collection contains more than 50,000 Dutch and international films, and a wide variety of posters, photographs, film equipment, books and personal archives, among them the celebrated UNESCO World Heritage Collection of film pioneer Jean Desmet. Eye preserves, restores and presents films of all sorts from classics, blockbusters and early avant-garde works to the very latest experiments in virtual reality.

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SITE SITEPLAN PLAN

Fig . 59 Eye Film Museum - Location

Derived from the concept of film as an illusion of light, space and movement which becomes a reality through projection, this structure builds upon these parameters to create a spatial experience with human motion. Adjacent to the IJ river, the exterior’s multiple layers of folding creating a transition across the water which divides the site from the historic urban center and central station. The cultural center serves as a meeting point, the building becomes a landmark within the city’s new nods quarter, currently comprised of apartments, office buildings and a tower which link the old and lively district. The site may be accessed from different directions by a ferry, bicycle path and vehicular route.

Fig . 61 Eye Film Museum - Entrance Area

Fig . 60 Eye Film Museum - Bird eye View

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BASEMENT FLOOR PLAN

Fig . 62 Eye Film Museum - Basement floor plan

GROUND FLOOR PLAN

Fig . 63 Eye Film Museum - Ground floor plan

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FIRST FLOOR PLAN

Fig . 64 Eye Film Museum - First floor plan

SECOND FLOOR PLAN

Fig . 65 Eye Film Museum - Second floor plan

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Fig . 66 Eye Film Museum - Overall Sections

CONCEPT EYE MUSEUM

HOW TO RAISE A MIRACLE?

FILMS

EDUCATION

EXHIBITION

EYE FRAMED

EYE SHOP

DISCOVER

PANORAMA

EYE EXPLORE

EYE WALK

EYE LISTEN

EYE SET

EYE BAR RESTAURANT

Its great how EYE appreciates that a historical archive is not about dead material but that it has to be brought to life again every time around. A visit to the Panorama on Eye’s Basement floor will tell you all about major developments in the history of film, from the earliest days to the present. A selection of special film equipment from the collection marks significant events in the history of cinema. Our 360 Degree Panorama literally surrounds you with hundred film fragments from EYE’s collection, and immerses see you in film. You can test your knowledge with a quiz in yellow mini cinema’s or stand in front of the Green Screen and the protagonist in a film scene. Also in the Panorama you can shoot scenes for your personal flip-book which you can chase in the EYE Shop upstairs.

Fig . 67 Eye Film Museum - Interior Views

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MOVIE PLAYGROUND Film is an illusion created by the scenic coordination of light, space, and movement, which becomes real through projection. In architecture, the interplay between these parameters defines the intensity and effectiveness of the individual spatial perception significantly. They are understood to be integrative components of spatial enactment, their effect being projected through sequences of human motion and unfolded in multi layered ways. A young man descends the steps to Panorama. This budding filmmaker has already spent many hours here, playing the film jackpots and watching fragments and sometimes entire films in one of the Pods. This time though he's heading for the Flipbook Machine.

COMPARATIVE ANALYSIS Chhatrapati Shivaji Maharaja Vastu Sangrahalaya, Mumbai.

GROUND FLOOR LAYOUT

Indo - Gothic Architecture style of Building Heritage Building Aim : spreading the awareness about Indian, Japanese and Chinese history and also the pre-historic times. Historical in aspects of Planning (Traditional housing of Maharashtra)

GROUND FLOOR PLAN Shivaji Maharaja Vastu Sangrahalaya - Ground floor plan Fig . 68 Chhatrapati

Museum of Moving Images, New York, USA A one-of-a-kind destination for audiences of all ages and interests, Museum of the Moving Image is the country's only museum dedicated to the art, history, technique, and technology of the moving image in all its forms. Dedicated to exploring the history and technology of film, television and digital entertainment and the art of the ‘moving images’ Fig . 69 Museum of Moving Images - Ground floor plan

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Eye Film museum is a film archive, museum, and cinema in Amsterdam that preserves and presents both Dutch and foreign films screened in the Netherlands. Eye is sometimes called ‘the cinematic memory of the Netherlands’. And in all modesty, that title is no exaggeration. There's a Film Over Everything You See Eye not only has an eye for great classics and established names, but also for the unknown and for experimentation. We make room and welcome new perspectives on film and (film) history and the art of the moving image.

Fig . 70 Eye Film Museum - Exploded Diagram

5. CONTEXTUAL STUDY AND PROGRAM ANALYSIS 5.1 Site Analysis 5.1.1 Approach and Location 5.1.2 Accessibility and Site Surrounding 5.1.3 Climate study 5.1.4 SWOT Analysis 5.2 Project Brief 5.2.1 Concept Development 5.2.2 Area Requirement

SITE ANALYSIS APPROACH AND LOCATION

Fig . 69 Site Location

Site is located in Goregaon East, a suburb of Mumbai city, Maharashtra which is India’s entertainment capital and home to Bollywood, is one of the most prolific centers of film production in the world. The Mumbai Film City or Dadasaheb Phalke Chitranagari, is one of the most visited film cities in India.

ACCESSIBILITY AND SITE SURROUNDING

AIRPORT 9.7 KMS

RAILWAY STATION 12 KM

METRO STATION 6.1 KMS

BUS STATION 9 KMS

Reliance Digital Studio

Conservation Center

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Oberoi Mall

APPROACH AND LOCATION LEGEND

SITE

Fig . 70 Site Layout

SITE LAYOUT - GOREGAON FILM CITY

1. LAKE 2. APPU PAPPU MAIDAN 3. SAMRAT MAIDAN 4. FARISHTE MAIDAN 5. RESERVOIR GARDEN 6. TEMPLE 7. BAPU NAGAR 8. MRUTYUNJAY MAIDAN 9. STUDIO COMPLEX 10. WHISTLING MAIDAN 11. CANTEEN 12. WELCOME MAIDAN 13. KHANDALA MAIDAN 14. PLAY GROUND 15. BASKET-BALL MAIDAN 16. B.N.H.S GATE 17. CHURCH 18. POLICE STATION 17. CAR PARKING 18. CHAWL 19. COURT 20. STUDIOS 21. HELIPAD 22. JAIL 23. SUNIL MAIDAN 24. OFFICES

101

APPROACH AND LOCATION

SITE

Fig . 71 Site Layout - Approach and Location

SITE LAYOUT - GOREGAON FILM CITY

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CLIMATE STUDY

Garden opposite to the site

Site Photo

Key Plan

ORIENTATION OF BUILDING Facing east or north east to get positive energy and fresh energy. Achieving maximum north light by glazing. ORIENTATION OF BUILDING Longer side along east- west direction to reduce incoming radiation. Choosing a location with a lot of wind, building should be oriented so that the windward wall is perpendicular to the summer wind. This is when you want to maximize the ventilation. Building form and dimensions : Naturally ventilated buildings should not be too deep because it will be more difficult to distribute fresh air to all portions of the building. • Facing east or north east to get positive energy and fresh energy. • Achieving maximum north light by glazing.

• Longer side along east- west direction to reduce incoming radiation.

• Building orientation and location : Choosing a location with a lot of wind, building should be oriented so that the windward wall is perpendicular to the summer wind. This is when you want to maximize the ventilation.

• Building form and dimensions : Naturally ventilated buildings should not be too deep because it will be more difficult to distribute fresh air to all portions of the building EAST SUN

WEST SUN

NODES

SOUTH-WEST WINDS

Climate Graph Weather Graph per per month month Mumbai has a tropical climate. When compared with winter, the summers have much more rainfall. The average annual temperature is 26.4 °C | 79.6 °F in Mumbai. In a year, the rainfall is 2012 mm |79.2 inch. 103

S trength

Site is located in the entrance of premises, which is easily accessible. Main road of film city campus is connecting to site. Site is surrounded with same typology of building i.e. related to film and film making

eakness

As per the structure of the site, their might be negative

pportunity

The site is within Film City, so the public flow will be

spaces within.

maintained. Site is near to Whistling Woods Film Institute, which will be beneficial for Film Enthusiasts

T hreats

As per the analytical diagram, Site experiences rare chances of earthquake. (Zone III)

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Designed by Shashi Prabhu and Associates, within the premises of Film City, Mumbai. Museum will be considered for further design stage. What is Bollywood Museum about ? The museum is designed focusing on User Experience within the space, narrating the story of a film and bollywood, said Shashi Sir.

Fig . 72 Site - Bird eye view

105

6. PROPOSED DESIGN 6.1 Site Plan 6.2 Master Plan 6.3 Floor Plans 6.4 Overall Sections 6.5 Circulation Diagrams and 3D Views

Fig . 73 Roof Plan

ROOF PLAN - EXPERIENTIAL FILM MUSEUM

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LEGEND A. WATER GARDEN B. WATERFALLS C. WATER LILY GARDEN D. CONFERENCE CENTER E. TEA PLANT GARDEN F. TEAHOUSE TERRACE G. MUSTERED FLOWER GARDEN H. PINE TREE GARDEN I. AMPHITHEATER J. COVERED OUTDOOR PLAZA K. MUSEUM L. GALLERY M. COACH PARKING

Fig . 74 Master Plan

MASTER PLAN - EXPERIENTIAL FILM MUSEUM 109

LEGEND 1. ENTRANCE LOBBY 2. TICKET COUNTER 3. ORIENTATION LOBBY AND HELP DESK 4. PUBLIC EXHIBITION GALLERY 5. MAIN THEATER 6. MUSEUM SHOP 7. SCREENING ROOM 8. HISTORIC AND DIGITAL SUITE GALLERY 9. BOH 10. COLLECTION STORAGE 11. KIOSK 12. TOILETS

PUBLIC SPACE SEMI - PRIVATE SPACE PRIVATE SPACE

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LEGEND 13. TICKET AND BUDGETING CABIN AND MEETING ROOM 14. SCRIPT WRITING GALLERY 15. CAST AND CREW GALLERY 16. PRODUCTION DESIGN ROOM 17. DRAMA DESIGN ROOM 18. BOH 19. PROJECTOR ROOM 20. MAIN THEATER 21. THEATER - SCREEN

PUBLIC SPACE SEMI - PRIVATE SPACE

Fig . 76 FIRST FLOOR - LOWER LEVEL PLAN

PRIVATE SPACE

111

LEGEND 17. DRAMA DESIGN ROOM 21. THEATER - SCREEN II 22. PROMOTION AND DISTRIBUTION GALLERY 23 . PROJECTOR ROOM AND TECHNICAL STORAGE

PUBLIC SPACE SEMI - PRIVATE SPACE PRIVATE SPACE

Fig . 77 FIRST FLOOR - UPPER LEVEL PLAN

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The Place of Spatial Story Telling, The form is a series of massive film strips of varying lengths positioned at varying heights following with the internal volumes within the space. The museum engages the user in the storytelling as the narration is non-linear, allowing the user to become a participant rather than a spectator. The museum uses various exhibition techniques that incorporate enough pause points for the entertainment and the amusement of the visitors. The complex nature of spatial design is simplified through simple and organic movement patterns maintaining the flow of spaces into each other. Simultaneously, ensuring the flow of form between the interior and the exterior allowing visitors to walk over through the display medium: the building.

FIRST FL. UPPER LEVEL

PRODUCTION DESIGN GALLERY SPACE THEATER – SCREEN 02

PROCESS OF FILM MAKING

FIRST FL. LOWER LEVEL

GALLERY SPACE THEATER – SCREEN 02

SCREENING ROOM

GROUND LEVEL MAIN THEATER PUBLIC EXHIBITION GALLERY

Fig . 78 Exploded Diagram showing circulation

113

Fig . 79 SECTION AA’

Fig . 80 SECTION CC’

KEY PLAN

2022 I Raivati Dandiwala I 238816 I Capstone Project I Bachelors of Space Design I Anant National University

Fig . 81 SECTION BB’

Fig . 82 SECTION DD’

KEY PLAN

115

Fig . 83 DIAGRAM SHOWING INTER-RELATION BETWEEN LEVELS AND SPACES

2022 I Raivati Dandiwala I 238816 I Capstone Project I Bachelors of Space Design I Anant National University

Fig . 84 ENTRANCE LOBBY

Fig . 85 SCREENING ROOM

2 1

Fig . 86 HISTORIC AND DIGITAL GALLERY

KEY PLAN

117

7. DETAIL AREA - 01 MAIN THEATER 7.1 Chair Layout 7.2 Ceiling Layout 7.3 Overall Section 7.4 Screen Fabrication Details 7.5 3D Views and Material Board

PROJECTOR ROOM SOUND RACK Audio Rack

BOH PROJECTOR

SERVO

R18 R17 R16 R15 R14 R13 R12 R11 R10 R9 1200

1040

700

R4 R3

R2 R1

700

F 8-20

20 19 18 17 16 15 14 13 12 11 10

F 8-20

F 1-7

E 8-20

20 19 18 17 16 15 14 13 12 11 10

E 8-20

E 1-7

D 8-20

20 19 18 17 16 15 14 13 12 11 10

D 8-20

D 1-7

C 8-20

20 19 18 17 16 15 14 13 12 11 10

C 8-20

C C 1-7

B 8-20

20 19 18 17 16 15 14 13 12 11 10

B 8-20

B 1-7

A 8-20

20 19 18 17 16 15 14 13 12 11 10

A 8-20

A 1-7

A 8-20

20 19 18 17 16 15 14 13 12 11 10

A 8-20

A 1-7

560

1500

560

2150

560

SCREEN - 01

(TOTAL SEAT - 158) 22" C/C CHAIR - 140 30" C/C CHAIR - 18 S C R E E N

S I Z E

1 0 . 0 0

4 . 2 0

A T

2 . 2 0

H T .

SOUND BOX

CHAIR LAYOUT

2022 I Raivati Dandiwala I 238816 I Capstone Project I Bachelors of Space Design I Anant National University

GROUND FLOOR KEY PLAN

SOUND RACK Audio Rack

600x450

600x400

PROJECTOR

600x400

600x450

600x400

SERVO

600x400

750x600

600x400

T CP

15MM THK. 1200 MM X 595 MM WOODWOOL ACOUSTIC INSULATION BOARD WITH BLACK COLOR FINISH CP

600x400

750x600

600x400

900x750

START POINT

900x750

CEILING LAYOUT

GROUND FLOOR KEY PLAN

121

FALSE CEILING 150MM X 150MM X 8MM M.S. PLATE

ISBC 100X50 MM WITH 100MM X 150MM X 8MM M.S. PLATE

150MM X 150MM X 8MM M.S. PLATE

WOODEN ACOUSTICAL PANEL

ISBC 100X50 MM WITH 100MM X 150MM X 8MM M.S. PLATE

25 mm dia. rod

ISBC 100x50

150MM X 150MM X 8MM M.S. PLATE

50 MM THK GLASS WOOL COVERED WITH BLACK ACOUSTICALLY TRANSPARENT FABRIC

2" DIA. M.S. PIPE

ISMB 100 X 100 MM

25 MM DIA. ROD

50 X 50 MM M.S. BOX PIPE

2.NOS 18MM THICK PLYWOOD PLATFORM

4200

50 X 50 MM M.S. BOX PIPE

Screen

SCREEN SIZE 10 M X 4.2 M @ 2.20 MT. HEIGHT 2" DIA. M.S. PIPE

J- HOOK for screen hooking spacing as per screen

ACOUSTICAL PANELING

ISMB 100X100 MM

10000

845

1600

845

25 mm dia. rod

1600

ISBC 100X50 MM WITH 100MM X 150MM X 8MM M.S. PLATE

ISBC 100X50 MM

150MM X 150MM X 8MM M.S. PLATE

SECTION BB’

SECTIONAL ELEVATION 50 MM THK GLASS WOOL COVERED WITH BLACK ACOUSTICALLY TRANSPARENT FABRIC

LEFT SIDE SPEKAER

S C R E E N

S I Z E

845

1 0 . 0 0

RIGHT SIDE SPEKAER

CENTER SPEKAER

4 . 2 0

10000

A T

2 . 2 0

H T . 845

PLAN

SCREEN FABRICATION DETAIL

2022 I Raivati Dandiwala I 238816 I Capstone Project I Bachelors of Space Design I Anant National University

FALSE CEILING

LVL +8450 MM

600x450

1350

900x750

LVL +6645 MM LVL +5650 MM

4970

LVL = + 150MM FROM BACK WALL

LVL +3550 MM

RED FABRIC

LVL +2750 MM 2600

1675

1980

1863

1723

1910

2020

1680

6640

RED FABRIC

1810

LVL = + 250MM FROM BACK WALL

3885

LVL = + 250MM FROM BACK WALL

4665

LVL = + 250MM FROM BACK WALL

4304

4069

3495

3015 4290

BROWN FABRIC

LVL = + 250MM FROM BACK WALL

2614

LVL = + 150MM FROM BACK WALL

4010

3530

LVL = + 250MM FROM BACK WALL

LVL +450 MM

SECTION 01

PROJECTOR ROOM SOUND RACK Audio Rack

BOH PROJECTOR

SERVO

R18 R17 R16 R15 R14 R13 R12 R11 R10 R9 1200

1040

700

R8 700

R4 R3

R2 R1

700

F 8-20

20 19 18 17 16 15 14 13 12 11 10

F 8-20

E 8-20

20 19 18 17 16 15 14 13 12 11 10

E 8-20

E 1-7

D 8-20

20 19 18 17 16 15 14 13 12 11 10

D 8-20

D 1-7

C 8-20

20 19 18 17 16 15 14 13 12 11 10

C 8-20

C C 1-7

B 8-20

20 19 18 17 16 15 14 13 12 11 10

B 8-20

B 1-7

A 8-20

20 19 18 17 16 15 14 13 12 11 10

A 8-20

A 1-7

A 8-20

20 19 18 17 16 15 14 13 12 11 10

A 8-20

A 1-7

560

1500

560

F 1-7

2150

560

SCREEN - 01

(TOTAL SEAT - 158) 22" C/C CHAIR - 140 30" C/C CHAIR - 18 S C R E E N

S I Z E

1 0 . 0 0

4 . 2 0

A T

2 . 2 0

H T .

SOUND BOX

KEY PLAN

123

LVL = + 245 MM FROM BACK WALL LVL = + 95 MM FROM COLUMN

LVL = + 150 MM FROM BACK WALL

MATERIALS USED :

FLOOR COVERING:

CEILING SYSTEMS: 1. Aluminium/JSW (for framing) 2.HDF/Exterior Grade/Greenlam 3.Paint/Steel Grey 0643/Asian paints 4. Acoustical Board/HERA/Saint Gobain

1. Kotastone; 2. Carpet/Metro Red- Gray

LIGHTING: 1. Ceiling Light/Magnus 4x LBT/ Plus Light Tech 2. Strip Light/Flexible LED Strip/Uniser

PANELLING : 1.15mm thick Wood wool acoustic board 2. Plywood/BWP/Greenlam

2022 I Raivati Dandiwala I 238816 I Capstone Project I Bachelors of Space Design I Anant National University

Fig . 87 Detail Area 01 - View

125

8. DETAIL AREA - 02 HISTORIC AND DIGITAL GALLERY 8.1 Furniture Layout 8.2 Program Explanation 8.3 Overall Section 8.4 3D Views and Material Board

FLOOR PLAN

2022 I Raivati Dandiwala I 238816 I Capstone Project I Bachelors of Space Design I Anant National University

LVL + 5540 MM LVL + 2880 MM LVL + 1880 MM LVL + 900 MM LVL + 450 MM

SECTION 01

LVL + 5540 MM LVL + 2500 MM LVL + 1300 MM LVL + 450 MM

SECTION 02

MATERIALS USED : CEILING SYSTEMS: 1. Aluminium/JSW (for framing) 2.Gypsum Board 3.Paint/Steel Grey 0643/Asian paints 4. Acoustical Board/HERA/Saint Gobain LIGHTING: 1. Ceiling Light- Spot Light/Magnus 5x LBT/ Plus Light Tech 2. COB Light/Uniser FLOOR COVERING: 1. 800 x 1200 White Marble Slab PANELLING 1.15mm thick Wood wool acoustic board 2. Plywood/BWP/Greenlam

129

Fig . 87 Detail Area 02 - View 01

Fig . 88 Detail Area 02 - View 02

Fig . 89 Detail Area 02 - View 03

2022 I Raivati Dandiwala I 238816 I Capstone Project I Bachelors of Space Design I Anant National University

Fig . 90 Detail Area 02 - View 04

131

LIST OF FIGURES Fig . 1 Impact of Bollywood celebrities......................................................................................................................................35 Fig . 2 Timeline of Cinema............................................................................................................................................................40 Fig . 3 Illustration of establishing technologies..........................................................................................................................43 Fig . 4 Visual Process of the Thaumatrope.................................................................................................................................44 Fig . 5 Visual Process of the Phenakishoscope..........................................................................................................................45 Fig . 6 Making of Zoetrope...........................................................................................................................................................45 Fig . 7 The Praxinoscope..............................................................................................................................................................46 Fig . 8 Visual Process of Eadweard Muybridge & Etienne-Jules Marey..................................................................................46 Fig . 9 Un Voyage La Lune ( A trip to the moon, 1902 )..........................................................................................................47 Fig . 10 Worker leaving the factory..............................................................................................................................................47 Fig . 11 Air-craft mounted camera..............................................................................................................................................50 Fig . 12 Drone.................................................................................................................................................................................50 Fig . 13 Film Cameras....................................................................................................................................................................51 Fig . 14 Digital Camera.................................................................................................................................................................51 Fig . 15 Editing Machine................................................................................................................................................................52 Fig . 16 Editing Software................................................................................................................................................................52 Fig . 17 Hand-drawn Illustration....................................................................................................................................................53 Fig . 18 Animated Illustration........................................................................................................................................................53 Fig . 19 Posters................................................................................................................................................................................54 Fig . 20 Websites.............................................................................................................................................................................54 Fig . 21 Disc Player.........................................................................................................................................................................55 Fig . 22 Streaming Services ..........................................................................................................................................................55 Fig . 23 Types of Display................................................................................................................................................................60 Fig . 24 Ideal uniform lighting from both sides (following S.Hursat Seagar)............................................................................60 Fig . 25 Exhibition room with side lighting....................................................................................................................................60 Fig . 26 Illumination........................................................................................................................................................................61 Fig . 27 Illustration - Section - National Museum of Western Art , Tokyo..................................................................................62 Fig . 28 Plan of Guggenheim Museum Plan...............................................................................................................................62 Fig . 29 Location ............................................................................................................................................................................69 Fig . 30 Location - Connectivity .................................................................................................................................................. 69

2022 I Raivati Dandiwala I 238816 I Capstone Project I Bachelors of Space Design I Anant National University

35 40 43 44 45 45 46 46 47 47 50 50 51 51 52 52 53 53 54 54 55 55 60 60 60 61 62 62 69 69

LIST OF FIGURES Fig . 31 Site Surrounding.................................................................................................................................................................. Fig . 32 Side View............................................................................................................................................................................. Fig . 33 Entrance Lobby.................................................................................................................................................................. Fig . 34 Entrance Lobby.................................................................................................................................................................. Fig . 35 Dome................................................................................................................................................................................... Fig . 36 Fig . 68 Chhatrapati Shivaji Maharaja Vastu Sangrahalaya - Ground Floor Plan and Sectional Elevation........... Fig . 37 Exhibition Area................................................................................................................................................................... Fig . 38 Children Museum............................................................................................................................................................... Fig . 39 The miniature gallery having provision of exhaust fans for ventilation........................................................................ Fig . 40 Atrium gallery with natural ventilation............................................................................................................................. Fig . 41 Bronze gallery depicting artificial lights illuminating the cases and passages........................................................... Fig . 42 Print gallery depicting use of natural light...................................................................................................................... Fig . 43 Natural History section using fan for ventilation as exhibits are in covered spaces.................................................. Fig . 44 Natural ventilation in museum building by air vents...................................................................................................... Fig . 45 Museum of Moving Images - Front facade.................................................................................................................... Fig . 46 Museum of Moving Images - Ground Floor Plan............................................................................................................ Fig . 47 Museum of Moving Images - First Floor Plan................................................................................................................... Fig . 48 Museum of Moving Images - Second Floor Plan ........................................................................................................... Fig . 49 Museum of Moving Images - Student Lobby area view............................................................................................... Fig . 50 Museum of Moving Images - Gathering space view.................................................................................................... Fig . 51 Museum of Moving Images - Museum shop view.......................................................................................................... Fig . 52 Museum of Moving Images - Screening room view...................................................................................................... Fig . 53 Museum of Moving Images - Screening room and Movie Theater view.................................................................... Fig . 54 Museum of Moving Images - Main Theater view........................................................................................................... Fig . 54 Museum of Moving Images - Sectional Elevation.......................................................................................................... Fig . 55 Museum of Moving Images - Rear views........................................................................................................................ Fig . 56 Museum of Moving Images - Front Elevation................................................................................................................. Fig . 57 Museum of Moving Images - Back Elevation................................................................................................................. Fig . 58 Eye Film Museum - View.................................................................................................................................................... Fig . 59 Eye Film Museum - Location............................................................................................................................................. Fig . 60 Eye Film Museum - Bird eye View.....................................................................................................................................

69 70 70 70 72 76 76 76 77 77 77 77 77 78 79 79 80 81 82 82 83 83 84 85 86 87 87 87 88 89 90

133

LIST OF FIGURES Fig . 61 Eye Film Museum - Entrance Area................................................................................................................................... Fig . 62 Eye Film Museum - Basement floor plan.......................................................................................................................... Fig . 63 Eye Film Museum - Ground floor plan.............................................................................................................................. Fig . 64 Eye Film Museum - First floor plan..................................................................................................................................... Fig . 65 Eye Film Museum - Second floor plan............................................................................................................................. Fig . 66 Eye Film Museum - Overall Sections................................................................................................................................ Fig . 67 Eye Film Museum - Interior Views..................................................................................................................................... Fig . 68 Chhatrapati Shivaji Maharaja Vastu Sangrahalaya - Ground floor plan.................................................................. Fig . 69 Museum of Moving Images - Ground floor plan.......................................................................................................... Fig . 70 Eye Film Museum - Exploded Diagram.......................................................................................................................... Fig . 71 Site Layout - Approach and Location............................................................................................................................ Fig . 72 Site - Bird eye view............................................................................................................................................................. Fig . 73 Roof Plan............................................................................................................................................................................ Fig . 74 Master Plan........................................................................................................................................................................ Fig . 75 Ground Floor Plan............................................................................................................................................................. Fig . 76 First Floor - Lower Level Plan............................................................................................................................................. Fig . 77 First Floor - Upper Level Plan............................................................................................................................................. Fig . 78 Exploded Diagram showing circulation......................................................................................................................... Fig . 79 Section AA.......................................................................................................................................................................... Fig . 80 Section CC......................................................................................................................................................................... Fig . 81 Section BB........................................................................................................................................................................... Fig . 82 Section DD.......................................................................................................................................................................... Fig . 83 Diagram showing inter-relation between levels and spaces....................................................................................... Fig . 84 Entrance Lobby ............................................................................................................................................................... Fig . 85 Screening Room ............................................................................................................................................................... Fig . 86 Historic and Digital Gallery............................................................................................................................................... Fig . 87 Detail Area 02 - View 01.................................................................................................................................................. Fig . 87 Detail Area 02 - View 02.................................................................................................................................................. Fig . 87 Detail Area 02 - View 03.................................................................................................................................................. Fig . 90 Detail Area 02 - View 04...................................................................................................................................................

2022 I Raivati Dandiwala I 238816 I Capstone Project I Bachelors of Space Design I Anant National University

90 91 92 93 94 95 96 98 98 99 104 107 110 111 112 113 114 115 116 116 117 117 118 119 119 119 132 132 132 133

BIBLIOGRAPHY https://www.definitions.net/definition/filmmaking#:~:text=Freebase-,Filmmaking,a%20film%20release%20and%20exhibition. Ganti, T. (2004). Bollywood: a guidebook to popular Hindi cinema. New Delhi: Routledge. Mishra, V. (2002). Bollywood cinema: temples of desire. New Delhi: Routledge. https://fxhome.com/blog/film-production-process-step-by-step https://archinect.com/firms/project/28306570/bollywood-museum/37610611 https://www.re-thinkingthefuture.com/case-studies/a4741-bollywood-museum-by-shashi-prabhu-a-star-studded-museum/ https://vernerjohnson.com/portfolio/bollywood-museum/#:~:text=We%20propose%20a%20museum%20that,the%20heart%20 of%20the%20industry. https://www.canva.com/design/DAEysNtXVoE/C6TlVr49wiaGQ2i083hYnw/view?utm_content=DAEysNtXVoE&utm_campaign=designshare&utm_medium=link&utm_source=sharebutton#1 https://www.museumnext.com/article/how-technology-is-bringing-museums-back-to-life/ https://indianexpress.com/article/lifestyle/art-and-culture/by-kids-for-kids-chhatrapati-shivaji-maharaj-vastu-sangrahalaya-mumbai-museum-5677269/ https://www.re-thinkingthefuture.com/case-studies/a2769-museum-of-the-moving-image-by-leeser-architecture-travelingwith-the-pictures/ https://www10.aeccafe.com/blogs/arch-showcase/2012/05/08/museum-of-the-moving-image-in-astoria-new-york-by-leeser-architecture/#jp-carousel-89723 https://www.archdaily.com/104505/museum-of-the-moving-image-leeser-architecture/5007110e28ba0d4148000dac-museum-of-the-moving-image-leeser-architecture-photo

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2022 I Raivati Dandiwala I 238816 I Capstone Project I Bachelors of Space Design I Anant National University

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