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Table of Contents
1.INTRODUCTION......................................................................................................................................... 3 1.1 Aviation Museum ................................................................................................................................... 3 1.2 Present Scenario of Museums ................................................................................................................... 4 1.3 History of Aviation ................................................................................................................................. 4 1.4 Indian Aviation History ........................................................................................................................... 5 1.5 Architectural Scope of Museum ................................................................................................................ 6 1.6 Issue of Interest ...................................................................................................................................... 7 1.7 Aim ....................................................................................................................................................... 7 1.8 Objectives .............................................................................................................................................. 7 1.9 Need and Justification ............................................................................................................................. 8 1.10 Scope & Limitations .............................................................................................................................. 8 1.11 Methodology ........................................................................................................................................ 8 2. LITERATURE REVIEW ............................................................................................................................ 10 2.1 Museum Building Design and Exhibition Layout: patterns of interaction ..................................................... 10 2.2 Architectural Lighting in Museums ......................................................................................................... 10 2.3 NATURAL LIGHTING: ....................................................................................................................... 11 2.4 ARTIFICIAL LIGHTING: ..................................................................................................................... 12 2.5 Arrangment and Positiong of Artifacts ..................................................................................................... 14 2.6 Museum Architecture and Interior Design ................................................................................................ 15 3 LITERATURE CASE STUDY : POLAN AVIATION MUSEUM- ................................................................... 16 3.1 Poland Aviation Museum- Poland ........................................................................................................... 17 3.2 Imperial War Museum, London .............................................................................................................. 25 3.3 MOTAT Aviation Display Hall, NEW ZEALAND ................................................................................... 31 4 CASE STUDY: HAL AEROSPACE MUSUEM, ............................................................................................ 37 4.1 HAL AEROSPACE MUSEUM .............................................................................................................. 38 4.2 NAVAL AVIATION MUSEUM, GOA ................................................................................................... 46 5. SPECIAL STUDY OF THE SUBJECT ........................................................................................................ 52 5.1 Hanger construction .............................................................................................................................. 53 5.2 Structure design consideration ................................................................................................................ 53 5.3 Aircraft hangar type 1- Simple Portal Frame ............................................................................................ 54 5.4 Aircraft hangar type 2- Truss Frame ........................................................................................................ 55 5.5 Aircraft hangar type 2- Arch-span Frame ................................................................................................. 55 5.6 Façade Material - Laminated Veneer Lumber ........................................................................................... 56 SITE STUDY AND DESIGN ......................................................................................................................... 57
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1.INTRODUCTION
1.1 Aviation Museum An aviation museum, air museum, or aerospace museum is a museum exhibiting the history and artifacts of aviation. In addition to actual, replica or accurate reproduction aircraft, exhibits can include photographs, maps, models, dioramas, clothing and equipment used by aviators. Present scenario of museums: - The public in present are likely to visit and capture the history or the information of Indian air force although the government had made progress in devolving aviation museums. - Few lack the motive and entertainment which needed to be offered for public. - Lack of knowledge towards the heritage and history of the artifacts, modules and manpower. Aviation museums may display their aircraft only on the ground or fly some of them. Museums that do not fly their aircraft may have decided not to do so either because the aircraft are not in condition to fly or because they are considered too rare or valuable. Museums may fly their aircraft in air shows or other aviation related events, accepting the risk that flying them entails. Some museums have sets of periodicals, technical manuals, photographs and personal archives. These are often made available to aviation researchers for use in writing articles or books or to aircraft restoration specialists working on restoring an aircraft. Statistics showing the drop of visitors to museum over the years on various types and programs of museum. Aviation museums vary in size from housing just one or two aircraft to hundreds. They may be owned by national, regional or local governments or be privately owned. Some museums address the history and artifacts of space exploration as well, illustrating the close association between aeronautics and astronautics. Many aviation museums concentrate on military or civil aviation, or on aviation history of a particular era, such as pioneer aviation or the succeeding "golden age" between the World Wars, aircraft of World War II or a specific type of aviation, such as gliding
source : California Aviation Museum
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1.2 Present Scenario of Museums The public in present are likely to visit and capture the history or the information of Indian air force although the government had made progress in devolving aviation museums. Few lack the motive and entertainment which needed to be offered for public. Lack of knowledge towards the heritage and history of the artifacts, modules and manpower
Aviation museums may display their aircraft only on the ground or fly some of them. Museums that do not fly their aircraft may have decided not to do so either because the aircraft are not in condition to fly or because they are considered too rare or valuable. Museums may fly their aircraft in air shows or other aviation related events, accepting the risk that flying them entails. Some museums have sets of periodicals, technical manuals, photographs and personal archives. These are often made available to aviation researchers for use in writing articles or books or to aircraft restoration specialists working on restoring an aircraft
. Statistics showing the drop of visitors to museum over the years on various types and programs of museum.
1.3 History of Aviation Aircrafts have been around for a century but the history of aviation has extended over more than 2000 years from the earliest kites and attempts at tower jumping to supersonic, and hypersonic flights by powered heavier than air jets in mythology of ancient civilizations, humans attributed the ability to fly to their deities, mythical figures and demons. The ability of the supreme beings expressed the 4
dream, the trial and the urge of humans to fly themselves. In order to fly, they needed wings. So, humans over and over again tried to create wings like the wings of birds or insects.
1.4 Indian Aviation History Indian Aviation Industry is one of the fastest growing airline industries in the world. The history of Indian Aviation Industry started in December 1912 with its first domestic air route between Karachi and Delhi. It was opened by the Indian Air Services in collaboration with the UK based Imperial Airways as an extension of London-Karachi flight of the Imperial Airways. Tata Sons Ltd., the first Indian airline, started a regular airmail service between Karachi and Madras three years later without any backing from the Indian government
A 1990 post stamp of India representing the heritage of Indian Aviation.
The first blueprint of aviation proposed in the year 1900 in India during the British Rule to convey the mode of transport. 5
1.5 Architectural Scope of Museum Museum architecture not only provides the material-built contexts within which museums exist, it also crucially adds meaning to the objects and interactions in these ‘spaces of encounter’. The initial observation that objects and collections placed in one context will look, feel and signify differently, when placed in another provides rationale enough to study museum architecture. Similarly, it has been found that the built, designed forms of museums and galleries are bound up in visitors’ experiences in complex and significant ways; the evidence available suggest that as visitors move through museums, they map their experiences physically, as well as emotionally and imaginatively. Furthermore, museum professionals - the people who occupy these spaces on a daily basis - utilize the architecture of museums in all kinds of ways. In the process they shape the materiality of these sites, adding meaning to different kinds of relationships and spaces in all kinds of contingent and unpredictable ways as they go.
Architectural form and elements depicting in the style and spatial configuration in the design of the museum.
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1.6 Issue of Interest 1. When architects design a building, there are many different types of space and zoning to select. The question is what types of zoning and space should a museum have. Especially, the museum which display a massive exhibition like aircraft. 2. The museum is a place where people explore and learn new thing like art and history. However, not many people these days visit museum anymore, so how can we attract more people to the museum. Are there a way to make kids have fun and learn at the same time? 3. Museum are a place that display their collection like art and artifact with a space. That can give the visitors a wonder experience. An aviation museum they have to display aircraft and other aviation engineering so their space will need to be bigger than other museum and what kind of construction can support that kind of space for the aviation museum and can give the visitor the wonder of experience just like another museum. 4. The museum is one of the important places that give us a chance to know more about history culture and many others more especially the Indian Air history.
Systematic display, it purposes of the display in the museum is just like an interactive display where you use the collection to explain it self instead of having the visitor to just read it background. Therefore, the story is essential. The display design of a museum almost determines Exhibit Space Creation, just like it said, is to design a style of display design to make the exhibit space into where a visitor can enjoy the exhibit. Theatricalized Presentation, they mostly explain about after you have a museum as a stage for the display, the display should have a perform their own role as a exhibit state of the art instruments of the museum.
1.7 Aim To design and Aeronautical Museum at a proposed site of SIPCOT Aerospace Park in Chennai.
1.8 Objectives - Develop an interactive network of communication by co-operation and self-help between participating volunteer-based aviation museums in India. - Further the preservation of Indian aviation heritage and the ongoing successful development and operation of existing and future aviation museums. 7
- Improve the operation of volunteer or community based not-for-profit aviation museums and collections. - Promote aviation preservation to governments, industry and the general public. - Adopt and operate Museums Indian Code of Ethics. - Design functional and practical design which will be able to visually deliver its usage or program to its users. - Design a building which has potential or becoming a landmark in the urban fabric of the city. - Utilize and maximize the drawing attention to the public.
1.9 Need and Justification - It helps to plan activities for the public, volunteers, and donors as well as to staff, field management. - It is the road map which can guide to a museum in evaluating new acquisitions, in budgeting, prioritizing resources, and overall planning and management of different sections of collections. - Defining scope of collections can be especially useful in justifying donation refusals. - It also helps in financial planning including manpower, cost of curation, maintenance, - storage, security, inventory control, and energy costs to provide a stable environment for collection
1.10 Scope & Limitations - Involvement of a greater number of people to gain knowledge of about India’s rich aerospace heritage. - Making attractive architecture elements in the museum - To preserve the tradition of IAF - Create employment opportunities.
1.11 Methodology The methodology for this research is qualitative and is derived mostly from desk research both in libraries as well as from the Internet. The majority of the research and evidence to support the hypothesis comes from books, articles and government documents. The fig: show the methodology chart for this study. This methodology chart explains the first step, about the study of general information of museum planning. This includes the components of museum planning, definition of museum and evolution of museum space in terms of foreign context and Indian context. The next step is the study of issues in the study of issues in museum planning from various case studies. Then the classification of issues in different aspects is made from the findings. Then the detail study is made for each aspect through different case studies.
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2. LITERATURE REVIEW 2.1 Museum Building Design and Exhibition Layout: patterns of interaction In conclusion, it should be noted that this conceptual model is proposed as a way of thinking, as a method for reading museum space as a set of formal potentials, built out of a number of basic concepts. In that sense, it might be suggested that these ideas could be a valuable contribution to the design of museums in that they provide designers with a better understanding of principles and some knowledge of systematic consequences of strategic design decisions. More importantly perhaps, they can also inform the application of new ideas, and encourage new ways of handling spatial and display considerations.
2.2 Architectural Lighting in Museums Lighting plays a very major role in every day’s life. It becomes more important when it comes to a commercial building specially Museums. In a museum architectural lighting is very important, be it through natural source or artificial. It determines how we look and how we perceive things. Natural lighting conditions are adjusted preferably through cutouts, skylights whereas artificial lighting is obtained through different types of light fixtures. It is very important to have an adequate amount of lighting conditions in a museum. Here is a brief description on the lighting conditions required in a museum – natural lighting and artificial lighting. 10
In a museum lighting determines how we feel and how we perceive things. PHYSIOLOGICALLY: the lighting must highlight the object on display. It must create the right ambience.
Lighting in a building can be of two kinds:
Natural or Day lighting and Artificial lighting.
2.3 NATURAL LIGHTING: Daylight is rarely satisfactory for exhibits as it is too far temperate in cold countries and far too brilliant in tropical countries. Daylight has daily and seasonal changes with unpredictable patterns depending on cloud cover, atmospheric pollutions and other climatic variations. Daylight can only be successful in illuminating large areas to stimulate natural external conditions. However, some exhibits need natural daylight like plants, large engineering exhibits and most sculptures. Natural lighting could be of two kinds: Overhead Lighting and Lateral Lighting Lateral Lighting is provided by the windows Overhead lighting is mostly used in museum.
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OVERHEAD LIGHTING-
It provides a steady source of light which least liable to be affected by lateral obstacles. Wall space is as a result left free for display and exhibits. However, maintenance is a problem. This type is also difficult to inculcate in multistory.
LATERAL LIGHTING•It is provided either by windows of various shapes and sizes placed at suitable intervals in the walls or by continuous openings •They provide a convenient and economical method of regulating ventilation and temperature. •Acts as an excellent relief by providing pleasant views of the outside natural environment. •However, it also causes glare and reflections which impedes the visibility and decreases flexibility of interior layout
2.4 ARTIFICIAL LIGHTING: Ideal exhibition conditions are attained where every aspect of the display is controllable and the light can be focused, moved, colored and all remains independent of weather. Hence these aspects can be controlled to control interest, mood attention and even pleasure. It is desirable for an exhibition to have both light and dark areas so that object standout One should be able to achieve light levels to achieve variation in illumination with moderate levels in brightness to connect spaces dramatic and theatrical effects can be sought out by artificial light.
Direct Lighting Fixtures •Recessed in ceiling or wall •Surface mounted ceiling or wall 12
•Suspended from ceiling •Portable lamps Indirect Lighting Fixtures •Cover valence lighting. •Wallback •Up light suspended from ceiling
Types of artificial light sources: FLOUROSCENT LAMPS: These are non-directional and cannot be focused or used to project a parallel beam. Reduce glare and used as general lighting.
INCANDESCENT LAMPS: These are directional and used to highlight on certain spot More flexible in use and expensive.
The lighting in an aviation museum needs a ambient lighting with more clear span so that the exhibits 13
are having a broad and convinent light. As in this case spot lights should be avoided so that the density of light is not minimized and longer horizontal lighting fixtures can promote more ambient artifical light to the surrounding.
2.5 Arrangment and Positiong of Artifacts
Aviation Museum
Art Museum
In a typical art museum, the exhibits are either placed on the deck of a platform of wall hung because of its small scale and flexibility of space, whereas in an Aviation museum the artifacts are mostly in large scale and requires a bigger room and also the roof work is mostly truss work because of its huge span and load bearing capacity. This difference of position the artifacts gives us a clear image on how the interaction works with the visitor and the exhibit. Aviation museums may display their aircraft only on the ground or fly some of them. Museums that do not fly their aircraft may have decided not to do so either because the aircraft are not in condition to fly or because they are considered too rare or valuable. Museums may fly their aircraft in airshows or other aviation related events, accepting the risk that flying them entails.
T Hangars These types of hangars include multiple hangar bays specially designed to store planes as economically as possible. There are two types of T-Hangars: Standard (stacked) T Hangars and.
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Standard Tee- Hangars
Also known as stacked T hangars, these hangars are designed to use the maximum amount of interior floor space. There is often extra space at either end of the hangar which can be included as part of the end hangars or used as separate storage or office space. They tend to be longer in design than Nested T Hangars; however, they do allow entry from both the front and rear of the hangar bay. The back of the hangar bay can be fitted with either a personnel door or roller door for improved access. Nested Tee-Hangers Nested T hangars are wider than your standard t hangars, but are shorter. This reduces the length of taxiway needed. Like the standard t hangers, this design also has extra space at either end of the hangar for storage or offices. Due to the design, the only access to each hangar bay is through the main hangar door. These hangar designs are similar to individual hangars; however, there are designed with extra space for additional aircraft to be stored beside each other. Each hangar bay is divided by a wall for privacy and security and includes its own hangar door.
2.6 Museum Architecture and Interior Design The study demonstrated us an outline of a brief history of the museum, types of galleries and the architecture form of the museum. It explains that the building itself is one of the main important factors of the museum. The building itself have to create a sense of wonder to the people so that the visitor will be interested to the collection. They also explain about how the forms of the museum have change throughout the ages. Considering the exhibit isn’t limited to displaying at its best – practical concerns, such as physical and chemical protection, are fundamental to the decision process. These concerns can be influenced by a variety of factors such as the age of the object, the materials it is made out of, the conditions of the gallery space or museum building, and the number of visitors expected to come into close proximity to the work. Some sculptures or other freestanding objects may not need a display case at all. However, for others, airtight protection is imperative, ensuring that the object doesn’t deteriorate or degrade over time. For delicate objects such as these, designers must choose display options that can provide the necessary environmental conditions.
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3 LITERATURE CASE STUDY : POLAN AVIATION MUSEUMPOLAND 01
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3.1 Poland Aviation Museum- Poland The new main building of the Polish Aviation Museum in Krakow offers a symbolic and attractive combination of virtually all the symbolisms associated with the museum, including the idea of flying, the atmosphere and structure of an airfield and a passion for the history of technology. Architects: Pysall Ruge Architekten with Bartlomiej Kisielewski Project:
Polish Aviation Museum
Location:
Krakow, Poland
Client:
Muzeum Lotnictwa Polskiego w Krakowie
Project initiator and main co-founder: Samorząd Województwa Małopolskiego(Regional Authorities of Malopolska)
Software used:
Vectorworks (architectural drawings) and AutoCAD (M&E drawings)
Architect / General planner:
Pysall.Ruge Architekten with Bartlomiej Kisielewski
Design Team: Justus Pysall, Peter Ruge, Bartłomiej Kisielewski, Katarzyna Ratajczak, Mateusz Rataj, Alicja Kępka-Guerrero Structural and M&E Services: Arup International – Kraków Landscape Architect: ST raum a – Berlin Photographies: Jakub Pierzchała Location:
al. Jana Pawła II 39, 30-969 Kraków, Polska
Park Area: Net Floor Area of the Building:
6,19 ha 3 378 m2
Gross Floor Area of the Building: 4 504 m2 Building Volume:
23 250 m3
The Polish Aviation Museum in Krakow has erected its new main building in its vast grounds along Jana Pawła II avenue 39. The building will also play the role of entrance to a complex combining the Museum and the Aviation Park located within the Krakow’s historic Rakowice-Czyżyny airport. The building plays symbolic and practical roles by housing the Museum offices, a conference and study area and an exhibition hall and by offering its dramatic shape as a new icon of the entire Museum complex. As the bulk of 17
the collection remains in the existing buildings and in an outdoor display, the new space provides a creative link with the landscape of the historic airfield. The architectural concept designed by Pysall.Ruge Architekten with Bartłomiej Kisielewski won the first prize in an open international architectural competition in 2005.
From the outset, the architects agreed four priorities for the design: –
To create an architectural structure which is both clearly associated with the museum function and
reflects the nature of the exhibits on display; –
To create a modern form, which could provide an icon representing the Polish Aviation Museum
in the contemporary cultural landscape of the city of Krakow – a form that would attract tourists and airplane aficionados; –
To adopt a logical and efficient, functional layout;
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That the facility would not dominate the adjacent buildings despite its size and would be open
enough to offer a ‘soft transition’ between the developed area and the green area of the Aircraft Cultural Park.
A square base was adopted for the design that corresponded to the size of a historic hangar from 1929 located at the center of the Museum grounds. The square 62.5 x 62.5 m concrete platform served as a base for the main building’s three wings designed so as to form patios opening up in three directions: to the southern approach to the museum, 18
to the future Aviation Park and towards the existing museum buildings. By having its bulky form broken up into three wings the new building successfully avoids dominating the existing facilities, while its transparency allows various components of the environment to ‘see’ each other. SPATIAL AND ARCHITECTURAL CONCEPT The architecture of the building offers modern design solutions and stands out in its environment but maintains respect for the surrounding landscape. The single-piece building has been carefully shaped to create three internal and three external spaces. The form-factor brings associations of a huge fan or propeller.
1 - The great war anticraft museum 2 - Main exhibition hangar 3 - The aero engines exhibition 4 - History panel 5 - The open-air exhibition 6 - The east wing exhibition 7 - Aviation heritage cultural park 8 - Museum main building 9 – Runway
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The three wings house various functions corresponding to the needs and plans of the client. The unobstructed 10-metre-high spaces in two of them offer an environment where the standing and suspended collection can ‘live’ at various levels. The west wing was divided into three floors of 3.5 meters each and houses the study, conference and administrative functions. The wings meet at a hub. This is where most public functions have been placed, including the ground floor entrance hall, lobby of the multi-purpose room and the first-floor restaurant.
FUNCTIONAL STRUCTURE The building’s three floors reflect its three main functions as a museum, a study and conference facility and an office.
The ground floor houses the entrance zone with a freely accessible temporary exhibition space, a small cinema, a museum shop and modelling workshops.
The lobby opens up to the exhibition space occupying two wings. The largest of the wings, designed around the size of the planned exhibits, displays the museum’s showcase airplanes and engines. Some of these can be suspended above the standing exhibits adding dynamism to the collection. The wing meets with an educational exhibition section ensuring the smooth flow of the visitor traffic.
The internal exhibition space is supplemented by an outdoor display area on the square concrete 20
platform between the wings of the building. This section is devoted to temporary exhibitions.
A multi-purpose room seating 150 is located on the first floor alongside a lobby, the museum bar, the library with a reference room and Internet-enabled computer workstations.
ILLUMINATION Much effort went into the illumination and lighting design. A complete illumination design for each internal space uses lights placed on the floor, walls and under the ceiling to underscore the building’s unorthodox geometry. HVAC DESIGN AND SYSTEMS - The designers aimed to create an energy-efficient building (including
heating, ventilation and
lighting) that would use local energy resources and would meet the project’s budgetary constraints.
-Two temperature zones were designed. The two 10-metre-high exhibition wings constitute the lower temperature zone. The west wing devoted to the study, conference and office functions is kept warmer. In summer, both zones can be interconnected by opening the dividing walls. This division into ‘climate zones’ considerably improved the building’s energy efficiency.
-The abundance of natural light penetrating deep into the building minimizes the requirement for artificial light during working hours.
-The floor-heating system incorporated in the exhibition wings by the client will be supplied via a heat-pump and will reduce the cost of heating in winter. In summer, the same system will be used to cool the building.
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EXTERIOR VIEW The spacious glazed interior opens out freely in all directions. The reception area faces the street, while the library and office windows overlook the park to the west. The exhibition hall finds harmony with an undeveloped area in front of it and offers an unobstructed view of the former runway and of airplanes parked outside. The subdued colors of the walls and the floor in the northern wing provide an elegant background to the collection. The airplanes seem to be ready for take-off and do not look like mere exhibits.
INTERIOR AND MATERIALS Natural and raw-looking materials were selected for the building to provide contrast to the surrounding greenery. The light and the colorful surroundings will complement the interior spaces.
The existence of visual relationships between different sections of the entire space was adopted as an essential design principle and some of the internal walls are glazed to allow this contact. The outer shell defining the building shape is made of architectural concrete, which has been left exposed both on the inside and outside. Anodized aluminum was proposed as a finishing material on some of the walls and stairwell details. This material was consistently repeated in components of the exhibition furniture. The ground floor was made of integrally colored high-load concrete. Heavy duty parquet was used for the upper floors, including in corridors, office rooms, the multipurpose room and the library to provide an effect of warmth.
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LITERATURE STUDY: IMPERIAL WAR MUSEUM LONDON 02
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3.2 Imperial War Museum, London Appointment - 2010 Completion - 2014 Area
- 22,500m²
Capacity
- 1,000,000 visitors per annum
Client
- The Imperial War Museum
Structural Engineer - Burro Happold Quantity Surveyor Lighting Engineer
- Turner and Townsend - George Sexton Associates
The heart of the building is a generous new atrium, which provides a dramatic space in which to view the largest objects from the Museum’s collection. The relationship between these exhibits and the surrounding galleries has been completely redefined – the Harrier jet, Spitfire, V2 rocket and other iconic objects are suspended to correspond with the gallery displays on each of the floors for the first time.
-Viewed from the upper levels, the aircraft are framed by a series of large-scale concrete fins.
-These fins line the atrium and widen as they rise to provide structural support for the aircraft, extended gallery floors and barrel-vaulted roof.
-Terraces between the fins open up visual connections vertically and across the central space, and a new gallery floor suspended beneath the dome of the roof protects the exhibits from direct sunlight.
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The masterplan for the Imperial War Museum continues the practice’s work in adapting and revitalizing London’s historically important buildings. The project involved the sensitive refurbishment of the existing museum, improving access and circulation, opening the interiors to daylight and views and establishing direct links with the surrounding park. The strategic masterplan was designed to meet the museum’s long-term needs. By bringing clarity to the building’s plan and arranging the exhibition chronologically by floor, the design optimizes the exhibition spaces and visitor experience. The first phase of the refurbishment was timed to coincide with the centenary of the beginning of the First World War. Imperial War Museums is a British national museum organization with branches at five locations in England, three of which are in London. Founded as the Imperial War Museum in 1917, the museum was intended to record the civil and military war effort and sacrifice of Britain and its Empire during the First World War.
The galleries have been completely reconfigured, with a new chronological arrangement designed to be more intuitive. The new First World War Galleries, with interiors by Casson Mann, are located at 26
ground level, and the top floor of the building will eventually be dedicated to current conflicts. Vertical circulation has also been redesigned to make the connections between floors more visible – a new cantilevered stair forms the backdrop to the atrium. Rather than encroaching on the exhibition space, the café and shop have now been relocated to the new, lower entrance level at ground floor. The previously sealed ground floor windows along the western façade have been opened up to allow views into the museum, as well as views of the park from the atrium. The café can now be used outside of the Museum’s opening hours, and its seating extends into the park to create an open-air dining area. Rather than encroaching on the exhibition space, the café and shop have now been relocated to the new, lower entrance level at ground floor. The previously sealed ground floor windows along the western façade have been opened up to allow views into the museum, as well as views of the park from the atrium. The café can now be used outside of the Museum’s opening hours, and its seating extends into the park to create an open-air dining area.
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In August 2019, the Museum announced plans to spend over £30m on a new set of galleries over two floors at its London site covering the Holocaust and its importance in World War II. The galleries are set to open in 2021 and will replace the existing permanent exhibition.
Structure The majority of the steelwork was finished with intumescent paint, with areas that are visible in the final condition being matched to the finish of the existing steelwork. The feature stair structure up to the link bridge was finished with a hot zinc spray sealed with a renaissance wax to the underside of the trusses and treads. The top of the treads was covered with a precast concrete nosing sat on the steel plates and the side trusses were finished with thin steel sheet wrapped tightly around the supporting steel members. Construction The construction of this building was an alter from the old existing hospital, where they decapitated the floors and ceilings to give a room height for the artifacts to be hung in an angular view showcasing the scale and the massive structure of the exhibits. The floor of the atrium has been lowered to park level, in anticipation of a future phase of development, in which the approach to the building will be scooped out to create a single, accessible entrance for all below the existing portico stair. The current entrance staircase is temporary and will be removed when the new approach sequence is complete. The planned oval forecourt will create a public plaza, visually balancing the weight of the historic building and emphasizing the Imperial War Museum as a contemporary institution, while retaining the integrity of the existing structure.
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INFERENCES -Suspended planes and other objects are positioned to line up with viewpoints from the existing galleries on the first, second and third floors, offering visitors a chance to view the exhibits up close but lack safety measures if the tie breaks down.
-The base of the atrium is also at ground level, anticipating a future stage of development that will include adding a new accessible entrance into the museum from the surrounding gardens.
-A temporary entrance staircase has been installed in the meantime, while more new staircases have been added inside the building to make the connections between floors more visible.
-The existing cafe and shop have been relocated to free up more space for exhibits. Now on the ground floor, the cafe can be opened outside of museum hours and offers diners outdoor seating in the park. -There are no hangers for aircrafts and huge entrance space for the exhibits to be bought in or repairs, these have to be dismantled and reassembled every time.
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LITERATURE STUDY: MOTAT AVIATION DISPLAY HALL NEW ZEALAND 02
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3.3 MOTAT Aviation Display Hall, NEW ZEALAND Architects:
Studio Pacific Architecture
Photographs:
Patrick Reynolds
Manufacturers: Autex, Decortech MOTAT is lucky enough to have two sites, M1 and M2 which are connected by our complimentary tram ride or a short drive. The multi-award-winning Aviation Display Hall at MOTAT Meola Road (M2) hosts a large collection of recreational, military, topdressing, and commercial aircraft which celebrates the evolution of New Zealand aviation since February 1911 when Vivian Walsh achieved sustained and controlled flight in a British Howard Wright biplane. Visitors will also be able to see aircraft which saw service with the Royal New Zealand Air Force such as the de Havilland Mosquito and the modern Skyhawk and Aermacchi. Other highlights include the Solent and Sunderland Flying Boats and the Lancaster bomber. The Aviation Display Hall is a major new museum facility for the Museum of Transport and Technology (MOTAT)’s collection of historic aircraft. It was designed to extend the existing aviation building on the museum’s Meola Road site in Auckland. At 3300m2, the extension will enable MOTAT to house all of their aviation exhibits, some of which are the only remaining examples in the world, in a protected environment for the first time. From the outset, sustainable design measures have been an integral part of the overall design approach. The building utilizes a ventilation strategy that favors natural ventilation in conjunction with a ‘heat chimney’ on the north of the building and requires only a low provision of mechanical heating. Glazing to specific areas of gallery space also maximizes natural light where appropriate space is required.
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Designed to showcase the historic aircraft, the Aviation Display Hall houses an inwardly-focused ‘black box’ exhibition space, while the exterior provides visual expression of the building’s form and contents from the street frontage. The naturally ventilated northern façade glazing, floating beneath the projecting roof, reveals the rhythm of the structure and the gallery wall beyond. The double legged portals are exploited to create a second light-filled gallery space on the north of building that also acts as a 12m high heat chimney, supporting the natural ventilation strategy. On the south of the building these double legs are utilized to locate the mezzanine, classroom and support spaces within the primary exhibition space.
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The building’s design has been resolved as a timber interpretation of the hangar form. Unusually for its size, the structure is almost entirely fabricated from Laminated Veneer Lumber (LVL), and uses the unique capacities of LVL portal frames to encompass the large wingspan of the aircraft. At 42 meters internal width, the building has the largest clear span of any LVL timber structure in New Zealand.
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PORTAL FRAME CONNECTIONS The portal frames were designed with pinned base connections and fixed knee (column to rafter) and apex connections. To allow transportation of the portal frame elements to site each portal frame was split into eight components; four column and four rafter segments. Splitting the rafter into four pieces resulted in three moment resisting connections along the member, one at the apex and two approximately at points of contraflexure (locations of low flexural demand).
BUILDING FORM 34
The primary structure is a series of portal frames. These support the roof structure and provide the lateral resisting system in the north-south direction. Cross bracing is used to form a roof diaphragm and to resist horizontal loads along the building in the east-west direction. The portals frames have double columns and a clear span of 42 m. The structural ridge line is off center and the south column slopes outwards to create visual interest. The portal frames, purlins (secondary roof members), girts (wall members) and wall cross-bracing are all made from LVL.
LAMINATED VENEER LUMBER (LVL) As discussed above, the majority of the structural elements are made from LVL. This is an engineered wood product manufactured from timber which is rotary peeled, dried and laminated together in continuous long lengths. Typically, the veneers are laminated together with all the timber grain orientated in the same direction. For the MOTAT project span (a LVL product produced by CHH Wood products) was predominantly used in the primary structure, with lower stiffness chord used for secondary framing such as purlins where cost advantages exist. These products are manufactured at Marsden Point, New Zealand, from sustainably grown New Zealand plantation pine forests.
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From the outset, sustainable design measures have been an integral part of the overall design approach, and since its completion, the Aviation Display Hall has won a number of Sustainability awards. Situated on a former landfill, the building effectively makes use of recycled land. High- and low-level banks of actuator-controlled windows and louvres throughout the building provide natural ventilation, meaning that no mechanical air conditioning is required. Life cycle analysis, including empirical research into relative carbon balance and embodied energy of various structural options, was commissioned prior to structural material selection. This supported the use of LVL in the building. A rainwater harvesting system is employed to service the toilet facilities, and gas management strategies were also implemented in response to prevailing site conditions. INFERENCES -The aviation hall is structured with timber mostly and if not well maintained there are chances of structural degrade due to moist climate and termites. -The hall is now extended and been added with utilities for visitors and special dinning place but lack to have a hanger not just for display but also for repair and workshops. -Lack visual-audio room for tourist information and no storage places for tourist has been provided. -Every time a repair or maintained need to be happened the whole of display area is shut for tourist which is not effective.
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4 CASE STUDY: HAL AEROSPACE MUSUEM, BANGALORE 01
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4.1 HAL AEROSPACE MUSEUM Hindustan Aeronautics Limited (HAL) Heritage Centre & Aerospace Museum, Bangalore, the first of its kind in India established in 2001, is situated at the intersection of HAL Old Airport Road & Basavanagar Road. It is about 17 Kms from the Bengaluru City Railway Station. The Heritage Centre & Aerospace Museum is sprawled over 4 acres of lush green land. Location of airport road is 8km from M>G road and near police station, Hal is exactly 1.5km from Old airport.
Location: Airport-varthur road, Bangalore Coordinates: 12.955431.N 77. 681386.E Type: Aviation Museum
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There are two major halls, one displaying the photographs that chart the growth of aviation in each decade from 1940 till date and a Hall of Fame that takes the visitors on an exciting journey through the Heritage of Aerospace & Aviation Industry in India. The museum consists of an interdependent relationship between the permanent structure and the semi-permanent structures. The idea of semipermanent structures is mainly for removal, remodeling, repair, etc. in the future on the display objects or for changing the direction of the movement. But we need basic permanent structure supporting and enhancing the semi-permanent structures. As a static museum which basically focuses on aviation, we deal with considerably huge life size objects on display. Therefore, as a basic necessary there is a considerable lot of architecture permanent structures in the campus. The museum can be architecturally dived into four parts, the Hall 1, Hall2, aircraft and engine display hall and outdoor displays. Apart from these is a security cabin at the main entrance. The security cabin is not a structure which houses only ticket counter, the main security head, the ticket collector and lockers but also above the security cabin is the Board addressing the museum’s location, the timings and the days thy are open. Thus, the security cabin forms as a landmark of its own. Before any other structure of 39
the museum is visible and the landmark which falls into our eyes is the security cabin. The second structure which is prominent and eye catchy is the Big Blue A in front of hall 2. The importance of this structure was for catching the attention of the common people and for marking it as a landmark. The structure was for catching the attention of common people and for marking it as a landmark. The structure is quite prominent and acts as a pillar for people to get attracted from a distance. This is a concept which has been very much prominent in an ancient architectural building Adalaj in Gujarat. Adalaj was a step well which basically dug its way deep down towards the water source. Therefore, the structure was more underground. To identify, there were four pillars on the land, marking its presence. Similarly copying the A in between HAL, the blue A tall as a two storied is erected in front of the building. The blue A have inscriptions, on them. The inscriptions were body parts of the aircrafts. The museum consists of a interdependent relationship between the permanent structure and the semipermanent structures. The idea of semi-permanent structures is mainly for removal, remodeling, repair, etc. in the future on the display objects or for changing the direction of the movement. But we need basic permanent structure supporting and enhancing the semi-permanent structures. As a static museum which basically focuses on aviation, we deal with considerably huge life size objects on display. Therefore, as a basic necessary there is a considerable lot of architecture permanent structures in the campus.
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Ventilation There are no special ventilation outlets for the hall1. The architecture is very intelligently and economically done. the whole design does not require any fans nor any light. They are naturally ventilated and lighting is also natural even if there are lightings present. In this system warm air in the building can be allowed to rise and flow out upper openings to the outside (stack effect) thus forcing cool outside air to be drawn into the building naturally through openings in the lower areas.
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The building behind the Blue blue A is Hall2, this space is first building in the aviation museum. It’s divided into four apaches. The first space has boards which are lit and have pictures if their journey of achievements. We then move to first floor where we can find the simulator as an attraction for kids and adults. Later we can go one more floor higher to see a glass and air-conditioned cabin which faces the airstrip of the old Bangalore airport. Even now there are may test flights done. We come down and enter into the huge room which is built in a fashion called hanger. There are walls on all the four sides but roof is asbestos. They have life size aircrafts and engine displayed. We also get to see a life size parachute.
As we move out, we proceed to hall 2. The space can be dividing into part. They have concrete roofing system which holds the controls the control room facing the air strip. The room is air contained. The other roofing system is like a hanger. This hall is like huge shed holding aircrafts and engines. The whole place has no lighting system. It is illuminated by natural light. This building houses the office room for staff. They are small rooms which are air conditioned or they have fans. The flight stimulator is main attraction in the building. People are excited in having an amazing experience in flying the flight on their own. A cockpit experience. The second Hall highlights the various functions of an Aero Engine by displaying motorized cross sections of various models of Aero Engines. Real Engines such as Garret (for Dornier Aircraft), Adour (for Jaguar Aircraft) and Orpheus (for Kiran Aircraft) can be seen here along with Ejection Seat with Parachute; and Pushpak & Basant Aircraft.
Display and Lighting There are 3 types of display which involves light source. the light board which displays the flowcharts. there are lights to enhance the pictures on the display with no backlit. there are white lights for the dim lighting in the room. The 2 black lights are red and blue in color and they put up a harmonious effect on the photo gallery. The natural lighting system is directly through the glass windows. The roofing is also the transcalent asbestos allows light through. 42
The beautiful green campus is well gardened and maintained in the campus. When entering the campus, we face architectural buildings with a photo gallery of the works of Hal from about 1940’s. between the round path is small fountain which is a low chuckling sound which creates a peaceful atmosphere. The whole photo gallery is more like a memorial. There is peace in the whole building.
All the aircrafts are supported by semi-permanent wood structure for them to stand on. The aircrafts do not have their landing gear or their wheels inside. Therefore, there are wood supports which are cut in semi-circles one end to support the aircraft.
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The roof built in Hall 2 is how a hanger is to be built. Hall 2 have the aircrafts and engines for display. A hangar is closed structure to hold aircraft or spacecraft in protective storage. Most hangers are built of metal, but other materials such as wood and concrete are also used. Hangars are used for protection from weather, protection from direct sunlight, maintenance, repair, manufacture, assembly and storage of aircraft on airfields, aircraft carriers and ships. Inferences - The floors made of concrete are going green because of moss and lichen growth due to soaking of water or retainment of water in porous surface of concrete. Thus, moss and lichen grow in the places water has soaked or retained due to heavy rain. - The floor is having stagnant water because the floor is uneven. The presence of water is mainly by two reasons wither the cleaning or heavy showers of rain. - Trolleys with garbage from the sweeping and green fresh leaves cut off for shaping the bushes in the gardens. The dry leaves are from the trees which are seeped and put in the trolley as it is easy for transport. - The gates are closed with not much activities because there are no materials transported often. But considering the size of the artifacts it is a considerable length. - There are unoccupied seaters in the area. The design should be under the consideration of how many users would sit on interval seaters according to the user types. - There are dividers surrounding every exhibit so that people can walk around it and avoid touching the exhibit. In this case public may climb over the aircrafts which is a clear violation of museum rules.
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CASE STUDY: NAVAL AVIATION MUSEUM GOA 02
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4.2 NAVAL AVIATION MUSEUM, GOA The Naval Aviation Museum is a military aviation museum located in Bogmalo, 6 km from Vasco da Gama, Goa, India focused on the history of the Indian Naval Air Arm. The museum is divided into two main parts, an outdoor exhibit and a two-stored indoor gallery. Area: 3.6 Acers Location: Bogmalo Road, Vasco da Gama, Goa Located on the road to Bogmalo beach, near Dabolim, Vasco-da-Gama, Goa, the museum can be easily reached by public or private transport. It has spacious parking for vehicles and the entrance is a few yards from the parking lot. Construction type: Beams and columns Adjacent road width: 9.0m Nos. Of Entrance: 1 Landscape: 60% of the site with Outdoor exhibits & they didn’t develop any particular landscape. They developed existing landscape only. Peak time – January, December & weekends. Capacity of visitors – 100 at a time The museum was founded on 12 October 1998 with a collection of 6 aircraft The office block is located in the further entrance near the artifact room but has a smaller tourist guide space and also has ventilation absent.
The museum also houses a photo gallery that commemorates all the major naval battles that have taken place since the formation of the Indian Navy. The freedom struggle of Goa, notably the ‘Operation Vijay’ is depicted by a stunning series of black and white photographs. The museum is a 46
great place to visit, not only for its uniqueness in subject matter, but also for an in-depth look at the glorious military history of the country. The museum is also meant to inspire people to look to the seas and the skies and their protectors.
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There are altogether 13 different aircraft on display at the museum and along with that, there is an area showcasing some of the engines of these magnificent and wonderful winged creations.
Short Sealand Mk 2 (IN 106) – It is the only surviving aircraft of its kind in India and one of three knowns to be in existence in the world. The Sealand was the first aircraft type to be inducted after the establishment of the Directorate of Naval Aviation in 1953. They were phased out in the year 1965. Fairey Firefly TT Mk1 (IN 112) – It is the sole craft of its type in India, it is also one of 12 still in existence in the World. It was one of the British WW2-era carriers-borne fighter and anti-submarine aircraft. These crafts were acquired in May 1955 for target towing purposes. HAL HT-2 (BX 748) – The Navy used the HT-2 as primary trainers from 1956 to 1964. The aircraft which is currently on display has IAF markings. de Havilland Vampire T-55 (IN 149) – The T55, two-seater variant of the Vampire was procured in September 1957 by the Indian Navy to train Naval airmen on Jet fighter aircrafts before the Navy inducted its Sea Hawks. Hawker Sea Hawk FGA Mk 100 (IN 234) – The Sea Hawks entered into the naval service along with INS Vikrant, India's first Aircraft carrier and served the country for two decades before eventually being replaced by the Sea Harriers. Breguet Alizé (IN 202) – The Alize was the Navy's first aircraft carrier based AntiSubmarine and Maritime Surveillance (ASM) aircraft and was inducted into the service in 48
1961. de Havilland Dove (IN 124) – The Dove was procured by the Indian Navy from the Indian Air Force in 1965 to replace the Short Sealands that were being phased out at the time. HAL Chetak (IN 475) – The Chetak entered the naval service along with the INS Vikrant (aircraft carrier) in 1961 primarily for use in training, transport, CASEVAC (Casualty Evacuation), communications and liaison roles. It was phased out of use by the Navy in 1986. Hughes Hu-300 (IN 083) – The Hughes were two-seater helicopters that were inducted into Naval service 1971 for ab-initio training of helicopter pilots and were phased out in the mid 1980’s. Westland Sea King Mk 42 (IN 505) – The Sea King was procured in 1970 to engage in Anti-Submarine Warfare in the Navy, should such a condition arise. A variant of this helicopter known as the Commando was also adapted by Westland for the transportation of troops in wartime. Lockheed L1049G Super Constellation (IN 315) – The guardian at the gates as it were, this Lockheed L-1049G was originally delivered to Air India (commercial airline) in 1955 and named "Rani of Ellora". It was transferred to the Indian Air Force in 1961; from there it went on to be lent to the Naval Aviation arm in 1976 and was finally retired in 1983. Kamov Ka-25 (IN 573) – The Kamov helicopters were commissioned in 1980 and were essentially for use in Anti-Submarine Warfare (ASW). Their secondary role was that of surveillance and Search and Rescue (SAR) duties. Sea Harrier FRS.51 (IN 621) – The single-seater Sea Harriers and were based both on the INS Vikrant as well as the INS Viraat. These fighter jets were part of the Indian Naval Air Arm and provide reconnaissance, carrier-based strike capability, fleet air defence and anti-submarine warfare.
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Some of the main things shown in the indoor galleries include military weapons which were attached to ships and submarines. The attire or uniforms worn by the members of Indian naval Force: One end of gallery showcases the bombs, torpedoes, and cannons used by the Indian navy for defense purposes.
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Inference -No ramps or any concept of barrier free design. Roof need repair and maintained. -Security measures and fire safety measures are bleak. Danger and escape routes are not clear exits. -Pathways are not clear due to less lighting in the area. -No scope for expansion. -Exhibits need shade and maintained for preservation and conserve. -Aesthetic elements in the museum and contemporary approach is missing and still remains as a nonattractive structure.
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5. SPECIAL STUDY OF THE SUBJECT
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5.1 Hanger construction A hangar is a closed building structure to hold aircraft or spacecraft. Hangars are built of metal, wood, or concrete. Steel hangar Buildings can support a wide variety of doors systems Hangars are used for protection from the weather, direct sunlight and for maintenance, repair, manufacture, assembly and storage of aircraft.
Aircraft hangars can be designed and built to virtually any specification, however size and intended use will have a strong influence over the style of hangar best suited to the application. A small type 1 portal hangar up to 30m wide is ideal for small aircraft, but as wingspans, tail heights and occupancy increase, other hangar types will be more practical and cost effective.
5.2 Structure design consideration -Spine truss hangars may on occasion be economic where the span is wide (up to 150m) and the depth small (less than 1/3rd of the width). Columns inside the hangar or door give economies in the frame but are a severe restriction on flexibility in use.
-This is much better for you than a 75m hangar which will still use up the 100m of apron with doors and outriggers. In the case where the door opening has to be full width and no outrigger space is available, we recommend lifting fabric doors.
Tension fabric buildings by definition are buildings constructed using a rigid frame and a durable fabric membrane. The benefits of tension fabric buildings compared to traditional structures are lower operational costs, energy savings, naturally bright interior, quick installation, ability to re-locate building, flexible foundation design options and corrosion resistance. Unlike conventional or metal clad buildings, tension fabric buildings can be more economically relocated.
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The Stressed Arch frame consists of a flexible section, which changes geometry during stress erection, and a fixed or rigid section, which is only rotated and translated during stress-erection.
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The top chord is a square hollow section member.
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The bottom chord comprises twin hollow section members. These contain the prestressing strands which are used to both stress-erect the structure and apply a level of conditioning prestress to each frame in the final erected shape.
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Between each node (web) connection in the flexible section of the truss the bottom chord contains a sliding joint comprising a gap in the chord, and an inner sleeve guide. The size of the gaps determines the final shape of the erected frame.
5.3 Aircraft hangar type 1- Simple Portal Frame Type 1 Aircraft hangars are simple “steel portal framed” buildings with a typical clear span up to 30M or so. Ideally suited to light aircraft \ small jet applications, they are quick to build and economical on cost – but flexibility is restricted due to their limited clear span. 54
Integral workshops, offices and external lean are also design possibilities – tied portal versions of this hangar type can increase their span to around 85m and multi-span or propped portal aircraft hangars can increase to virtually any width.
5.4 Aircraft hangar type 2- Truss Frame A truss is made up of a web of triangles joined together to enable the even distribution of weight and the handling of changing tension and compression without bending or shearing. The triangle is geometrically stable when compared to a four (or more) -sided shape which requires that the corner joints are fixed to prevent shearing. Trusses consist of triangular units constructed with straight members. The ends of these members are connected at joints, known as nodes. They are able to carry significant loads, transferring them to supporting structures such as load-bearing beams, walls or the ground.
5.5 Aircraft hangar type 2- Arch-span Frame Arches are convex structures that are designed primarily to resist compression, as a result of their shape and the uniform loading acting on them. The most efficient shape for an arch, when subject to uniform loading, is a parabola but they can be circular, or even made from multiple linear elements. Arches also resist bending moments that are induced due to non-uniform or asymmetric loading, or the deviation of the arch from the idealised shape in which the lines of thrust (compression) are located within the member cross section.
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5.6 Façade Material - Laminated Veneer Lumber Laminated veneer lumber (LVL) is one of the most widely used engineered wood products for constructional applications. It is a composite product manufactured from multiple thin layers of veneer that are aligned with the length of the finished lumber. This fact sheet summarizes basic manufacturing steps, advantages and disadvantages of LVL compared to other structural engineered wood-based products.
Because it is specifically sized to be compatible with I-joist floor framing, residential builders and building designers like the combination of I-joist and LVL floor and roof assemblies. LVL is considered to be a highly reliable building material that provides many of the same attributes associated with large sized timbers. However, due to the fact that the assembly adhesives limit the penetration of chemicals typically used to treat outdoor-rated lumber,
The Laminated veneer lumber can be used in frontal faced design because of its extensive durability to weather and supportive strength. The wood façade technique can be achieved using material like Laminated veneer lumber (LVL).
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SITE STUDY AND DESIGN
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