ARCH 7040 ARCHITECTURAL DESIGN STUDIO 4 - STUDIO MEDEK AND BABER
a museum of infinite expansion
EXERCISE 1 3 MUSEUMS OF INFINITE EXPANSION AHMEDABAD, INDIA
L. BATRA
R. BUFFINGTON
B. COOPER
B. DEVANEY
R. FORD
A. HURD
G. ROUND
CONTEXT The Museum at the Cultural Centre of Ahmedabad, known as Sanskar Kendra, is located in the state of Gujarat in Ahmedabad, the fifth largest city in India with a population of around six million residents. It is located near the Sardar Bridge around 400 metres from the western bank of the River Sabarmati, which flows through the city. Ahmedabad has a hot, semi-arid climate with average maximum summer temperatures of 41 degrees C, a monsoon season, and a mild winter. The city has a rich Muslim history and is home to large numbers of Hindus, Muslims and Jains, with many religious festivals continuing today and a large number of mosques. It is closely linked with the development of the textile and cotton spinning industry.
EXERCISE 1 3 MUSEUMS OF INFINITE EXPANSON
ahmedabad ARCH 7040 Architectural Design Studio 4 Studio Medek and Baber L. Batra, R. Buffington, B. Cooper, B. Devaney, R. Ford, A. Hurd, G. Round
DESIGN INTENTION Le Corbusier was commissioned in 1951 to design the museum as the heart of a new cultural centre for Ahmedabad. The design concept stems from an idea that he had previously explored of a “museum of unlimited extension”, making use of standardised structural elements to create a core building that could be extended over time as additional funds were procured. The initial square core of the museum around a courtyard was constructed by 1954. The intention for the site was to develop three additional, individual volumes around the core museum each with its own circulation and a raised walkway connection to the core building. One was to contain an openair theatre, studio and conference facilities, while the other two would contain archaeological and anthropological rooms. There was also a potential to extend the core building itself and construct a “magic box” theatre at the eastern end of the site. However, none of these extensions were ever realised.
EXTERNAL VIEW OF AHMEDABAD MUSEUM
INTENDED SITE PLAN
The building also refelcts Le Corbusier’s Five Points of a New Architecture, principles that he developed to guide his work. These include: 1. Pilotís - The replacement of supporting walls by a grid of reinforced concrete columns that bear the load of the structure is the basis of the new aesthetic 2. Roof Gardens – the flat roof can be utilized for a domestic purpose while also providing essential protection for the concrete roof 3. The free designing of the ground plan - the absence of supporting walls means that the built form is unrestrained in its internal usage 4. The free design of façade – by separating the exterior of the building from its structural function the façade becomes free 5. The horizontal Window - the façade can be cut along its entire length to allow rooms to be lit equally
CURRENT USE More recently, the Vastu Shilpa Foundation has facilitated the restoration of the building by starting a City Museum in the space, which displays the living heritage of Ahmedabad and its people. The linear journey through the museum corresponds to the display of the history and life of Ahmedabad. Four other buildings, similar in size to the museum, have since been constructed on the site, eliminating the potential for the envisaged extensions on the northern and western sides of the building.
SITE CONTEXT
EXERCISE 1 3 MUSEUMS OF INFINITE EXPANSON
ahmedabad ARCH 7040 Architectural Design Studio 4 Studio Medek and Baber L. Batra, R. Buffington, B. Cooper, B. Devaney, R. Ford, A. Hurd, G. Round
PILOTÍS One of the successful characteristics of this building can be DOUBLE HEIGH EXHIBITION SPACE identified in the low height of the pilotis, the tops of which are 3.4 meters. The floor to ceiling height varies in depth with respect to slab thickness and spandrel beams, for instance the ground floor’s external presence is 2.5 meters in order to create an overbearing and darkened approach underneath the building to its central entry, amongst its DAY LIGHTING INTHE CENTRAL COURTYARD expansive open floor plan. Day light penetrates through the center of the building creating a void of light or what Le Corbusier describes as a “true hall of honor” at the entry to a “Museum of Infinite Expansion”.This expression is a true contrast to the confined approach beneath the building upon entry.
LAYOUT The square volume of the museum is elevated on Le Corbuier’s signature pilotis, creating a predominantly open ground plane. The space underneath the building opens into a courtyard in the centre which contains a large pool and a ramp that provides entry to the exhibition levels above. The ground level also contains a staircase that extends through all levels of the building, a core of toilets, a kiosk and an elevator for movement of art pieces. The second level of the museum contains exhibition spaces laid out in a 7 x 7m grid around the central courtyard. mezzanine galleries on the level above, which extend from the central courtyard to their adjacent external walls, divide the second level into four large double height exhibition spaces. The four mezzanine platforms were intended to be used as horizontal circulation space leading into future outward expansion of the museum. Arranged in the form of a swastika, these half height mezzanine galleries allow visitors to orient themselves within the building. The fourth level is lower in height and contains all of the electrical installations and services as well as permitting natural light and ventilation. Arrival on the roof was intended to signify the culmination of the journey through the museum and provide views outward. The roof consists of approximately 45 concrete basins which were intended to hold water, acting as a cooling mechanism for the building. The intention was that the water would be covered in floral vegetation to prevent evaporation and provide a fragrant, floral setting for the culmination of the museum visit.
MEZZANINE GALLERY
WALL FINISHES While the majority of walls are left as their raw material, the inside of the exterior walls are finished in white plaster while the inside of the walls surrounding the internal courtyard are left in unfinished brick. This provides a visual cue for orienting oneself in the building.
The experience of the museum is focussed on the internal journey as evidenced by the stack bond brickwork façade that wraps around the building and has minimal openings.
VIEW OF MAIN STAIR CIRCULATION AND LAYOUT DIAGRAM
MATERIALS As timber is not locally available in this region of India, the building has been constructed from unfinished reinforced concrete and brick for the façade.
Concrete: The raw reinforced concrete structure is a response to ‘Béton Brut Architecture’ a style very familiar to much of Le Corbusiers work such as Unité d’Habitation and the Mill Owner’s Association Building also in Ahmedabad. The style consists of an unfinished or roughly finished raw concrete, which is left exposed leaving the imprint of the wood or plywood framework used for pouring on the final product’s surface.This style later on flourished as a part of the Brutalist Architect movement in the 1960 and 70’s.
Concrete Brick
ARCH 7040 Architectural Design Studio 4 Studio Medek and Baber 1
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EXTERNAL MATERIALS DIAGRAM
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L. Batra, R. Buffington, B. Cooper, B. Devaney, R. Ford, A. Hurd, G. Round
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THERMAL MASS Ahmedabad has a hot, semi-arid climate with an average maximum summer temperatures of 41 degrees C°, a monsoon season, and a mild winter. When designing the building the concept of thermal mass was introduced in order to protect the internal space of the museum against the excessive temperatures. While precautions were implemented to maintain efficient thermal properties, it was assumed that visits to the museum would be most common in the evening and nighttime. These thermal massing techniques are reflected in the material selected for the construction of WEST ELEVATION 2 the museum including brickwork and reinforced concrete. A261
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GREENROOF The roof consists of approximately 45 concrete basins, which were intended to hold precisely 40cm of water. The shade of thick vegetation over the surface of the water prevents evaporation; each basin is strewn with leaves or blossoms floating on the surface of the water, the ensemble forming a checkerboard of blue, red, green, white, yellow etc. The water in these basins is nourished by a special powder, which induces enormous growth, far beyond normal plant size. The rooftop is the intended finish to the journey through the museum, offering views of the city amongst a flourishing setting. While this experience was intended it is not evident in the final product existing today.
DAY LIGHTING The third floor main use is for services, storage and electrical installations.The external brick wall finishes low to produce an opening allowing airflow and daylight to enter the building. The illumination base becomes an integral part of the museums impression on the visitor and in turn becomes a determining part of the building’s architecture.
GREENWALL Each façade was designed with the intent of supporting perennial climbing green walls, which would act as a natural element of thermal insulation. The green wall is supported by a large earth filled concrete channel, which surrounds the perimeter of the building at 2.5 meters above ground level. While there is evidence of its intent, lack of maintenance overtime has limited its ability for vegetation growth and thermal insulation.
MECHANICAL LIGHTING SECTION THROUGH DOUBLE HEIGHT EXHIBITION SPACE AND SERVICE LEVEL
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Brick: The building’s exterior consists of a plain brick façade combined with exposed elements of raw concrete structure. The external walls consist of a double brick construction with an internal cavity varying in size dependent on each individual façades orientation in response to varying amounts of direct sunlight.
EXERCISE 1 3 MUSEUMS OF INFINITE EXPANSON
KEY:
Le Corbusier’s original intention was to have light slits cut out of the third floor to enable natural and mechanical lighting to penetrate into the double height exhibition spaces below.
EXERCISE 1 3 MUSEUMS OF INFINITE EXPANSON
ahmedabad ARCH 7040 Architectural Design Studio 4 Studio Medek and Baber UP
L. Batra, R. Buffington, B. Cooper, B. Devaney, R. Ford, A. Hurd, G. Round
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PROGRAMATIC ORGANISATION
LEVEL 2
ROOF
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Key: MEZZANINE GALLERIES DOUBLE HEIGHT EXHIBITION SPACE ROOF BASINS UP
UP UP
KIOSK
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DEPOSIT COLLECTION
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ROOF RL 14.500
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03 LEVEL 3 RL 10.200
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02 LEVEL 2 RL 6.800
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01 LEVEL 1 RL 3.400
00 GROUND LEVEL RL 0.000 UP
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LEVEL 1
EXERCISE 1 3 MUSEUMS OF INFINITE EXPANSON
ahmedabad ARCH 7040 Architectural Design Studio 4 Studio Medek and Baber L. Batra, R. Buffington, B. Cooper, B. Devaney, R. Ford, A. Hurd, G. Round
PHASE 1
PHASE 2
PHASE 3
Museum core
Construction of three additional volumes
Extension of original core in 7x7m modules up to 84 x 84m
INFINITE EXPANSION STAGES The museum of course is not limited in respect to growth, and therefore the 50 x 50 meter sides (2500m2) can be extended to 84 x 84 meters (7000m2) by the means of standard elements. This is evident in the buildings internal and external façades where the floor plates, beams, and openings seem to be protrude as means for future connections, underlying Le Corbusier’s concept of a “museum of infinite expansion”.
SECTION Three phases in section
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STRUCTURAL GRID The museum is constructed with Le Corbusier’s signature concrete pilotís that are 3.4 meters high, and spaced out in a structural grid of 7 meters squared.
STRUCTURAL GRID
EXERCISE 1 3 MUSEUMS OF INFINITE EXPANSON
ahmedabad ARCH 7040 Architectural Design Studio 4 Studio Medek and Baber L. Batra, R. Buffington, B. Cooper, B. Devaney, R. Ford, A. Hurd, G. Round
SITE PLAN 1:2000
EXERCISE 1 3 MUSEUMS OF INFINITE EXPANSON
ahmedabad ARCH 7040 Architectural Design Studio 4 Studio Medek and Baber L. Batra, R. Buffington, B. Cooper, B. Devaney, R. Ford, A. Hurd, G. Round UP
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SCHEDULE OF ROOMS
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1 Public Entrance 2 Checkout 3 Booth 4 Ramp access to Museum 5 Public WC 6 Stairs to Registers Office 7 Library 8 Book Deposit 9 Lecture Hall 10 lecturers Room 11 Platform 12 Exit
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13 Exhibition Space 14 Deposit Collections 15 Support Load 16 Merchandise Receipts 17 Basin 18 Anthropology Annex 19 Archeology 20 Stairs 21 Outdoor Theatre 22 Stage 23 Orchestra 24 Dressing Room
EXERCISE 1 3 MUSEUMS OF INFINITE EXPANSON
ahmedabad ARCH 7040 Architectural Design Studio 4 Studio Medek and Baber L. Batra, R. Buffington, B. Cooper, B. Devaney, R. Ford, A. Hurd, G. Round
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EXERCISE 1 3 MUSEUMS OF INFINITE EXPANSON
ahmedabad ARCH 7040 Architectural Design Studio 4 Studio Medek and Baber L. Batra, R. Buffington, B. Cooper, B. Devaney, R. Ford, A. Hurd, G. Round
SOUTH ELEVATION 1 : 200
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EXERCISE 1 3 MUSEUMS OF INFINITE EXPANSON
ahmedabad ARCH 7040 Architectural Design Studio 4 Studio Medek and Baber L. Batra, R. Buffington, B. Cooper, B. Devaney, R. Ford, A. Hurd, G. Round
NOT TO BE USED DURING CONSTRUCTION
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SECTIONAL PERSPECTIVE THROUGH COURTARD
EXERCISE 1 3 MUSEUMS OF INFINITE EXPANSON
ahmedabad ARCH 7040 Architectural Design Studio 4 Studio Medek and Baber L. Batra, R. Buffington, B. Cooper, B. Devaney, R. Ford, A. Hurd, G. Round
REFERENCES Fondation Le Corbusier. n.d. Musée, Ahmedabad, India, 1951. Accessed July 2013 http://www.fondationlecorbusier. fr. Government of Gujarat. 2010. Sanskar Kendra. http://www. gujarattourism.com.
PERSPECTIVE OF SOUTHERN FACADE 1
SOUTH ELEVATION PERSPECTIVE
Le Corbusier. 1946-65. Oeuvre complete / Le Corbusier et Pierre Jeanneret ; publiee par W. Boesiger ... [et al.]. Zurich : Editions d’architecture Erlenbach. Le Corbusier. 1999. Le Corbusier 1910-65. ed. Willy Boesiger, Hans Girsberger. Boston : Birkhäuser Verlag.
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Le Corbusier. 1991-1995. Le Corbusier : oeuvre complète. Zurich : Les Editions D’Architecture.