THESIS Research and Report - DESIGN OF MUSEUM & ART CENTRE, KOLKATA

ARCHITECTURAL THESIS

MICROCOSM OF KOLKATA DESIGN OF A MUSEUM & ART CENTRE

SANJUKTA SEN ENROLMENT NO. 00117601616 YEAR: 2016-2021

THESIS GUIDE: PROF. SANJAY MEHRA, PROF. SATISH KHANNA THESIS COORDINATOR: PROF. RASHMI B. TANDON DATE OF SUBMISSION: 10-06-2020 SUBMISSION NO.: 12

COLLEGE OF ARCHITECTURE

VASTU KALA ACADEMY 9/1 QUTAB INSTITUTIONAL AREA, ARUNA ASAF ALI MARG, NEW DELHI – 110067

CERTIFICATE

This is to certify that the project titled “MICROCOSM OF KOLKATA” submitted by “Sanjukta Sen” as a part of 5 – year graduate programme (2016-2021) in Vastu Kala Academy, College of Architecture, New Delhi in a record bonafide work carried out under my guidance.

The content included in this thesis has not been submitted to any other university for award of any degree or diploma.

Student Signature: Student Name: Sanjukta Sen

Guide Signature: Guide Name: Prof. Sanjay Mehra Ar .Satish Khanna

ACKNOWLEDGEMENT I would like to express my gratitude to my guide Prof. Sanjay Mehra and Ar. Satish Khanna for their constant guidance, patience and support in steering me towards the right direction. Without their assistance and dedicated involvement in every step throughout the process, this paper would have never been accomplished.

Secondly, my sincere thanks to the Thesis Coordinator, Prof. Rashmi B. Tandon for her meticulous planning and methodical approach towards handling the subject.

I would also like to thank my college director, Dr. Amit Hajela for providing me with the academic support that I needed from the college and for giving me the opportunity to conduct thesis project on a topic of my interest.

Last, but not the least, I am grateful to my family for their support and for being my constant source of motivation.

TABLE OF CONTENTS:

• Certificate_____________________________________________________________ I • Acknowledgements______________________________________________________II

1. CHAPTER 1 – Thesis topic and proposition_________________________________________________________________________________ 01 (i) (ii) (iii) (iv) (v) (vi)

Synopsis Background Study Aim Objective Thesis Proposition Rationalities of the Project [Reason, Need, Scope, Limitations]

2. CHAPTER 2 – Site Analysis_______________________________________________________________________________________________11 (i) (ii) (iii) (iv) (v) (vi) (vii) (viii) (ix)

Geological Significance Climatic Conditions Hydrology and Drainage system Soil Demographic Analysis Land Use Master Plan Road Network and Transportation Site Location and Justification

(x) (xi)

Site Details Bye Laws and Development Norms

3. CHAPTER 3 – Case Studies______________________________________________________________________________________________28 (i) Primary Case Studies National Museum, Delhi Imperial Museum, Kolkata (ii) Secondary Case Studies Bihar Museum Acropolis Museum National Crafts Museum, Delhi (iii) Comparative Analysis of Case Studies

4. CHAPTER 4 – Design Derivatives_________________________________________________________________________________________48 5. CHAPTER 5 – Detail Area Programme____________________________________________________________________________________ 54 6. CHAPTER 6 – Concept__________________________________________________________________________________________________61 7. CHAPTER 7 – Design Development_______________________________________________________________________________________ 67 8. CHAPTER 8 – Final Design_______________________________________________________________________________________________71 9. CHAPTER 9 – Design Renders___________________________________________________________________________________________ 79

CHAPTER 1 - THESIS TOPIC AND PROPOSITION

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Synopsis: Museums are buildings in which we see many objects of artistic, cultural, historical, traditional qualities as well as scientific background. They are a great source of knowledge. They not only give us knowledge but also make us familiar with our history, culture, civilization, religion, art and architecture of our country. In a museum, there are many items which are kept on display for the public to view, retrospect and educate themselves.

Museums clubbed with Art Centers play a crucial role in preserving local culture. With careful documentation and artifact preservation, craft demonstration by locals, a culture can be recorded and remembered regardless of its future. It can also be shared and understood by those from different cultural backgrounds.

They document daily life Recording everyday life within a culture is one of the most important ways of preserving it. The rate at which cultures keep disappearing, careful preservation of daily life is the only hope a heritage group has for recovering its culture. Daily life

FIG 1 – Museum Flowchart

encompasses rituals, religion, foods, art and any other facets that make a culture unique. Regardless of what type of museum it may be, odds are it has some cultural artifacts, art, music, or technology displayed.

They educate others on local culture In order for a culture to be respected and survive rapid globalization, those from dominant cultures must be educated about minority cultures and their ways of life. The best method to do this is through a respectful display of local cultures in a museum. With an educated populace who respect minority cultures, the loss of minority cultures suddenly finds itself going down in rate.

Moreover, museums are a wonderful place to take children for both fun and education. They offer hands-on learning via well-informed employees and visual aids to hold any child’s attention and will likely give the parents other ideas on how to incorporate hands-on learning into their child’s education during their absence. The sooner a child is educated on the importance of accepting and embracing diversity, the more likely they are to become kind and tolerant adults.

They display alternative perspectives on history Many mainstream history courses and books are biased, focusing on the perspective of the dominant culture and ignoring the thousands of minority cultures with fascinating history to be told. Museums display histories, timelines, and perspectives one may have never heard before, potentially altering the mindsets of people who have never been educated outside the mainstream culture.

This differing perspective is something any well-informed person should have; when viewpoints are taken only from one’s own culture, they find themselves severely limited.

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They connect those of different backgrounds Two broad categories of people visit museums in search of information on other cultures, people belonging to that culture and people belonginig to a different culture but interested in learning. Museums focused on heritage and culture bring people together, creating a network of support for different minorities and groups. It is support networks like these that prevent cultures from disappearing and languages from dying.

Museums and their patrons are critical components in the effort to prevent culture and language loss. These losses occur when the minority culture feels inferior or unimportant and strives to make the next generation follow the dominant culture. By using a museum to cultivate respect and interest in these minority cultures, we are already working to prevent cultural losses.

The site is located in Kolkata, formerly Calcutta, India. It is the capital of the state of West Bengal and former capital (1772–1911) of British India. It is one of India’s largest cities and one of its major ports. The city is centered on the east bank of the Hooghly River, once the main channel of the Ganges (Ganga) River, about 96 miles (154 km) upstream from the head of the Bay of Bengal; there the port city developed as a point of transshipment from water to land and from river to sea. A city of commerce, transport,

and

Site

manufacture,

Kolkata is the dominant urban center

of

Eastern

India.

FIG 2 – Site Location

Fashioned by the colonial British in the manner of a grand European capital, yet now set in one of the poorest and most overpopulated regions of India, Kolkata has grown into a city of sharp contrasts and contradictions. Kolkata has had to assimilate strong European influences and overcome the limitations of its colonial legacy in order to find its own unique identity. In the process it created an amalgam of East and West that found its expression in the life and works of the 19th-century Bengali elite and its most noteworthy figure, the poet and mystic Rabindranath Tagore. This large and vibrant Indian city thrives amid seemingly insurmountable economic, social and political problems. Its citizens exhibit great exuberance

FIG 3 – Kolkata’s life on strees

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that is demonstrated in a penchant for art and culture and a high level of intellectual vitality and political awareness. Crowds throng to Kolkata’s book fairs, art exhibitions and concerts, and there is a lively trading of polemics on walls which has led to Kolkata being dubbed the “city of posters.”

Yet for all of Kolkata’s vitality, many of the city’s residents live in some of the worst conditions, far removed from the cultural milieu. The city’s energy nevertheless penetrates even to the poorest areas, as a large number of the residents sincerely support the efforts of those who minister to the underprivileged. In short, Kolkata remains an enigma to many Indians as well as to foreigners.

It continues to puzzle newcomers and to arouse an abiding nostalgia in the minds of those who have lived there.

FIG 4- Old Kolkata

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Background Study: Kolkata, the erstwhile capital city of British India, is known globally for its rich cultural heritage and history. Established early in the 18th century, the city has grown to be one of the major urban centers of India.

Historical Significance: Starting from the 18th century and slowly graduating to the current times, we cross many distinct historical periods like the Mughal Rule, the rule of independent rulers of fragmented kingdoms, followed by the British Rule over India, all of which have left significant marks on the style of architecture in the city. This aristocratic architecture can be seen in the palaces of kings and zamindars, colloquially called ‘Rajbari’, that can be found in the city and the surroundings. They really show the grandeur that once existed in the lives of the upper classes of the society.

Cultural Significance:

FIG 5- A typical Rajbaari

Kolkata is the cultural hub of the nation. The first Nobel Laureate of the country, as well as of Asia, was Rabindranath Tagore, a member of the famous Tagore family of Kolkata, a family that gave rise to many other significant artists in other fields. Besides him, there have been numerous other people, stalwarts in the field of literature, who have been innately associated with the city.

Apart from literature, performing arts is also a major characteristic of the city. We can talk about music, and eminent musicians like Kavi Najrul Islam, Manna De and many more have left their individual and collective marks on the city. Theatre is another such performing art taken very seriously here, with various groups putting up innumerable performances throughout the various auditoriums of the city. Dance is an art in itself, as is painting, and we can easily experience the authentic folk styles of these in the city, with the folk dances of Bengal and the ‘Pot-Chitra’ style of rustic painting earning special mentions. Besides these, eminent movie directors such as Satyajit Ray and Mrinal Sen have left their mark through their lauded movies.

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FIG 6- Pot Chitra Painting

Religious Significance: Kolkata is not only the land of festivals and celebrations; it is also a destination for immense devotion and is an interesting and extremely wonderful city in terms of religious expeditions. It is home to several places of worship for different religions with some of the most fascinating temples, churches and mosques along with imposing domes, minarets and synagogues that display excellent craftsmanship in terms of architecture and are well-known for their festive and celebratory mood. There are lots of pilgrimage destinations and sacred places in Kolkata that will energize you and take you into a completely different world that will relax your mind, body and soul.

Being a city of spiritual importance, there are a lot of beautiful and well-known holy places to visit in Kolkata which provide a religious as well as cultural insight into the rich heritage of the city. Kolkata has great historical and religious significance and features as an ancient seat of learning in the holy Hindu texts. With an astonishing medley of history, culture, architecture, art and innumerable diverse religious sites in Kolkata, travellers are bound to be thoroughly engaged. For history buffs or people with interest in Indian mythology, this great place will give you a unique insight into its heritage sites, culture, traditions and people through its beautiful temples that are scattered all over.

FIG 7- Dakhineshwar Temple, Kolkata

Architectural Significance Bengali architecture includes ancient urban architecture, religious architecture, rural vernacular architecture, colonial townhouses and country houses, and modern urban styles. The bungalow style is a notable architectural export of Bengal. The corner towers of Bengali religious buildings were replicated in medieval Southeast Asia. Bengali curved roofs, suitable for the very heavy rains, were adopted into a distinct local style of Indo-Islamic architecture, and used decoratively elsewhere in north India in Mughal architecture.

Bengal is not rich in good stone for building, and traditional Bengali architecture mostly uses brick and wood, often reflecting the styles of the wood, bamboo and thatch styles of local vernacular architecture for houses. Decorative carved or moulded plaques of terracotta (the same material as the brick) are a special feature. The brick is extremely durable and disused ancient buildings were often used as a convenient source of materials by local people, often being stripped to their foundations over the centuries.

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FIG 8- Victoria Memorial, Kolkata

The period of British rule saw wealthy Bengali families (especially zamindar estates) employing European firms to design houses and palaces. The IndoSaracenic movement was strongly prevalent in the region.

The origin of the bungalow has its roots in the vernacular architecture of Bengal. The term baṅgalo, meaning "Bengali" and used elliptically for a "house in the Bengal style". Such houses were traditionally small, only one storey and detached, and had a wide veranda were adapted by the British, who used them as houses for colonial administrators in summer retreats in the Himalayas and in compounds outside Indian cities. The Bungalow style houses are still very popular in the rural Bengal. In the rural areas of Bangladesh, it is often called “Bangla Ghar” (Bengali Style House). The main construction material used in modern time is corrugated steel sheets. Previously they had been constructed from wood, bamboo and a kind of straw called “Khar”. Khar was used in the roof of the Bungalow house and kept the house cold during hot summer days. Another roofing material for Bungalow houses has been red clay tiles.

The City of Joy: Besides being a hotspot of talent, Kolkata is also known for its diversity in culture, and this diversity in turn creates a unique blend of foreign and indigenous cultures to concoct something unique. The city is home to people of a variety of faiths and religions, as well from different ethnicities, national or international. This diversity,

besides influencing

the architecture

of

different parts of the city, has influenced the food styles too. One can find authentic cuisines, be it Bengali, North FIG 9- Food culture of Kolkata

Indian, South Indian; or even Chinese and Thai, very easily, along with the omnipresent street food of Kolkata, be it the

roadside stall of a ‘Phuchhka’ seller, or the Food Street of Kolkata, Dacres Lane.

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FIG 10- Craze for football in Kolkata

However, beside food and art, the inhabitants of this city are also extremely passionate about sports, primarily Football. While it seems that the entire city gets divided into two factions, each supporting Brazil and Argentina respectively during international tournaments, they are immensely competitive about the matches that go on between the clubs from the city. In this regard, the clubs with over 100 years of heritage are East Bengal and Mohun Bagan, each with their unique shining histories and bitter rivalries. The city is truly ‘The Mecca of Indian Football’.

Finally, and most importantly, we talk about Durga Puja, the most important festival of the city. More than just a festival, it is a giant homecoming, and for 10 days, the people soak in the festivities and enjoy. There are pandals and idols at almost every corner of the road and for these 10 days, the city forgets to sleep as people are out all night trying to visit as many pandals as possible. Leading up to this festival however, the most important part is the idols, made of mud and straw primarily, and they are usually made in Kumartuli, an area in north Kolkata where artisans, in hereditary fashion, spend months to create these numerous idols. Most other idols for many other such ‘Pujas’ are also built here year-round.

FIG 10- Durga Puja

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Project Aim: The aim of the project is to create a space that truly depicts the Microcosm of Kolkata covering all the aspects of the city in one single space, so that, every visitor, be it a local native of the city, an Indian or someone from the foreign, gets the true essence of the city in one single glance.

Objectives: The objective is to make people aware of the rich historical and cultural significance of the place. With modernization and consequent urbanization, the city is gradually losing its importance in terms of its heritage. To revive the true feel of the city, for which the city has been known from the past till date, will be the main objective of this project.

Thesis Proposition: My thesis is to create an art and culture center merging history and contemporary, portraying the various facets of culture that make up the city of Kolkata. On one hand, the design will mainly comprise of a museum containing galleries, art restoration, education, research facilities and an Art Centre, along with workshop areas for vocational training of idol making, weaving, terracotta handicraft and many more while on the other hand it would consist of dining and event spaces serving the various cuisines related to the city, commercial spaces, artist studios and workshops and outdoor performance spaces. The challenge of the design would be to create a space that truly depicts microcosm of Kolkata and will give all the users and visitors a feel of the city at one place. The aim would be to bring aspects like History of the city, contributions in Art, literature and Cinema from the city, role of Tagore in shaping Kolkata’s culture, dance, music and poetry, and the metamorphosis of the city of Kolkata from its establishment to what it is currently, through the design of a museum with internal spaces that guide the users through the journey. The Art center and workshop will speak about the contribution of the city in handicrafts and the role of talented Artisans who spend the entire year in making idols and puja related items for the religious festivals that the natives celebrate.

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Rationalities of the project: Reason Through time, a museum has been a space which has housed objects and elements of the past preserving and immortalizing the journey through the spans of time.

It is a place which not only houses such objects, but communicates to and educates to the masses. Museum spaces are windows which give us a peek into our past, culture and heritage. Hence, such spaces can be considered as incubators of the past, which promote an amalgamation of both knowledge and entertainment under one roof. In recent years, museum spaces have redefined the general user experience by introducing the elements of dynamism and flow in terms of structure as well as the planning of the spaces. There is a substantial evolution from the typical and static "glass-enclosure" experience, which was prevalent earlier, into spaces exhibiting dynamism. Evolution of technology and usage of materials has led to the creation of futuristic structures to house the objects of historical significance.

This redefinition of the museum spaces has led to better exhibition of the inventory and has contributed to the quality of the user-experience.

Scope 1. The project will help to develop a Museum that form an integral part in educating and imparting knowledge to the society as a whole about Kolkata.

2. Not many know about the City of Joy. The scope of the project is to fill the gaps in the society in promotion of diverse cultural heritage that have till date been restricted to only texts, books and documents that we come across in our regular academic curriculum.

3. This museum will generate a lot of revenue since it will attract a large number of tourist and visitors. The reasons being the following: ❖ Easy access via public and private transport ❖ Additional tourist attractions nearby making it a visitors’ hub ❖ Due to urban expansion, this region will see an increase in number of residents, thus further increasing the potential footfall.

Limitations: This study covers designing a museum and art center for conservation of Kolkata’s heritage. The project is limited to designing a center for historical and cultural conservation and exploring integrated spaces for heritage musing and entertainment escapade. It does not involve the contribution and role of the city towards industries like agriculture, iron and mining and others, for which too the city has been popular in the past and present times.

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CHAPTER 2- Site Analysis

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Geological significance: The site is located in Rajarhat New Town Area [Action Area II] in Kolkata.

Rajarhat New Town is situated within the district of North and South 24 Parganas. A stretch of alluvial tract of lower Ganga Basin has been found in this area. This alluvial proper forms a gentle southerly slope with some local elevation and depression with an average elevation of 9-10 metre above mean sea level. The flat alluvial plain is dissected by numerous meandering river and streams like Hooghly, Bidyadhari, Raimongal and others with dendritic drainage pattern. The flattish topography has a monotonous look where vast fields remain always submerged. Towards the south, there is some marshy land which has been converted mostly into paddy field and also to residential localities like the Salt Lake township and the Rajarhat New Town complex. In South 24 Parganas, the landform is quite younger than North 24 Parganas with the effect of fluvio-tidal activity. The elevation of the area lies between 2.5 metre to 4.0 metre respectively.

There are tributaries and distributaries with filled up bars. Among these, the Adi Ganga is the most important. The Adi Ganga takes off from near Hastings, on the eastern bank of river Hooghly and flows to the south. Presently the natural landscape has been extensively altered with the low lying areas and the removal of natural vegetation and draining of marshy and water logged areas through construction of channels, while the synoptic view still permits the recognition of broad geomorphic elements that are present over the areas.

Climatic Conditions: Rajarhat New Town situated on the North-eastern fringe of the city of Kolkata, about 50 km south of Tropic of Cancer. The whole region is part of the Great Ganga delta. As a result the climate is tropical,

FIG 11- Geology Map of Rajarhaat

like the rest of the Gangetic West Bengal. The hallmark is the Monsoon, which lasts from early June to mid-September. The weather remains dry during the winter (midNovember to mid-February) and humid during summer. The weather in the region is highly influenced by the Bay of Bengal. Temperature during the summer month of May - June can rise to 43° C and during the winter month of December- January, temperatures typically fall to around 8° C. The climate is humid and humidity varies

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from 65 percent to 85 percent during the summer. From June to September the average rainfall in the Kolkata region is 158 cm. The prevailing wind direction in Rajarhat New Town is from the south during the summer and from the north during the winter. The average wind speed at Rajarhat is 6 km/hr. The region experiences frequent cyclonic wind during April to June with maximum wind speed of 180 km/hr. Often during early summer, dusty squalls followed by spells of thunderstorm and heavy rains lash the city, thereby relief from the humid heat. These thunderstorms are convective in nature and are locally known as Kal Baisakhi (Nor’westers).

Overall characteristics of climate of the area may be represented as follows: •

Temperature: The annual mean monthly maximum and minimum temperature is about 30°C and 19°C. Highest temperature is recorded during April and May at about 35°C. Minimum temperature occurs during the winter

FIG 12- Temperature and Rainfall of Kolkata

months of December and January ranging between 13°C to 14°C. •

Rainfall: It has been observed that the average annual rainfall received by the area is about 511.3mm and rainfall is high in the month of July.

•

Relative Humidity: Humidity of the area throughout the years is high, which is at about 80 percent during the months of July, August, September and October and low in February and March.

•

Air Pressure: Annual average pressure of the area is 1006.71mb. Pressure remain high in December and January at about 1017mb and low in June, July at about 999.73mb

to

1000.53mb

FIG 13- Weather Pattern of Kolkata

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Hydrology and Drainage System: The availability of water in any region strictly depends on the geological condition of the area. As per geological features of the area that underlain by quaternary sediments consists of a succession of clay, silt, sand and sand mixed with occasional gravel. The aquiclude is underlined by coarse classics consisting of sands of fine, medium and coarse texture which are occasionally mixed with gravel. The thickness of this aquiclude is 30-50m from top of the sedimentary succession. These coarse classics form the aquifers occurring in the sedimentary sequence. In a few places the transition of aquiclude to aquitard has been noticed. The aquifer is formed by sand and pebble materials. In this area a minor aquifer zone consisting of fine and medium sand has been found to exist within the depth span of 20 to 40 mts.

The water label represents the upper limit of the zone of saturation and pressure on the water table. But it depends upon the atmospheric condition or on the season. During the post monsoon period the depth of water is lowest, that is nearly 2-3m below the land surface. During the summer months, the water table, however, recedes to depths generally ranging between 4-5m.

At the zone iron concentration and total hardness content are higher than the tolerance limit. Average chloride content is within the permissible limit and arsenic concentration is below tolerance. In general, the chemical quality of ground water is variable. On one hand, ground water in shallow aquifer is unfit for drinking and is used extensively for agriculture.

On the other hand, water in the deeper aquifers is potable limit.

The Bagjola khal is the main drainage artery running through the area while another one is Krishnapur khal which passes through the southern part of the project area. Both the Bagjola khal and Krishnapur khals have outlets in the river Kultiganga through gravity sluices. The original Bagjola drainage system was planned and implemented by the Irrigation and Waterways Directorate,

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FIG 14- Hydrology Map of Rajarhaat

Government of West Bengal, which consisted of a channel of 10 vented outfall sluice on the river Kultiganga. Bagjola khal carries drainage flow from a total area of about 228 sq.km. The upper Bagjola basin covers an area of about 49 sq.km which is highly urbanized whereas the lower Bagjola basin covering an area of about 179 sq.km is mainly rural in nature. The channel has also suffered from heavy siltation with depth of silt at places being as high as 1.5m.

Soil: According to the geology, a thick clay bed at the top is followed downward by a fine to medium sand horizon with occasional clay lenses up to a depth of 100mbgl which is underline by a coarsegrained sand zone (55m thick) with gravel and pebble at places.

The physico-chemical characteristics of the soil have been examined within the study area which shows that the soil of the area belongs to the inceptisol type (immature drift soil). The main characteristics of the soil are as follows: •

Chemically the soil contains low potassium and high ferrous oxide.

•

Texture of the soil is silty -clayey in nature.

•

It is slightly alkaline with an average pH of 7.21

•

The concentration of sodium, potassium, calcium and magnesium are 0.18 percent,0.74 percent 0.36 percent and 5.12 percent respectively.

•

It contains the phosphorous, nitrogen and organic matter which varies from low to medium.

•

The average infiltration rate is very low which is about 1.50 cm/hour during pre-monsoon season.

FIG 15- Soil of Rajaarhat

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Demographic Analysis: As per the 2011 census Rajarhat had a total population of 189893 people. Male constitute 50.55% of the total population and the rest females. Rajarhat has an average literacy rate of 73.49%. With the completion of the establishment and development of the township, the population of the area is poised for a significant increase. The sex ratio, literacy rate and every other regional statistic will therefore see radical changes within a few years. The existing population is mainly engaged in subsistence agriculture, animal husbandry with skilled and unskilled labour. The population intended to be settled here is the chief professional segment, the upper middle and middle classes. Non-resident Indians are also investing in residential and commercial spaces. It will be a vibrant cosmopolitan demographic mix. In this project area, nearly 50% population belongs to scheduled caste and 1.46% belongs to scheduled tribe. The concentration of population is high in the northern part due to being close to the Rajarhat-Golpalpur municipality. The people of this region mostly engage in various household activities. The area of the remaining part of New Town belongs to agricultural activities. Hence most of the people are cultivators or agricultural workers.

The male female composition shows the variance of male and female in statistical manner.

The area surveyed under Rajarhat-New Town Municipality shows the total male population 51% and total female population 49% are balancing halves. Age sex composition represents the variation of population in different age groups. In area of Rajarhat New Town Municipality; three types of age groups are seen, there are children (male and female), adult (male and female) and old (male and female) population, there are the adult population is 65% where the old and child population are 8% and 24% respectively. This composition shows a low dependency ratio.

FIG 16- Demographic Analysis

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Land use: Land use in a region is the mirror image of the people’s livelihood. In rural areas agricultural land plays the dominant role in the economy and build up areas like residential, commercial and industrial areas

which

control

the

economic

activities of the region. Land use change occurs due to various reasons in different places and time. In 21st century, rapid urbanization not only causes changes in land use but also becomes a threat to the environment and ecology. So, the land use change

needs

special

sustainable development.

attention

for

This ongoing

township project causes a huge change in land use and the changing land use has an enormous effect on the inhabitants of the old rural settlement. As the agricultural land transforms into residential sectors FIG 17- Land Use of New Town, Kolkata

and commercial or other urban functional areas, these is a gradual influx of population from different parts of Bengal and other parts

of India as well. Some of rural population is rehabilitated by the government of west Bengal in other parts of New Town. Some people lost their agricultural land and some of them lost their work related to primary activities. Land use and its change are the burning issues of contemporary Geography. Due to rapid urbanization land use changes occur at a high rate in different place. For this reason more than 85% of agricultural labour and cultivators are now in other occupational activities like security guard, caretaker and so on. Hence it is necessary to know the socio-economic condition of the existing rural population of the region.

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Current v/s Proposed Land Use CURRENT

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PROPOSED

. Master plan of New Town, Action Area II, Kolkata

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Road network and transportation The major road network has been designed in a way following the pattern of the New Town area and taking into consideration major existing roads of the erstwhile BRADA region like the Lauhati Road, Rajarhat Main Road, SRMC Road, and Bishnupur Road. The road network has thus been designed in a concentric manner, development zones have been reserved on the Western side of the Lauhati Road and a green buffer has been kept beyond the Lauhati Road on the east so as to control haphazard development in areas beyond the planning area boundary. Roads have also been extended from the New Town road network so as to provide a smooth linkage between both these areas. The overall transport network has thus been planned maintaining the regional connectivity to all surrounding areas. The expressway has also been retained while planning to pass through the planning areas. However, development has not been aligned according to it as this expressway will act as a bypass for major traffics on an elevated level. The land under this category comprises the areas that are to be used predominantly for building of Major Roads comprising Major Arterial Roads, Arterial Roads Sub Arterial Roads and Logistic Hub or Transport terminal. Construction of buildings

FIG 18- Present v/s proposed scenario

and Structures are not permitted except those required for operation, maintenance, development or execution of these roads.

New Town has well designed footpaths and walkways with adequate landscape along roads of all orders across the city. The section alongside illustrates the design of footpaths on a primary and secondary road. The width of the footpaths is better, as compared to standard design guidelines.

FIG 19- Road and Footpath details

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Location of site and justification:

FIG 20- Site Location

The site is located in Rajarhat, Action Area II in Kolkata. The existing site is already taken up for the construction of Kolkata Museum of Modern Art. Right opposite to the entry of the site is the popular attraction, Eco Park. There is a metro coming up soon and is under construction. It will be connecting the Kolkata Airport to this side of the city via the main city. Numerous residential projects are expected to come up in the vicinity. Due to all these above reasons, this site becomes a prime location for design of a museum that highlights the historic past, culture and traditions of the city

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Site Details:

• • • •

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SITE AREA- 10ACRES The site is surrounded by commercial and residential projects primarily.

The upcoming metro station will add to the accessibility and connectivity of the site.

Just opposite to the site is the popular tourist attraction- ECO PARK.

SWOT ANALYISIS STRENGTH -Prime location -Levelled and plain site topography -Easy accessibility and connectivity from the main city -Upcoming metro- bringing public from city and airport.

-Major tourist attraction - Eco park right opposite to the site.

WEAKNESS -Lacks availability of public transport like auto and taxis.

OPPORTUNITIES -The project will help to develop a Museum that form an integral part in educating and imparting knowledge to the society as a whole about Kolkata.

-This museum will generate a lot of revenue since it will attract a huge no. of tourist and visitors.

THREAT -The museum might pose strong competition to the popular tourist attraction opposite the site, leading to decrease in number of visitors 23 | P a g e

Sun path

Contours

Bye laws and development norms 1. Every plot shall abut on means of access.

Maximum length

Mimimum width

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Road closed at one end

Road open to street at both ends

4-7m

50m

100m

7-9m

100m

200m

Above 9m

No restriction

No restriction

2. Height of buildings: The following appurtenant structures shall not be included in the height of me building: (a) stair cover not exceeding 2.60 metres in height from the surface of the roof; (b) lift machine rooms as per the latest edition of the National Building Code of India; (c) roof tanks and their supports, the height of supports not exceeding 0.75 meter and the top of the tank not exceeding 3.00 meters from the surface of the roof or highest point of the building;

(d) parapet walls or railings not exceeding 1.50 meters in height (with a minimum height of parapet wall or railing of 1.00 meter); (e) ventilating, air-conditioning and other service equipment; (f) dome, minaret, kiosk, pergola and other non-usable feature not exceeding 3.50 meters in height Width of means of access Permissible height of building

2.4-3m

3-5m

5-7m

7-9m

9-12m

12-15m

Above 15m

7

10

12

20

40

60

No restriction

3. FAR- Floor Area Ratio [Since Museum is an assembly building, the following data is of an assembly building]

Width Means of Access

Upto 2.4m

FAR

Nil

2.4 - 3.5m

3.5- 7m

7 - 9m

9 - 15m

15 - 20m

20 - 24m

Above 24m

nil

Nil

nil

2

2.25

2.5

2.75

4. Ground coverage- As per the development norm of New Town, Kolkata, since a museum is an assembly building, the permissible ground coverage is- 40%

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5. Parking requirements- The following data is that of an Assembly Building: •

having fixed seating arrangement — one car parking space for every 10 seats

•

having no fixed seating arrangements — for every 35 sq m of carpet area, one car parking space.

6. General exit requirementsa) exit may be both horizontal and vertical and shall be free from any obstruction,

(b) no building shall be altered so as to reduce the number, width or protection of exits to less than what is required under these rules, (c) exits shall be clearly visible and routes to reach exit shall be clearly marked, (d) all exits shall be properly illuminated, (e) fire-fighting equipment shall, where provided along exits, be suitably located and clearly marked so as not to obstruct the exit way and there shall be clear indication about its location from either side of the exit,

(f) alarm devices shall be installed to ensure prompt evacuation through exits, (g) all exits shall provide continuous means of egress to the exterior of a building or to an exterior open space of the premises leading to a street or means of access,

(h) exits shall be so arranged that they may be reached without passing through another occupied unit. (i) An exit shall be a door-way of a room, corridor, passage-way to staircase, ramp or a veranda or terrace which has access to the street or to the roof of a building. An exit may also include a horizontal exit leading to an adjoining building at the same level. Lifts and escalators shall not be considered as exits. However, if the lift lobby and shaft is recommended as per requirement of West Bengal Fire Services Act, 1950 read with West Bengal Fire Services (Fire Prevention and Fire Safety) Rules, 1996 it may be considered as fire escape route. (4) All basements shall have a minimum of two exits. Ramps to the basement shall also be considered as exits.

7. Arrangement of exits- Travel distance shall not exceed 30m in case of an Assembly Building

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8. Staircase requirementsArea per floor [in Sq.m]

Width of the stairway [in m]

Min. No. Of staircases [ up to 12.5m of height]

Min. No. Of staircase [above 12.5m of height]

Upto 500 Above 500

1.5 2

1 2

2 2

9. Setbacks allowed▪ ▪ ▪

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5m on the front 6m on the sides 8m on the rear

CHAPTER 3- Case studies

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PRIMARY CASE STUDIES 1.

NATIONAL MUSEUM, DELHI Location- The museum is situated on the corner of Janpath and Mantana Azad Road over an area of 73 acres, with a built up area of about 18,000 sq.m.

Architect- Ganesh Bikaji Deolalikar Year of completion- 1989 Site area- 7.5 acres Built up area-18,000 square meters Connectivity: > 1.2 km away from Central Secretariat Metro Station > 3.8 km away from New Delhi Railway Station > 14.5 km away from Indira Gandhi international Airport > Nearest stops: National Museum Bus Stop

FIG 21- National Museum, Delhi

The National Museum in New Delhi is one of the largest museums in India. It holds variety of articles ranging from pre-historic era to modern works of art. The museum has around 200,000 works of art, both of Indian and foreign origin, covering over 5,000 years. Building was designed such that it merges with the site surroundings. It was the first planned museum at the National level.

Design Approach: Building comprises of four stories with a basement. Basic plan of the building is fan shaped [inspired from the rotunda form] with a circular courtyard in between surrounded by a covered Veranda. Wings are linked with the courtyard according to different requirements and need and hence, one finds himself again in the same place from where he/she started.

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Circulation: The ideology behind the circulation of the building is that no section is left from being experienced by the visitors.

Zoning: The zoning of the museum is done horizontally as well as vertically. Administration and other staff related spaces are placed at the basement of the museum. Services like HVAC, electrical and other are also placed at the basement. Exhibitions are placed at the upper level. Horizontally, the museum is zoned into open, transition and exhibition spaces. Such zoning makes this museum a nice visitor's experience.

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Floor plans

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Materials: •

Interiors are done with the help of Wood, Glass and Stone.

•

Flooring used is marble and Wood. Different wall colour and rendering is done to avoid monotony.

•

Aluminium is also used in many sections such as Bronze and Coin Gallery.

•

Building is made using high strength R.C.C. and red sandstone.

•

Temporary structures are provided around the building.

FIG 22- Materials used in National Museum

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2.

IMPERIAL MUSEUM, KOLKATA, INDIA Location- New market, Kolkata, India Architect- British architect- Walter Granville Year of completion- 1814 Built up area- 30,000 sq. approx.

Design style -neoclassical architecture with heavy ornamentation.

History: Founded in 1814 at the cradle of the Asiatic Society of Bengal (at the present building of the Asiatic Society, 1 Park Street, Kolkata), Indian Museum is the

FIG 23- Imperial Museum, Kolkata

earliest and the largest multipurpose Museum not only in the Indian subcontinent but also in the Asia-Pacific region of the world. With the foundation of Indian Museum in 1814, the Museum movement started rolling in India and through the years from then, got a great momentum. The movement, which was started in 1814, in fact was the beginning of a significant epoch initiating the socio-cultural and scientific achievements of the country. It is otherwise considered as the beginning of the modernity and the end of mediaeval era.

Design Elements:

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Floor plans: • • • •

•

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The Indian Museum at Jawahar Lal Nehru Street witnesses long queues of visitors Next to the Oberoi Calcutta, Park Street; Five minutes’ walk from Esplanade bus terminus Nearest Metro Station: Park Street Eager to get into the building they refer to as “Jaadughar” (“House of Wonder”), the crowd consists of students, old grandparents accompanied by their grandchildren, foreigners, tourists, research scholars & even the poor & the underclass of the city & its suburbs.

The building is huge with over 10,000 square feet area for display.

SECONDARY CASE STUDIES 1.

BIHAR MUSEUM Location- Patna, Bihar, India Architect- Maki and Associates Year of completion- 2017 Site area- 53,480 square meters Built up area- 25,410 square meters

Maki and Associates’ design for the

FIG 24- Bihar Museum, Patna

Bihar Museum creates an engaging and appropriately-scaled response to a prominent site and an ambitious, multi-faceted museum program. The Museum houses a rich variety of treasures from the region, and includes event and education spaces that nurture a newfound sense of pride and connection to Bihar’s storied history.

Design ApproachThe 5.3-hectare plot accessible from Patna’s Bailey Road allowed for a variety of site planning approaches; while demanding sensitivity to its low-scale surroundings and prominent tree growth.

In response to this context, Maki and Associates conceived the Bihar Museum as a “campus” – an interconnected landscape of buildings and exterior spaces that maintains a modest but dynamic profile, in harmony with existing site conditions.

Broad zoningEach program zone (entrance / event, museum exhibition, administration, and children / educational) has been given a distinct presence and recognizable form within the complex. These zones are linked together via interior and exterior courtyards and corridors, ensuring that all spaces retain a connection to the surrounding landscape while remaining sheltered and comfortable throughout the year.

This constant presence of the natural environment within the Museum “campus” creates a rich, unique experience with each visit, one that changes with the time and

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seasons. It is hoped that this will encourage repeat visitors, and – together with world-class permanent and temporary exhibits – ensure that the Bihar Museum has a lasting educational impact for the children of Bihar and other visitors from across the world.

All independent and smaller-scaled wings are linked together via seven open-to sky courtyards, ensuring that all spaces are connected to the surrounding landscape, while remaining sheltered and comfortable throughout the year.

Each courtyard has a unique theme, configuration and spatial quality.

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Materials: 1.

These zones are linked together via interior and exterior courtyards and corridors, ensuring that all spaces retain a connection to the surrounding landscape

2.

The exterior is characterized by extensive use of weathering steel, a durable material that complements its context and creates a dignified contrast to the surrounding greenery. The weathering steel symbolizes India’s historical achievements in metallurgy as well as its current prominence within the international steel industry (of which Bihar’s rich natural resources have played a critical role). It is supplemented with stone, terracotta, and glass finishes.

3.

There is an interesting play of light and spatial segregation of spaces of different zones

1.

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2.

3.

2.

NEW ACROPOLIS MUSEUM, ATHENS, GREECE Location- located in the historic area of Makryianni, the museum stands some 300 meters southeast of the Parthenon.

Architect- Bernard Tschumi architects, New York/Paris & Michael Photiadis, Arsy, Associate Architect, Athens Year of completion- 2017 Built up area- 21,000 sq.m.

Located on the southeast side of the hill of the Acropolis, the ancient road that led to the "sacred rock" in classical times. It is located 280 meters straight down the hill, the Parthenon, at the entrance of a network of pedestrian walkways that link the archaeological sites and monuments of the Acropolis. This location was carefully selected to allow a dialogue between the museum's exhibition spaces and buildings of the Acropolis.

FIG 25- Dialogue between Museum and Parthenon

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Floor Plans:

Sections:

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Circulation and zoning

The circulation in the museum is raised in chronological order, so that the visitor crosses an architectural and historical tour.

The visitor's route is therefore a clear, three-dimensional loop.

It goes up from the lobby via escalator to the double-height galleries for the Archaic period; upward again by escalator to the Parthenon Gallery; then back down to the Roman Empire galleries and out toward the Acropolis itself.

The top layer is the Parthenon Gallery, which mimics the dimensions of the Parthenon and is rotated 23 degrees from the rest of the building to align with the historic structure.

Glass perimeter walls allow seamless views of the Acropolis and Athens, and the concrete centre of the room displays the Parthenon frieze precisely as it was arranged and oriented in the original monument.

Natural light from the Parthenon Gallery is filtered through its glass-floored atrium to the floors below.

Materials: • The building was designed in relation to the durability and resistance to the passage of time.

• The materials were selected for their simplicity and sobriety: glass, concrete and marble.

• The transparency of glass light filters gently through screen printing process.

• The structure is reinforced concrete.

• The marble floor is differentiated according to areas of the building: black for movement, light beige for the galleries.

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3.

NATIONAL CRAFTS MUSEUM, DELHI Location- located near purana Quila on the Bhaironroad. Just opposite Pragati Maidan, New Delhi Architect- Charles Correa Year : 1975-1990 Built up area- 6,800 sq.m.

Museum is also known as National Handicrafts and Handlooms Museum. Museums in managed by Ministry of Textiles. The museum was established in the year 1950 by the efforts of freedom fighter Smt. Kamaladevi Chattopadhyay. The whole museum is set up like a village and the current building was designed by architect Charles Correa. A village complex also in the museum spreads over an area of 5 Acre.

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The museum is important as it provides space to artisans from around the country to assemble and share their craft with counterparts from different regions. This transformed the project From a mere exhibit to a cultural exchange and craft promotion arena.

The National Crafts Museum was an exercise in architectural and cultural metaphors. The low-lying Museum building is a reflection vernacular architecture and fine craftsmanship.

Several architectural elements like jharokha, internal courtyards, open and semi-open passages, roof tiles arches, carved doors, posts, pillars, perforated iron-screens etc. are all the visual delights. Apart from the collection, the museum houses Research and Documentation facilities, a reference library, a conservation laboratory, a photo laboratory and an auditorium.

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Floor plans:

-The museum is organised around a central pathway, leading to a sequence of spaces along the pedestrian spine. Exhibits, such as in the Village Court and the Temple Court, lie along the path in the connected courtyards. The design demonstrates the relevance of courtyards as an effective mean of regulating comfort conditions in an urban setup. Off these courts are particular exhibits such as village crafts etc. The exhibits may be viewed individually or seen as an unfolding of "events" along the way. The sequence ends with the exit via the roof garden, which forms and amphitheatre for folk dances, as well as open air display of large terracotta horses and other handicrafts. The stepping down of the platforms and the actual use of steps to define both functions and edges of spaces echo the old bathing ghats of Varanasi.

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COMPARATIVE ANALYSIS OF CASE STUDIES MUSEUM

LIVE CASE STUDIES National Museum Indian Museum

Bihar Museum

LITERATURE CASE STUDIES New Acropolice Museum National Crafts Museum

PARAMETERS Architect Year of Completion Site Area Total BUA Building Height Relevance of Case study

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Ganesh Bikaji Deolalikar 1989 53,480 sq.m 18,000 sq.m 12m •Museum dedicated to pre-historic era and art works of modern times

Walter Granville

Maki and Associates

Bernard Tshumi

Charles Correa

1814

2017

2017

1990

21,000 sq.m 15m •Response to monumental context.

•Classical Principles infused with contemporary de-sign.

6,800 sq.m 7m •Cultural exchange and craft promotion area.

•Vernacular architecture.

•Sequence of spaces along a central spine and connected courtyards.

30,000 sq.m [approx] •Socio cultural and scientific achievements of the country

30,351 sq.m 25,410 sq.m 18m •Museum dedicated to Patna •Identity formation

Functional Requirements

>Administration >Library >Exhibition spaces >Auditorium >Workshops >Amenities >Labs >Art and Craft zone >Services

>Galleries for various subjects >Administration >Lecture halls

Structural System

Faรงade

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>Exhibition space >Entry Foyer >Children's Museum >Administrative Centre >Courtyard

RCC

Sandstone to resemble heritage of India

Shuttered windows, ornamented columns of the doric order and use of white marble depicts the imperial architecture of the colonial period in India

Extensive use of weathering steel with stone and terracotta goes to the colour palette of the contexts and also depicts the contribution of Bihar towards metallurgical growth of India

>Exhibition Space (5 Galleries) -The gallery of the slopes of Acropolis.

-The Archaic Gallery.

-The Partheneon Gallery.

-Propylaia, Athena Nike, Erechtheion.

-From the 5th Century BC to the 5th Century AD. >Theater(180 seat) >Cafe, terrace and store RCC

Glass, concrete, marble used on the faรงade to keep it simple and sobre

>Craft demonstration >Amphitheatre >Temporary Exhibition >Library Research >Conservation facility >Village complex

RCC, timber and mild steel construction Use of vernacular and traditional approches for skin treatment to give it a very traditional touch.

Zoning of spaces

Circulation

The zoning of the museum is done horizontally as well as vertically.

Administration and other staff related spaces are placed at the basement of the museum. Services like hvac, electrical and other are also placed at the basement.

Exhibitions are placed at the upper level.

Horizontally, the museum is zoned into open, transition and exhibition spaces.

The ideology behind the circulation is that no section is left from neing visited

The zoning of spaces is broadly classified into the galleries, exhibition spaces, administration spaces and lecture halls.

Each zone (entrance / event, museum exhibition, administration, and children / educational) has been given a distinct They are distributed presence and throughout the floors recognizable form in an orderly fashion. within the complex.

These zones are linked together via interior and exterior courtyards and corridors. Ensuring that all spaces retain a connection to the surrounding landscape while remaining sheltered and comfortable throughout the year.

Circulation happens There is linear through the wide open integration of corridors and the spaces through the staircases for vertcal corridors movement along the floors.

The museum is articulated into three layers, as opposed to distinct floors.

The three layers from the bottom are Archeological excavations, mail galleries and the Parthenon Hall

The circulation in the museum is raised in chronological order, so that the visitor crosses an architectural and historical tour.

The visitor's route is

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The spaces are well segregated with respect to the function of the space.

There is a clear distinction of the zones.

The circulation is through narrow passages and corridors

therefore a clear, threedimensional loop.

Lighting

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Artificial lighting and the natural light that penetrates through the inner courtyard

Artificial lighting and the natural light that penetrates through the inner courtyard and the windows on the walls

High efficient artficial lighting with optimum use of natural light

Artificial lighting and the natural light that penetrates through the glass walls in certain sections of the building.

Artificial lighting in galleries along with natural light.

CHAPTER 4- Design Derivatives 48 | P a g e

DESIGN DERIVATIVES [From site analysis]: 1.Urban Character: The urban character of the site is governed by the residential and office projects in the site surroundings. The site planning and form of the buildings designed should complement the surrounding context. This leads to visual satisfaction.

2.Urban Coherence: This line shows that there is a scope for building a sense of connect amongst the four different zones-convention centre -proposed cultural plaza -site -Eco park This can be done by either some connecting bridges, or subways that bring about pedestrian connectivity. A central axis in the design can enhance this pedestrian connection.

3.Movement: -The vehicular movement around the site is such that vehicular entrance becomes more feasible from street no. 787.

-The pedestrian approach is determined keeping in mind that maximum pedestrians are expected from the metro station and the bus stops nearby.

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DESIGN DERIVATIVES [From case studies]: 1.Zoning and Circulation: New Acropolis Museum, Athens The circulation in the museum is raised in chronological order, so that the visitor crosses an architectural and historical tour. The visitor's route is therefore a clear, three-dimensional loop. It goes up from the lobby via escalator to the double-height galleries for the Archaic period; upward again by escalator to the Parthenon Gallery; then back down to the Roman Empire galleries and out toward the Acropolis itself.

The top layer is the Parthenon Gallery, which mimics the dimensions of the Parthenon and is rotated 23 degrees from the rest of the building to align with the historic structure.

National Museum, Delhi The zoning of the museum is done horizontally as well as vertically. Administration and other staff related spaces are placed at the basement of the museum. Services like HVAC, electrical and other are also placed at the basement. Exhibitions are placed at the upper level. Horizontally, the museum is zoned into open, transition and exhibition spaces. Such zoning makes this museum a nice visitor's experience. Exhibition halls are interconnected with one another with a centre circulation court 6m wide. Separate entrance for VIP and physically handicapped is present.

Basement consists of AC plant room, staff cafeteria, workshop. â?– Inferred from Acropolis Museum, a similar circulation pattern can be adopted in which the visitors take a tour through the different periods of the history of the city of Kolkata. Segregation of functions in National museum can serve as an inspiration in a way that services and storage can be given space in the basement as it does not require to be visited by visitors. Also, a central space from which the galleries can be accessed can be a good design approach for efficient circulation inside the building.

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2.Establishing dialogue between the museum and the context New Acropolis museum In the Acropolis Museum, the top layer is the Parthenon Gallery, which mimics the dimensions of the Parthenon and is rotated 23 degrees from the rest of the building to align with the historic structure. Glass perimeter walls allow seamless views of the Acropolis and Athens, and the concrete centre of the room displays the Parthenon frieze precisely as it was arranged and oriented in the original monument. â?– It is inferred that the Bishwa Bangla convention bridge near the site in Kolkata which is a sky bridge which is a landmark in the new town area of Kolkata, a design element can be added in the design that leads to a good view of the bridge in the vicinity.

3.Central Pedestrian Axis

National Crafts Museum â?–

It

is

hence

inferred

that

a

central

pedestrian pathway that develops an axis along one side of the site can be developed. This can lead to better connection from public spaces to private spaces. This axis can also extend beyond the site boundaries that can add to better interconnections between the built form in site and the surrounding built forms.

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4.Creating Micro climate The Indian Museum, Kolkata ❖ A huge courtyard at the centre, with wide corridors can help in creating micro-climate, thereby reducing the ambient temperature. A similar approach can be introduced in the design.

5.Façade Treatment Bihar Museum In Bihar museum, the exterior is characterized by extensive use of weathering steel, that complements its context and creates a dignified contrast to the surrounding greenery and also symbolizes India’s historical achievements in metallurgy as well as its current prominence within the international steel industry. It is supplemented with stone, terracotta and glass finishes – a modern material palette with clear connections to Bihar’s past and future. Interiors are done with the help of Wood, Glass and Stone. Flooring used is marble and Wood. Different wall colour and rendering is done to avoid monotony. Facade treatment of Bihar museum shows how material on the skin of the building can bring about relation with the context. ❖ Terracotta, being a widely used material in Bengal can be used in the skin. Also inspired from national museum, different use of materials can be used in the interiors to break monotony.

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CHAPTER 5 – Detail Area Programme 54 | P a g e

S.NO

CATEGORY

AREA

1

LAND AREA

40468.6 sq.m = [10 acres]

2

TOTAL GROUND COVERAGE

16,187.4 sq.m [40%]

3

PERMISSIBLE FAR

2.75

4

BUILT UP AREA REQUIRED

1,11,288.65 sq.m

5

ACHIEVED FAR

1.9

6

BUILT UP AREA ACHIEVED IN DESIGN

78,238 sq.m

7

GROUND COVERAGE ACHIEVED IN DESIGN

12,182 sq.m

8

OPEN SPACES

24,281.16 sq.m [60%]

9

FUTURE EXPANSION

S.NO.

(i) Ground coverage

4005.4 sq.m

(ii) Built up area

33050.65 sq.m

BUILDING

BUA [sq.m]

A

ADMIN BLOCK

1960

B

MUSEUM

40,246

C

ART AND CULTURE CENTRE

18632

D

VOCATIONAL TRAINING CENTRE

2700

E

RESIDENTIAL CLUSTER

14000

F

CAFÉ

700 TOTAL

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78238

S.NO.

I

BUILDING

G.C [sq.m]

A

MUSEUM

6966

B

ART CENTRE

5,216

BREAK UP OF BUILT UP No. of units

Area per unit

Total Area

A

ADMIN BLOCK

1

Staff Office

20

12

240

2

Director General's Chamber

2

30

60

3

Curator's Office

4

10

40

4

Meeting Room

4

50

200

5

Staff Restroom

2

40

80

6

Security Monitoring Room

2

20

40

7

Server Room

2

20

40

8

Staff Toilet (M,F)

9

Store

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Occupancy

100

100 10

40

400

10

Staff Canteen

11

Circulation (40% of Total Area)

560

Total Area

1960

B

MUSEUM

1

Museum of History

1

200

12

300

3600

12

300

3600

6

300

1800

Early Period Growth of the City Capital of British India Pre-Independence Capital of West Bengal

2

Museum of Cinema, Literature and Art Cinema Literature Painting/Artworks

3

Tagore Gallery

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Paintings Literature About Tagore Multipurpose Hall

4

City of Kolkata

12

300

3600

Imperial Architecture Landmarks of Kolkata Growth of the City Culture of Kolkata

5

Temporary Exhibits

8

500

4000

6

Library

1

400

400

100

7

Research Rooms

16

50

800

200

8

MPH/AV ROOM [ Doc. Films]

4

100

400

9

Maintainance Rooms

12

39

468

9

Storage Rooms

32

50

1600

10

Entrance Lobby

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400

160

11

Reception

20

40

12

Back Office

12

40

13

Toilets

1300

16

Circulation[ Includes foyers, corridors etc] (40% of Total

18246

Area) Total Area

40,246.00

C

ART AND CULTURE CENTRE

1

Public Performnce Area

400

2

Sculpture Court (Durga Puja)

1000

3

Workshops

2600

Terracota Modelling Potchitra Painting Weaving Cane and Jute Workshop Display Areas 4

Storage

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1000

300

200

5

Craft Demonstration

2600

6

Toilets

200

7

Shops

200

8

Entrance Lobbby

200

9

Circulation (40% of Total Area)

10,432

Total Area

18,632

10

VOCATIONAL TRAINING CENTRE

2,700

F

RESIDENTIAL CLUSTER (STAFF AND GUEST HOUSING)

14,000

G

CAFÉ

700

TOTAL AREA

78,238.0

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40

300

200

CHAPTER 6- Concept 61 | P a g e

CONCEPT- A blend of traditional Calcutta Bungalows- Rajbaris and Old Imperial Architecture of Kolkata RAJBARIS: In Bengal two basic types of courtyard forms can be found – one the houses built by the Marwari tradesmen who came into the city and to familiarize the new land and local conditions, built replicas of their ancestral homes; second, the Rajbaris built by wealthy Bengali babus who were influenced by the Western architectural styles and tastes of the British and who built these mansions with a Western touch of classy furniture and sculpture but retained the traditional inward courtyard form and puja room. The courtyard houses of Calcutta have eclectic blends within western style facades, marble statues, imported tiles, as well as traditional design elements. The Bengali love for culture and performing arts is evident in the design of these Rajbaris which have a raised platform at one side of the main courtyard which acted as stage for theatrical, music and dance performances. There is usually a pujamandap or thakurdalan (room for worship) on one side of the courtyard where the family offers daily worship. Since many reformation and women liberation movements started in Bengal, most of these houses did not have an essentially sequestered zenana, as in the case of northern havelis. These practically modern courtyard houses have a diverse mix of western exteriors and vernacular interiors. For example, while the traditional pujamandap may be supported by Doric columns, a western façade may include a guardroom at the entrance with a roof in the form of a bangladar (traditional Bengal roof) hut.

“The courtyard provides a private, protected space, symbolizing the inner life of the individual. In practice it supplies light and cool air to the rooms that form it. Even the simplest courtyard often contains a potted aromatic or flowering plant. Fountain, pool, shade and occasional tree are also a symbolic reflection of paradise.”

The courtyard and its landscape integrate the earth and sky at once, bringing in the unpredictability of nature within the predictable form. The earth below and the sky above form the floor and ceiling of this outdoor room, while sharing the walls of the surrounding rooms and arcades. The texture of the floor surface guides the lifeactivity within the courtyard. While soft textures with use of grass and plants may lead to its use as a kind of garden space, the hard texture of brick, mosaic or other building materials allow the different functions of the surrounding rooms to spill into the courtyard. Most of the courtyards in the Indian houses are below the level of the floor of the arcades. This also helps in emphasizing the proximity to the earth or soil below. Different paving materials used for the courtyard floor may lead to the increase of the sensation of warmth or coolth in the courtyard. The porosity, smoothness or roughness of the surface material evokes various feelings when touched by bare feet.

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Water plays an important role in creating the impression of richness and life in the courtyard whether in the form of rain, watering the surface to keep it clean or by the inclusion of water features. Though luxurious water features like fountains are rare in the usual domestic architecture which is essentially underlined by the logic of water conservation. Many houses include water in the form of wells or water storage tanks in the courtyard.

Air movement in the courtyard is vital for comfort within the enclosed space. Air circulation within this confined space relies largely on the proportions of the surrounding walls and positioning of window openings in the surrounding rooms. The proper proportioning of the building allows a cool breeze within the courtyard. Breeze and shading in the courtyard help in creating comfortable living conditions during day and sleeping conditions during night. The air moving through potted plants, or trees or over water features brings dynamism into the otherwise still atmosphere in the space. The wind blowing the clouds over the courtyard ceiling contributes to the constant variation in the view frame.

The form: The chief feature in the building is that it must be in the form of a square, with an opening to the sky in the centre.

The roof slopes outward and inward, and the inner sides all converge around a rectangular open space. In large houses, this space will form a regular courtyard, whilst in smaller buildings it is only a few inches square.

Plan: Similar to most other courtyard dwelling in India, the Rajbari or courtyard houses in Kolkata have a simple plan with rooms laid out surrounding the central courtyard. In most of these palatial buildings there is more than one courtyard – the outer being the public courtyard or bahirmahal while the inner courtyard is more restricted to the family or andarmahal. The traditional plan is symmetrical in nature.

The rooms are planned according to their functions based on the cardinal directions around the courtyard. The most unique feature of these courtyard mansions in Kolkata, as differentiated from those in other parts of the country are the existence of thakurdalan (puja room) and natmandir (stage for cultural performances).

Entry: The entry of the Kolkata courtyard houses may be either directly onto the open space court or through a small passage which obstructs the direct view into the courtyard. Most of the courtyard house shows an indirect entry. This allows the court to maintain privacy in its daily activities. The entry usually

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gives access to the outer court which has the thakurdalan and natmandir. Festivals and social occasions celebrated in a pompous manner were an integral part of the history of these courtyard houses. Most of these religious festivals and celebrations were public events, that is to say the British officials as well as the neighbours were invited to these lavish occasions. Since all public people and activities were restricted to the outer courtyard, the entry sequence gave access to this court. The inner court entry remained much more guarded and restricted from easy access either visually or physically.

Circulation: The centripetal movement within the house is usually directed towards the courtyard. Most of the circulation in the house is through the arcaded verandahs around the courtyard. The rooms in general open to these arcades towards the courtyard side. Some houses had verandahs on the outer side of the house facing the street, but they are visually blocked by using screens in the upper floors where the women may reside, whereas the lower floors usually remained the domain of the men in the house. Since most of the houses are two stories, there are stairs for vertical circulation at strategic corners.

Hence, “Why Courtyards?�

-it is a direct response to the social preference for privacy and seclusion in family life.

-climate responsive -serves as a locus in connecting different area and functions within the building -the courtyard also serves as a buffer space or common space from where the movement spreads towards the inward rooms

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OLD IMPERIAL ARCHITECTURE OF KOLKATA: The findings of the case studies highlighted that the colonial monuments were having white coloured walls. The existing floors were made up of wood and in majority of areas it was made up of marble and granite with geometrical pattern in them. The walls of the monuments were having mouldings. In the name of furnishings and lightings, the lights were replaced by the new lights and there were no furnishings. The furniture was made up of polished mahogany wood. The ceiling was of Mahogany wood and in some of the monument, it was of cement with square and rectangular shapes.

White Marble Interiors in Victoria Memorial

Mahogany wood ceiling with vertical moldings in Indian Museum

Garden side view of Indian Museum 65 | P a g e

Checkered floor of White Makrana Marble and black Granite in Victoria Memorial.

White colored walls with straight moldings applied to in Indian Museum

Applying the similar concept of segregation of private and public spaces- two zoning proposals can be made-

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CHAPTER 7- Design development 67 | P a g e

STAGE 1: Based on the basic zoning of public, private and semi public-private area, there can be two proposals:

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Inferences from stage 1: •

Orientation and shadow analysis say that proposal 1 is a more desirable option. This is because, the central court is getting shaded in most part of the day.

•

Also, proposal 2 is more desirable because, the Museum building being the main building, faces towards the road. This leads to grabbing the attention of more visitors.

•

The longer sides must have an appropriate system for skin treatment as they are maximum exposed to sunlight. To prevent direct sunlight into the Museum building, the design must be such that it allows only diffused light to penetrate inside.

STAGE 2: Further implementation of concept of segregation of public and private spaces with the desirable zoning.

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Inferences from Stage 2: • •

Since the buildings look into the public/private spaces or rather courtyards, they should be designed in a way, that visitors in the buildings should also be able to look into these courts.

Hence the functions put in these courts shall be interactive an interesting for the visitors to look into.

STAGE 3: Development in site planning and form, with voids suitably cut with some interior courts

Ground Floor Plan:

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Form Development with suitable segregation of spaces:

CHAPTER 8- Final Design 71 | P a g e

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CHAPTER 9- Design Renders 79 | P a g e

ISOMETRIC VIEW OF THE ENTIRE SITE

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VIEW FROM BSIWA BANGLA SARANI STREET 81 | P a g e

VIEW OF MUSEUM FAÇADE FROM METRO LINE 82 | P a g e

VIEW OF METRO CONNECTING BRIDGE 83 | P a g e

VIEW OF METRO PLAZA- SPACE FOR METRO PEDESTRIANS TO LAND HERE 84 | P a g e

VIEW OF MUSEUM ARCADE

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VIEW OF CENTRAL SUNKEN COURT WITH PLUBLIC PERFORMANCE AREA

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VIEW OF ART CENTRE – GREEN FLUSH INTO WORKSHOPS LOWER GROUND LEVEL

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REAR VIEW OF ART CENTRE 88 | P a g e

INTERIOR VIEW OF ART CENTRE

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