AIKTC SOA | SEM 5 | 2021-22 ARCHITECTURAL DESIGN Module I - INSPIRATION Assignment 3 SHAHIL, NEO, SHUBHAM | 19AR20, 19AR21, 18AR21
APARTHEID MUSEUM
MASHIBANE ROSE ASSOCIATES
The Apartheid Museum in South Africa is read through the lens of a condition of ‘prepossession’, where histories of trauma continue to haunt a site while manifesting affectively through spatial ambiguities, which lead to an experience of ‘empathetic unsettledness’. Paradoxes concerning the provenance of the building and its location are discussed. An analysis follows of changing registers of spatiality through selected key areas of the complex, with reference to Henri Lefebvre’s analysis of alternative experiences of space. His notion of ‘lived’ space is applicable to trauma architecture as discussed by concentration camp researcher Wolfgang Sofsky. It is argued that the building critically performs a content which exceeds the limits of representation, thus engendering a sense of embodied unease. Further complications include the appropriation of suffering in dialectical tension with a moving commemoration of apartheid iniquities
Source : The Apartheid Museum: Performing a Spatial Dialectics Elizabeth Rankin and Leoni Schmidt
DESIGN METHODOLOGY
The museum was built to express the struggles and hardships that the people of south africa faced during the apartheid.Starting with the entrance that separated the entrance for white and nonwhite. Source : The Apartheid Museum: Performing a Spatial Dialectics Elizabeth Rankin and Leoni Schmidt
DESIGN METHODOLOGY
Like the past to the curbing curtain walls on the south to recall an older pre-colonial history. The exterior of the museum is also enclosed to represent the walls of truth and fictions that floats during the period. The space is designed in order to express the oppressions faced during that time which can left visitors uneasy and cause discomfort Source : The Apartheid Museum: Performing a Spatial Dialectics Elizabeth Rankin and Leoni Schmidt
NEIGHBORHOOD AND IT'S IMPACT ON DESIGN
Previously, there were museums in Africa which exhibits the history but it was just a mere presentation of history rather than a spatial experience. Like The Maison des Esclaves or House of Slaves Museum on the Island of Gorée off the coast of Dakar, capital of Senegal in West Africa, occupies an old Dutch slave house used as a holding point for captured slaves before their transport by sea. This museum acts as a site for political pilgrimage and social memorialization.
Source : The Apartheid Museum: Performing a Spatial Dialectics Elizabeth Rankin and Leoni Schmidt
RAJ REWAL JUNG-E-AZADI MUSEUM AND MEMORIAL, KARTARPUR, PUNJAB
The project is conceptualized as Punjab’s Freedom Movement Memorial. The unparalleled sacrifices of Indian’s for the independence of India, aimed to be translated in this memorial complex on the 25 acres of land of Kartarpur. The site was carefully selected by the state government as it’s easily accessible to visitors traveling to the Golden Temple in Amritsar adding another tourist destination and broadening the perception about the heritage of Punjab. Under virtue of its setting, it attracts immense footfall throughout the year. Besides, the memorial additionally showcases the life and history of all those personalities thanks to whom we tend to stand on the head of social, political, and economic greatness.
Source : www.re-thinkingthefuture.com
DESIGN METHODOLOGY
The concept of the Jang-e-Azadi is based on a circular enclosure that holds the focus of the memorial layout and houses a harmonious ensemble of components like the galleries, auditorium, library, and restaurant that can be accessed and function autonomously. Making it convenient not only for the community but also for the tourists.
Source : www.re-thinkingthefuture.com
DESIGN METHODOLOGY
The Jang-e-Azadi’s circular memorial and the entrance hall are rested on doubly-curved concrete shells in the form of four petals that support the steel domes within. Patterns of flowers and petals give a sense of the lyrical rhythm of Punjab. The other source of influence on design was the strong and vibrant rhythm of the regional dance, i.e., Bhangra which is echoed in the dynamic form of the complex. The museum displays 9 main galleries and 5 outdoor exhibition spaces.
The buffer spaces between the Memorial and galleries display the heart-breaking stories of the heroes who fought for various events like Jallian Wala Bagh(Massacre) and other events of the freedom struggle. The galleries take one through the key moments of Indian history, various scenarios from history, promoting a greater understanding of the struggle, and the rich culture of Punjabis are utterly extraordinary. Source : www.re-thinkingthefuture.com
DESIGN METHODOLOGY
The Light
The play of scale and form, carrying people through a narrative of courtyards and bold structures, which diffuses the harsh sunlight and promotes social gatherings. The light within the memorial complex became the guiding factor. Source : www.re-thinkingthefuture.com
DESIGN METHODOLOGY
The Expression
The expression of the freedom movement is imparted not only by design but by the utilisation of local material. The use of white marble for the Martyrs’ Memorial is an important element because of its association with sacred temples in Punjab. Source : www.re-thinkingthefuture.com
DESIGN METHODOLOGY
The other components include a 150-seat movie hall, a 1000-seat open-air-theatre, a 300seat auditorium, and a 45-meter-high tower known as ‘Shaheed-e-Minar’, which has a torch burning inside as a sign of tribute to the fire that burnt in the heart of the fighters. About the minar, Raj Rewal explained, “When I was asked to do the minar I was a bit reluctant as minars in modern architecture are very rare. Here it is supposed to be a symbol of victory, so we have also added a flame. Many people come and pay their respects. Young couples come to seek blessings for a strong and courageous baby.”
Source : www.re-thinkingthefuture.com
NEIGHBORHOOD AND IT'S IMPACT ON DESIGN
The circulation of the complex is primarily conceived as a pilgrimage centre, influenced by the Golden Temple without imitating its forms. The planning incorporates dynamic open spaces that fuse the varied requirements of the complex. The entrance hall leads to a series of open courtyards, comprising an amphitheatre, the tall minar, surrounded by the widely spread greenery and the railings which connect the various galleries and buildings. For the circulation of the memorial and entrance hall, Indian precedents such as the Sanchi Stupa where a circulatory movement related to the life of Buddha is an important factor was the inspiration. The motive behind designing the galleries at two levels was primarily to achieve the circular motion and the second entrance which can also be approached independently. Source : www.re-thinkingthefuture.com
PLAN OF JUNG-E-AZADI MUSEUM AND MEMORIAL
SECTION OF JUNG-E-AZADI MUSEUM AND MEMORIAL
ANTOINE PREDOCK CANADIAN MUSEUM OF HUMAN RIGHTS, WINNIPEG, MANITOBA
The Canadian Museum for Human Rights is a Canadian Crown corporation and national museum located in Winnipeg, Manitoba, adjacent to The Forks. The purpose of the museum is to "explore the subject of human rights with a special but not exclusive reference to Canada, to enhance the public's understanding of human rights, to promote respect for others and to encourage reflection and dialogue."
Established in 2008 through the enactment of Bill C-42, an amendment of The Museums Act of Canada, the CMHR is the first new national museum created in Canada since 1967, and it is Canada's first national museum ever to be located outside the National Capital Region. The Museum held its opening ceremonies on 19 September 2014. The Friends of the Canadian Museum for Human Rights is the charitable organization responsible for attracting and maintaining all forms of philanthropic contributions to the Museum. Source : www.Wikipedia.com
DESIGN METHODOLOGY
A tower rises 100 metres above the ground like an icy mountain cap that glows as a beacon to all. A viewing platform inside the Israel Asper Tower of Hope provides a breathtaking panorama of the City of Winnipeg and the Prairie vista beyond. Source : architectmagazine
DESIGN METHODOLOGY
The ground floor has been tinted red and textured with cracks to simulate walking on the dried clay mud of the Red River’s banks. Source : architectmagazine
DESIGN METHODOLOGY
A glass “cloud” covers the southwest aspect of the museum, made of more than 1,300 panes of glass that resemble the folded wings of a dove.
Source : architectmagazine
DESIGN METHODOLOGY
Four massive “roots” are clad in 400-million-year-old limestone, gripping the red clay soil of the riverbank.
Source : architectmagazine
DESIGN METHODOLOGY
A limestone “mountain” is formed on the northern aspect of the building, which houses the galleries in strength and protection.
Source : architectmagazine
DESIGN METHODOLOGY
“It isn’t a museum of objects,” “It’s a museum about ideas. It’s a process building. It’s a procession building.”
Source : architectmagazine
DESIGN METHODOLOGY
24,155 square metres (260,000 square feet) of total building area 4,366 square metres (47,000 square feet) of exhibit space 378 piles and 136 concrete caissons support the building 18,000 square metres (193,750 square feet) of limestone in the roots 5,400 tonnes of steel in the framework of the cloud 773 metres (2,536 feet) of white alabaster‐clad ramps 3,200 square metres (34,445 square feet) of alabaster plates on the ramps 1,669 pieces of glass (1,335 in the cloud, 334 in the tower) 35,000 tonnes of concrete 600 tonnes of basalt in the Stuart Clark Garden of Contemplation 100‐metre (328‐foot) high Israel Asper Tower of Hope, taller than Manitoba’s Golden Boy and Ottawa’s Peace Tower 14 national and international awards related to its architecture and construction The capital project cost $351 million, with $150 million raised through a national capital campaign by Friends of the CMHR. Source : architectmagazine
FACTS
In 2017 Canadian government published a 10 Dollar note. Featuring Viola Desmond and Canadian museum of human rights.
Source : architectmagazine