NATIONALDEPARTMENTSHRIYABYDWIVEDI(ROLLNO.17635)OFARCHITECTUREINSTITUTEOFTECHNOLOGYHAMIRPUR(H.P)177005,INDIADecember,2021
KOLKATA MUSEUM OF MODERN ARTS B.Arch
KOLKATA MUSEUM OF MODERN ARTS A THESIS PROJECT Submitted in partial fulfillment of the requirements for the award of the degree of BACHELOR OF ARCHITECTURE By SHRIYA DWIVEDI (Registration Number:17635) Under theofguidance Dr. Venu Shree DEPARTMENT OF ARCHITECTURE NATIONAL INSTITUTE OF TECHNOLOGY HAMIRPUR (H.P) 177005, INDIA MAY 2021 THESIS(2021PROJECT2022)
Copyright © NIT HAMIRPUR (HP), INDIA, Year
CERTIFICATE
This is to certify that this thesis report entitles “KOLKATA MUSEUM OF MODERN ARTS” has been submitted by Ms. Shriya Dwivedi (Roll No. 17635) in the partial fulfilment of the requirements for the award of the Bachelor’s degree in Architecture forthe session 2017 2022. BY Thesis guide
DEPARTMENT OF ARCHITECTURE
EVALUATION COMMITTEE: BY Head of Department DEPARTMENT OF DATE:ARCHITECTURE
DEPARTMENT OF DATE:ARCHITECTURE
ACCEPTED
RECOMMENDED
NATIONAL INSTITUTE OF(H.P)TECHNOLOGYHAMIRPUR
THESIS REPORT
THESIS GUIDE: DR. VENU SHREE SUBMITTED BY: SHRIYA DWIVEDI
KOLKATA MUSEUM OF MODERN ARTS
CANDIDATE’S DECLARATION
SHRIYA DWIVEDI
This is to certifythat the above statement made by the candidate is correct to the best of my knowledge. Date: DR. VENU SHREE Assistant Professor Department ofNITArchitectureHamirpur
The Project Viva Voce Examination of SHRIYA DWIVEDI has been held
on……………………… Signature of Supervisor(s) Signature of External Examiner
NATIONAL INSTITUTE OF TECHNOLOGYHAMIRPUR (H.P)
I hereby certify that the work which is presented in the project titled “KOLKATA MUSEUM OF MODERN ARTS”, in the partial fulfilment of the requirements for the award of the DEGREE OF BACHELOR in ARCHITECTURE and submitted in Department of Architecture, National Institute of Technology, Hamirpur, in an authentic record of my work carried out during a period from July 2021 to December 2021 under the guidance of DR. VENU SHREE, Assistant Professor, Department of Architecture, National Institute of Technology, Hamirpur. The matter presented in this project report has not been submitted by me for the reward of any other degree of this or any other Institute/University.
At the very beginning of this report, I might want to broaden my earnest and sincere commitment towards all personages who have helped me in this undertaking. Without their dynamic direction, help, collaboration, and support, I would not have made progress in the Ithesis.amobliged to myguide, Dr. Venu Shree for her steadysupervision, patience, and for their help in finishing the task. I am also grateful and pay my appreciation to my Head of Department, Dr. IP Singh for their backing in finishing of this exploration. Lastly, I likewise recognize with a profound feeling of respect, my appreciation towards my folks and individuals from my family who have constantly bolstered me ethically, and encouraged me throughout my study.
ACKNOWLEDGEMENT
TABLE OF CONTENTS 1. INTRODUCTION........................................................................................................................1 1.1 BACKGROUND:.................................................................................................................1 1.1.1 Museum ..........................................................................................................................1 1.1.2 Modern Art 1 1.1.3 Modern art in India 2 1.1.4 Art and Culture in India...................................................................................................3 1.1.5 Kolkata: the city of joy ....................................................................................................3 1.2 SYNOPSIS..........................................................................................................................5 1.2.1 AIM 5 1.2.2 OBJECTIVE 5 1.2.3 PROJECT PROPOSAL 6 1.2.4 SCOPE..............................................................................................................................6 1.2.5 NEED................................................................................................................................6 2. PROJECT BRIEF .........................................................................................................................7 2.1 SITE REQUIREMENTS 7 2.1.1 ART CENTER (10 Acres) 7 2.1.2 CULTURAL CENTER (2.67 Acres)......................................................................................7 2.2 SITE VALIDITY .........................................................................................................................8 3.LITERATURE STUDY .......................................................................................................................9 3.1 USER GROUP IDENTIFICATION 9 3.2 CIRCULATION IN GALLERY 9 3.3.1 TYPES OF CROWD FLOW...............................................................................................10 3.3.2 CIRCULATION PATTERNS IN GALLERIES ........................................................................10 3.3.3 CIRCULATION PLAN IN THE EXHIBITION ROOM............................................................12 3.4 MUSEUM DISPLAYS AND EXPERIENCE.................................................................................13 3.4.1 MUSEUM DIAPLAY SYSTEMS 13 3.4.2 DISPLAY TYPES IN ART MUSEUMS 18 3.4.3 POSITION OF DIPLAYS ...................................................................................................20 3.4.4 RELEVANT DIMENSIONS FOR DISPLAY..........................................................................20
3.5 THE ROLE OF COLORS IN MUSEUMS ...................................................................................21 3.6 THE ROLE OF LIGHTING IN MUSEUMS 23 3.6.1 LIGHTING AND DISPLAY ................................................................................................23 3.6.2 DAYLIGHTING METHODS ..............................................................................................28 4.PROGRAMME ANALYSIS .............................................................................................................32 4.1 ANALYZING THE PROBLEM 32 4.2 POTENTIAL ROLE OF THE CENTER 33 4.2.1 PROGRAMME COMPONENTS 33 5.CASE STUDIES..............................................................................................................................35 5.1 NATIONAL GALLERY OF MODERN ART, NEW DELHI ............................................................35 5.1.1 PROJECT FACT FILE........................................................................................................35 5.1.2 INTRODUCTION 35 5.1.3 LOCATION AND CONTEXT 36 5.1.4 PROGRAMME ARRANGEMENT .....................................................................................37 5.1.4.3 NEW WING OF NGMA................................................................................................39 5.1.5 ANALYSIS.......................................................................................................................41 5.2 THE BIHAR MUSEUM, PATNA 47 5.2.1 PROJECT FACT FILE 47 5.2.2 INTRODUCTION 47 5.2.3 LOCATION AND CONTEXT .............................................................................................48 5.2.4 PROGRAMME ARRANGEMENT .....................................................................................49 5.2.5 ANALYSIS.......................................................................................................................51 5.3 MUSEUM OF MODERN ART SAN FRANCISCO 56 5.3.1 PROJECT FACT FILE 56 5.3.2 INTRODUCTION.............................................................................................................56 5.3.3 LOCATION AND CONTEXT .............................................................................................57 5.3.4 PROGRAMME ARRANGEMENT .....................................................................................58 5.2.5 ANALYSIS 60 5.4 COMPARITIVE STUDY 64 6. SITE ANALYSIS 65 6.1 SITE LOCATION...............................................................................................................65 6.2 SITE LANDUSE: NEIGHBOURHOOD LEVEL......................................................................67
6.3 CONTEXT PLAN: SITE & SURROUNDING ........................................................................68 6.4 DEVELOPMENT CONTROLS: SITE DATA AND BYELAWS 69 6.5 GRAIN ANALYSIS.............................................................................................................72 6.6 VOLUMETRIC ANALYSIS .................................................................................................73 6.7 VEHICULAR AND TRAFFIC ANALYSIS ..............................................................................74 6.8 IMPORTANT LANDMARKS 75 6.9 SITE AND SURROUNDING 76 6.10 NATURAL SLOPE AND DRAINAGE 77 6.11 CLIMATE ANALYSIS.........................................................................................................78 6.11.1 SOLAR ANALYSIS ....................................................................................................78 6.11.2 WIND ANALYSIS......................................................................................................79 6.11.3 PRECIPITATION 81 6.12 SWOT ANALYSIS 81 6.12.1 STRENGHTS ............................................................................................................81 6.12.2 WEAKNESS .............................................................................................................81 6.12.3 OPPORTUNITY........................................................................................................82 6.12.4 THREATS 82 6.13 SITE ANALYSIS OUTCOME 82 7. DESIGN DEVELOPMENT 83 7.1 DESIGN DERIVATIVES.....................................................................................................83 7.2 CONCEPT TRANSLATION ................................................................................................84 7.3 FORM EVOLUTION .........................................................................................................85 7.4 ZONNING 86 8. FINAL DESIGN 87
Modern Art
Museums are institutions committed to gather, preserve and display the tangible and intangible past of humanity and its environment for promoting education, studies and recreation. Theyareusuallynon profit or government funded, establishedbodiesin service of society and its enhancement, open to public. These institutions not only serve as source of immense knowledge but also make us acquainted with our country’s rich history, cultural civilization, art and architecture.
1.1 BACKGROUND:
1.1.1 Museum
Figure 1 Jackson Pollock's 'No. 5, 1948' is a modern art masterpiece from the Abstract Expressionist Movement
The works of art and architecture produced during the period extending roughly from the 1860s to the 1970s is known as modern art. It denotes the styles and philosophies of the art produced during that era. The term is generally related to art in which the traditional practices and ideologies are rejected in a spirit of experimentation and revolution. Modern artists experimented with new methods and technology. With fresh ideas about the nature of materials and functions of art, artist produced phenomenal pieces that showcased the surge of rebellion. Modern art exhibited a tendency away from the narrative, which was characteristic for the traditional arts, toward abstraction is characteristic of much modern art.
1 1. INTRODUCTION
1.1.2
Figure 2 A modern art by WASSILY KANDINSKY
Figure 3 Left: New Clouds (1937), Right: Radha's Vihara (1936), Paintings by Nandalal Bose3
Modern art in India
Heavily influenced by the Swadsi movement, artists such as Rabrindranath Tagore and Nandalar Boss rejected the works of Raja Ravi Varma (Raja Ravi Varma) the concept of Western naturalism. Instead, they were inspired by Indian mythology and religion. The simple Indian folk art of Jamini Roy and the bold post impressionist oil paintings of Amrita Shergill are important forms of modern Indian Therefore,art. the evolution of modern Indian art has always explained its ethnic and local roots through various styles, but it is far from its "indigenousness". Whether in the world orin India,modernism has always been the creation ofuniqueexpressive identitiesthrough art.
Figure 4 Punaraagman by SH Raza has many references to Indian symbolism
The modern art movement in India began in the early 20th century. Unlike global modern artists who want to create a personal voice, the journey of Indian modernism begins with artists who want to create distinct Indian art.
2 1.1.3
Figure 5 Kolkata City Sketch
ThesiteislocatedinKolkataformerlyknown as Calcutta. It is the capital of West Bengal and one of the major metropolitan city in India. Kolkata once being the British capital of India has unique infusion of European and Indian culture. Though convulsed into innumerous social, economic and political problems the City of Joy thrives as the most vibrant Indian City.
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 can also be shared and understood by those from different cultural backgrounds.
Kolkata: the city of joy
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The greatest asset of India is its rich and diverse culture. The varied forms of art be it theatre, music, dance, painting, sculpture, architecture, etc. display the heterogeneous and complex social and cultural structure of Indian cities and towns.
1.1.5
1.1.4
Art and Culture in India
The unique and splendid art forms of India have a very important position in the diverse culture of India. Each state has its significant art form and differs considerably from that of its neighbor. Though, it is worthwhile to note that many art forms of India are in some ways the amalgamation of other art forms borrowed from the neighboring states.
Pat Chitra Paintings
Figure 6
Cultural Significance: Kolkata exhibits varied cultural identity. It is the home to Rabindra Nath Tagore the first IndianNobel Laureate andvariousotheracclaimed writersandpoets Apartfrom literature, performing arts is also a major characteristic of the city culture. Artists like Kavi Najrul Islam, Manna De and many more are well known for their influential and commendable music. Theatre is another such performing art which is significant here, various groups set up innumerable performances throughout the city. Dance and painting, can easily experience through the authentic folk styles of these in the city, with the folk dances of Bengal and the 'Pat Chitra' style paintings are 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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Architectural Significance: Architecture in Kolkata showcases a variety of styles from rural vernacular and colonial townhouses to modern urban styles. The suburban areas showcase an eclectic mix of rural and urban styles while British Colonial style is dominant in the city core. The landmark, iconic monuments are found in and around the Maidan and Hogg’s Market areas. Victoria Memorial, a white marble monument was built between 1906 and 1921 to honor Queen Victoria’s memory following her death. Though it was designed by William Emerson, a British architect, there are Mughal, Venetian and Islamic architectural influences on the building as well, notable in its domes and Taj Mahal-like features.
To encourage the engagement of local artists Figure 8 Rajbaris the traditional architecture of Kolkata
The aim of the project is to recreate the glorious cultural past of India through design of a landmark project that envisages the Cultural identity of the city of Kolkata.
The origin of the bungalow has its roots in the vernacular architecture of Bengal. The term “bangalo”, meaning "Bengali" and used elliptically for a "house in the Bengal style". Such houses were traditionally small, only one story and detached, and had a wide veranda. 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". Another roofing material for Bungalow houses has been red clay tiles 1.2 SYNOPSIS 1.2.1 AIM
1.2.2
To bring, under a single roof, two broad areas of work: collection, preservation and exhibition of fine art objects, both from India and abroad, dating from the late 18th century to the contemporary times and; to promote of art education and research.
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By the mid 1850s, the British “White Town” included many of the colonial buildings and municipal offices still in use today, while “Black Town” was comprised of large parts of North Kolkata, including old Rajbaris, the houses of influential locals.
OBJECTIVE
To introduce ‘Active Social spaces’ in the project that will focus on involving public of all age groups and interests.
With 44 galleries for Indian, Asian, Islamic and Western art, generous space for storage, a library and an archive, the Art Centre is to have two sections. Its Academic Wing would be concerned primarily with documentation, research, art education and restoration; its Curatorial Wing is to be responsible for the display, storage and acquisition of art including photography, folk art and craft, and the new media.
1.2.4 SCOPE
PROJECT PROPOSAL
The thesis will cover detailed studyof significance of modern art and culture in India along with a thorough study of Museum architecture throughout the world. It aims to closely analyze the modern as well as vernacular architectural practices and derive a strong conceptual design for the museum. The design would be inclusive of coherent and legible whole through the collection and compression of diverse, unique elements.
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1.2.5 NEED Presently a need for a world class international museum has long been felt for the establishment of a facility to trace the various trends in the field in India. Moreover, the project would serve as a landmark replicating the cultural identity of Kolkata. All the museums that celebrate Modern Art in India have become less active spaces with limited public visits due to lack of interactive and involving spaces.
1.2.3
To this end, the project proposes the establishment of a museum whose role would be to introduce the roots of Indian culture and art on a worldwide scale. The museum will cater
To encourage the direct engagement of the artist and the general public to spread awareness about art.
The Culture Centre will have a more general character with an auditorium, an amphitheater, studio residences for artists, shops for art and craft merchandise and eateries, including for fine dining.
7 state of the art facility to address every aspect of preserving it while promoting both multidisciplinary and multicultural interface. It serves the need to educate and foster the understanding of art, amongst the people, the nation and the world. It could take advantage of the museum as an activity center and a manifestation of the community and as a way of entering academic research that would bring in the different disciplines. 2.PROJECT BRIEF 2.1 SITE REQUIREMENTS 2.1.1 ART CENTER (10 Acres) Academic Wing Workshops - Research Restorationlabslabs Curatorial Wing Indian Art InternationalGalleriesArtGalleries - Art Storage Art Shops 2.1.2 CULTURAL CENTER (2.67 Acres) anauditorium,amphitheater
8 studio residences for artists, shops for art and craft merchandise eateries 2.2 SITE VALIDITY Figure 14 Art, architecture and the academy The Telegraph 12th January 2012 Figure 15 Business Standard 13th May 2008 Figure 16 Modern art museum Anandabazar Patrika 13th May 2008
3.1 USER GROUP IDENTIFICATION
9 3.LITERATURE STUDY
iii. Study Visitor: A minority of visitors who thoroughly examine exhibitions with much more detail and attention.
ii. Cursory Visitors: show instead a more genuine interest in the museum experience and collections.
The circulation of public and staff, service areas has to be separated from each other, and the visitor should be able to approach a particular gallery of his or her choice as directly as possible. He should not be obliged to return or proceed through the galleries he is not interested in. The location of the temporary exhibit hall should take into consideration the possibility of a large number of visitors. A separate entrance is advisable. Circulating pattern should be designed keeping in mind that there is a general tendency to turn right to enter an exhibit hall.
In order to create a useful and interactive museum exhibition, one should be well acquainted to the target visitors and audience. Otherwise the exhibition will fail to communicate and foster the interests of the visitors. Therefore, museum visitors can be categorized in three broad categories:
i. Casual Visitors: People who move through a gallery quickly and who do not become heavily involved in what they see.
Figure 17 Pie chart showing breakdown of the users in Museums across India
3.2 CIRCULATION IN GALLERY
Core
Free
i.
ii.
TYPES OF CROWD FLOW
Service
3.3.2
Level
10
Bays
CIRCULATION PATTERNS IN GALLERIES
3.3.1
The circulation within the museum can be attributed to one of the following types: Open Plan Large autonomous exhibits, free circulation. and columns scale, structure and proportion. changes circulation, mechanical aids. spans single/multiple. Spaces under floor/ overhead area. circulation environmental control energy conservation Core and Satellites space for orientation to museum/subject/ collections spaces for autonomous exhibits/themes/ sitting of temporary changing exhibit or special exhibitions circulation from core to specific Satellite
Satellite
Air
collections Core/Satellite
Depending upon the rate of flow of visitors the areas inside the gallery can be described below: i. Areas of constant crowd flow: These are the areas where terse repetitive exhibits that can be easily understood by the visitors are placed. ii. Areas of crowd slope-age: These are characterized by the general display of nature along with the exhibits of conceptual nature requiring time to absorb iv. Areas of variable crowd flow: The exhibits allow visitors to choose among simple and complex exhibits.
Roof
11 iii.Linear Procession Linear sequence of spaces, controlled circulation, tunnel show Thematic exhibitions storyline organizations Sitting of large key exhibits Separate entrance and exit relationship to associated activities iv. Loop Linear sequence of spaces, controlled circulation, tunnel show Thematic exhibitions/ storyline organizations Sitting of large key exhibits Circulation returns to exit v. Complex Combines group of spaces with features of above mentioned plans Complex organization of collections Complex communication strategy Orientation vs. disorientation - critical factors vi. Labyrinth Locally free circulation management of circulation is a museum function Complex organization of collections Complex communication strategy Orientation disorientation Critical factors Relationship between subject collections
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i. Chain Visitors can navigate as per their interest.
iv. Block Allows for movement in random fashion. v.Brush Visitors move in a guided path getting exposed to each section as they move forward.
Another way to classifycirculation patterns for visitors in museum exhibition galleries can be as follows:
3.3.3 CIRCULATION PLAN IN THE EXHIBITION ROOM
ii.Window Allows movement in different rooms from a central point.
iii.Central With collections kept centrally, visitors move around the collections to see the objects from different viewpoint.
13 3.4 MUSEUM DISPLAYS AND EXPERIENCE In the exhibition marketing field, the key role played by entertainment and emotion in communication with consumers is largely accepted. A combination model of the four realms of response model. 3.4.1 MUSEUM DIAPLAY SYSTEMS The museum can display interpretive information in the following form: i. Passive Communication Graphic Panels Figure 18 Museum experience and atmosphere Figure 19 Graphic panel display
14 Object Labels E Labels Incorporate Images, Videos, audio and Interactivity Images and Illustrations Photographs, maps, drawings, Models, props, Reconstructions etc. Figure 20 Object Label panel display Figure 21 E labels that can be scanned to obtain information about the displayed item Figure 22 Reconstructions of the situations or models
15 ii. Active Communication Audio Oral testimonies, music, Foreign languages etc. Video Film, Interviews, Moving Images etc. iii. Reactive Communication User activated Push button, pressure pad, Proximity Switch Figure 23 Audio method of explaining the displayed items Figure 24 Video presentation to explain the artwork Figure 25 User activity display
16 Lighting effects sequenced presentation Films Movies, Documentaries and videos iv. Immersive Communication Educational Technology, Microprocessor controlled devices etc. Figure 26 Sequenced Presentation of art works Figure 27 Documentaries Figure 28 Interactive displays
17 Low tech interactives Incorporate text, films, flipbooks, audio Live interpretation Staff or actors in role play High tech interactives Programmed and computerized Figure 29 Self learning Interactive displays Figure 30 Staff workers playing roles to make the exhibition interesting Figure 31 Highly interactive display
18 3.4.2 DISPLAY TYPES IN ART MUSEUMS i. Wall Mounted Display ii. Hanging Display iii.Container Display Figure 32 Wall mounted art pieces Figure 33 Ceiling Hanging Display items Figure 34 Container Display of items that should not be disturbed
19 iv.Modular Display v. Open Display vi. Interactive Display Figure 35 The display that can be changed according to the circulation Figure 36 Open displays make the exhibition more interesting Figure 37 Interactive Panels
POSITION OF DIPLAYS
Labels should be mounted at 90 degrees to the line of vision and as close to the viewer as possible. They should also be visible to wheelchair users.
Wall/screen mounted graphics should wherever possible be positioned within the optimum viewing band [1100 1675mm]
20 3.4.3
Object labels should be located as near as possible to the object, so that both the object and the label can be seen from the same vantage point.
Object labels should be positioned consistently next to the object.
People with low vision may need to be within 75mm of a label in order to read it.
3.4.4 RELEVANT DIMENSIONS FOR DISPLAY Figure 38 Display standards and positioning Figure 42 Measurements of adult and six year old visitors in relation to cases
If label rails are used, don't position the top of the label above the maximum recommended height.
Position Braille labels at a consistent height and position, and on a horizontal or near horizontal plane (at between 600 and 700mm from floor level at the left hand side) for the best reading angle.
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3.5
At MoMA’s recent show “Items: Is Fashion Modern?” the museum’s first to focus on clothing in over 70 years, curated by Paola Antonelli (who “hates white,” said Fisher) everyday items like blue jeans, girdles, ties, and hats were displayed against swatches of Wevet.
Figure 45 Importance of colors in Architecture
Figure 0 1Installation view of “Items: Is Fashion Modern?” at the Museum of Modern Art, New York, 2018. Courtesy of the Museum of Modern Art.
THE ROLE OF COLORS IN MUSEUMS
Color is an integral element in architecture; it is not onlyimportant aesthetically, but it also has a great psycho sensory importance. Colors and their perceptions are responsible for a series of conscious and subconscious stimuli in our psycho spatial relationship. Color can show a certain volume or constructive detail, or visually mimic certain aspects of space. It can also provide a set of emotions or visual effects.
Colors play a very important role in enhancing the experience of visitors in an art gallery. For exhibition designers, curators, and artists, the use of atmospheric color is a sticking point that’s considered from the very first planning stages of a show.
The modernist construct of the “white cube” gallery in which walls are austerely stripped of ornament and painted entirely in white, in an attempt to create a neutral space may be what first comes to mind with a museum like MoMA, which is largely credited for institutionalizing the approach.
A color scheme is not just a wall color and a ceiling color, it’s about creating a cohesive look that takes every object in a room, including artwork into consideration.
Figure 0 2Design in Midcentury America at the Milwaukee Art Museum explored the projects of more than 40 designers who advocated for playfulness and whimsy calling for a backdrop of custom Sherwin Williams colors that did the same.
Choosing traditional colors can complement a property’s heritage while rich shades provide a striking background for art, bringing a theatrical quality to stately homes.
Color like any design element is not something to be applied arbitrarily, but is rather a larger part of the conceptual structure of an exhibition.
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Color can serve as a strategic tool to pace and spatially guide the user through a show’s contents.
Figure Use of colors in exhibition to enhance the experience
3.6.1 LIGHTING AND DISPLAY
23 3.6 THE ROLE OF LIGHTING IN MUSEUMS
Figure Table showcasing the different strategies of lighting and their properties
Lighting design for exhibition spaces in museums can be quite challenging because light must simultaneouslyenhancethespace,preservetheintegrityofthe artworks andhighlight them in a way that ensures the best conditions for the visitor's enjoyment. Each method of museum lightingserves tocommunicateaconceptionallybased approachto art.With light, exhibition organizers are presented with an influential tool that is able to define the atmosphere for viewing art, establish a sense of drama to support its reception, and generally contribute to the success of the exhibition. To appreciate the context of exhibition lighting, changes to the room, form of display, and exhibit are initially presented. Six lighting concepts demonstrate how presentations can range from the pretense of objective art appreciation to the dynamic communication of art.
The peaceful and tidy white-walled rooms of exhibitions bring in the impression of a factual and realistic method of art display. One of the classic daylight solutions for neutrally lit rooms with a uniform distribution of brightness is skylights either with diffuse glazing or structures aligned northwards so that direct sunlight cannot enter the exhibition space, thus avoiding the danger of glare.
Figure 0 3 The exhibition spaces as white cubes support the objective viewing of art. The uniform wall washing does not differentiate between the art and the wall pane to give a generous spatial expression. Richard Nonas/Donald Judd exhibition in the Fergus McCaffrey gallery, New York.
Figure 0 4 White cube: Uniform spatial impression due to homogenous wall washing.
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With the use of electric lighting, museums often install wallwashers to achieve light effects comparable to diffuse daylight The homogeneous distribution of brightness in the vertical plane creates a contemplative atmosphere with a deep spatial impression. To achieve good illumination of the wall surfaces, a distance to the wall consisting of one third of the room height is recommended for wallwashers.
Indirect lighting fixtures or light ceilings are alternatively used to create diffused light in exhibition spaces, although wallwashers are able to chisel more details out of paintings and can also emphasize the sense of brilliance on works.
i. THE WHITE CUBE
Figure 0 5Accent lighting at the Louvre Lens museum emphasizes the exhibits below the daylight ceiling in a very subtle way to create a peaceful atmosphere.
ii. THE MINIMILIST ACCENTING
iii. THE DRAMATIC DISPLAY
Figure 0 6The foreground achieves a harmonious relationship between the gold color and red wall while the artwork significantly distances itself from the wall in the background
Figure 0 7 Minimalist accenting: Subtle accenting via a combination of uniform wallwashing and dimmed accent lighting. The colored wall establishes an additional contrast with the warm toned picture and red background.
It is an approach that works with bright surroundings but subtly emphasizes individual works or conceptional motifs. Curators use pinpoint light accents to lendtheworks a greatersenseofpresence in relation to the wall surfaces. The same method can also be used to emphasize central works in the space, thus attracting the attention of visitors to essential exhibits and discreetly communicating the general motif of the exhibition.
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By using the high contrast light and shadow effects the artwork becomes the center of attention and the peripheral space recedes to disappear into the surrounding darkness.
With dark wall colors, the paintings often seem brighter on their own due to the contrast in luminance compared to displaying them on white walls. Another variant consists in the use of color contrasts, where, for example, paintings with warm color tones are displayed on walls with cool colors. This effect can be highlighted with supplementary accent lighting.
selection of specific light beams enables the surface to be illuminated to be ideally matched to the size and shape of the works of art. Spotlights with replaceable light distributions are ideal for such requirements because they enable simple modification.
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Figure 0 9 Contour spotlights enable works of art to impressively illuminate from within. Hangaram Design Museum, the Seoul Arts
Figure 0 8 The intensive play of light and shadow is reminiscent of a theater production with actors on the stage.
Verydarkexhibitionspaces seem to exudeasecretive atmosphere where works of art arouse in observers the impression of being illuminated from within. The concept of a black box where exhibited objects are illuminated as jewels in a form of treasure box represents the opposite approach to the white box. With this method, curators dispense completelyfrom attempting to display art in a realistic way in favor of dramatic effects. Works of art gain a highly emotional, slightly mystical effect because only these are illuminated and their surroundings remain completely dark.
Thedarker the wall color, ceiling,and floor, the more intensive the spatial impact. Each work of art is given its own grand entrance with the use of accent light. In terms of atmosphere, thedarkroominvoluntarilycreates an impression of nighttime in which the light beams bring the art to life (similar to using a flashlight outside at Thenight).intelligent
iv. THE BLACK BOX
Artworks as singular static objects disappear, to be replaced by dynamic backdrops for high impact and informative overall experiences. The exhibition space is transformed Figure 0 10 Display of pictures via very narrow accent lighting on parts of two pictures (painting on the left and painting at top left on the rear wall) as a supplement to accent lighting for the individual paintings..
The hyperrealistic style emphasizes details and themes that are artificially reinforced and thus have a stronger impact than in the real world. With hyperrealistic exhibition concepts, lighting designers experiment with special brightness distributions or the light spectrum Contouritself. spotlights are ideal for such applications because the projected area can beadjustedin shape, size,andfocus by modifying the lens position. A potentiometer on the spotlight allows the brightness of each luminaire to be individually matched to the specific area of the painting. Luminaires with individuallycontrollablecolor channels simplified handling. Artists could also use luminaires with multicolor LEDs for dynamic presentations of their artwork and exhibitions and introduce sequences of color patterns. Light control enables lightingdesignersto individuallydefinethecolorchannels ofRGBW luminaires to achieve hyperrealistic color impressions.
v. THE HYPERREALISM
Figure 0 11 The British artist Matthew Penn classifies his works as hyperrealistic, highlighting gradations in brightness using several contour spotlights for each work.
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vi. DYNAMICALLY COMMUNICATING MUSEUM
Museums and galleries are the perfect example of how natural daylight can have a huge impact on a building and its people, both positive and negative. Letting sunlight into an exhibition space makes it a more pleasant place to be for the visitor, gets the colour rendering right for manyartworks, and dramaticallyreduces energycosts, but of course the art itself must be carefully protected with precise regulation of light exposure.
Figure 0 13 Art installations at Serpentine Sackler gallery, London
However direct sunlight can cause glare and thus soil the overall experience of exhibition. Generally, all direct sunlight should be avoided. Shading systems can allow diffuse light and block all direct sunlight.
Figure 0 12 Varying the brightness and light color creates dynamic light with a pulsating atmosphere for celebrating the experience of culture
3.6.2
Visitors are exposed to a responsive lighting situation when sensors modify the light; for example, if people enter a dimmed exhibition space and a motion sensor then increases the accent lighting either due to conservational considerations or to enable observers to individually view artworks.
28 into a stage for visitors that gains in aesthetic quality from the redesigned choreography of the works of art. With such concepts, visitors may gain the impression that the lighting itself dominates in the form of light art, to the detriment of the exhibits.
DAYLIGHTING METHODS
DAYLIGHTING EXAMPLES
i. Located in Mexico City, the Jumex Museum by David Chipperfield Architects exhibits part of one of the largest private collections of contemporary art in Latin America. A distinctive saw-tooth roof with west-facing skylights and a horizontal diffuser layer distributes light evenly to illuminate the artworks and create an ambient light for the upper gallery. The light can be moderated to meet specific curatorial requirements.
ii. In , by Pool Leber Architekten and Bleckmann Krys Architekten, in Vreden, Germany, central openings in the atrium and the courtyard provide a well balanced natural illumination besides identifying the different museum areas and facilitating the orientation within the center. On the first floor, which houses the secular part of the exhibition, corner windows open up to the view of the medieval port. JUMEX MUSEUM, MEXICO CITY
29 3.6.2.1
Figure 0 14 SECTION
30 iviii..v.
31 Figure 0 15 Some examples to showcase daylighting through skylights in museums and art galleries
4.PROGRAMME ANALYSIS 4.1 ANALYZING THE PROBLEM
PROGRAMME COMPONENTS
Workshops, Library
Temporary
4.2 POTENTIAL ROLE OF THE CENTER
Art
Learning by Exposure: Center (Primary Anchor) Art Galleries, International Art Galleries, Sculpture Gardens, Exhibition Galleries, Storage
Promotion
Performance
+ Free
learning Attracting Tourist and Artists Attracting the Locals and Researchers
33
The Museum needs to become a space where knowledge is imparted by observing and experiencing as well as doing.
AcademicCenter+ +
Interactive
Art
Curators
Audio
4.2.1
Audio
Indian
Decimation of Knowledge/Culture (through the Art Galleries) + Creation of Knowledge/Culture (through the Academic Center) + Celebration of Knowledge/Culture (through the Performing Center) = Interactive Museum and Cultural Center
Learning by Experience: Visual Galleries (Primary Anchor) Galleries, Visual Galleries, Galleries, galleriesArt PerformanceCenter = Integrated Museum and Center Public Space Center for of and
34
Learning by Observing: Performing Arts Center (Secondary Anchor) Auditorium, Open Air theatre for plays/talks etc. Learning by Doing: Academic Center (Secondary Anchor) Workshops, Studios, Research Labs, Restoration Labs
Learning by Interaction: Transitional Spaces and Art Village (Supporting Facilities) Eateries, Art Shops, Studio apartments for Artists, Public Plaza.
Established: 29th March, 1954 Exhibits around 4000 paintings, graphics and sculpture (preserved from 1850’s) Programme: Art galleries, Eatery, Auditorium, Library, Lecture room/Workshops, Restoration labs.
35 5.CASE STUDIES 5.1 NATIONAL GALLERY OF MODERN ART, NEW DELHI
PROJECT FACT FILE
The National Museum of Modern art was established in 1954 at Jaipur House New Delhi and then subsequent branches were opened at Mumbai and Bangalore. The aim of the Museum is to organize,maintainanddevelop galleries to exhibit the Art works from the Modern art era. The campus contains two main buildings; the Jaipur House and the New wing of NGMA. Figure 0 1 National Gallery of Modern art Delhi Elevation by Simon Fieldhouse
Location: Jaipur House, Shershah Rd, New Delhi Site Area: 35250 m2 (8.7 acres) Jaipur House 2220 m2 New Block 5160 m2
Architects: Ar.A.R.Ramanathan and Ar.Anurag Gupta 5.1.2 INTRODUCTION
5.1.1
N Figure 0
5.1.3
The site is located in the prime vicinity of the Rajpath, in the Central Hexagon around the India Gate, the building was a former residential palace of the Maharaja of Jaipur, hence known as Jaipur House.
National
LOCATION AND CONTEXT
The location played an important role in dictating the design of the building. Located in the southern edge of the Ceremonial Axis (The Rajpath) the building undertake the traditional characters of the iconic structures surrounding it.
36
It is surrounded by Architectural icons such as The India Gate, National Museum, Delhi High Court and The Rashtrapti Bhavan.
The Buildingtakes up the features of typical British royal architecture and blend flawlessly withthesurroundingstructures.Thoughbeingidenticalwiththesurroundings,thestructure stands out as a major cultural center for the city. 2 Location of National Museum of Modern art NGMA Delhi High Court near National Museum of Modern Art 3 War Memorial in the vicinity of National Museum of Modern art
Figure 0 4
Figure 0
PROGRAMME ARRANGEMENT SITE PLAN
5.1.4.1
37 5.1.4
Thesiteis Pentagonal in shape.Themain entranceis from theSherShahSurimargtowards the North and the service entry is from the C hexagon road towards the North West. The Museum has twoblock; theold blockis calledthe Jaipurhouseandthe new blockis known as NGMA (National Gallery of Modern Art) block. The building is surrounded by lush Green Courts and gardens. These gardens also host some of the iconic sculptures of the modern art era. Plan of the National Museum of Modern art
Figure 0 6 Block Model Figure 0 5 Site
Figure 0
Jaipur House was designed by Ar.Arthur Blomfield in 1939. It has a butterfly layout with a central dome is the former residence of the Maharaja of Jaipur in Delhi, today it houses the national gallery of modern art. The structure as a butterfly layout and a central dome, made by red and yellow sandstone. 7 Floor plans of the Jaipur House Block 8 Façade and forrm of the Jaipur House
Figure 0
38 5.1.4.2 JAIPUR HOUSE
39 5.1.4.3 NEW WING OF NGMA Figure 0 Figure9 0 10
40 Figure 0 11 Figure 0 12
5.1.5 ANALYSIS 5.1.5.1 Spatial Character (Nature and design of spaces) 1. ART GALLERIES
41
The new building of National Museum of Modern art was a result of the National architectural competition held in 1984 with a vision of expanding the Jaipur house due to the increase in the number of display items and the cultural expansion of the capital city. The new building came up with reformed spaces for art display as well as other public spaces such as auditorium, library, eateries etc. The new building marvelously compliments the old Jaipur house while it stands as an icon itself.
42
in the Jaipur house are permanent galleries. They are arranged in Core and satellite form of circulation. The exhibition rooms have Block circulation.
All the displays are passive in nature. The displays have object labels and e labels
TheHOUSEartgalleries
All displays are wall mounted. - Contrasting colored background walls are used to enhance the display Theexperience.lighting and display type is Minimalist Accenting. With dark wall colors, the paintings often seem brighter on their own due to the contrast in luminance compared to displaying them on white walls.
JAIPUR
Some art galleries in the new wing of NGMA are permanent galleries while other are temporary exhibition spaces. They are arranged in Loop form of circulation. The exhibition rooms have Window circulation
NEW WING OF NGMA
2. AUDITORIUM
43
All the displays are passive in nature. The displays have object labels and elabels. There are some open displayed sculptures and models. All displays are Modular Display (variable organization of panels). White background Panels are used to neutralize the display experience. The lighting and display type is White Cube uniform lighting.
Auditorium has a capacity of 250 people. Roof of auditorium and preview theatre was built such that the machinery and equipment are well hid from the audience.
OPEN DISPLAYS
3. CAFETERIA-
The café is open to everybody, and it makes the space interesting and approachable.Thesecludedentrance andopencourtyardmakesitaunique semi public space.
2. FAÇADE DESIGN
1. MATERIALS
44
4. LIBRARY
Acontinuous sunshadedominatesthefaçadeoftheJaipurHouse. Thereare alternatebands of red and buff sandstone that remind of Mughal style of architecture. Carved arches and columns also decorate the façade.
There is a library on the first floor of theNGMA.Libraryhas acapacityof almost 50 60 people. Roof of library was made in such a manner that only diffused light enters the library.
Both the blocks have used Red sandstone and Buff sand stone as the cladding material. The useofthesematerialsisderivedfromtheoldMughalandBritishstyleofarchitecturewhich is thedominant stylein theC hexagon area. These materials makethestructureappropriate as well as sustainable according to the context. These colors also go hand in hand with the lush green surrounding.
5.1.5.2 ARCHITECTURAL FEATURES
45
The façade of the new block is dominated by high square colonnade structure and designed as a layer of planes that overlap to derive a certain pattern which was made to align the new part to the old structure. The separation of masonry walls and the stone cladding is highlighted by aluminum sheet.
The landscape design is done such that it incorporates all the trees present on the site and also screens newer building, presenting the façade as fragments rather than a continuous pattern that could become monotonous. The new trees have been planted to generate a number of open courtyards that could become potential spaces of interaction and a potential setting to display art objects out in the open.
3. LANDSCAPING
DEMERITS
The library is small and has insufficient sitting spaces. There are some dead spaces in the galleries. The admin area is confusing and hard to find. There are no dustbins in or around the site. Parking in the site is insufficient and improper.
The design of façade and structure is done to make it fit perfectly with the surrounding and context.
5.1.5.3
Well planned and dense landscaping is done so as to prevent buffer from the major roads on both sides. Box windows provides let in ample amount of light Services related to fire safety are adequately provided. Ramps are provided that make the design universal.
MERITS
The ventilation in the galleries is improper and the daylighting provisions are not very effective.
NATURAL VENTILATION
The new Block of NGMA has provision for diffused natural lighting in the galleries.
MERITS AND DEMERITS
46 4.
The galleries are properly arranged and have proper circulation patterns.
5.2 BIHAR MUSEUM, PATNA 5.2.1 PROJECT FACT FILE
47
Exhibits Art works and sculptures from Bihar Heritage and culture
Bihar Museumis an artmuseum located in Patna. The design for the museums was developed as a winning entry for the competition. It is a multi faceted programme having different kinds of public and social spaces. The museum houses a number of art galleries which showcases rich art of the region. The main aim of the gallery is to educate Bihar’s local people as well as visitors across the globe about Bihar’s rich heritage and cultural history. Figure 0 13 Admin block of the Bihar museum
THE
5.2.2 INTRODUCTION
Established: 2018 Programme: Art galleries, Eatery, Auditorium, Library, Lecture room/Workshops, Restoration labs Architects: Maki and Associates(Tokyo), Opolis(Mumbai)
Location: Jawahar lal Nehru Marg, Bailey Road, Patna Site Area: 53,480m2 (13.2 Acres) Built-up area: 25,410 m2 (6.2 Acres)
LOCATION AND CONTEXT
Figure 0 14 Site Location of the Bihar museum.
Figure 0 16 Patna High court Figure 0 15 Patna Women’s College
48
5.2.3
The Bihar museum is located in Patna, which is the capital city of the state of Bihar. The site is located on the southern part of Jawaharlal Nehru Marg, Bailey Road, in Patna. It covers an area of 13.9 acres. The site of the proposed museum was earlier occupied by seven old bungalows between LN Mishra Institute and Hartali Mor in Bailey Road. Later these bungalows were demolished in order to begin the construction of the museum.
Nehru Path (more commonly known as Bailey Road) has many important landmarks like Patna High Court,[2] Patna Women's College, Patna Secretariat, Patna Zoo, Patna Airport, Bihar Museum etc. Bailey Road is one of the prominent roads of the city due to its good connectivity to major industrial area of Patliputra Industrial Estate. Bailey Road is also observing fast growth in residential and real estate sector.
The generous 5.3 hectare plot along 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. Each 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.
49 5.2.4
PROGRAMME ARRANGEMENT
5.2.4.1 SITE PLAN
FLOOR PLAN PROGRAMME
Instead of a building that was compressed in floor area, Maki and Associates elaborated on the advantages of a dispersed scheme whereby the building was spread out and the surrounding landscape integrated harmoniously. This also allowed for the play of courtyards and terraces in the design, seamlessly alternating indoor spaces with outdoor. Wishing for the visitor to discover history by journeying through built spaces, the architects brought the Japanese concept of Oku to engage with the multiple layers of space.
50 5.2.4.2
51 5.2.5 ANALYSIS 5.2.5.1 Spatial Character (Nature and design of spaces)
All the displays are mostly passive in nature. The displays have e-labels. There are some Graphic panels and some recreation of scenarios through models. The galleries also have some sculptures and models.
There are a varies of display types. Some are wall mounted others are either in a container display or open display
Contrastingcolored backgroundwalls areusedtoenhancethe displayexperience.
There are some of the permanent galleries and some temporary exhibition
Thespaces.galleries and exhibition spaces are arranged in Loop form of circulation. Some galleries rooms have Block circulation while other have window circulation
1. ART GALLERIES
52
2. COURTYARDS
The Museum environment is built around seven open to sky courtyards furnishing lush green landscape with tress and waterbodies. These open spaces will act as liberating spaces for the visitors establishing a connection between indoor and outdoor spaces. These courtyards are also reminiscent of traditional Indian architecture.
The lighting and display type is Minimalist Accenting. With dark wall colors, the paintings often seem brighter on their own due to the contrast in luminance compared to displaying them on white walls.
3. WORKSHOP AND LABS
The primary function of the museum is Thelearning.museum is built for people to visit and explore, to learn or find something different. Through a learning landscape, visitors will have vibrant experiences of all spaces.
5. AUDITORIUM
4. LIBRARY Library is an important feature of the museum. It acts as a sanctuary of knowledge and also a place for the people who want to gain knowledge. The library is well secluded from other public space to attain private space.
The auditorium is used for formal and informal events at the museum. Thus it imparts a cultural identity to the museum. The Auditorium acts as a interaction space for the artists and general public to enhance the knowledge of performing arts.
The café is an excellent semipublic space for the visitors. It acts as a buffer space (a space to rest in between the galleries). The café is well designed including both interior and exterior spaces. Apart from providing some delectable cuisine it also provides comfort to the people visiting the museum. It also acts as a revenue generation spot.
53
6. CAFETERIA
Figure 0 17The main gallery block of the Bihar Museum is framed by an aluminum clad entrance canopy and Corten steel walls.
All the corridors have slit windows that enter the day light making the space lively. In the galleries the diffused daylight enters through the Metal jalis. Some galleries have ribbon window at the upper region that let in the natural light.
54 5.2.5.2
ARCHITECTURAL FEATURES
1. MATERIALS-
The outside is clad in Corten steel, a low maintenance material whose earthy brown red coloration contrasted delicately with the surrounding trees. The steel represents India's past successes in metallurgy as well as its contemporary position in the international steel industry, which has been aided by Bihar's abundant natural resources. A modern material palette with evident linkages to Bihar's past and future was offset by Indian granite and sandstone, terracotta, and glass finishes.
2. DAYLIGHTING
These areas are connected by internal and external courtyards and corridors, ensuring that all spaces remain in contact with the surrounding landscape while remaining isolated and comfortable throughout the year.
The continued existence of the natural environment in the museum "campus" creates a rich and unique experience for each visit, which changes with time and seasons. is expected to encouragerepeat visitorsand, togetherwith world class permanent andtemporaryexhibits, ensure that the Bihar Museum has a lasting educational impact on Bihar’s children and other visitors from all over the world.
55
3. VENTILATION AND COURTYARD
Well Planned spaces and interconnected galleries. Materials used are aesthetically pleasing and go in harmony with the surroundings.
4. LANDSCAPING
5.2.5.3 MERITS AND DEMERITS MERITS
The spaces are built around courtyards that make the space lively and provide resting spaces between galleries to the visitors. Daylighting is well used in the galleries and the cloisters connecting the galleries.
5.3 MUSEUM OF MODERN ART SAN FRANCISCO 5.3.1 PROJECT FACT FILE
5.3.2
INTRODUCTION
56 Each gallery is well designed according to the themes and various modes of displays make it interactive and enjoyable. Public and semi public areas are interconnected well. DEMERITS One of the courtyard is hard paved which increases the heat island effect. The corridors are narrow according to the public flow. The galleries are pretty congested.
Location: 151 3rd St, San Francisco, United States Site Area: 42735.4 m2 (10.56 Acres)
In 1995, with the opening of the San Francisco Museum of Modern Art (SFMOMA)’s new building designed by architect Mario Botta, the museum spearheaded a profound transformation of the South of Market district, that soon became a cultural hub for the city. Twenty years later, the expansion aims to further the museum’s role in the enrichment of thearea.Thistimebyrecoveringtheconnectionsbetweenthebuildingandthecity,creating new public spaces and galleries at street level, and transforming the museum into a public gathering place.
Established: 2016 Programme: Art galleries, Art Shop, Theatre, Lecture room/Workshops, Offices, Eateries
Architects: Snohetta SFMOMA has an internationally recognized collection of modern and contemporary art, and is the first museum on the West Coast dedicated to 20th century art.
5.3.3
The collections are displayed in 170,000 square feet (16,000 square meters) of exhibition space, making the museum one of the largest museums in the United States as a whole and one of the largest museums of modern and contemporary art in the world. world. The museum is located in the heart of San Francisco bay area. It is located in proximity to the Yerba Buena Gardens, hotels, restaurants, and public transportation, and the parking garage is next to the museum. The Museum has 3 different access each from three major Streets Third Street, Minna Street, Howard Street.
57
LOCATION AND CONTEXT
The bay Area is the most economically and technologically developed area of United states. It is the place hosting the Fortune 500 Companies of US. In the last years it has experience anumberofpolitical, cultural andeconomicmovements. Becausethe BayArea is crossed by six major earthquake faults, the region is particularly exposed to hazards presented by large earthquakes. The climate is temperate and generally very mild
58 5.3.4
5.3.4.1
PROGRAMME ARRANGEMENT SITE PLAN
on upper floors of the Veterans' Memorial Building in Sa thwarted in the late 1980s. In the late 1980s, plans to expand the museum on the top floor of the Veterans Memorial Buildingin theSan FranciscoCivicCenter weredevised.Thenewjointlyplanned museum is built in a 59,000 square foot (5,500 square meter) parking lot on Third Street between Mission and Howard streets. When the new museum opened, SFMOMA touted itself as thelargestNewAmericanArtMuseuminadecade,andwithits50,000 square foot(4,600 square meter) exhibit space, it became the second largest single building. large dedicated to modern art in the United States. In 2009, in response to the significant increase in museum audiences and collections since the museum opened in 1995, SFMOMA announced an expansion plan. Approximately 235,000 square feet (21,800 square meters) of expansion project opened in May 2016, connected to the existing building, and the new building extends from Minner Street to Howard Street. The expanded building includes seven floors dedicated to art and public programs, and three floors provide enhanced support space for museum operations. It provides approximately 142,000 square feet (13,200 square meters) of indoor and outdoor
Figure 0 20 Second Floor having painting and sculpture galleries and educational center
FLOOR PLAN PROGRAMME Figure 0 19 First floor having the entrance lobbies from three
59 gallery space, as well as nearly 15,000 square feet (1,400 square meters) of open public space full of art. It is SFMOMA’s previous art exhibition and provision of more buildings than before the expansion Almost six times as much public space. 5.2.4.2 streets.
60
5.2.5 ANALYSIS 5.2.5.1 Spatial Character (Nature and design of spaces)
The Third street Gallery is a spacious, free access space on the ground floor, facing the 25 foot tall glass wall of Howard Street, where art is now placed, for example, Richard Serra's huge walking spiral sculpture, Sequence (2006), shown for the first time to passersby.
The museum's permanent collection has more space, and each time you visit the Walter and Elise Haas Gallery, there will be new discoveries, including long term collections and new collections, as well as in depth exhibits of themed installations and artists' works. The new Pritzker Center for Photography, which includes an innovative interpretation gallery and learning center, is the largest space permanently dedicated to photography of any art museum in the United States. With the support of Pamela and Richard Kramlic, as well as Jan Shrem and Maria Manetti Shrem, two new gallery spaces will highlight time based artworks and multimedia devices.
Figure 0 21 The gallery of Howard Street
1. ART GALLERIES
The Terrace on the third floor joins the museum’s existing Sculpture Garden to provide open air gallery space for the presentation of large scale outdoor sculptures from the collection. On the new terrace, a vibrant living wall features native plants sustained by rain and recycled water.
2. SCULPTURE GARDEN AND LIVING WALL
3. ATTRIUM
61
Light enters atrium from the museum's iconic eyes and new sculptural staircases. Everyone is welcome to this free entry art space, which also guides those entering from Third Street to explore the galleries on the upper floors.
4. EDUCATION CENTER
The Education Center provides more hands on art making opportunities, receives commissions from family oriented artists, and provides teachers with more professional development opportunities. Figure 0 23 The skylight that enters light in the attrium Figure 0 22 The central attrim is the major attraction
Figure 0 24 The library is an interactive space in the museum
5.3.5.2
The state of the art Elise S. Haas Conservation Studio adjacent to the seventh floor gallery facilitates research with artists and allows conservation staff to share more behind-the-scenes work with museum visitors.
Figure 0 27 The old building cladded with Bricks and granite
ARCHITECTURAL FEATURES FAÇADE AND MATERIALS
The iconic east façade of the Snøhetta designed extension is inspired by the water and mist of San Francisco Bay and consists of more than 700 uniquely shaped and locally made FRP (fiberglass reinforced polymer) panels. Throughout the day, the movement of light and shadow naturally energizes the undulating surface. Silicate crystals from Monterey County embedded in the surface capture and reflect ever changing light.
62
5. CONSERVATION STUDIO
Figure 0 25 The Restoration lab
Figure 0 26 The façade design
Botha envisioned a five story museum consisting of stacked boxes lined with various red brick treatments. On the facade facing the street, the orthogonal volume rises, giving the building a wedding like appearance. Emerging from the center is a circular tower surrounded bya zebra shaped band of black and white stones. The upper part of the cylinder is cut at an angle and wrapped in glass.
5.2.5.3
MERITS AND DEMERITS MERITS The structure is sustainable with LEED gold certification. Daylighting is well used inside the building. Entries are provided from all three streets. The materials used in the façade of the new extension compose well with the old structure.. The hallways and atrium provide good and functional public spaces. The visual connection of the visitors is well established inside the structure.
Introduction of garden and terraces make the space more intriguing DEMERITS There is a lack of green spaces
The wonderful daylight stairs take visitors from one floor to the next. The gallery creates a comfortable art viewing experience, and the terrace allows people to relax between the galleries to enjoy the fresh air, sunshine and city views.
The expanded building includes features such as a large scale vertical garden on the third floor, purported to be the biggest public living wall of native plants in San Francisco. The building achieved LEED Gold certification, with 15% energy cost reduction, 30% water use reduction, and 20% reduction in wastewater generation.
63 SUSTAINABILTY
DAYLIGHTING
The top of the cylinder is cut at an angle and wrapped with glass to form a huge eye, which points to the city while introducing natural light. Botha described the eye as a "kind of eye" that brings the inside of the building into contact with the outside.
64 5.4 COMPARITIVE STUDY
65 6.SITE ANALYSIS
Thesiteis locatedin Rajarghat, ActionArea IIin Kolkata.Theexistingsiteis alreadytaken up for construction of Kolkata Museum of Modern Arts, right opposite to the site is the famous Eco park of Kolkata. There is a metro project coming up soon in this area, it will be connecting the Kolkata Airport to the new city via the main city. Numerous residential and commercial projects are springing in this part of the city. This area is located in the vicinity of the Central Business district of the new tow. New Town is a fast growing planned satellite city of Kolkata. It is close to Kolkata and covered by New Town Kolkata Development Authority (NKDA This new information technology and residential hub is being developed on the north eastern fringes of Kolkata. The area mainly consisted of huge acres of cultivable lands and water bodies, which have been acquired and developed in a planned manner.
6.1 SITE LOCATION
Figure 6 1 The Map showing the proximity of the Rajarghat Area from the Main City. The Site is part of Action Area II and the New City.
66 Figure 6 3 Map showing the location of the site in the Rajarghat Action Area II Figure 6 2 The Site boundary and location near the main road
67 6.2 SITE LANDUSE: NEIGHBOURHOOD LEVEL Figure 6 4 The action area II marked in the circle and site for International Convention Center marked in pink. Green ResidentialAreaEducational, Institutional, CulturalCommercial Figure 6 5 Land use map of Action Area II SITE ResidentialCommercialGreenAreaInstitutionalWaterbodyImportantLandmarks
68 6.3 CONTEXT PLAN: SITE & SURROUNDING Figure 6 7 Contextual plan of the site Figure 6 6 Pie chart showing the Rajarghat Action Area 2 Proposed Landuse
69 6.4 DEVELOPMENT CONTROLS: SITE DATA AND BYELAWS 1. Every plot shall abut on the means of access. Minimum Width Maximum Length 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 meters 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
70 of Means of access 2.4 3m 3 5m 5 7m 7 9m 9 12m 12 15m Above 15m 7 10 12 20 40 60
Width
heightPermissibleofthebuilding
restrictionNo
As per the development norm of the New Town, Kolkata since a museum is an assembly building, the permissible ground coverage is 40%
3. FAR: Floor Area Ratio MeansWidthofAccess 2.4mUpto 2.4 3.5m 3.5 7m 7 9m 9 15m 15 20m 20 24m Above 24 FAR Nil Nil Nil Nil 2 2.25 2.5 2.75 4. Ground Coverage
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 6.space.General exit requirements c) 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,
71 (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 8.Building.Staircase requirements Area per floor (in m2)
Width of stairwaysthe(inm) Min. no. of staircase (up to 12.5 of height) Min. no. of staircase (above 12.5m of height) Up to 500 1.5 1 2 Above 500 2 2 2
72 9. Setbacks allowed 5m on the front 5m on the sides 6m on the rear 6.5 GRAIN ANALYSIS The residential areas towards the eastern and western parts are fine grain and have a fairly even texture. The areas around the site do not have much built area. The areas are divided into pockets through a network of clear, geometrical laid out, broad roads. Figure 6 8 Nolli’s Figure ground analysis
73 6.6 VOLUMETRIC ANALYSIS Most of the surrounded structures are G+1 or G+3. There is a proposed Metro Flyover construction going on Figure 6 11 Section AA’ Figure 6 10 Section BB’ Figure 6 9 Site Section
The
Being near to the major CBD zone of the new town the site is exposed to large number of public.
Figure 6 12 Paths
74 6.7
The site is near a major traffic node and it shares one of its edge to the National highway 12.
The new town has well designed pedestrian network and walkways with adequate landscaped strips along the roads. site shares its edge with two roads Street 787 and National Highway. and nodes for traffic analysis
VEHICULAR AND TRAFFIC ANALYSIS
75 6.8
IMPORTANT LANDMARKS
The site is primarily surrounded by commercial and residential projects. Opposite to the site is the most famous tourist attraction Eco Park. Another important attraction in the vicinity of the site is the Mother’s Wax Statue museum. The site may face a strong competition from these popular tourist attractions. A convention center is proposed adjacent to the site of the museum. All these projects would help to build a strong cultural center in the New Town of Kolkata.
6.9 SITE AND SURROUNDING
Presently the site is a piece of barren land. The construction for the KMOMA has not been started yet. The site is enclosed with a boundary and has a specified entrance. The site shares its edge with National Highway 12 which is a 75m wide road having 6 main lanes and 2 service roads on either site. The constructions for the proposed metro flyover and station is under progress. Most of the areas surrounding the site are barren lands. New projects are rapidly springing up in the vicinity which would lead to the development of urban character.
76
There is no catchment area in the site. The site is flat with minimal change in the gradient at some places.
77 6.10 NATURAL SLOPE AND DRAINAGE
78
Adequate sun exposure allows solar energy generation in the site through solar energy panels. The daylighting can also be introduced in the site through careful designs of openings in the eastern and southern direction. Though to prevent the heat the openings in the south side sould be limited or should have appropriate shading systems.
6.11 CLIMATE ANALYSIS
6.11.1 SOLAR ANALYSIS
Kolkata has a tropical wet flutter climate. The average annual temperature is 26.8 ° C (80°F). The average monthly temperature is in the range of 15 ° C to 30 ° C (59 ° F. at 86 ° F). In summer, it is hot and humid with a temperature between the dry spell, and the maximum temperature often has more than 40 ° C (104 ° F) between May and June. The winter is from December, there is a tendency to continue from about 2 is degrees at half a month and tend to continue from about 2 degrees until half a month in January. The highest recording temperature is 43.9 ° C (111 ° F) and the least 5 ° C (41 ° F).
Typically, in early summer (mid March to mid May), dusty winds, followed by thunderstorms and heavy rain, sweep across the city and relieve heat and humidity. Rain from the Bay of Bengal branch of the southwest monsoon hit the city from June to ComparedSeptember.to other major cities in India, the level of particulate matter (SPM) is higher, resulting in frequent smog. Severe air pollution in the city has led to an increase in lung cancer and other pollution-related respiratory diseases.
As clearly evident from the Solar information, there is 12 hours of average daylight throughout the year. The city receives 2,528 hours of sunshine each year, the largest of which occurs in March. Pollution is a major problem in Kolkata. This daylight is mostly obtained from the Southern side of the site.
79 6.11.2
WIND ANALYSIS
The moths of April, May, June are windiest experiencing winds with the speed of 28 38 km/h for 10 15 days approximately.
The wind rose shows that majority of wind flows from the south or south east direction of the site. Some of the winds are also experienced from the North western side of the site. Smallfenestrationsonthesouthernsiteofthestructurecouldallowgoodnaturalventilation inside the structure.
80 A jail like façade can be provided which enters diffused light and help in appropriate ventilation. The structure should be oriented along the east west axis to used maximum daylight and proper ventilation.
Thelocation ofthe siteis prominent andsurroundedbyvariousfamous recreational and cultural spots.
PRECIPITATION
A new metro project is under construction in the close vicinity of the project which will ensure good transport connection within the town.
Water havesting methods can be installed in and outside the structure to collect water and restore the water table. This water can be used to maintain the landscaping and vegetation in the site.
The site has even topography and clean orthogonal geometry
The New town has great potential for development in the future.
The site has a defined access through the service lane.
6.12.2 WEAKNESS
6.12
The site has upcoming project of a multistory building towards the South West of the site which might hinder the ventilation from that direction.
The months of June july August and September receive highest rainfall Rain from the Bay of Bengal branch of the southwest monsoon hit the city from June to September and provided the city with 1,582 mm (62.3 in) of most of the annual rainfall.
81 6.11.3
The site shares two of its boundaries to main roads of the new town which ensures its connectivity to the main city.
SWOT ANALYSIS
6.12.1 STRENGHTS
6.12.4
OPPORTUNITY
6.12.3
6.13 SITE
As the New town is under development there are less public transport options in thevicinityliketaxis and autorikshaws in thearea. Thetaxi availableareexpensive.
Located adjacent to the proposed Convention center and existing Eco Park, the site poses a potential for good footfall.
The site has approach through points of high traffic congestion. The site is quite far from the main town that might hinder the footfall. ANALYSIS OUTCOME
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The site being well ventilated and having good amount of daylight gives and opportunity for sustainable design.
THREATS
Though the metro project coming up can boost the connectivity of the area.
The project could act as the architectural landmark of the developing new tow.
The site being adjacent to some of the busiest roads of the city subjects the site to fast moving traffic and noise.
83 7.DESIGN DEVELOPMENT 7.1 DESIGN DERIVATIVES
84 7.2 CONCEPT TRANSLATION
85 7.3 FORM EVOLUTION
86 7.4 ZONNING
87 8. FINAL DESIGN
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REFERENCES
[1]"KMOMA || Media Coverage", Kmomamuseum.org, 2021. [Online]. Available: http://kmomamuseum.org/media coverage/index.html#. [Accessed: 17 September 2021].
[2]"Kolkata Museum of Modern Art / Herzog & de Meuron", ArchDaily, 2021. [Online]. Available: [3]"KMOMA[Accessed:https://www.archdaily.com/452166/kolkata-museum-of-modern-art-herzog-and-de-meuron.17September2021].||MediaCoverage", Kmomamuseum.org, 2021. [Online]. Available: http://kmomamuseum.org/media coverage/index.html#. [Accessed: 19 September 2021].
[4]"A Brief History of Modern Art", Artisera, 2021. [Online]. Available: https://www.artisera.com/blogs/expressions/a brief history of modern art. [Accessed: 1 Oct [5]"SFMOMA2021].
Interactive Plan", S3 us west 2.amazonaws.com, 2021. [Online]. Available: https://s3 us west 2.amazonaws.com/sfmomamedia/proxies/the new sfmoma/index.html#Restaurant. [Accessed: 17 Oct 2021].
[6]"AD Classics: The Museum of Modern Art", ArchDaily, 2021. [Online]. Available: https://www.archdaily.com/430903/ad classics the museum of modern art. [Accessed: 18 Oct [7]2021].A.Kwun, "The Secret Paint Colors That Renowned Art Museums Love", Artsy, 2021. [Online]. Available: https://www.artsy.net/article/artsy-editorial-secret-paint-colors-renowned-art-museumslove. [Accessed: 1 Oct 2021].