Chinmaya Pradeep and Virasat-e-Khalsa by shrutibajaj

Graduation Project 2016

Exhibition and Museum Design: Designing Experiential Spaces Sponsor

Design Habit Student

Shruti Bajaj

Industrial Design (Retail & Exhibition Design)

Industry Guide

Mr. Amardeep Behl

Faculty Guide

Prof. Rajan Iyer

The Graduation Project Evaluation Jury recommends SHRUTI BAJAJ to be awarded the Post Graduation Degree of the MIT Institute of Design, Pune IN INDUSTRIAL DESIGN (RETAIL AND EXHIBITION DESIGN) herewith, for the project titled “LOREM IPSUM” MEMBERS: NAME

ORGANIZATION

on fulfilling the further requirements by* ( *subsequent remarks regarding fullfilling the requirements: )

GRADUATION PROJECT 2016 PROGRAMME: PG PROGRAMME

Chairperson of the Jury

SIGNATURE

Acknowledgements I would like to express my deepest gratitude and regards to all those who have contributed to my diploma project. I want to thank my guide, Prof. Rajan Iyer for patiently helping me look for an appropriate project and for his immense support and guidance throughout the project.

Be confused, itâ&#x20AC;&#x2122;s where you begin to learn new things.

I am grateful to Mr.Amardeep Behl for giving me the opportunity to work under his mentorship at designhabit and patiently guiding me at every stage of the project. Every interaction with him was insightful and opened my mind to newer ways of design thinking and visualization, and made this project a valuable learning experience for me. Ms.Sharada Mushti for her guidance and inputs on the visualization of the space structure, and constantly pushing me to strive for better. Shreya Sharma, Mr.Bharat Upadhyay, Akbar Khan, Shambhavi Padukone, Sudha Palepu, Surbhi Jain, Sugandha Jain, Sumedha Garg, Mr.Patrick Ghose and the entire team at designhabit for their support and in helping me enhance my skills and for always keeping the workplace buzzing with energy.

All the professors who taught me at MIT Institute of Design My friends and my colleagues at MITID for their support and everything that I have learnt from them. My grandparents for their unconditional love, daily encouragement and blessings. My father, for his love, care and support and for accompanying me at the studio, while I worked alone late nights, towards the conclusion of the project. My mother, for her love, positivity and support (and for sending three course meals, everyday for lunch, for me and many others at the studio to ensure that we were well fed.) My siblings for lifting my spirits even after the most exhaustive days.

Synopsis Chinmaya Pradeep As part of my diploma project at Design Habit, I worked on one (Verse 7: Many Moods of the Master) out of eleven exhibits of Chinmaya Pradeep. It’s a first of its kind permanent outdoor multi-medium and multimedia park in India, reflecting the knowledge of Vedanta, Bhagvad Geeta & Hindu Culture through the life work and teachings of Poojya Gurudev Swami Chinmayananda. The concept behind Chinmaya Pradeep is to illumine the ideals and the vision that inspired Swami Chinmayananda to dedicate himself to the higher way of life and raise the standard of life in the society through individual transformation.The exhibition is experience based and not object based. My scope of work for the project was understanding the concept brief for the exhibit, sourcing suitable content and visualization of the exhibit structure and the display.

Virasat-e-Khalsa Virasat-e-Khalsa is a museum of the Sikhs located in the holy town, Anandpur Sahib, near Chandigarh. The museum celebrates 500 years of the Sikh history and the 300th anniversary of the birth of Khalsa, based on the scriptures written by the tenth and last guru, Sri Guru Gobind Singh ji. The museum is in its second phase of design and I was given the task to design graphics for Gallery 20: Participation in the Struggle for independence. This gallery intends to communicate the impact of Sikh involvement in the struggle for independence, both for themselves as well as the nation. I was given the content and I had to create designs that highlighted the efforts of Sikhs to assert Sikh rights within the larger national scenario and to focus on the events that led to the inevitable partition of India.

Note: During the period of my diploma project, Design Habit did not have access to Chinmaya Mission’s archives. DH was only provided with low resolution thumbnails of photographs from the archives. Therefore, very low resolution photographs have been used at all stages of my diploma project. High resolution photographs will be provided to Design Habit, at a date scheduled after the conclusion of my diploma project. Any pixelation of photographs is not due to ignorance. For the sake of convenience and respect, Swami Chinmayananda has been referred to as ‘Gurudev’– a title given to him by his devotees, in various places across the document.

Design Habit Design Habit creates spatial experiences. It does narrative spaces that are dynamic and sensory to the point of being emotive. The design language depends on integrating a wide spectrum of elements and media into a single, near theatrical experience. Design Habit is led by Amardeep Behl and Sharada Mushti. Each project the firm takes on requires a fresh look at the way it approaches the space. Itâ&#x20AC;&#x2122;s ability to make storytelling as design is what defines the space. Be it a thematic museum, or one based on artefacts, a personality oriented institution, a temporary exhibition space, or production design for a film, a place recounting corporate history, each of them have oneof-a-kind solutions.

with sound and after effects. Our own imagination is the only limitation to the potential that this unravels. Harnessing the skills, abilities and talents of a wide spectrum of disciplines which range from exhibition, graphic, industrial and structural design, film making, music, arts and crafts, history and academia, research and content development, automation, engineering and programming, the studio creates a unique custom-made language for each project, a design solution which is all-encompassing. Content and client requirements dictate solutions for the project which are always innovative, always new. Itâ&#x20AC;&#x2122;s approach is to cohesively integrate multiple disciplines and deliver an extraordinary result which it would like to claim had no precedent.

Figure 1

Figure 2

For Design Habit the primary elements are space and light. Space gives way to a play in volumes, textures, tonalities, graphics, sets and a myriad of immersive interpretations. Light makes the play of space happen. It generates moods, atmospheres, depths. When it gets dynamic, a whole world of multimedia opens up. Projections, visual illusions, programmed

CONTENTS PROJECT 1: CHINMAYA PRADEEP Exhibit Verse 7: Many Moods Of The Master

1. Introduction Chinmaya Mission 16 / Client Brief 20 / Concept 21 / Narrative: Kritajnata 22 / Chinmaya Pradeep 24 /

2. The Visitor Audience 26 / Engaging the Audience 26 / Layering for Diverse Audience 26 /

3. The Site Overall Exhibition Site 28 / Zoning of the site 30 /

4. Verse 7: Many Moods of the Master Content Brief 33 / Engaging with the content 36 / Interpretation Plan 38 /

5. Planning the Exhibit Site Analysis 40 / Developing a plan 46 / Developing an open elevation 47 / Layout Explorations 48 / Final Plan 66 / Classifying or Zoning of the exhibit 67 / Devising a Path 68 / Number of Visitors and Visitor experience 69 /

6. Designing the display Display ideas 70 / First level Design 74 /

7. Designing display for each Zone Display Design Parameters 76 / His Sadhana, His Silence, His Art, His Compassion 78 / His Classes 84 / His Pooja and His Humility 90 / His Leadership, His Work, His Travels 94 / His Laughter, His Wit, His Humour 98 / His Style, His Taste, His Expressions, His Play, His Sleep 102 /

8. Evolution of the Display Design Initial Open Elevation 106 / Final Open Elevation 108 /

9. Shell of the exhibit Shell of the Exhibit 110 / Understanding the form 116 / Modelling the form in clay 120 / Finalizing a Form 122 / Modelling the Form in 3-Ds Max 128

10. Final Design Renders of Exterior Space 130 / Renders of Interior Space 134 /

11. Technical Drawings Plan Drawing 144 / Wiremesh Drawing 145 / Elevations 146 / Sections 148 /

12. Material Ferrocement 156 / Sampling in ferrocement 157 / Ferrocement Construction Process 158 / Materials for the display 160

13. Conclusion An overview 161 /

CH IN M AYA P R AD E E P

CONTENTS PROJECT 2: VIRASAT-E-KHALSA Gallery 20: Participation In The Struggle For Independence

1. Introduction About the project 164 / Architecture 166 / Design 168 / Visitor 168 / Scope of work 170 /

2. Gallery 20 Introduction 171 /

3. Design Methodology

7. Gallery 20.4 Introduction 206 / Experience Note 208 / Gallery 20.4.1 210 /

8. Execution Design Process 212 / Site Work 214 / Construction 218 /

9. Conclusion An overview 219 / Resources 220

Design methodology 172 /Parameters 173 / Treatment and Style 174 / Materials 175 / Explorations 176 /

4. Gallery 20.1 Introduction 178 / Experience Note 180 / Gallery 20.1.3 186 / Gallery 20.1.4 188 / Gallery 20.1.2 190 /

5. Gallery 20.2 Introduction 192 / Experience Note 194 / Gallery 20.2 196 /

6. Gallery 20.3 Introduction 198 / Experience Note 200 / Gallery 20.3.1 202 / Gallery 20.3.3 204 /

CH IN M AYA P R AD E E P

C H I N M AYA P R A D E E P

I NT RO D UC T I O N

CH IN M AYA P R AD E E P

“Can I do it?” Can I face the educated class of India and bring to their faithless hearts at least a ray of understanding of what our wondrous culture stands for? Sitting on the banks of the roaring Ganga, I shivered as I pondered the thought.

Sitting, watching the Mother Ganga in her incessant hurry, I seemed to hear the words interlaced in her roar, ‘Son, don’t you see me; born here in the Himalayas, I rush down to the plains taking with me both life and nourishment to all in my path. Fulfillment of any possession is in sharing it with others.’

None could argue against the Eternal Truth that man is in essence God.

I felt encouraged, I felt reinforced.

But could I explain it to others?

The urge became irresistible. – Swami Chinmayanda, sitting on a large boulder on the banks of the Ganga in early 1951.

I NT RO D UC T I O N

CH IN M AYA P R AD E E P

Chinmaya Mission

The inner transformation of individuals through knowledge of Vedanta, spiritual practices and service to society, resulting in a happy world around them. – Mission Statement To provide to individuals from any background, the wisdom of Vedanta and practical means for spiritual growth and happiness, enabling them to become positive members of the society. – Vision

Chinmaya Mission® was established in India in 1953 by devotees of the world-renowned Vedanta teacher, His Holiness Swami Chinmayananda. Guided by his vision, devotees all around the world formed the nucleus of a spiritual renaissance movement that now encompasses a wide range of spiritual, educational, and charitable activities, ennobling the lives of thousands in India and across its borders. Presently, headed by His Holiness Swami Tejomayananda, the Mission is administered by Central Chinmaya Mission Trust (CCMT) in Mumbai, India. Under his guidance, the Mission has continued mushrooming across the globe and stands today with over 300 centres worldwide. Chinmaya Mission follows the Vedic teacherstudent tradition (guru-shishya parampara) and makes available the ageless wisdom of Advaita Vedanta, the knowledge of universal oneness, providing the tools to realize the wisdom in one’s life. Vedanta, the essential core of Hinduism, is the universal science of life, relevant to all people of all backgrounds and faiths. Vedanta inspires seekers to understand their own faith better. Thus, although Chinmaya Mission is a Hindu organisation, it does not seek to convert other religious practitioners. As a spiritual movement that aims for inner growth at individual and collective levels, the mission offers a wide array of Vedanta study forums for all ages, promotes Indian classical art forms and operates numerous social service projects. To date, millions worldwide have benefitted directly or indirectly from Chinmaya Mission’s numerous centres, ashrams, classes, events, services and projects.

KEYWORDS spiritual educational charitable

I NT RO D UC T I O N

CH IN M AYA P R AD E E P

Chinmaya Pradeep first-of-its-kind permanent & outdoor multi-medium & multimedia experiential park

Client Brief

Concept

Swami Chinmayananda was not a personality, but a phenomena. In one lifetime, He accomplished a vision of the scale that is unimaginable for generations to come. His work benefitted every age group, inspired people from all walks of life, transformed millions.

Chinmaya Pradeep is based on the 11 verses of ‘Kritajnataa’ (Gratitude) by Poojya Guruji Swami Tejomayananda and depicts 5 facets of Swami Chinmayanda: 1. A Visionary & A Missionary 2. A Sannyasi 3. A Teacher 4. A knower of the self 5. As Swami Chinmayananda

To showcase His work and vision as a medium of inspiration, Chinmaya Mission Mumbai has conceptualised “Chinmaya Pradeep” - a first-of-itskind permanent outdoor multi-media and multimedium experiential park - innovatively laid out in the vicinity of His kutiya (humble residence) in the premises of Sandeepany Sadhanalaya, Powai.

Location Sandeepany Sadhanalaya, Powai, Mumbai. Chinmaya Pradeep is spread over 20,000 square feet.

Vision of Chinmaya Pradeep Chinmaya Pradeep is to illumine the ideals and the vision that inspired Swami Chinmayananda to dedicate himself to the higher way of life and raise the standard of life in the society through individual transformation.

Chinmaya Pradeep will be located at Chinmaya Mission’s first ashram and Sandeepany Sadhanalaya, at Powai, Mumbai, which is the headquarters at Chinmaya Mission Worldwide, which has Swami Chinmayananada’s first kutia and the temple of Lord Jagadeeshwara.

Chinmaya Pradeep is not a biographical journey of Swami Chinmayananda. Its an exploration of the grand vision that he had for the unfoldment of the individual, for Chinmaya Mission, for Hindu Culture, For the Nation and for the whole world.

Chinmaya Pradeeep will be made around Swami Chinmayananda’s first kutia, which will be retained as it is and will be the culminating point of Chinmaya Pradeep.

Based on 11 verses of ‘Kritajnataa’ Sandeepany Sadhanalaya, Mumbai headquarters of CM Worldwide 20,000 square feet area first kutia of Swami Chinmayananda

It’s a first of its kind permanent outdoor multimedium and multimedia park in India, reflecting the knowledge of Vedanta, Bhagvad Geeta & Hindu Culture through the life work and teachings of Poojya Gurudev Swami Chinmayananda.

I NT RO D UC T I O N

CH IN M AYA P R AD E E P

K R I TA J N ATA A

(Sanskrit)

K R I TA J N ATA A

(English)

Verse 1

Samasta-Jana-kalyane Niratam Karunamayam | Namami Chinmayam Devam Satgurum Brahmavidvaram

I salute Sri Chinmaya, the noble teacher, the best of the Knowers of Brahman (The Infinite Reality) and who, full of compassion, is ever engaged in the welfare of all people.

Verse 2

Sanskriter-Veekshya haanim ca Bhaaratasys ca dusthitim | Dravitam Hridayam yasya vandeham tam mahaamunim

I Salute the great sage whose heart melted seeing the decline in the culture and Indiaâ&#x20AC;&#x2122;s sad condition.

Verse 3

Nishkriya karunaa kvaapi saphala na bhavishyati | Iti matvaa sarvadaiva karmani vartate yatihi

Knowing fully well that nowhere does passive compassion serve any purpose, the dynamic sage always remained engaged in Action.

Verse 4

Svayam Kurvan-kaarayanscha karmaani vividhaani yaha | Asaktah sarva-kaaryeshu vartate saravadaa ca saha

Performing himself and inspiring others too to take up various projects, he ever remains unattached in all of them.

Verse 5

Jnana-yagna-pracharam ca brahmachari prasikshanam | Shruti-smriti-puranaadi vyaakhyaa grantha prakaashanam.

(The various activities include) Propagation of Jnaana-Yagnas (Talk series), training of Brahmacharis (Dedicated students) and publication of commentaries on Upanishads, Geeta, Puranas etc.

Verse 6

Baalakeshu ca samskaarah vichaaro yuvakeshu ca | Dharma-nishthaa desha-bhaktih lokaseva tathaiva ca.

Also, (Activities that create) noble impressions in children, (promote) right thinking amongst youth and similarly (Inculcate) dutifulness/Pride in Hindu culture, Patriotism & Service of humanity.

Verse 7

Yatha vriddhim praapnuvanti tathaa yatnam karoti saha | Sarvadaa sarvabhaavena satgurur no yatishwarah

Our noble teacher, the great ascetic, always puts forth efforts in all ways, so that these (qualities amongst children, youth etc. mentioned above), grow well

Verse 8

Ye gunaah sarva-shaastreshu varnyante brahmajnaaninaam | Tairayam sarvadaa purno raajate sarva yoginaam

Fully endowed with the virtues of the knowers of Brahman as described in all scriptures, he ever shines among all yogis.

Verse 9

Nirgune nischala nishthaa sagune sarasaa ratihi | Sangamo madhuraschaayam deshikeno mahaatmani

In our Teacher who is indeed a great soul, we find a sweet confluence of firm abidance in the Formless Self and joyous revelry in the Truth with the attributes.

Verse 10

Aneka-janmaarjita-punya-praaptaha Mayaa gururyo jagati prasiddhah | Yasya prasaadena manah prashaantam Babhuva me tam shirasaa namaami

I found the world-renowned Guru through the merits acquired in countless lives. I bow down to him by whose grace my mind became peaceful.

Verse 11

Kritajnataa yaa ca hridi-sthitaa me Vaktum na shakyaa khalu yatnatopi | Guro praseeda kripayaa vidhehi Tvat paada bhaktim paramaanuraktim

I NT RO D UC T I O N

CH IN M AYA P R AD E E P

What is Chinmaya Pradeep?

Mirror to ourselves takes us back to our roots essence of Bhagvad Geeta & Upanishads essence of Vedanta

It is a journey of a skeptic (Balan) who transformed to become a seeker (Swami Chinmayananda) and who ultimately dedicated himself to Self-Knowledge and service of the society. There is a skeptic in all of us who is waiting to get the right understanding. Chinmaya Pradeep has logical/time-tested points that can explain the logic of spirituality to us. Its a mirror to ourselves. Building schools, orphanages, rural development, educating people in literacy, medical help etc. are various forms of Service. Empowering someoneâ&#x20AC;&#x2122;s life with right knowledge, vision & values is also a great service. It is Jnana-Seva which is the highest form of service. It makes a person strong and independent. It is to feel deeply the decline of our glorious Vedic culture, understand its essence and see how can it be revived. Swami Chinmayananda felt sad looking at the deterioration of our culture and decided to be a proactive contributor to revive the Culture. Chinmaya Pradeep is to take us back to our roots and make us proud cultural citizens who can contribute in protecting and propagating our culture in our own simple ways to the next generation. There is a great curiosity today to learn the Bhagavad Geeta, Upanishads, Vedanta etc. Chinmaya Pradeep has the essence of all the three through the Sthitaprajna Portion of the Geeta, 4 Mahavakyas of the Upanishads and BMI Chart - essence of Vedanta. Chinmaya Pradeep gives the essence of Vedanta & Hindu culture to everyone. Including skeptics & atheists etc.

Anyone coming here can listen, reflect, meditate and be by themselves in solitude. Its a wonderful setting amidst nature. What is Hinduism? Is it merely the external show? what are our roots? what is the scientific, social, knowledge and ritualistic aspect of Hindu culture? why do we do certain things like fasting, pradakshina, aarti, havan etc. Through Chinmaya Pradeep one can understand the WHY of Hindu Culture & its essence. The values of compassion, selfless service, uncompromising commitment, detached engagement, devotion, integrity etc. are communicated through the anecdotes of Swami Chinmayanandaâ&#x20AC;&#x2122;s life and his words. Chinmaya Pradeep give us the strength to hold on to the values in our lives, in spite of all the challenges that come our way.

setting amidst nature essence of Hindu culture empower the individuals connect to a Spiritual Master

If individuals become stronger and empowered, the society, state, country and the world will be a better place to live in. Chinmaya Pradeep is to empower the individual. Chinmaya Pradeep connects the user to a Spiritual Master who wanted everyone to be independent and who genuinely served the society. It reposes his faith in spirituality and spiritual masters.

T H E VI S I TOR

CH IN M AYA P R AD E E P

The Audience

Engagement

The audience of a charitable trust of a spirtual nature is vast and varied. It includes seekers of varying curiosities, age groups, genders, locations, ethnic backgrounds, marital status and incomes. The mission is spread worldwide with many disciples living overseas.

Engagement is the process of addressing visitors directly, stimulating them, turning their attention towards something, creating lasting positive memories of a display and giving them new insights.

Chinmaya Pradeep is for seekers with various levels of curiosities about Hinduism and the mission. Chinmaya Pradeep aims to give the essence of Vedanta & Hindu culture to everyone. Including skeptics & atheists etc. Chinmaya Pradeep is primarily targeted to the followers of Chinmaya Mission. There are two types of disciples of the mission– Swamis and Civilians. On the basis of knowledge of the subject, the audience can be categorized into 1. Experts/ Vedantins: Visitors with a deep knowledge of the subject 2. Visitors, with some knowledge of the subject, and who engage with the organization regularly 3. Visitors, who are new to the subject (scouts)

Engagement is a much deeper and more profound experience that changes and deepens understanding and is the aim of good exhibition design. In order to engage & involve the audience, it was essential to understand what motivates them: • Their love for their Gurudev & His teachings • Their alignment with His vision • Interest in Hinduism • Interest in Vedanta, Bhagwad Gita & the Upanishads The visitors mode of engagement can be divided into three categories The visual learner: The exhibits will include eye catching displays that communicate the message, as such visitors are unlikely to read text The auditory learner Audio guides will be provided at several points for such visitors to interpret the exhibits. The kinaesthetic learner: The exhibit will be kept very tactile, and installation based displays will keep such visitors engaged.

Layering for Diverse Audiences Since, the exhibition addresses a wide range of visitors, some with more knowledge of the subject than others, layers of information will be created to accomodate their varied needs. For the experts, the exhibit needs to prove as a source to further their existing knowledge. Much of what they see, will be familiar to them, therefore, they will need a database or reference material to explore the subject more deeply. They may wish to delve deeper into the provenance of the subject and might want to sit down and reflect upon the message.

The orienteer is a visitor, who is accompanying someone, and is clueless about the subject. Such visitors are not primarily targeted but their needs must also be accomodated in the design, through activities, recreational spots, installations or by creating displays that might arouse their curiosity or keep them engaged. Since, the concept is of an outdoor park, there will be several points of engagement and recreation for such visitors.

The visitors, who are not experts and have a reasonable foundation of knowledge, want to increase their knowledge, motivated by general curiosity or by the need to pursue specific information. For such visitors, the design has to accommodate for an informed level of inquiry. It must include, explanatory text, audiovisual displays, other interpretive media, engaging installations and also a way to engage with information, after the visit. The scouts, are visitors, who might be new to the subject and want to pick up on the key information. Therefore, the trail of information laid out, should transmit sufficient information for the scout to understand the main thrust of the exhibition.

4. Visitors, who are clueless about the subject (orienteers) and are visiting out of curiosity, chance or accompanying someone.

THE SITE

CH IN M AYA P R AD E E P

The Site The site is located in Mumbaiâ&#x20AC;&#x2122;s Powai, which is a suburban neighbourhood in North East of Mumbai. Powai is situated on the banks of Powai Lake, and is bounded by the hills of Vikhroli Parksite to the southeast, Chandivali to the south-west, the L.B.S. Marg (old Mumbai-Agra road) to the north-east and the Sanjay Gandhi National Park to the north beyond the lake. The site is called Sandeepany Sadhanalaya. It is an ashram owned by the Central Chinmaya Mission Trust. Existing elements on site: Trees Gurudevâ&#x20AC;&#x2122;s first Kutiya Statue of Tapovan Maharaj Contours of the site

THE SITE

CH IN M AYA P R AD E E P

Narrative and Zoning for the overall exhibit The exhibit had to be an experiential learning exhibition and not just a static display of information. There were some existing elements on the site as well, that were to be included into the narrative. Therefore, based on discussions with the client & interpretation of the verses, DH dedicated a zone to each verse. Beginning the exhibition with, Verse 1 Objective: to introduce visitors to Gurudev Message :To depict 5 aspects of Gurudev • A Visionary & A Missionary • A Sannyasi - Karunamayam • As a Teacher – Satgurum. • As a Realized Master : Knower of the Self. • As Swami Chinmayananda - who was unique. Verse 2 Objective: To depict Gurudev’s conviction of sharing the eternal truth with the humanity at large Depicts Poojya Gurudev as a Sannyasi. Message: o share the knowledge of the eternal truth with all, similar to the river Ganga who is personified as the Mother who leaves the mountains and goes down to the plains to provide nourishment and shares with everybody all that she has to offer, without discrimination

Verse 3.1 Objective: Active Compassion as the plan for revival of culture Message: to focus on his decision to teach directly the scriptures and their meanings so that people could derive benefit of their own spiritual culture. Verse 3.2 Objective: to depict Gurudev’s mission to convert Hindus to Hinduism and to re-establish true meaning of Hinduism Message: to show the key values and salient features of Hinduism and to discover in each Hindu an integrated inner personality with courage to live its Rishi Culture. Verse 3.3 Objective: through true values of Hinduism there is an enlightened vision for all levels of society Message: starting from Jyana Yajnas, it became a comprehensive vision for society from the Individual to the Universal Verse 4: Objective: the spiritual upliftment of society through true understanding of Hinduism to showcase the 4 steps of Cultural Revival Message: to highlight the spiritual and social services of Chinmaya Mission as envisioned by Gurudev to depict Gurudev’s true interpretation of Hinduism

THE SITE

CH IN M AYA P R AD E E P

Verse 5.1 Objective: To explain to the visitor the BMI chart as Gurudev did to portray its significance to every individual being. Message: To understand and interpret the BMI Chart as a means to attaining Permanent Happiness

Verse 9: Objective: to portray Gurudev as an embodiment of the form and formless Message: To understand the different parts of the devotion described in the Geeta and understand the form and the formless in that context

Verse 5.2 Objective: To make the visitors interact with the BMI physically while being part of the Chart. The installation is an inclusive way of communication the functioning and essence of the BMI Chart. Message: To better understand the significance of the BMI Chart while traversing the physical manifestation of the same.

Verse 10 Objective: To define the difference between the jivanmukti and videhmukti with reference to Gurudev’s Maha Samadhi. Message: To understand the concept of jivanmukti and videhmukti

Verse 5.3 Objective: To show how Gurudev took the knowledge of Vedanta to the masses for the greater good. Message: Is to convey the significance of the Jnana Yagna (sacrifice of knowledge) to break out of one’s cycle of ignorance.

Verse 11 Objective: to establishes Guruji Tejomaynanda’s gratitude to Gurudev Swami Chinmayananda Message: To establish the importance of the Guru in a seeker’s life and to use paduka pooja as a means to pay respect

~Verse 7~ Many Moods of the Master Yatha vriddhim praapnuvanti tathaa yatnam karoti saha | Sarvadaa sarvabhaavena satgurur no yatishwarah Our noble teacher, the great ascetic, always puts forth efforts in all ways, so that these (qualities amongst children, youth etc. mentioned above), grow well

Verse 7 Objective: To be in the presence of Gurudev Message: To show the daily routine of Gurudev and the many aspects of his personality. Verse 8 Objective: To experience Gurudev as a Realized Master Message: To communicate the Sthitahprajna Lakshana

E X H I B I T VE R S E 7 : M A N Y M O O D S O F THE MASTER

CH IN M AYA P R AD E E P

Content Brief for Verse 7 (The following is a bit long but is one of the best descriptions about Gurudev by Gurudev. Must be used unedited as it is.) When asked to reveal a little about Himself, Swami Chinmayananda in a letter replied on 11th May 1966: Blessed Self, Om Namo Narayana. Salutations! “I was born in Kerala, raised in the north, hardened in Punjab, softened in Uttarkashi, criticised everywhere, applauded in some places, but accepted and worshipped by everyone. I am a riddle to myself. Prattling was my profession, preaching is my profession now, and I know practice should be my future job. But everywhere I went, I earned a lot and squandered it all upon the community. I am by training a religious man, by experience a Vedantin, by inclination a bhakta, in temperament a karma yogi, in practice an integral yogi. My faith is in democracy. I am convinced by socialism. I am habituated to communism – and I am committed to the impossible theory of “Love All”. Thick-skinned, hard-boned, I have a mail-of-laughter to cover and protect both my head and heart, and so stabs do not penetrate me, spears cannot cleave me, whippings do not lash me.

I eat and drink, take regular baths and sleep, wear clothes, have no Jata, work for 18-19 hours a day and preach the rest of the time. When audiences are not available, of course, I preach to myself. I have many lovers and many beloveds in this country and abroad. I play the beloved to my lovers and am an enthusiastic lover to all my beloveds. We thus step ahead together and march through love towards the Lord’s palace of Bliss and Wisdom. Your good self may meet me easily in my books or in the Pooja room of any healthy young Indian, be he a Hindu, Christian or Muslim. White men adore me, yellow men recognise me, brown men worship me and blacks love me. My teacher was a divinely sweet, incandescent, noble soul and I must tell you of him when you grow a bit more. Im sure you will try to shift your attention from me to the rishis and make your life beautiful and sublime.

Text For Sub-Section # 7.1 Gurudev as Swami Chinmayananda Interesting quotes and anecdotes of Gurudev that reflects his many moods. This will be interspersed through the artwork (Given below are only the captions that should come with His Photos & videos. Anecdotes etc. we can put in audio. Let pictures speak more in this section. Non bracketed text is to be taken for text display): A day in the life of Swami Chinmayananda Many Moods of the Master His Sadhana (Pictures of His chanting early morning/ doing sadhana) His Compassion (Some of His letters and Him writing letters) His Silence (Pics of His Meditation) His Taste (He loved hot spicy food, any others aspects and pics of Him eating) His Art (Some of his drawings) His Humor (Some of his talks) His Satire (Some statements or videos) His Laughter (His video laughing aloud, shrugging his shoulders) His Pooja (Some pics of pooja being done by Him and to Him) His Leadership (Some pics of Him in organising mode) His Wit (Some of his witty statements using pictures from Say Cheese! Use pics of His Q n A here)

His Style (His clothes, watch, walking stick, footwear…..) His Humility (Pics of Him sitting at the feet of great masters & serving the national cause) His Expressions (Different expressions of His) His Phrases (Think! Never Mind! So What? Krishna Krishna….Take the videos of these) His Play (Pictures of HIM playing billiards, table tennis……) His Sleep (Pics of Him sleeping, taking a nap) At Every Breath A Teaching On the panel highlighting Gurudev’s achievements, - Pole Star in the Spiritual Galaxy. - Leading the Leaders - Global Tours - Suvarna Tulabharam (There is a video of this. Use the video and the talk that he gave there) - Hinduism Renaissance Award 1992 by Hinduism Today - Addressing United Nations on Planet in Crisis on 2nd December 1992 (video clip can be used) - Invitation to World Parliament of Religions

CH IN M AYA P R AD E E P

Engaging with the content The content for the exhibit had several elements and all of them had to be sourced from the following sources: Content Material (elements) Photographs Anecdotes Letters Artefacts Videos Content Sources Chinmaya Mission Photo Archive Chinmaya Mission Video Archive Chinmaya Mission Letter Archive Chinmaya Mission Publications / Books Chinmaya Mission Youtube Channel Daily routine of Gurudev 3.30 AM Wake Up 4.00 AM Letter Writing 5.30 AM Meditation Session 7.00 AM Talks 8.30 AM Breakfast 11.00 AM Talk/ Meetings 12.00 PM Paduka Pooja 1.00 PM Rest 3.00 PM Classes/ Admin Work 6.30 PM Talks 8.00 PM Bhiksha 9.00 PM Interactions 11.00 PM Sleep

Initial Design Based on initial research & the brief, several elements for the exhibit were finalized. A design intent was developed and shared with the client. Interpretive Plan Based on the client’s feedback, a narrative was finalized, and an Interpretive Plan was made, which helped guide the design process of the exhibit Content Sourcing I was completely involved in sourcing the content for the exhibit. After the basic design idea was approved by the client, I was given an image bank with more than 21,000 thumbnails of photographs from the Chinmaya Mission Photo Archives, out which I had to shortlist and finalize the ones that we would be using For the video content, I went through few videos, and developed a video brief. Based on the brief, more videos would be sourced from the archives. For the letters, I referred to a Chinmaya Mission Publication called ‘Yours Forever’ and shortlisted relevant letters which would add value to each mood. For anecdotes and quotes, I referred to various publications.

CH IN M AYA P R AD E E P

Interpretive Plan Title: Many Moods of the Master Message:To show the daily routine of Gurudev and the many aspects of his personality. Objective: To be in the presence of Gurudev. Content Brief This exhibit features the many moods of the Master that allows the visitor to make a personal connect. It allows the visitors to immerse in the various aspects of Swami Chinmayananda, which are connected through a day in his life and from young swami to an old wise Sage. Experience Brief The visitor enters an organic space, designed to look like an earth shelter, it is cast in ferrocement, and has undulating surfaces. A tactile and dynamic exhibit, the visitor is immersed in the presence of the master through his photographs, writings, quotes, anecdotes and videos. Layers of photographs are interspersed with objects used by Gurudev in his daily life and videos of him to create a life like experience of the many aspects of his personality and his daily routine. The narrative unfolds chronologically in time.

P L A NNI NG T H E E X H I B I T

CH IN M AYA P R AD E E P

Site of the exhibit According to the storyline, the exhibit, is located between Verse 6 and Verse 8. Length: approximately 14m Breath: approximately 7m Area: approximately 98m2 The site was situated between two exhibits mentioned above. The entrance of this exhibit was located where Verse 6 ends. The exhibit structure had to exit into Verse 8.

Clockwise (L to R) Site plan with exhibits of Verse 6, Verse 7, Verse 8; Site Plan with the walls around Verse 7 exhibit; Site plan with the trees in Verse 7 exhibit

Site Plan (Not to Scale) All dimensions are in Millimeters

P L A NNI NG T H E E X H I B I T

Site of the exhibit

CH IN M AYA P R AD E E P

Site of the exhibit

P L A NNI NG T H E E X H I B I T

Site of the exhibit

CH IN M AYA P R AD E E P

Preceeding & Subsequent Exhibits

Previous exhibit Verse 6: Top: Visualization Bottom: Schematic Plan (Not to Scale)

Next exhibit Verse 8: Top: Visualization Bottom: Schematic Plan (Not to Scale)

P L A NNI NG T H E E X H I B I T

CH IN M AYA P R AD E E P

Developing a plan Based on the site and the area available, a plan was developed, which allowed for maximum space utilization. The site of the exhibit was 300MM below the ground level, therefore, it required a ramp for the entry and the exit. The ramps would also allow for convenient wheelchair access. The site included three trees, which were included in the plan.

First Level Verse 7 Exhibit Open Elevation (Not to Scale) Dimensions are in millimeters

Developing an open elevation

Challenge

Based on the plan, an open elevation was developed.

It was important to figure out, how the trees would be integrated in the exhibit. Integrating the trees in the exhibit would require considerations for rain, maintenance, natural light, birds etc.

Based on the content brief, and Gurudevâ&#x20AC;&#x2122;s daily routine, space was dedicated to various moods of Gurudev, to depict the various activities he perfromed throughout the day.

First Level Verse 7 Exhibit Plan (Not to Scale) Dimensions are in millimeters

While, it would have been interesting to create a courtyard under the tree and include natural elements, within the exhibit, the maintenance of the same would be very difficult. Several options were explored to arrive at a decision in this regard.

P L A NNI NG T H E E X H I B I T

CH IN M AYA P R AD E E P

Initial Ideas

P L A NNI NG T H E E X H I B I T

CH IN M AYA P R AD E E P

Initial Ideas

P L A NNI NG T H E E X H I B I T

CH IN M AYA P R AD E E P

Layout analysis

Layout No. 1

1 It makes for a welcoming visitor experience to pass under the canopy of a tree, leading upto the entrance 2 Courtyard under a tree: Can be used to sit and reflect or for an installation or set. 3 Space Utilization: In the circulation it is difficult to direct people towards this space.

5 1

4 The space under this tree can be utilized to create a set with Gurudev, giving classes under a tree.

5 Creating such a deep inset might affect the stability of the structure.

7 3 4

6 Locking of this space, at night, for security reasons, also needs to be kept in mind. 7 In this narrative, since the contrasting moods of silence and laughter are next to each other, they can generate a good impact and come across powerfully, reflecting the unpredictable dynamism in Gurudevâ&#x20AC;&#x2122;s personality.

P L A NNI NG T H E E X H I B I T

CH IN M AYA P R AD E E P

Layout analysis

Layout No. 2

1 By creating a deep niche in the structure, this space gets activated, in contrast to several other layouts, where it was becoming a dead space and it was becoming challenging to direct the circulation in this area. 2 A pebble bed can be created under the Champa Tree and devotees can sit under it and reflect about Gurudev and His life.

3 The ramp can be shifted a little, so that wheelchair users do not face any problem, accessing it, around the curvature of the tree.

4 The entrance area, will partially screen the Champa tree on the right, and serve as a welcoming threshold area.

4 1

5 The roof of the structure can be extended at the entrance, to prevent rainfall.

P L A NNI NG T H E E X H I B I T

CH IN M AYA P R AD E E P

Layout analysis

Layout No. 3

1 The entrance ramp is outside the structure. The visitor passes under the canopy of the two trees, which make for a welcoming entrance. 2 To make the empty space more interesting, a panel can be placed as shown. It also directs the visitor to the dead space between the entrance and exit. 3 The inset in the structure, creates an interesting undulation, but eats up a lot of interior space.

3 1

4 A ferrocement screen can be placed around this tree, to create an interesting architectural element.

5 While exiting, the visitor gets a good view of most of the exhibit.

P L A NNI NG T H E E X H I B I T

CH IN M AYA P R AD E E P

Layout analysis

Layout No. 4

1 This undulation in space creates an interesting movement in the circulation plan, and directs the user to the opposite wall. It helps in activating the space, which would otherwise become a dead area.

2 A pebble bed can be created under the Champa Tree and devotees can sit under it and reflect about Gurudev and His life.

1 5

4 A set up of Gurudev taking a class, can be created as that zone has a comfortable area for a class setting to be created. Videos of Gurudev taking a class, or giving a discourse can be shown.

3 A set up of Gurudev taking a class, can be created at 3. Videos of Gurudev taking a class, or giving a discourse can be shown.

5 At 5, an interesting niche is being formed, which can be used to showcase a panel of Gurudevâ&#x20AC;&#x2122;s expressions.

P L A NNI NG T H E E X H I B I T

CH IN M AYA P R AD E E P

Layout analysis

Layout No. 5

1 Depending on the diameter of the spread of the roots of this tree, the offset distance of the ramp from the wall can be decided. 2 A pebble pit is laid out under the tree. Depending on the spread of the canopy, the size of the pit can be scaled up or down. The wall near the pit, will have a perforated screen that will filter outside light and let the visitor view the tree. 3 The puncture in the roof will be smaller than the diameter of the pit.

P L A NNI NG T H E E X H I B I T

CH IN M AYA P R AD E E P

Layout analysis

Layout No. 6

1 This space needs to be activated as the visitor does not cross this zone on his circulation path. 2 A pebble pit is laid out under the tree. Depending on the spread of the canopy, the size of the pit can be scaled up or down. The wall near the pit, will have a perforated screen that will filter outside light and let the visitor view the tree.

3 The ramp can be shifted a little, so that wheelchair users do not face any problem, accessing it, around the curvature of the tree.

4 The entrance ramp is outside the structure. The visitor passes under the canopy of the two trees, which make for a welcoming entrance. 5 The roof of the structure can be extended at the entrance, to prevent rainfall.

P L A NNI NG T H E E X H I B I T

CH IN M AYA P R AD E E P

Layout analysis

Layout No. 7

1 A perforated screen will be embedded in the structure, that will have the panel for Introduction to Verse 7 and will also allow the visitors to enjoy a filtered view of the champa tree. 2 The champa tree is not included in the layout plan. The entrance ramp is near zone 2 and not zone 3

3 5

3 An interesting niche is being formed at zone 3, just as one steps down from the entrance ramp, to display the letter by Gurudev, where he describes himself.

6 2

8 8

4 In this narrative, since the contrasting moods of silence and laughter are next to each other, they can generate a good impact and come across powerfully, reflecting the unpredictable dynamism in Gurudev’s personality. 5 When the visitor enters the space, he first gets a glimpse of the panel depicting, Gurudev’s humility, which can be an interesting beginning point 6 Seating provision, allows the visitor to sit and reflect upon Gurudev’s life, and the example that he left behind by leading the kind of life that he led. 7 While exiting, the visitor, views the panel for introduction to verse 8 on one side, and a last glimpse of the panels depicting Gurudev’s humility and expressions as a last reminder. 8 Some kind of access needs to be created for the maintenance of trees 9 This space, in zone 9, is not getting utilized.

P L A NNI NG T H E E X H I B I T

CH IN M AYA P R AD E E P

Finalizing a Plan

Zoning

It was eventually decided to not include the trees in the exhibit. Therefore, a plan was made utilizing the maximum continous space, around the trees.

Zone 1 Introduction to Verse 7

Care had to be taken to keep the curves gentle in the plan, so that the volume does not become very sharp.

Zone 2 His Sadhana, His Silence, His Compassion, His Art Zone 3 His Classes Zone 4 His Pooja and His Humility Zone 5 His Leadership, His Work, His Travels Zone 6 His Laughter Above: Plan drawing (Not to scale), with maximum space utilization, and including no trees in the layout Left: Plan drawing (Not to Scale) with more gentle curves Opposite Page: Plan Drawing (Not to Scale) with zoning of the exhibit

Zone 7 His Style, His Taste, His Expressions, His Play, His Sleep Zone 8 Introduction to Verse 8 Plan View Not to Scale All dimensions in Millimeters

Zone 9 His Achievements/ His Letter Zone 10 Seating

P L A NNI NG T H E E X H I B I T

CH IN M AYA P R AD E E P

Devising a path It was eventually decided to not include the trees in the exhibit. Therefore, a plan was made utilizing the maximum continous space, around the trees. Care had to be taken to keep the curves gentle in the plan, so that the volume does not become very sharp.

Number of Visitors & Visitor Experience Keeping in mind, the nature of the space, itâ&#x20AC;&#x2122;s message and objective, the narrative is kept linear. Zone 1 to Zone 8, tells the story in a chronological order and Zone 9 adds more value to the over allexperience.

It was eventually decided to not include the trees in the exhibit. Therefore, a plan was made utilizing the maximum continous space, around the trees. Care had to be taken to keep the curves gentle in the plan, so that the volume does not become very sharp.

Number of Visitors The overall exibition site is very small, and at a time only a small group of visitors (20-25) will be allowed inside. Number of visitors that can comfortably experience Exhibit Verse 7 at a time, will be 7 to 8.

Zone 10 is a space to sit and reflect upon the learning.

LED Screens & Programming the Lights Three 65 inches LED Screens will be placed in Zone 3, Zone 4 and Zone 5.

Not having a single, linear path, increases the engagement of the visitor.

The lights of the exhibit will go off, lighting up the screens which will play videos of Gurudev. Visitors can sit or stand in Zone 10 and watch the videos.

Plan View Not to Scale All dimensions in Millimeters

E X H I B I T VE R S E 7 : D E S I G N I N G T H E DISP L AY

Display Ideas

CH IN M AYA P R AD E E P

Display Ideas

E X H I B I T VE R S E 7 : D E S I G N I N G T H E DISP L AY

Display Ideas

CH IN M AYA P R AD E E P

Display Ideas

A display language where the content was overlapping, was finalized. This approach was better than the montage approach, as the space is quite small and a montage would be extremely chaotic, and overwhelming.

E X H I B I T VE R S E 7 : D E S I G N I N G T H E DISP L AY

CH IN M AYA P R AD E E P

First Level Design

entrance Ramp

Cutout

65inches LED TV

Gurudev’s writing desk

Letters written by Gurudev

65inches LED Tv Gurudev’s Quotes

Cutout of Gurudev

65inches LED Tv

Exit Ramp

Gurudev’s Walking Stick Stand

Based on the plan, an open elevation was developed, few photographs shortlisted and a basic idea of the exhibit was put together. Idea: To intersperse photographs, videos, letters, anecdotes, and artefacts used by Gurudev, throughout the exhibit. Above: Open Elevation of Zone 1 to Zone 8 (Not to Scale)

CH IN M AYA P R AD E E P

Display Design This stage involved composing the panels in the best possible way to bring out each mood and communicate the message of the exhibit. The plan drawings gave me the dimensions for the open elevation. Keeping in mind, the circulation, I finalized the dimensions for each mood and began to explore display ideas and compositions for each mood. Parameters: To include three 65â&#x20AC;? LED TV Screens for the video content. The LED TV Screens would appear on the straight surface of the structure as it would be difficult to fix them on the curves.

Shortlisting Photographs Shortlisting Letters Shortlisting quotes and anecdotes Composing the panels

Height of display is kept at 2750mm. To accommodate space for plaques that will bear the introduction of verses

E X H I B I T VE R S E 7 : D E S I G N I N G T H E DISP L AY FOR E ACH Z ONE

Zone 2

His Sadhana, His Silence, His Compassion, His Art

CH IN M AYA P R AD E E P

Exploration No. 2.1 & 2.2

Gurudev began His day at 3.30am with His early morning chanting and sadhana.

early morning chanting meditation and silence his letters to disciples

After his morning meditation, he would dedicate an hour and a half to responding to each and every letter, that he received from disciples all over the world. Following that he would conduct a guided meditation session at 5.30am for his disciples, who could be children, youth or adults.

guided meditation session

Description This compositions above depict Gurudev’s early morning routine, a vertically placed LED Screen for Video Content, Gurudev’s writing desk, where he would write letters, every morning, some of his letters, photographs of him writing letters and doing His Sadhana, and a cutout of him doing his meditation. Most of the photographs are of his young age.

Analysis The composition looked very static and required more depth. The overall mood was not coming across. The relationship of photographs with each other, is not working. The eye is not being guided in any particular direction. The vertical LED is not practical, as the video content will be in landscape orientation. The oversized letter with Gurudev’s art, at the bottom, and in the middle does not work due to its large size and placement.

E X H I B I T VE R S E 7 : D E S I G N I N G T H E DISP L AY FOR E ACH Z ONE

CH IN M AYA P R AD E E P

Exploration No. 2.3

Exploration No. 2.4

Exploration No. 2.5

Intent This composition depicts Gurudev’s early morning routine. A backdrop depicting an early morning landscape was used to bring out the mood.

Intent Interspersing the text and placing the title text was becoming a challenge.

Description This composition depicts Gurudev’s early morning routine, a vertically placed LED Screen for Video Content, Gurudev’s writing desk, where he would write letters, every morning, some of his letters, photographs of him writing letters and doing His Sadhana, and a cutout of him doing his meditation. Most of the photographs are of his young age. Photographs of his letters, are placed around a photogtaph of him. Analysis Seated photographs of Gurudev, one on top of another on extreme left for not working with each other. The display wasn’t bringing out the mood. The bare walls visible in the background, were not complementing the display.

I played with transparencies to depict the actual material on which the photos will be printed. Analysis The idea of adding a backdrop seemed to work, however, the placement of the content needed to be looked at again.

I tried putting a translucent fabric with the title text on it, as a backdrop to the cutout of Gurudev, sitting in meditation with children. Analysis While this fabric would add layers and depth to the composition, it did not interact quite well with the other elements of the composition.

Considering material, at this stage, helped make better compositions.

E X H I B I T VE R S E 7 : D E S I G N I N G T H E DISP L AY FOR E ACH Z ONE

CH IN M AYA P R AD E E P

Exploration No. 2.6

Exploration No. 2.7

The composition does not look balanced.

Layering in the background landscape, for more depth

Eye movement needs to be guided.

The letters appear really blocky.

Final Design: His Sadhana, His Silence, His Compassion, His Art

Gurudevâ&#x20AC;&#x2122;s cutout under the silhouette of a tree is adding a nice dimension to the composition. The top left of the composition is not working.

E X H I B I T VE R S E 7 : D E S I G N I N G T H E DISP L AY FOR E ACH Z ONE

Zone 3

His Classes

CH IN M AYA P R AD E E P

Exploration No. 3.1

Exploration No. 3.2

Intent Keeping the BMI Chart as the Central theme.

Intent: Highligh his expressive personality

Analysis Show large crowds of people

Analysis The layering with cutouts of the disciples is working.

Gurudevâ&#x20AC;&#x2122;s stick in the cutout could be pointing towards the LED screen, and the BMI Chart could appear on the LED screen itself.

The diagonal cropping looked too sharp and did not add value to the composition.

Break the Grid to Increase engagement, decrease predictability

Showcase variety of classes

Eye movement needed to be considered.

Diffuse edges, break the grid

Hand-written notes and letters could be interspersed through out the panel, to make it more personal.

Add supporting text, handwritten notes

Pujya Gurudev took classes, conducted Gita Jnana Yajna sessions and gave talks and discourses. He conducted his classes early in the morning, and gave talks in the evening.

Classes, Talks, Discourses Small groups and large gatherings India and worldwide BMI Chart

He conducted classes for children, for adults, for small groups and for very large gatherings in India and worldwide. His BMI Chart explaining the vasanas became very popular and was one of the most important part of His Classes. He had a very dynamic personality and was very expressive. He used a lot of hand gestures to put his point across.

Expressive Personality Indoor & outdoor

Materials need to be kept in mind.

E X H I B I T VE R S E 7 : D E S I G N I N G T H E DISP L AY FOR E ACH Z ONE

CH IN M AYA P R AD E E P

Exploration No. 3.3

Exploration No. 3.4

Exploration No. 3.5

Exploration No. 3.6

Intent Keeping the BMI Chart as the Central theme; using Gurudevâ&#x20AC;&#x2122;s quotes

Intent Highlight his expressive personality

Intent Emphasis on crowds

Intent Emphasis on crowds & attempt at layering

Analysis The layering with cutouts of the disciples is working.

Analysis Very few phtographs are used.

Analysis Some photographs are looking outside the frame

Some photographs, looking outside the frame are not working.

His expressions, while taking classes are not coming through.

Analysis Lack of elements Lack of photographs and depth Relationship between all photographs needs to be considered The text need not be blocky. Gurudevâ&#x20AC;&#x2122;s Handwriting can be used to communicate the message

Showcase variety of classes

Supporting text and Title text required.

Diffuse edges, break the grid

Composition looks incomplete.

Add supporting text, handwritten notes Materials need to be kept in mind.

E X H I B I T VE R S E 7 : D E S I G N I N G T H E DISP L AY FOR E ACH Z ONE

CH IN M AYA P R AD E E P

Final Design: His Classes

Exploration No. 3.7 Intent To show outdoor classes. Analysis Certain elements are directing the eye outside the frame While the idea of outdoor classes, is being established, this panel does not communicate the large numbers of people who come for His Classes. Some photographs are looking outside the frame His expressions, while taking classes are not coming through.

E X H I B I T VE R S E 7 : D E S I G N I N G T H E DISP L AY FOR E ACH Z ONE

Zone 4 Humility & Gratitude Ritual of Paduka Pooja Intensity of love for the Guru

His Pooja & His Humility

Exploration No. 4.1

Exploration No. 4.2

Intent: This composition depicts Gurudev’s humility. It represents His cutout, worshipping His Guru. It shows the ritual of Paduka Pooja.

Intent: This composition depicts Gurudev’s humility. It represents His cutout, worshipping His Guru. It shows the ritual of Paduka Pooja, and supporting text in black background. Printed text, corresponding to his handwritten letters is put, so that its easy to understand his handwriting.

Guru’s feet or Padukas represent the knowledge on which He stands, and firmly abides in. Worshipping the Padukas with humility brings about the required purity in our mind for this supreme knowledge to flow into us and spiritual wisdom to take roots in our hearts.

Sanskrit chants & aroma of incense

Just as a Shiva Linga represents Siva, a Saligrama represents Vishnu, in the same way, the Padukas (sandals) of the teacher represent to the student not the sandals, but the concept behind.

Prayer hands

Pooja was an inherent part of Gurudev’s routine. His disciples also ritualistically worshipped his Padukas.

Feet covered in blossoms

CH IN M AYA P R AD E E P

The puja lasts about 45 minutes. Sometimes it’s followed by Swaranjali Bhajans.

Analysis Layering required; break out of the grid to increase engagement Eye movement needs to be carefully considered

Analysis Adding white text on black background, decreases legibility.

Supporting text, handwritten letters needs to be added. Black does not have positive connotations.

The picture of the feet in relation to the photograph of Gurudev praying before eating, looks out of place

The cutout is looking outside of the frame.

Close-up photographs should not be close to the ground due to aesthetics and sentimental reasons.

The picture of Gurudev’s padukas in relation to the close up of his face is not working.

E X H I B I T VE R S E 7 : D E S I G N I N G T H E DISP L AY FOR E ACH Z ONE

CH IN M AYA P R AD E E P

Exploration No. 4.3

Exploration No. 4.4

Intent: No grid was used

Intent No grid was used

Analysis: The composition looks incomplete and imbalanced

Analysis To add picture of Gurudevâ&#x20AC;&#x2122;s Guru, Swami Sivananda to complete the composition.

Final Design: His Pooja & His Humility

To add title text horizontally for emphasis To use colors for title text, or supporting text. Do not restrict the design to black and white. To Add more photographs

E X H I B I T VE R S E 7 : D E S I G N I N G T H E DISP L AY FOR E ACH Z ONE

Zone 5

His Leadership & His Work

CH IN M AYA P R AD E E P

Exploration No. 5.1

Exploration No. 5.2

Intent: This composition depicts Gurudev in organizational mode, in leadership positions and travelling.

Intent: This exploration had little overlapping and the intent was to show the information in an organized way to represent the seriousness of the mood.

With age one becomes unenthusiastic, tired, not very dynamic, one wants to rest and take it easy. But with age Gurudev became more dynamic and aged gracefully.

More dynamic with age Reaching out to maximum people Undertaking several projects UN Visit- Talk on Planet in crisis Association with well known people

Efforts that he put were not for his individual evolution and growth. They were for reaching out to maximum people. At his old age, he took up so many projects. He loved Shankara so much and saw that this place is dilapidated; he took it up and renovated it At young age we feel our plate is overloaded. With small things. Our mind needs still space to grow. His mind had broken barriers and experienced infinity. He would dedicate his afternoons to admin work and projects.

Analysis The grid needs to be broken. Scale of the photographs is too large. Mid shots should not be at the bottom of the composition. Full length photographs should not be at the top because of the way the legs and feet of a photograph interact with the face of another photograph below it,

Analysis Some photographs in this composition were not working. Some group shots were appearing too small in proportion. Too much emphasis was going on the cutout of the boy next to Gurudevâ&#x20AC;&#x2122;s cutout, which would interfere with the narrative and the mood. Full length photographs should not be at the top because of the way the legs and feet of a photograph interact with the face of another photograph below it.

E X H I B I T VE R S E 7 : D E S I G N I N G T H E DISP L AY FOR E ACH Z ONE

CH IN M AYA P R AD E E P

Final Design: His Leadership, His Work, His Travels

Exploration No. 5.3 Intent: This composition depicts Gurudev at work. Keeping in sync with the display language of overlapping photographs, this was composed to show different aspects of Gurudevâ&#x20AC;&#x2122;s work, leadership and travels. On top right, it shows a young Swami Chinmayananda at work along with a photograph of Gurudev at work, during his old age. The image of the Temple under construction was chosen to add movement and dynamism to the composition. A cutuout of Gurudev overseeing the construction work of the same project is highlighted, along with another image of Gurudev seeing the blueprint of the temple construction. Letters of Gurudev, talking about passion and work is almost at eye level. Photographs of Gurudev giving talks in leadership positions are interspersed, along with photographs of Gurudev meeting different dignitaries. Analysis Text placement is not working. Feedback Place the text horizontally across the composition like a title

E X H I B I T VE R S E 7 : D E S I G N I N G T H E DISP L AY FOR E ACH Z ONE

Zone 6

His Laughter, His Wit, His Satire

CH IN M AYA P R AD E E P

Exploration No. 6.1

Exploration No. 6.2

Intent: First idea of the composition, where several photographs of Gurudev laughing were composed.

Intent: I used more photographs of Gurudev, with full shots at Ground level at human height and portraits at the top. This composition had more depth and layering.

To give maximum happiness to maximum people for the maximum time, was His aim and that is the motto that He gave to the Mission. His laughter was contagious and unique to Him.

Energetic Contagious and unique Laughter Witty remarks

He used wit in His talks, classes, discourses and also in His letters to His disciples. He was energetic, even in his old age. He would make fun of Himself, ever so often.

Radiated Positivity

Analysis To keep visitors engaged, there should be no visible grid.

Analysis The grid was still visible.

Edges of photographs need to be diffused through overlapping. The overall mood of laughter is not coming across and the composition looks two-dimensional.

Feedback: Photographs of letters with his art could be used to bring out his wit and humour.

E X H I B I T VE R S E 7 : D E S I G N I N G T H E DISP L AY FOR E ACH Z ONE

CH IN M AYA P R AD E E P

Exploration No. 6.3

Final Design: His Laughter, His Wit, His Satire Intent: I experimented with a more organized way of displaying. I added depth by displaying certain images at an angle. I used black background to display the supporting text for emphasis. Feedback Either a visible grid should be there or it should not be there. This composition, was somewhere in between. A visible grid would not go with the kind of language we are trying to create for the exhibit. The color black, has negative connotations. It was interfering with the positive mood of the photographs. Moreover, white text on black is not very legible. Displaying photographs at an angle, has two drawbacks. Firstly, the visible gaps on the sides and edges, would not look great aesthetically. Secondly, angularly displayed photographs at the bottom, would interfere with the circulation as the space is small. Photographs need to be cropped in a way that, unneccessary elements that steal importance from the subject i.e. Gurudev, are not highlighted. The eyes tend to follow the movement of Gurudevâ&#x20AC;&#x2122;s body language. So, the composition had to be planned in a way that the visitorâ&#x20AC;&#x2122;s eyes move where intended.

100

101

E X H I B I T VE R S E 7 : D E S I G N I N G T H E DISP L AY FOR E ACH Z ONE

Zone 7

His Style, His Taste, His Play, His Sleep, His expressions There were several unique and tangle characteristics about Gurudevâ&#x20AC;&#x2122;s personality.

Tangible characteristics Expressive body language Unique style

He had certain unique attributes in his personal style, such as the kind of clothes he wore, the walking sticks he used when he aged, the watch he wore everyday, his footwear etc. He enjoyed spicy food. He made it a point to say grace before every meal.

CH IN M AYA P R AD E E P

Exploration No. 7.1 Intent: This composition depicts various aspects & characteristics of Gurudevâ&#x20AC;&#x2122;s personality. Feedback A grid was evidently visible. Since the space was small, having a visible grid across all the zones, made the display predictable and reduced engagement. In order to keep the users engaged, it was essential to break the grid.

He loved to play Billiards, table tennis and tennis. Secondly, the composition did not look dynamic.

Hobbies

He would take a nap in between classes and work, wherever he would be sitting and had a unique way of sleeping. He had a very expressive body language. He used powerful facial expressions and hand gestures to put his point across.

Photographs need to be cropped in a way that, unneccessary elements that steal importance from the subject i.e. Gurudev, are not highlighted, as they tend to interfere with the narrative and the mood. Challenge: This diplay was at a curve in the exhibit, which was changing in two places. Therefore, the content had to be placed in such a way that edges, do not stick out, where the curve is changing.

102

103

E X H I B I T VE R S E 7 : D E S I G N I N G T H E DISP L AY FOR E ACH Z ONE

CH IN M AYA P R AD E E P

Final Design: His Style, His Taste, His Play, His Sleep, His expressions

Exploration No. 7.2 Intent: This composition depicts various aspects & characteristics of Gurudevâ&#x20AC;&#x2122;s personality. Feedback The composition did not look dynamic. Photographs need to be cropped in a way that, unneccessary elements that steal importance from the subject i.e. Gurudev, are not highlighted, as they tend to interfere with the narrative and the mood. Challenge: This diplay was at a curve in the exhibit, which was changing in two places. Therefore, the content had to be placed in such a way that edges, do not stick out, where the curve is changing.

104

105

E X H I B I T VE R S E 7 : EVO L U T I O N O F T HE DISP L AY DESIG N

CH IN M AYA P R AD E E P

Initial Open Elevation: Exhibit Verse 7

The compositions in the exhibit greatly evolved from a static display of photographs to a dynamic communication of the moods as seen on the next page.

106

107

E X H I B I T VE R S E 7 : D E S I G N I N G T H E DISP L AY

CH IN M AYA P R AD E E P

Final Open Elevation: Exhibit Verse 7

All compositions had to be continuously put together at every stage to check their relationship with each other and continuity in style. The story starts with mostly Gurudevâ&#x20AC;&#x2122;s black and white photographs of his young age and moves onto colored photographs of his old age.

Above: Open Elevation of Verse 7 (Not to Scale)

108

109

E X H I B I T VE R S E 7 : EVO L U T I O N O F T HE DISP L AY DESIG N

CH IN M AYA P R AD E E P

Shell of the exhibit Parameters: The form of the exhibit had to reflect Gurudev’s personality, support the message and fulfill its objective.

dynamic & expressive personality organic space earth shelter with undulations immerse in His presence opportunity to reflect about His life

Concept Gurudev had a dynamic and expressive personality. Therefore, the idea of creating an organic space, like an earth shelter, with undulations came into being. Overall, the space intends to immerse the disciple/ viewer in the presence of the Master, almost simulating a cave, where he can go and quietly reflect on Gurudev and enjoy his presence.

Narrative It was decided to use Gurudev’s routine in a chronological order, as a narrative, beginning with photographs of his youth and the corresponding mood, moving towards photographs of mid age and old age, corresponding to those particular moods. The last panel would be a mix of Gurudev’s photographs, from all ages. It would also relate to the corresponding emotions /moods of that panel. Constraints No trees could be removed from site.

Approach: All the photographs were analyzed. Apart from the moods mentioned in the brief, certain other aspects Of Gurudev’s life and routine were also shortlisted. Moods with similar emotions were clubbed together. Circulation Various circulation paths were explored. Based on the relationship of each mood to another, they were laid out in plan. However, this did not make for a strong narrative.

110

Initial Ideas

Clockwise (L to R): First idea of creating a courtyard like structure with only the aisles covered; visualization of the form with the trees; visualization of the form with the trees

111

E X H I B I T VE R S E 7 : S H E L L O F T H E E XHIBIT

CH IN M AYA P R AD E E P

Initial Ideas

Clockwise (L to R): sketch of the shell; sketch of a puncture in the roof for the tree; elevation sketch of the form; sketch of the form with the trees

112

Initial Ideas

Clockwise (L to R): Entrance to the exhibit, with a screen behind the tree; ideas for the screen, inspired by the tree; courtyard under the tree where the visitor can sit and reflect; courtyard under the tree

113

E X H I B I T VE R S E 7 : S H E L L O F T H E E XHIBIT

CH IN M AYA P R AD E E P

Initial Ideas

3-D visualization of initial design ideas 3-D visualization of initial design ideas

114

115

E X H I B I T VE R S E 7 : S H E L L O F T H E E XHIBIT

Understanding the form using paper sections.

116

CH IN M AYA P R AD E E P

First level CAD was generated as guiding drawings for the form.

117

E X H I B I T VE R S E 7 : S H E L L O F T H E E XHIBIT

Understanding the Form

118

CH IN M AYA P R AD E E P

Understanding the form

119

CH IN M AYA P R AD E E P

Modelling the form in Clay To understand the outer form better and in order to be able to communicate and understand volumes better, I made several explorations in clay. While working on CAD, it was hard to understand the sections of the organic space, simply by keeping sketches as reference. I printed a layout plan of the exhibit and keeping that as reference, I made several clay models. Modelling the form in clay, did not give me exact sections for drawings, but it helped me articulate my idea better than sketches. It helped me understand how and where the form was changing. Clay served as a good reference for moving on to 3D design software.

120

121

E X H I B I T VE R S E 7 : S H E L L O F T H E E XHIBIT

Explorations in Clay

122

CH IN M AYA P R AD E E P

Explorations in Clay

123

E X H I B I T VE R S E 7 : S H E L L O F T H E E XHIBIT

Explorations in Clay

124

CH IN M AYA P R AD E E P

Explorations in Clay

125

E X H I B I T VE R S E 7 : S H E L L O F T H E E XHIBIT

CH IN M AYA P R AD E E P

Finalizing the form: Understanding Volumes in Space

Finalizing the Form: Understanding Volumes in space

This form was designed keeping in mind the function and the content. The volumes in the ceiling support and enhance the mood of each zone. Zone 5 and Zone 6, that depict Gurudev’s Leadership and Laughter, respectively have greater volume, as compared to Zone 4, which has a humble volume to depict Gurudev’s humility.

Zone 2, is the first zone where the visitor closely experiences Gurudev. This is right at the end of the ramp, where the curve is tight. Also, this zone talks about the beginning of Gurudev’s daily routine. Therefore, for a comfortable visitor experience, this zone has a high volume but not as high as Zone 5 and Zone 6 . Zone 9 depicts Gurudev’s achievements and to support that mood, a higher volume is given here as well.

126

127

E X H I B I T VE R S E 7 : S H E L L O F T H E E XHIBIT

CH IN M AYA P R AD E E P

Modelling the form in 3Ds Max

Interior view of the exhibit

I had generated several guiding ideas for the design. The following had been finalized by this stage:

Keeping these as reference, a 3-D Model was created in 3-Ds Max.

Layout Plan Elevations Clay models as reference Open Elevation of the Display

128

129

E X H I B I T VE R S E 7 : F I N A L D E S I G N

130

CH IN M AYA P R AD E E P

131

E X H I B I T VE R S E 7 : F I N A L D E S I G N

132

CH IN M AYA P R AD E E P

133

E X H I B I T VE R S E 7 : F I N A L D E S I G N

134

CH IN M AYA P R AD E E P

135

E X H I B I T VE R S E 7 : F I N A L D E S I G N

136

CH IN M AYA P R AD E E P

137

E X H I B I T VE R S E 7 : F I N A L D E S I G N

138

CH IN M AYA P R AD E E P

139

E X H I B I T VE R S E 7 : F I N A L D E S I G N

140

CH IN M AYA P R AD E E P

141

E X H I B I T VE R S E 7 : F I N A L D E S I G N

CH IN M AYA P R AD E E P

Lights of the exhibit will be dimmed at one point, to light up the LED TV Screen and some cutouts of Gurudev

142

143

E X H I B I T VE R S E 7 : T E CH N I CA L D R AWING S

CH IN M AYA P R AD E E P

T.L. -4760

G.L. -300

Section V7. BB’ Scale 1: 100

T.L. -4760

G.L. -300

Section V7. EE’ Scale 1: 100 Sections in Wiremesh (Representational) All dimensions are in Millimeters

144

Dimensions in Millimeters

145

E X H I B I T VE R S E 7 : T E CH N I CA L D R AWING S

CH IN M AYA P R AD E E P

All dimensions are in Millimeters

146

All dimensions are in Millimeters

147

E X H I B I T VE R S E 7 : T E CH N I CA L D R AWING S

CH IN M AYA P R AD E E P

All dimensions are in Millimeters

148

All dimensions are in Millimeters

149

E X H I B I T VE R S E 7 : T E CH N I CA L D R AWING S

CH IN M AYA P R AD E E P

All dimensions are in Millimeters

150

All dimensions are in Millimeters

151

E X H I B I T VE R S E 7 : T E CH N I CA L D R AWING S

CH IN M AYA P R AD E E P

All dimensions are in Millimeters

152

All dimensions are in Millimeters

153

E X H I B I T VE R S E 7 : T E CH N I CA L D R AWING S

CH IN M AYA P R AD E E P

All dimensions are in Millimeters

Open Elevation of the display design Dimensions in Millimeters Not to Scale

154

155

E X H I B I T VE R S E 7 : M AT E R I A L S

CH IN M AYA P R AD E E P

Ferrocement Ferro-cement is a relatively new construction material; it consists of wire meshes and cement mortar. • It is a highly versatile form of reinforced concrete. • Its a type of thin reinforced concrete construction, with a large amount of small diameter wire meshes uniformly through out the cross section. • Mesh may be metal or suitable material • Instead of concrete Portland cement mortar is used. • Strength of ferrocement depends on two factors: quality of sand/cement mortar mix and quantity of reinforcing materials used. Constituent Materials • Cement • Fine Aggregate • Water • Admixture • Mortar Mix • Reinforcing mesh • Skeletal Steel • Coating

Sampling for the Ferrocement Structure Disadvantages of Ferro-Cement: • Structures made of it can be punctured by collision with pointed objects. • Corrosion of the reinforcing materials due to the incomplete coverage of metal by mortar. • It is difficult to fasten to Ferro-cement with bolts, screws, welding and nail etc. • Large number of labors required. • Cost of semi-skilled and unskilled labors is high. • Tying rods and mesh together is especially tedious and time consuming. Process of Ferro-cement Construction: • Fabricating the skeletal framing system. • Applying rods and meshes. • Plastering. • Curing As the exhibit required building of an organic space, like an earth shelter, ferrocement was chosen as the material for its execution.

Advantages of Ferro-Cement: • Basic raw materials are readily available in most countries. • Can be fabricated into any desired shape. • Low labour skill required. • Ease of construction, low weight and long lifetime. • Low construction material cost.

156

157

E X H I B I T VE R S E 7 : M AT E R I A L S

CH IN M AYA P R AD E E P

4. Wiremesh is moulded around the framework

Fig. 1.12.3

6. Closeup of plastering process

7. Interior of a space which has been plastered

8. The finished structure being put on site

Fig. 1.12.7

Fig. 1.12.1

3. The finished framework of the structure

5. Ferrocement is plastered onto the wiremesh

Fig. 1.12.8

2. A framing system is fabricated around the filler.

Fig. 1.12.4

1. A filler is used as a supporting structure for the framing.

Fig. 1.12.6

Fig. 1.12.2

158

Ferrocement Construction Process Fig. 1.12.5

Ferrocement Construction Process

159

E X H I B I T VE R S E 7 : M AT E R I A L S

CH IN M AYA P R AD E E P

Materials for the display Exhibit Verse 7, did not reach the sampling stage during the duration of my diploma project. However, I developed a basic brief for using materials for each zone. Zone 1: His Sadhana, His Silence, His Compassion, His Art Mood: Quite, peaceful, warm Elements: Mist, Incense, Jyot Treatment: Translucent & Glossy Materials: Glass, Acrylic, fabric Zone 2 His Classes Mood: Serious, Outdoor, Expressive Elements: Backlit Close up Photographs Treatment: Opaque or backlit Material: Canvas, Foamboard

160

Conclusion Zone 5: His Laughter, His Wit, His Humour Mood: Light, larger than life, dynamic, expressive Treatment: Translucent and light Materials: Translucent fabrics such as tensile fabrics and organza. Zone 6: His Style, His Taste, His Expressions, His Sleep, His Play Mood: Miscellaneous Moods Treatment: It will vary for each photograph Materials: Different materials will be used to best bring out the mood for each photograph. General Note: handwritten letters will be printed on archival paper

This project gave me a good overview of the process involved in designing an experiential space. Understanding the content The most important aspect of designing for experiential spaces, is understanding the content and the visitor outcomes i.e. what is the visitor expected to learn. Therefore, it is essential to understand the content and establish the message and objective of the exhibit.

Since the project was a part of a larger project, it was essential to align my vision with the overall vision of the exhibition space. The feedback received at every stage was very insightful and helped me in being able to visualize better.

Display Design & Curating the exhibit Designing the display for this project, was a challenging process for me. Exploring ways of designing the display helped me understand the basic principles of design better. The process helped me break out of the previously learned ways of display design and move towards a more intutive approach or emotional design.

Zone 3 His Pooja, His Humility Mood: Intense, devotion, gratitude, reverence Treatment: Translucent Materials: printed film on acrylic, glass

At all stages, the sentiments of the devotees had to be kept in mind. The process gave me a beginnerâ&#x20AC;&#x2122;s understanding of curating the exhibits.

Zone 4 His Leadership, His Work, His Travels Mood: Inspiring, passionate, active Treatment: Opaque Materials: Digital Printing on Veneer and wood, digital prints mounted on sunboard.

Form Development It was my first attempt at developing the design for an organic space. It posed many challenges at various stages. Starting from sketches, doodles and CAD and moving on to exploring the form in clay, creating it in 3ds Max and finally moving to Revit Massing, a software I was using for the first time, it was a handson journey.

161

VIR ASAT- E - K H AL SA

V I R A SAT - E - K H A L SA

162

163

I NT RO D UC T I O N

VIR ASAT- E - K H AL SA

Virasat-e-Khalsa Virasat-e-Khalsa is a museum of the Sikhs located in the holy town, Anandpur Sahib, near Chandigarh, the capital of the state of Punjab. The museum celebrates 500 years of the Sikh history and the 300th anniversary of the birth of Khalsa, based on the scriptures written by the tenth and last guru, Sri Guru Gobind Singh ji. About the Project In 1499, Guru Nanak Dev founded a unique religious faith rooted in the core values of universalism, liberalism, humanism and pluralism. The nine Gurus after him consolidated his teachings, further articulating the faith, thereby establishing Sikhism as a way of life. Two hundred years later in Punjab at Anandpur Sahib, on the occasion of Baisakhi, the Tenth Master, Guru Gobind Singh formally instituted the Khalsa Panth of saint-soldiers, an egalitarian and distinctive social order, committed to peace, equality and justice for all. Today, on the site of this epoch-making event stands the majestic Gurdwara Takht Sri Keshgarh Sahib. April 1999 marked the Tercentenary year of the Birth of the Khalsa, an event celebrated all over the world. To commemorate this event, the Government of Punjab envisioned the Khalsa Heritage Complex now known as Virasat-e-Khalsa at Anandpur Sahib as an inspiring tribute to the heroic and poignant saga of the Sikhs and the Punjab. The vision it offers the world and itself, can only be a crafting of the finest sensibility and aesthetic that convey both the incisive stand taken on behalf of Truth by the Gurus of the Sikh faith and the grandeur of its history.

Fig.2.1.1

The Virasat-e-Khalsa, the first of its kind, will provide a space in which the impassioned drama of this heritage shall unfold. For the Sikhs, this Complex would serve as a reaffirmation of roots. For the non-Sikhs, it will be an inspiring journey into a spirited culture, providing a fascinating insight into the Sikh faith and its history.

164

165

I NT RO D UC T I O N

Fig.2.1.2

Architecture It was a long journey through the history of the Punjab, before the internationally acclaimed architect Moshe Safdie, initiated the design process for the Virasat-eKhalsa. He drew inspiration from the historic Golden Temple and the rich heritage of Anandpur Sahib — its hills, natural valleys and streams, the Anandgarh Fort and the glorious Gurdwara Keshgarh Sahib. The site for the Complex was selected for its direct relationship to all these features. In Moshe Safdie’s own words, “a building cannot be experienced as independent of the land in which it is rooted.” The site generated the plan. The Complex has been conceived as two functionally integrated sets of buildings. The Western complex forms the gateway for the town. It houses functions that respond directly to the needs of the people — changing exhibit galleries; a two-level research and reference library centred around a great reading room open to vistas of water gardens, to house rare archival materials, books, journals as well as audio visual resources; and a 428-seat auditorium to host seminars and cultural events.

166

VIR ASAT- E - K H AL SA

Fig.2.1.3

A 165-metre bridge from the Western complex provides pedestrian access to the Eastern complex, the Virasate-Khalsa Museum that comprises permanent exhibit galleries on 500 years of Sikh heritage along with museum facilities to rival any world-class museum. A series of reflecting pools create a seven-acre water body between the two complexes. Arcaded walkways and gardens on either side gently cascade towards the serene pools. Public facilities and a cafeteria are located at the base of the bridge overlooking this vista. The finest craftsmanship is being employed to create a Complex worthy of Sikh aspirations and traditions. In the future new facilities may be added to make the Virasat-e-Khalsa the world’s foremost, comprehensive Sikh heritage centre. The Museum complex re-interprets recurring themes of Sikh and regional architecture. The buildings consist of a series of tower-like shafts — cylindrical, square and triangular in shape that rises out of the sand cliffs. Sheathed with hand-chiselled Gwalior sandstone of the same colour as the hills, they evoke the fortress architecture of Punjab and

Northern India. Rhythmic columnar arcades, which traditionally contain the Gurdwara courtyards and ceremonial pools, weave together the tower-like shafts and terraces towards the valley in a series of hanging gardens, which gently descend towards the water — a journey towards spiritual cleansing. The theme of the Earth and Sky, mass and lightness, depth and ascension, represented by the sandstone towers and reflective silver roofs, is further echoed within the museum galleries. As a counterpoint to the rich tradition of domes which crown sacred Sikh buildings, the roofs of the Khalsa Museum are carved out in concave shapes like great receptors facing the sky. Sheathed with silvery stainless steel, they reflect the sun and light towards the Gurdwara and the Fort — the town basks in the glory of the light emanating from the Museum. At night, these roofs would be floodlit and form a visual triangular axis with the illuminated Fort and Gurdwara domes.

Fig.2.1.4

Fig.2.1.5

Fig.2.1.6

The roof geometry projected in the skyline reveals the plan of the individual floors. One cluster, with five flower-like petals evokes the lotus, projecting skywards. A second crescent-shaped cluster creates a symphony of shapes against the skyline, dominated by a vertical sword-like triangular spire that hovers above the roofline. Below, at the centre of the historic museum is a large multi-level exhibit space, shaped like a ship, rising dramatically from the water below. Its bow faces downstream towards the sacred buildings of the town, creating the allusion of dynamic movement.

not capture the narrative and its contexts, nor will the images and text.

Principal Architect: Moshe Safdie Moshe Safdie & Associates, Boston, USA

The design approach, therefore, relies on the creation of unique scenographic environments that effectively engages multiple media to present a truly immersive experience for all audience types.

Associate Architect: Ashok Dhawan, New Delhi, India

Timelessness, according to Moshe Safdie, is perhaps the most meaningful quality one can ascribe to a building. This Museum shall stand apart forever — unique, mystical and eternal. Design Approach The design has woven threads of the vernacular aesthetic into the very fabric of the Museum’s visual language to highlight a robust, living culture. A narrative museum that endeavors to tell a story that is deeply spiritual, and filled with stirring emotion. In this case, the simple use of objects and artifacts will

To create an experience of this scale, the spoken word will play a role of greater significance over the written one. Thus, a trigger based audio guide serves as a seamless overlay on the scenographic exhibit environments as the visitor moves from one exhibit and gallery to the other.

Museum Design: AB Design Habit, New Delhi Project Head for Concept Design: Amardeep Behl Building Construction: Larsen & Toubro Limited, India

Working with time & space, the scenographic exhibit environments endeavor to create a theatrical, tactile experience through meaningful reconstruction of the historical content. Each gallery and will comprise of several elements ranging from miniature drawing styles to woven craft traditions to architectural reconstructions to folk ballads, music, audio visuals and ambient audio that allows appropriate rendition of the narrative.

167

I NT RO D UC T I O N

Fig.2.1.7

We were given spaces as high as 18 metres and galleries of large volumes. We had no artefacts, memorabilia, antiques and similar items to go with. â&#x20AC;&#x201C; design habit

168

VIR ASAT- E - K H AL SA

Fig.2.1.9

Fig.2.1.8

PHASE I â&#x20AC;&#x153;We were given spaces as high as 18 metres and galleries of large volumes. We had no artefacts, memorabilia, antiques and similar items to go with. But given the extraordinary historical, emotive, spiritual, cultural content available, we decided to make it a dynamic, storytelling museum. By developing a language fitting with the architecture, we made it into a hand made museum. A severe lack of visual content led our extensive research to history depicted through art and folk stories, apart from documented history. Recreating history through artistic representation and craft techniques, the solution was unique as we stayed true to the form and style of the 15th century and later periods in each of the galleries telling the early stories of the Sikhs and the birth of the Khalsa. Film was used to animate stories, staying true to styles of relevant periods. Using available talent in India of both contemporary and folk art and craft, we created a unique Indian language which at the same time, remained true to Punjab.

Carefully inserting very savvy technology we emphasized emotional impact. Communication was resolved with sensor-activated audio guides and took visitors through story-telling environments within various immersive experiences. In the very first gallery, a non-linear experience using art, technology and music has no equal anywhere.

Fig.2.1.10

Fig.2.1.11

PHASE 2 Phase 2 of the continuing story of Sikhism at the Virasat-e-Khalsa museum is close to completion. The final total area of 68,000 square feet will rank it among the top museums of the world.â&#x20AC;? Source: www.designhabit.com

The Visitor Visitors are primarily from rural populations and oral traditions, as well as urban residents, participating in an emotional experience of their story and not just an intellectual one. The success of our museum design is evident from the huge footfalls: 20,00,000 visitors in the very first year, and over 52,00,000 in the last three and a half years. For a remote location like Anandpur Sahib, this outstanding response is eventually due to good aesthetics and our innovative design in telling the story of Sikhism and the birth of the Khalsa.

169

G A L L E RY 20: I N T RO D U C T I O N

VIR ASAT- E - K H AL SA

Scope of Work To develop graphics for a part of Gallery 20 of the Virasat-e-Khalsa Museum. It involved understanding of the content brief, the storyline, the experience note and the constraints of the materials. This gallery will have a facility for an audio guide. Therefore, I had to listen to the Punjabi audio script, and keep its pace and content in mind while developing the graphics as the graphics and audio together will help in successfully transferring the information to the user.

Gallery 20 PARTICIPATION IN THE STRUGGLE FOR INDEPENDECE (1907-1947) 20.1 Protests Against Colonial Injustice 20.2. Intensification Of The Protests 20.3. Possibilities Of Partition 20.4. Transfer Of Power And Communal Tensions

Message: The impact of Sikh involvement in the struggle for independence, both for themselves as well as the nation.

Objective To highlight the efforts to assert Sikh rights within the larger national scenario. To focus on the events that led to the inevitable partition of India.

170

171

G A L L E RY 20: I N T RO D U C T I O N

Layout Plan: Gallery 20 (Not to Scale)

VIR ASAT- E - K H AL SA

Introduction Gallery 20 reflects on several Sikh movements, social and political, from the early twentieth century till 1947 in the context of the larger struggle for Indian independence. While doing so, it maps the impact of the Sikh involvement in the freedom struggle along with the bitter experience of how increasingly their interest repeatedly received a blow finally culminated into the grievous incident of the partition of the Punjab. This entire gallery is divided into two levels â&#x20AC;&#x201C; the upper level would depict the major national events and movements of that era and the lower level would feature the consequences some of these events had on Punjab and also the independent movements of Punjab that had immense significance in shaping socio political trajectory of Punjab in years to come.

Fig.2.2.1

172

173

G A L L E RY 20: D E S I G N M E T H O D O L O GY

VIR ASAT- E - K H AL SA

Design Methodology

Parameters

Content Understanding the content Understanding the audio script Understanding the message and intended experience

Keeping the following parameters in mind, a grid had to be developed for each gallery, so that minimum gaps show between the ACP Panels and the grid does not interfere with the message and information.

Key Elements The Important photographs and newspaper clippings were selected and their placement in the composition was decided on the basis of their appaearance in the chronology of events in the narrative.

Size of ACP Panels 4 feet by 4 feet 4 feet by 8 feet 4 feet by 12 feet

ACP Grid The construction details specified that a 4mm gap will be visible at the edges where two ACP are put together. Keeping this as a parameter and the key elements in mind, a grid was made for each composition, in a way that minimum gaps are visible and that the gaps do not interfere with important information. Most of the vertical gaps will be strategically covered with cutouts. Wherever possible, the same is done with horizontal gaps. The grid also had to accomodate spaces for the sets and LED Screens.

Printable area of archival paper roll 42inches in width. Differentiation between two galleries: 15mm wooden beading Mounting gap between ACP Panels 4mm

Design After the grid is finalized, the panel was designed keeping the following in mind: Key Elements (Important photographs and newspaper clippings) Supporting information (Supporting photographs and newspaper clippings) The Mood The Scale of elements The Narrative

174

175

G A L L E RY 20: D E S I G N M E T H O D O L O GY

VIR ASAT- E - K H AL SA

Treatment & Style

Materials

Black & White Photography By the early 20th century, black and white photography as a medium of documentation, had become established. Therefore, it was decided to use photographs as a medium to display information in this gallery.

ACP Aluminium Composite Panel is a light weight, rigid, bendable and durable aluminium faced composite panel well acknowledged as an interior and exterior wall.

Treatment: Photo-Montage Since, this gallery talks about the chaos in National Politics and the disappointment, bitterness and grievances of the Sikhs, it was decided to give a montage treatment to this Gallery, with a sepia tone. Newspaper clippings Newspaper clippings of that period were used as supporting text with the photographs, to communicate the message more effectively. Materials The graphics would be printed on archival paper and mounted on ACP Panels. Layering Cutouts will be layered on top of the panels, to highlight important information and to hide the ACP panel grid.

176

3M™ VHB™: Very Hig Bond Tape, with various applications. It is used to attach metal, plastic and glass without screws, welds, rivets, fasteners and adhesives Archival paper: Archival paper is an especially permanent, durable acid-free paper. Archival paper is meant to be used for publications of high legal, historical, or significant value.Often, cotton rag paper is used for archival purposes, as it is not made from wood-based pulp. Thus, “archival paper” is sometimes broken down into two categories: Conservation-grade — acid-free, buffered paper made from wood-based pulp. Archival-grade (also Museum-grade) — cotton rag paper made from cotton pulp. Paper made from wood-based pulp that has not had its lignin removed turns yellow, becomes brittle, and deteriorates over time. When exposed to light and/or heat, the molecules in the acidic paper will break down even faster. Alkaline paper has a life expectancy of over 1,000 years for the best paper and 500 years for average grades. Therefore, the cotton rag variety is used for this gallery for its durability and aesthetic reasons.A

177

G A L L E RY 20: D E S I G N M E T H O D O L O GY

Explorations for Gallery 20.2

178

VIR ASAT- E - K H AL SA

Explorations for Gallery 20.2

179

G A L L E RY 20.1

Exhibit Key Plan: 20.1 Protests against Colonial Justice (Not to Scale)

VIR ASAT- E - K H AL SA

20.1 Protests against Colonial Justice Starting with the transition from the gentle politics of Dadabhai Naoroji and Ranade to a more radical and revolutionary outlook of Congress under the leadership of the trio Lala Lalpat Rai, Bipin Chandra Pal and Bal Gangadhar Tilak that lead to the acclimation of “Swaraj is our birth right”, this section would map the initiation of the colonial project to frame policies to divide the subcontinent on communal lines beginning with Morley Minto Reforms. Punjab in this period witnessed peasant agitations over British indifference towards local famines and unjust revenue policies in Punjab that distressed peasantry to revolt. It also witnessed Chief Diwan Khalsa’s efforts to seek more concession for the Sikhs in terms of Sikh reservation in the electoral politics. It would then depict the evolution of the Gadhr Movement, which subsequently took a nationalist turn and had an immense impact even though for a short period in intensifying the nationalist identity in Indian and abroad. The advent of Gandhi and his leadership would feature next along with British attempts to brutally curtail nationalist movements through Defence of India Act in 1915 and Rowlatt Act. In the mean time as per the Lucknow Pact, Congress and

League worked together for a while asking for more autonomy after the First World War (1914-1918). Sikh enthusiasm for the British Raj, which had reached its climax during the War, rapidly declined due to a series of events like the British government’s refusal to protest against Canadian and American maltreatment of Sikh immigrants, disappointment over constitutional reforms and Jallaianwala Bagh massacre. While Gandhi declared Non-Cooperation Movement that aimed at a non- violent resistance through boycotting British goods, Punjab witnessed a politicoreligious reform movement with the formation of Shiromani Gurdwara Prabandhak Committee integrating religious and political causes.

Fig.2.4.1

180

181

G A L L E RY 20.1

VIR ASAT- E - K H AL SA

Experience Note This gallery is essentially about a multitude of people’s movements in the first half of the twentieth century leading to Indian independence and the unfortunate partition of Punjab. People’s protests and demonstrations against tyrannical colonial rule, oppression and injustice, may it be in India or Punjab, happens to be the continuing thread of the gallery in all the sections. The visual treatment of this gallery can broadly be divided into two sections. The first section in the upper level would feature the overarching national events in a documentary style through a huge collection of archival images, newspaper cut-outs and footages. This seamless panorama of national events in chronological order would begin with Morley Minto Reforms of 1909 and the radical turn of Congress’ outlook towards freedom struggle and commence with the transfer of power and the end of colonial rule in India, covering all major socio-political events and agitations in between. Considering the D-shaped installation space, the audience in one sweep would be able to view all the noteworthy proceedings and turmoil in the national scene that lead to our independence. Corresponding to the upper level, the lower level would either depict the Sikh response to these national events, or maps the movements in Punjab which had an independent trajectory of their own, or both. Most of these narratives in the lower level would be authentic period recreations of selected incidents such as Peasant Agitation of 1907, Ghadar Movement, Jallianwala Bagh¬¬; formation of Khalsa Diwan Society, Shiromani Gurdwara Prabandhak

182

Committee, Naujwana Bharat Sabha; Sikh responses to Communal awards, Government of India Act, and Partition of Punjab. Realistic physical reconstructions of such events would incorporate a wide range including curation of sets, film shot on location with cast and costumes that is representative of the time and era having the grainy, black and white sepia tinge, and mannequins of actual characters in an event. Such a treatment operating in dual layers would enable the audience to summarize the audience understanding of local responses to national events at a single glance. (1907-1927) 20.1.1 (Upper Level) 1907-1915 In a documentary style depiction through archival images, newspaper cutouts and footages, the upper level would portray • the transition from the gentle politics of Dadabhai Naoroji and Ranade to a radical and revolutionary outlook of Congress under the leadership of the trio Lala Lalpat Rai, Bipin Chandra Pal and Bal Gangadhar Tilak that lead to the acclimation of ”Swaraj is our birth right” • Muslim leaders, headed by Aga Khan, asking for protection from the rule of Hindu majority • And the shift from the colonial project of instigating the communal divide through provisions made for separate electorates that finally took the shape of Morley Minto Reforms. 20.1.1 (LOWER LEVEL) PEASANT AGITATION As the audience enters the gallery, immediately on the left, there would be a dual layered diorama showcasing the peasant agitations of 1907 over British indifference towards local famines and unjust

revenue policies and hefty punishment on defaulter. In the background it will have the agrarian look of Punjab, where distressed peasants would be seen demonstrating their claim and fighting for their rights. Such expressions of grievance would further be intensified by recreation of the song “pagri sambhal jatta” (peasant, guard your turban), which was the slogan of the student agitation. Agitation of students at the Khalsa College, Amritsar would occupy the fore ground with young Tara Singh who was destined to become the dominant figure in Sikh politics. Ahead of the diorama on the left, on the same plane, operating in two layers, the background would capture the scenes from the main events and meetings of Chief Khalsa Diwan in its effort while demanding concessions for the Sikhs as given to the Muslims as per Morley Minto Reforms. The cutouts in the foreground would illustrate the memorandums and directives of their claims and justifications.

Ghadr Movement Ghadr Movement in Punjab Sikh Negotiations Jallianwallah Bagh Formation of SGPC

20.1.2 (Upper Level) Ghadr Movement It would trace the trajectory of the Ghadr movement from how it started as a weekly paper that got widely circulated and soon took the shape of a party with nationalist interest. It would highlight its agendas and planning of a pan-Indian mutiny, the incident of Komagata Maru and their landing in Calcutta. 20.1.2 (Lower Level) Ghadr Movement In Punjab The set like treatment in the lower level would depict the trajectory of the Ghadar Movement in India after the Ghadrites arrive in Calcutta and moved to Punjab. On one layer the audience would be able to see large number of Ghadrites and their activities.

183

G A L L E RY 20.1

VIR ASAT- E - K H AL SA

This layer would then reveal a set in the background. In the set Kartar Singh Sarabha’s involvement in the Ghadar Party would be established through a realistic mannequin, where he would be seen and heard giving passionate speeches and singing patriotic songs during his trial. 20.1.3 (Upper Level) 1915-1927 In similar treatment followed for the upper levels, this section would feature – • The advent of Gandhi from South Africa in 1915 and his entry into national politics and taking up Congress leadership by the end of the decade. • The enforcement of Defence of India Act in 1915 for curtailing the nationalist and revolutionary • The Lucknow Pact brought Congress and League together asking for more autonomy • And the passing of The Government of India Act of 1919 that had limited provisions of self-governance to India and contained the seeds of separate electorate to consolidate communal game-plan of divide and rule by the British. • The Rowlatt Act, which instead of transferring more power to the Indians after the World War I, armed the British with more powers to curb freedom movement, especially in Bengal and Punjab • Gandhi’s call was for a nationwide protest against the Rowlatt Act through Non-Cooperation Movement that aimed to resist British occupation in India through non-violent means and refusal to buy British goods 20.1.3 (Lower Level) Sikh Negotiations And Memorandums This section is a panoramic depiction of how Sikh

184

co-operation with the British metamorphose itself into active protest, and how peaceful negotiations transform into agitation rapidly over a decade. This transition would be captured through movement of still and static images of negotiations giving way to images of protest and processions. The archival images and recreated images in the first part would reveal how the Sikhs were constantly engaged in their ongoing negotiations with the British to push the cause of greater Sikh representation, and pressed their claim to a one third representation in the Punjab and how they were constantly denied what they though they deserved. The mood of transition from peaceful on-the-table negotiations to that of a general descent amongst the Sikhs, would culminate into the post war situation that threw the economy out of gear, and demobilized 80,000 Sikhs soldiers in the Punjab. 20.1.4 Jallianwala Bagh Opposite to this wall above in a different section, Jallianwala Bagh tragedy would find its representation. To protest against the odds of colonial rule in Punjab, particularly the Rowlatt Act, people had assembled in the holy city of Amritsar on 13th of April 1919 at Jallianwala Bagh near the Golden Temple, where Colonel Reginald Edward Harry Dyer arrived and blocked the only gate and went on firing till all ammunitions were exhausted, killing 309 civilian population and brutally injuring many. This significant episode became a major blot on the colonial rule, and triggered a fresh series of severe rampage against the Raj causing India’s new upsurge for freedom.

The set would comprise of two walls acting as solid backdrops. Lenticulars laid on both these walls would assimilate – 1) the faces of the helpless victims who found no route to escape, 2) certain characteristic features of the garden resembling of the physical space of Jalianwala Bagh such as the lawn and the well in one corner to give it a more realistic touch. Between these two walls and the audience there would be two layers of curved see-through screens – one of which would portray the street with narrow opening with the armored vehicle re-establishing the sense of no escape; and the other containing Dyer’s troops seen from behind. Instead of identifying singular characters, the audience would get an over- the-shoulder point-of-view of the massacre witnessing the indiscriminate heads of police taking aim at a helpless bunch of people. As the audience would stare and get absorbed in the layered representation on the lenticular, more and more images would be revealed.

Ghadr Movement Ghadr Movement in Punjab Sikh Negotiations Jallianwallah Bagh Formation of SGPC

20.1.5 Formation Of Sgpc The wall adjacent to this on the right at the end of this section of the gallery would portray the formation of Shiromani Gurdwara Prabandhak Committee and its liberating and reformist agendas with the unprecedented congruence of religious and political causes. The audience would be facing a group of 10,000 Sikhs who elected 175 members to form a managing committee for all Sikh Gurdwaras. Shown in multiple layers of cut outs, a massive crowd gathering would capture the mood of resistance and revolution. The audience would pass through them to proceed to the next gallery.

185

G A L L E RY 20.1

VIR ASAT- E - K H AL SA

Gallery 20.1

Final Deliverable

Elevation 20.1.3 Scale 1:100 All dimensions are in millimeters 4mm gap between ACP 15mm beading on the extreme edges Elevation 20.1.3 Not to Scale All dimensions are in Millimeters

Fig.2.4.1

186

187

G A L L E RY 20.1

VIR ASAT- E - K H AL SA

Gallery 20.1

Final Deliverable

Elevation 20.1.4 Scale 1:100 All dimensions are in millimeters 4mm gap between ACP

Elevation 20.1.4 Not to Scale All dimensions are in Millimeters

Fig.2.4.1

188

189

G A L L E RY 20.1

VIR ASAT- E - K H AL SA

Gallery 20.1

Final Deliverable

Elevation 20.1.2 Scale 1:100 All dimensions are in millimeters 4mm gap between ACP

Elevation 20.1.2 Not to Scale All dimensions are in Millimeters Fig.2.4.1

190

191

G A L L E RY 20.2

Exhibit Key Plan: 20.2 Intensification of the Protests (Not to Scale)

VIR ASAT- E - K H AL SA

20.2 Intensification of the Protests The next section of the gallery, operating in dual levels as the first one would keep the narrative of resistance and reforms precede further both at national and regional context. As the nationalist movement intensified with the advent of the Simon Commission and over the repeated denial of the British to grant more autonomy to Indians and to grant more representation in decision making matters, which lead to Civil Disobedience Movement, there were parallel struggles going on in Punjab. Babbar Akalis and the Naujawan Bharat Sabha that had come up as splinter group of militant Sikhs who broke away from the mainstream Akali movement over the latterâ&#x20AC;&#x2122;s insistence on non-violence over gurdwara reforms. This section of the gallery would illustrate instances of such bravado including the violent lathi charge on the wake of a peaceful protest in Lahore lead by Lala Lajpat Rai that lead to his death and also inspired the likes of Bhagat Singh, who worked towards ushering an armed revolution in the country. As the Sikhs constantly asserted their need for greater representation following the principle of separate electorates, and their demands were either turned down or put on hold including Nehru Report, their leadership kept asserting and negotiating for their rights in Round Table Conferences or otherwise while participating in the nationalist cause.

Fig.2.5.1

192

193

G A L L E RY 20.2

VIR ASAT- E - K H AL SA

Experience Note (1927-1935) 20.2.1 Babbar Akali Movement As soon as the audience would enter this section on the left, the walls of the conical shaped space in the lower level would depict the Babbar Akali Movement, which broke away from the mainstream Akali movement over the latter’s insistence on nonviolence. The main characters of the movement and their bravados would come alive in murals in graphic novel style.

20.2.2 (LOWER LEVEL) SIKH GRIEVANCE AGAINST NEHRU REPORT The second wall of this section would comprise a set of the Lahore Congress Session and depict the Sikh grievance against the Nehru Report, which recommended a joint electorate throughout India with the exception of Sikh reservation in Punjab. Master Tara Singh’s role in communicating that the Sikh rights had been ignored till he was consoled and brought back into the greater scheme of things would be highlighted.

20.2.2 (UPPER LEVEL) 1927-1929 In similar documentary style depiction through archival footages and recreated images, the upper level of this section would feature – • The advent of Simon Commission in 1927 to review the working of the Government of India Act 1019 and its suggestions • The resolution to boycott it by National Congress and the Muslim League since no Indians were associated with the commission • The Nehru Report of 1928

20.2.2 (LOWER LEVEL) AKALI PARTICIPATION IN THE CIVIL DISOBEDIENCE The third wall of this section would depict Akali participation in the Civil Disobedience with the active participation of Tara Singh and his successful persuasion of SGPC, who initially opposed it.

20.2.2 (LOWER LEVEL) LATHI CHARGE AGAINST LAJPAT RAI The audience would enter the first section and witness the procession against the Simon Commission at Lahore on the left wall and the police responded with a violent lathi charge. In the mob Lala Lajpat Rai, who led a silent non- violent procession would be highlighted as a distinct cut out. He would be seen beaten by the police, which causied his death, and later instigating fresh air of revenge amongst freedom fighters and inspiring Bhagat Singh.

194

20.2.4 (UPPER LEVEL) 1930-1935 Continuing the documentary style depiction through archival footages and recreated images, the upper level of this section would depict • Round Table conferences • Communal Award • Government of India Act 20.2.4 (LOWER LEVEL) SIKH PARTICIPATION IN THE ROUND TABLE CONFERENCES In the backdrop of the third section audience would see Sikh participation in all the three Round Table Conferences to ensure greater reservation of seats for themselves. This will then climax into a layered set that will feature scenes from the Lahore meeting with Master Tara Singh’s public disapproval of the Communal Award of 1932 in the Lahore Meeting in an impactful speech.

Babbar Akali Movement Lathi Charge Nehru Report Civil Disobedience Movement Round Table Conferences

20.2.3 (UPPER LEVEL) 1930 Continuing the documentary style depiction through archival footages and recreated images, the upper level of this section would feature Gandhiji’s declaration of the Civil Disobedience Movement. 20.2.3 (LOWER LEVEL) BHAGAT SINGH The second section would encompass the bravery of Bhagat Singh. Two separate folds would portray his route to martyrdom. The first part on the left would be a set that will narrate the incident of Bhagat Singh shooting Saunders. This would leads to the depiction of bombing the parliament which will then morph into court-room trails, the verdicts and his speeches presented through holographic representations.

195

G A L L E RY 20.2

VIR ASAT- E - K H AL SA

Gallery 20.2

Final Deliverable

Elevation 20.2 Scale 1:100 All dimensions are in millimeters 4mm gap between ACP 15mm beading on the extreme edges

Elevation 20.2 Not to Scale All dimensions are in Millimeters

Fig.2.5.1

196

197

GA L L E RY 20 .1

Exhibit Key Plan: 20.3 Possibilities of Partition (Not to Scale)

VIR ASAT- E - K H AL SA

20.3 Possibilities of Partition This section will focus on the activities of the Indian National Congress and its leaders and their negotiations with other political parties like the Shiromani Akali Dal, Muslim League and the Unionists to move from asking Dominion Status to demanding complete independence. It would provide an overall glimpse unfolding at the National level starting from the elections of 1936 where Unionist came to power under the leadership of Sikandar Hyat and Muslim League did not fare well; Communal Awards that consolidated the separate electorate; Sikandar-Jinnah Pact as a League initiative to consolidate its position after its debacle in 1936 elections, the Lahore Resolution that spelt out the demand for a separate nation for Muslims; the C. Rajagopalachari’s formula that had concessions for partition; Cripps Mission send with a mission to persuade Indian leadership to support British in the War in exchange of considerable autonomy after war gets over; the declaration of Quit India Movement; Wavells’ negotiations after war; the failure of Simla Conference, and the decisive elections of 1946.

It would also portray the Sikh response to most of these events, summarizing the great Sikh dilemma while taking a firm political stance regarding division of Punjab, separate nationhood, while coming to terms with the inevitability of partition. By this time, they were faced with two rival freedom movements; one led by the National Congress for the freedom of the country as a whole; the other led by the Muslim League for an independent Muslim state involving a division of the country which would invariably cut across the land in which the Sikhs lived. This section would bring out that constant tension between power sharing in the ruling coalition and also being unsure about the fate of Punjab; the act of supporting Congress on national movement and being critical of Congress when it came to Punjab; and their fierce response to Lahore Declaration and, Rajagopalachari’s formula.

Fig.2.6.1

198

199

VIR ASAT- E - K H AL SA

Experience Note 20.3.1 (Lower Level) Sikh Role And Participation In The Unionist Government This section would paint the picture of factions and the fragmented nature of Punjab politics post elections. The backdrop would present glimpses of the nature and the composition of the Unionist coalition through cut-outs operating in layers. In the foreground, audience would witness the Sikh role and participation in the Unionist government as Chief Khalsa Diwan was included in the coalition and the Unionists hounded the Akalis, raided their offices, and registered false cases against Master Tara Singh. 20.3.1 (Lower Level) Possibilities Of Partition This section would comprise four layers of cut-outs. The first layer would be depicting Sikandar-Jinnah pact in the Lucknow session of the All India Muslim League in October 1937 that resulted in Sikandar Khan’s loyalties being divided between the Muslim League and the non-Muslim members of the Unionist Party. The second layer would portray the impact it had on Sikhs making them more insecure and resilient. It would be a set of All India Akali conference at Rawalpindi, where Congress flag was flown along with the Sikh Panthic flag, as Master Tara Singh, deeply concern with Sikandar-Jinnah pact decided to support the Congress. The third layer would illustrate the Sikh stance of supporting the British in World War II, while extending full sympathy and support to Civil Disobedience Movement.

200

The fourth and the final one would convey the culmination of Sikh grievance against Lahore Declaration. Foreseeing the prospects of living under Muslim domination in their homeland after Lahore Declaration, Master Tara Singh resolved to resist the move in the Akali Conference at Atari.

20.3.3 (Upper Level) 1946 Through archival images, the upper layer would feature developments soon after the end of World War II towards gradual transfer of power with successive meetings with Lord Wavell, formation of Cabinet Mission and the failure of Simla Conference

20.3.4 (Lower Level) Elections Of 1946 In Punjab Cut-outs in layers of the lower level would predominantly portray the elections of 1946 and the aggressive communal campaign of the League that contributed to its dramatic rise and ensured the fall of secular sensibilities favoring a united India.

20.3.2 (Upper Level) 1941-1945 Through archival images, the upper layer would feature – - The advent of the Cripps Mission that promised more autonomy after the end of the war in exchange of support during war years - Gandhi’s declaration of Quit India Movement - C. Rajagopalachari formulae by which, if the Muslim League supported the demand for immediate independence, contagious districts in the northwest of India where Muslims were in absolute majority.

20.3.3 (Lower Level) Opposition To The Creation Of Pakistan In a three layered cut-outs, this section would feature the post-war negotiations with Lord Wavell, which further conveyed their strong opposition to the creation of Pakistan, mapping the realistic possibilities of a separate state for the Sikhs.

20.3.4 (Lower Level) Master Tara Singh’s Speech This section would comprise a set in the left corner of the gallery. Set against the backdrop of the beginning of a massive communal rampage and consolidation of the claim for Pakistan, this set would feature Master Tara Singh and his last dramatic attempt to salvage pride and communicate the Sikh disapproval of Pakistan being curved out of their homeland. Through animatronics, Tara Singh’s impactful speech would come live, where he reinstated the Sikh sentiment of the impossibility living under Muslim domination or conceding Punjab to Pakistan.

20.3.2 (Lower Level) A Fierce Response To C. Rajagopalachari Formulae The wall on the left would begin with fierce response to C. Rajagopalachari (leader of Madras Legislative Assembly, who enjoyed the confidence of Gandhi) formulae that consolidated the Sikh opposition to Pakistan and the utter impossibility of living under Muslim rule in cut-outs. Considering the formulae to be a proof of Pakistan being conceded, there were demands of a separate Sikh state was also made. Sikh resentments would be represented through cut outs of their memorandum and demands and the point of views of Master Tara Singh, Gyani Kartar Singh and Baldev Singh.

20.3.3 (Lower Level) Simla Conference The third section would show glimpses of the Sikh representation in the Simla Conference in June 1945 and its proceedings and failure to resolve the differences between Muslims and Sikh point of view.

Sikh role in the Unionist Govt C. Rajagopalachari Formula End of World War Failure of Simla Conference Elections of 1946

20.3.4 (Upper Level) 1946-1947 Upper Level The images of the upper level would depict: - The decisive elections of 1946, where Muslim League drubbed Unionist candidates with aggressive communal campaigning and won the majority which fueled - The claim for Pakistan gaining momentum, making partition more obvious after the fall of the Unionist leader Khizar Hayat KhanTiwana under the pressure of Muslim League

201

VIR ASAT- E - K H AL SA

Gallery 20.3

Final Deliverable

Elevation 20.3.1, 20.3.2 Scale 1:100 All dimensions are in millimeters 4mm gap between ACP 15mm beading on the extreme edges

Elevation 20.3.1 & 20.3.2 Not to Scale All dimensions are in Millimmeters

Fig.2.6.1

202

203

VIR ASAT- E - K H AL SA

Gallery 20.3

Final Deliverable

Elevation 20.3.3 Scale 1:100 All dimensions are in millimeters 4mm gap between ACP 15mm beading on the extreme edges

Elevation 20.3.3 Not to Scale All dimensions are in Millimmeters

Fig.2.6.1

204

205

VIR ASAT- E - K H AL SA

Exhibit Key Plan: 20.4 Transfer of Power & Communal Tensions (Not to Scale)

20.4 Transfer of Power & Communal Tensions This section of the gallery will highlight the confusion, turmoil and riots which followed the decision of the transfer of power after Sikhs demanded partition of Punjab following their refusal to live under Muslim rule or domination, and Mounbatten and Congress accepting the partition in principle. Even though initially, the Muslim Leagueâ&#x20AC;&#x2122;s proposal to divide the subcontinent into a Hindu-majority India and a Muslimmajority Pakistan was rejected by the Congress outright, the victory of League in the 1946 elections intensified the demand for Pakistan to the extent that it could no more be evaded. The section will focus on the communal tension that evoked and how Punjab got severely affected as large number of Sikhs were compelled to forcefully leave their homeland empty handed and migrate to India.

It would feature this period of turbulence when Lord Luis Mountbatten came in as the first Viceroy of India and charged with overseeing the transition of British India to independence no later than 1948. The border between India and Pakistan was determined by the Boundary Commissions report prepared under the chairmanship of Sir Cyril Radcliffe. While the Boundary Commission was holding its deliberations, law and order in Punjab continued to deteriorate.

Fig.2.7.1

206

207

VIR ASAT- E - K H AL SA

Experience Note (1947) The fourth and final section of the twentieth gallery leads to Indian independence, partition of the country set against an atmosphere of intense communal violence. This section would narrate the proceedings of a year just before independence through a combination of photographs, footages and cutouts 20.4.1 Acceptance Of Partition And Transfer Of Power In a rectangular enclosed gateway to the next gallery, both the walls on the right would depict the British Government announcing their intention of transferring power to India by June, 1948. The walls on the left would feature All-India Congress Committee passing a resolution accepting partition. This section would feature a combination of archival images, footages and cut-outs in layers. 20.4.2 Lord Mountbatten’s Tenure After making an exit from the enclosed gateway that establishes the announcement of transfer of power, the audience walks into a niche on the left. The upper level of these three walls would feature: - The arrival of Lord Mountbatten as the Viceroy on March 1947, and the steps he took for arranging a speedy transfer of power. - Jinnah accepting the division of Punjab, resting his demand for the entire Punjab on June 1947, as Mountbatten hinted as an early withdrawal. And the acceptance of the principle of partition Lord Mountbatten approving a notional division on the basis of population, separating the Muslim majority

208

districts from the non-Muslim districts. - How the Sikhs went about going to the Congress High Command in Delhi to ask for a partition of Punjab and earn a favorable arrangement ensuring an equitable division on the basis of number and property. - The formation of the Boundary Commission with both Sikh and Muslim representatives with Cyril Radcliffe as chairman. The lower level of these three walls would feature: - The spread of the riots starting from Sikh and Hindu students clashing with a Muslim mob in Lahore, which soon spread like a wild fire to Amritsar, Rawalpindi, Gujrat, Multan and other places. - The collapse of the state machinery to control the spread of communal hatred and the visit of Mountbatten in the riot trodden areas. - The intensification of the riots taking the shape of a massacre executed by gangs armed with modern weapons to drive the Sikhs out of West Punjab. - the Sikh hope that the Boundary Commission would emphasize the ‘other factors’ other than population to salvage their shrines and homes, along with the Sikh Memorandum to the Boundary Commission in July 1947 that drew attention to the inaccuracy of the census reports, alone on the basis of which the line of division cannot be drawn.

20.4.3 Independence Day And Communal Riots 20.4.3 (Upper Level) The upper level would reveal images of the integration of the princely states into the Indian federation followed by the midnight speech of Pandit Nehru. It would have footages of two self-governing countries of India and Pakistan coming into existence at the stroke of midnight on 14-15 August 1947. 20.4.3 (Lower Level) The lower level would comprise a set depicting the intensity of the riots that shook the subcontinent shattering the harmony between the two religious communities and replacing it with sheer madness. Layered cutouts would establish the atrocities that millions had to face at home or on streets at the wake of independence.

Acceptance of Partition Transfer of Power Lord Mountbatten’s Tenure Independence Day Communal Riots

209

VIR ASAT- E - K H AL SA

Gallery 20.4

Final Deliverable

Elevation 20.4.1 Cabinet Mission 1 & 2 Scale 1:100 All dimensions are in millimeters 4mm gap between ACP

Elevation 20.4.1 Not to Scale All dimensions are in Millimeters

Fig.2.7.2

210

211

VIR ASAT- E - K H AL SA

Design Process

Black and white test prints on A3 paper

212

Colored Print on flex

Scaled down colored test prints with mounted cut outs

Sampling in 1:1 scale, printed on archival paper, mounted on ACP

Flex Prints in 1:1 scale put up on site

Work in Progress on site

213

VIR ASAT- E - K H AL SA

Site Work in Progress

214

215

VIR ASAT- E - K H AL SA

216

217

VIR ASAT- E - K H AL SA

Construction

Conclusion

A steel framework was put up around the gallery.

It was a privilege to be a part of the Virasat-e-Khalsa project. I had never worked on a live project of this scale and magnitude.

Plywood was mounted on to this framework, as per the requirement of the design. Printed archival paper is mounted onto ACP with 3M VHB (Very High Bond), which are then mounted onto the plywood with the same adhesive. Laser cut prints of the cutouts are mounted onto laser cut ACP using the same process. Aluminium and acrylic discs of different thicknesses are used as spacers between the cutouts and background ACP. These, too, are fixed using VHB.

It was essential to understand and internalize the vision and experience intended for the gallery. The content was heavy and it was overwhelming to keep all the parameters in mind, during visualization. Every element was part of a larger story and it was important to go back and forth between the elements and make the required changes to maintain continuity and scale. The relationship of all elements of a composition with each other, the relationship of each composition with other compositions of the same exhibit, and the connection between the exhibit and the overall narrative had to be continuously checked to maintain continuity in the story. This project, helped me understand scale and visualization and exposed me to new materials and design process. It gave me insights about designing for experience and telling stories through spaces.

218

219

VIR ASAT- E - K H AL SA

Resources

Photographs – Web Resources Fig.2.1.1.http://virasat-e-khalsa.net/uploaded_files/ photogallery/4eaa503f2a408DSC_8669.JPG Fig. 2.1.4 https://upload.wikimedia.org/wikipedia/commons/thumb/d/ da/Night_view_from_the_entrance_of_the_campus.jpg/800px-Night_view_ from_the_entrance_of_the_campus.jpg Fig. 2.1.5 http://payload170.cargocollective.com/1/6/193894/5703608/ DSC05157_2048.jpg Fig. 2.1.6 http://virasat-e-khalsa.net/templates/cms/images/top_banner. jpg Fig. 1.12.1 http://organicarchitecture.weebly.com/ uploads/6/3/3/9/6339824/4648382_orig.jpg Fig. 1.12.2 http://organicarchitecture.weebly.com/ uploads/6/3/3/9/6339824/9965216_orig.jpg Fig. 1.12.3 http://organicarchitecture.weebly.com/ uploads/6/3/3/9/6339824/____8080350_orig.jpg Fig. 1.12.4 http://organicarchitecture.weebly.com/ uploads/6/3/3/9/6339824/___341178_orig.jpg Fig 1.12.5 http://organicarchitecture.weebly.com/ uploads/6/3/3/9/6339824/___7235692_orig.jpg Fig.1.12.6 http://www.milinkovicco.com/cms/template/gallery/mcsistem/ferocement/sta-je-to-ferocement/large/2.jpg Fig 1.12.7 http://organicarchitecture.weebly.com/ uploads/6/3/3/9/6339824/__4798058_orig.jpg Fig.1.12.8 http://organicarchitecture.weebly.com/ uploads/6/3/3/9/6339824/___4440899_orig.jpg

Internet Resources https://www.ketto.org/chinmayapradeep https://www.youtube.com/watch?v=XVRjJrKC5HI http://www.chinmayamission.com/who-we-are/the-mission/#.Vrg9--nQ_iY http://virasat-e-khalsa.net Publications & Books Exhibition Design by Philip Hughes Yours Forever: Life and Letters of Swami Chinmayananda At Every Breath, A Teaching by Rudite Emir, Anjali Singh Photographs of Swami Chinmayananda Chinmaya Mission Photo Archive

Photographs– Design Habit Fig. 1, Fig 2, Fig 2.1.7, Fig. 2.1.8, Fig 2.1.9, Fig. 2.1.10, Fig 2.1.11, Fig. 2.1.12, Fig. 2.2.1, Fig. 2.4.1, Fig 2.5.1, Fig 2.6.1, Fig 2.7.1

220

221

222