Thesis - Adaptive Re-Use of a Colonial Structure as a Museum for Cinema by SuryaVenkat

adaptive re-use of a colonial structure as a museum for cinema.

r.s.surya venkat 090901134 viii semester fapd, manipal university

FACULTY OF ARCHITECTURE PLANING AND DESIGN MANIPAL UNIVERSITY, MANIPAL

CERTIFICATE We certify that the Thesis entitled “Adaptive Re-use Of A Colonial Structure As A Museum For Cinema”, that is being submitted by R.S.SURYA VENKAT,090901134 in the 8th semester in partial fulfillment for the award of the degree of Bachelor of Architecture, Faculty of Architecture Planning and Design, Manipal Institute of Technology , Manipal University is a record of bonafide work, to the best of our knowledge.

…………………………………. Director

…………………………………. Guide

acknowledgement

To begin with, I would like to express my sincere thanks to my professors, especially Ar.Deepika Shetty, for giving direction and guidance with their invaluable inputs, without which this would not have been possible. However absurd it may seem, it would not be right if I have not acknowledged the most powerful and resourceful tool which has been an indispensable entity in the realization of this research, the Internet. It is a tool of incomparable and unparalleled magnitude and it would be unbecoming of one to omit thanking such an entity. Hence, I thank the Internet, in all its abstract physicality, for being such a crucial tool in the development of this research paper. I would also like to thank my parents for their unending and unparalleled support through thick and thin. Lastly, and most importantly, I would like to extend my gratitude and warm regards to my friends for helping me sustain my resolve and making this presentation possible.

contents. introduction and problem statement definition of terms justification literature study lighting utilization and division of spaces museum services planning-entrances exhibition rooms organisation of space

dissertation introduction summary-museum design pointers

case studies introduction case study 1- government museum, chennai case study 2 â&#x20AC;&#x201C; national museum, delhi case study inferences

site locating the site location map and land â&#x20AC;&#x201C; use map site plan and elevations site overview analysis of site

design concept and zoning master plan with roof plan basement floors and parking - layouts and site sections 1st floor layout and annexe 2 design

introduction.

problem and statement. adaptive re-use of a colonial structure as a museum for cinema.

definition of terms. What is a Museum? A museum is an institution that cares for (conserves) a collection of artefacts and other objects of scientific, artistic, cultural, or historical importance and makes them available for public viewing through exhibits that may be permanent or temporary. Most large museums are located in major cities throughout the world. The continuing acceleration in the digitization of information, combined with the increasing capacity of digital information storage, is causing the traditional model of museums (i.e. as static “collections of collections” of three-dimensional specimens and artefacts) to expand to include virtual exhibits and high-resolution images of their collections for perusal, study, and exploration from any place with Internet.

What is Adaptive Re-Use? Adaptive reuse refers to the process of reusing an old site or building for a purpose other than which it was built or designed for. Along with brownfield reclamation, adaptive reuse is seen by many as a key factor in land conservation and the reduction of urban sprawl. However adaptive reuse can become controversial as there is sometimes a blurred line between renovation, facadism and adaptive reuse. It can be regarded as a compromise between historic preservation and demolition.

Famous examples of Adaptive Re-Use Museum Structures:

Tate Modern

Inujima Art Project

Musee D’Orsay

Justification. Relevance: Museums form an integral part in educating and imparting knowledge to the society as a whole. As described my Michel Foucault, they are institutions of Enlightenment. In the context of India, there is a lack of such spaces which have a high magnitude of impact on the society. Therefore, there is a gaping hole in the promotion of its rich and diverse cultural heritage which has been restricted to textual documents and photographs. These are short-coming as this means that the hands-on experience that one gets in a museum is absent, if not highly deficient. Conceiving a museum space which is socially relevant and up-to-date in terms of technology and infrastructure will help package and effectively communicate as well as educate the society of the countryâ&#x20AC;&#x2122;s rich and diverse culture.

Scope: The project will help develop a state of the art Museum by conversion of an existing heritage structure. It serves a dual purpose as it ensures the prominence of the space in terms of physical presence as well as contributing to the conservation of the structure.

Aim and Objectives: To conceive a Museum space that showcases the rich cultural heritage of the country. To create an experience that communicates visually and verbally with the visitor. To develop such a museum space in an existing heritage structure to stimulate a character which represents the rich cultural past of the country To create an annexe to this existing structure, if necessary and conceive it as a modern structure and juxtapose this with the existing heritage structure to exhibit a dramatic visual and transition of spaces.

literature study.

Natural Lighting Lighting from Above This type of lighting, sometimes called overhead lighting (I dislike this term, which seems too restrictive, ignoring the possibility of directing the light from above at any desirable angle), has long been favored by the designers of museums, for it presents certain obvious advantages . 1 . A freer and steadier supply of light, less liable to be affected by the different aspects of the various rooms in the building and by any lateral obstacles (other buildings, trees, etc.) which might tend, by causing refraction or by casting shadows, to alter the quantity or quality of the light itself . 2. The possibility of regulating the amount of light cast on the pictures or other exhibits and of securing full and uniform lighting, giving good visibility with a minimum of reflection or distortion . 3. The saving of wallspace, which thus remains available for exhibits . 4. The maximum latitude in planning space inside the building, which can be divided without requiring courtyards or light shafts . 5. The facilitation of security measures, owing to fewer openings in the outside walls.

Natural Lighting Lateral Lighting This is provided either by ordinary windows of various shapes and sizes, placed at suitable intervals in the walls, or by continuous openings ; both windows and openings may be placed either at a level at which people can see out of them or in the upper part of the wall . The solution adopted will be determined by the type of museum and the nature of its exhibits, an the advantages end disadvantages vary from one to another. Windows at the usual level, whether separate or continuous, have one serious drawback, in that the wall in which they are placed is rendered useless and the opposite wall practically useless, because showcases, paintings, and any other object with a smooth reflecting surface, if placed against the wall facing the source of light, will inevitably cause an interplay of reflections which impedes visibility. These windows will, however, shed full and agreeable light an exhibits placed against the other walls and in the center of the room at a correct angle to the source of light. Advocates of lateral lighting point out that this is particularly successful in bringing out the plastic and luminous qualities of paintings and sculpture created in past centuries, when artists usually worked by such light.

Inferences • Providing Overhead lighting helps in creating spaces which are lit with uniformly distributed natural light throughout the day • Planning maximum penetration of natural light helps in minimising the cost of running the museum • Use of overhead lighting measures should be done with discretion as overdoing it would create monotony • Use of lateral lighting measures would result in the loss of available exhibition space along the walls • Using angled lighting openings to create a focus on exhibits reduces the dependency on artificial lighting sources

Utilization and Division of Spaces The modern tendency is to create large unbroken spaces, which can then be divided up by movable partitions or lightweight structures, to be grouped or displaced as required . The traditional system is the contrary one of dividing the space, by means of permanent walls, into rooms of various sizes, which may be either communicating or independent (connected, in the letter case, by passages or side galleries) . A small museum may do well to adopt an intermediate system with a succession of averagesized rooms (for the display of permanent collections whose contents will not change, such as those received through bequests, donations, etc.) and one or more large rooms which can be variously divided up when required by movable partitions or light structures The structure of the building and, with it, the interior and exterior technical features, will vary according to the purpose for which it is intended . Requirements and costs will be different in each separate case, for it is evident that the larger the surface to be roofed in one span without intermediate supports, the greater the technical problem and the cost of the roof .

Museum Services Before considering the planning of the museum it is essential to determine the size and location of the various services . In other words, we must decide how much space can end should be allocated for subsidiary activities, or for those necessary to the functioning of the museum in its relationship with the public (offices, rooms for meetings and lectures, library, documentation service) on the same floor as the exhibition rooms, end which services and technical plant (heating and electrical apparatus, storerooms, workshops, garage, etc .) can be housed in the basement or, if possible, in special outlying buildings to be built as annexes, at a convenient distance from the main building .

It should be remembered that the usual custom is to set aside for these purposes en area which may be as much as 50 percent of the total space available. In small museums this proportion may be reduced . But the fact remains that two conflicting needs have to be reconciled : on the one hand there must be easy communication between the public rooms and the museum services, since this makes for smooth relations between visitors and staff ; on the other hand it must be possible to separate these two sections, so that they can function independently at any time . This is necessary chiefly to safeguard the collections at times when the building is closed to the public while the curators or office staff are still at work and the library and lecture hall in use .

Planning - Entrances However many outside doors may be found necessary for the various museum services (but these should be as few as possible, to facilitate supervision and security measures), there must be only one public entrance, placed quite separately from the others. This should lead into a vestibule for certain essential services like sale of tickets, information service, catalogues , postcards .

The officialin charge should not be confined to a booth behind a window, but should be able to move about freely and leave his [her) position when circumstances require . It is important for the entrance hall to seem attractive even to the casual passerbywho is always a potential visitor to the museum

Exhibition Rooms A museum in which all the rooms are the same size becomes very monotonous . By varying their dimensions and the relation between height and width-and also by using different colors for the walls and different kinds of flooring-we provide a spontaneous and unconscious stimulus to attention. Monotony also results when a number of rooms follow one another in a straight line . Even where this cannot be entirely avoided, the rooms should be so constructed that the doors are not opposite one another, providing a "telescopic" view through the building . An uninterrupted prospect of the long route ahead is usually found to have a depressing effect on visitors. There are, however, undoubted advantages in being able to see into several rooms at the same time ; it is a help, for instance, in directing visitors, and for security purposes .

On the other hand, by varying the positions of the doors we are also able to place the visitor, from the moment of his entrance, at the point chosen by the organizer of the display as the best for conveying an immediate and striking impression of its general contents, or for giving a view of the most important piece in that particular room . In principle, the door should be placed in such a way that a visitor coming through it will see the full length of the opposite wall . It is therefore not advisable for it to face a window, since the visitor will then be dazzled just as he comes in. Overhead lighting allows greater diversity of shape (rectangular, polygonal, circular, etc .) because the lighting can always be arranged on a scale to suit the room. Oblong rooms, divided by partitions to a certain height, but with one ceiling and skylight, should however be avoided ; this system has proved unsatisfactory both from the aesthetic and from the functional points of view .

Exhibition Rooms One important fact should be remembered when the shape of the rooms is being decided . A square room, when it exceeds a certain size (about 23 sq ft), has no advantage over an oblong one, either from the point of view of cost (roof span) or from that of the use of space in the satisfactory display of the exhibits, expecially if they are paintings . It is sometimes found advisable to place a work of art of outstanding interest and exceptional value in a room by itself, to attract and concentrate the greatest possible attention . Such a room need be only large enough to accommodate a single work ; but there must always be enough space for the public to circulate freely. Galleries intended for permanent exhibitions may, on the contrary, be of considerable size, though it is never advisable for them to be more than about 22 ft wide, 12 to 18 ft high, and 65 to 80 ft long .

Organisation of Space An adult museum visitor observes an area only a little over 1 ft above his own eye level to 3 ft below it at an average viewing distance of 2448 in (Fig . 5) . Arranging objects and labels above and below these limits places a strain on seldom-used muscles and produces aching backs, tired feet, burning eyes, and stiff necks . Some quite large objects, such as totem poles or dinosaurs, will inevitably soar above these viewing limits, and, in this event, the visitor must be permitted space to back far enough away from the object to comprehend it without becoming a case for an orthopedic specialist .

The flow of visitors is like the flow of water in a stream . If the cases are arranged with gently curving lines to take advantage of this pattern of movement , visitors will find the room more attractive and can progress easily with the line of the case . Often the arrangements can be staggered which produces a certain mystery and a desire on the part of the visitor to peek around corners to see what is next . It is not always necessary to have a wide opening into a hall . Cases that are arranged to narrow the entrance a bit, so that the hall inside then opens out, provide a certain amount of interest

dissertation. introduction.

â&#x20AC;&#x153;design philosophies in cultural museum spacesâ&#x20AC;?

Through time, a museum has been a space which has housed objects and elements of the past preserving and immortalizing the journey through the spans of time. It is a place which not only houses such objects, but communicates and educates these stories to the masses. In recent times, however, the influence of these once essential and prestigious institutions has had a diminishing impact on the society and the masses. Obsolete methods of display and ineffective communication to the people have been the main culprits for this setback. This brings to light the inability of the institutions in coping and syncing with modern technology and adopting newer and more effective means of display and communication. In an effort to revive the diminishing concept of museums and to reinstate their position in the public domain, advancements have been conceived and achieved in the shaping and structuring of these spaces both in terms of space planning and the modes of effective display. The definition of a museum has evolved, in line with developments in the society This statement, issued by the ICOM (International Council of Museums), has an important take towards the changing mentality of the museums with respect to the society. Museums have come a long way in terms of evolution of their spaces and more importantly their design philosophies. The paper aims to establish an understanding of the design philosophies adopted in earlier times and juxtapose them with those that have been used to conceive museum spaces in recent times. A study of the philosophies which have widespread acceptance, for instance, those of French philosopher, Michel Foucault and his contemporaries such as Eilean Hooper-Greehill and Tony Bennet will help breakdown these concepts into tangible elements for analysis. Comparing them with recent philosophies, which delve into the realms of Economics, will give a study of comparison. This is done to get an understanding of how museums have sustained their position in the society by adapting to the varied needs and necessities they have been exposed to. A study, basically of the evolution of the design philosophies adopted through the ages and the reversible impact of the society and the museumâ&#x20AC;&#x2122;s characteristics.

dissertation summary-pointers for museum design. museum planning. The design of museums has evolved throughout history. Interpretive museums, as opposed to art museums, have missions reflecting curatorial guidance through the subject matter which now include content in the form of images, audio and visual effects, and interactive exhibits. Museum creation begins with a museum plan, created through a museum planning process. The process involves identifying the museum's vision and the resources, organization and experiences needed to realize this vision. A feasibility study, analysis of comparable facilities and an interpretive planare all developed as part of the museum planning process. Some museum experiences have very few or no artifacts and do not necessarily call themselves museums; the Griffith Observatory in Los Angelesand the National Constitution Center in Philadelphia, being notable examples where there are few artifacts, but strong, memorable stories are told or information is interpreted. In contrast, the United States Holocaust Memorial Museum in Washington, D.C. uses many artifacts in their memorable exhibitions

exhibition design. Most mid-size and large museums employ exhibit design staff for graphic and environmental design projects, including exhibitions. In addition to traditional 2-D and 3-D designers and architects, these staff departments may include audio-visual specialists, software designers, audience research and evaluation specialists, writers, editors, and preparators or art handlers. These staff specialists may also be charged with supervising contract design or production services. The exhibit design process builds on the interpretive plan for an exhibit, determining the most effective, engaging and appropriate methods of communicating a message or telling a story. The process will often mirror the architectural process or schedule, moving from conceptual plan, through schematic design, design development, contract document, fabrication and installation. Museums of all sizes may also contract the outside services of exhibit fabrication businesses. Predator Exhibits, located in Ontario, Canada, is one such business. Exhibition design has as multitude of strategies, theories, and methods but two that embody much of the theory and dialogue surrounding exhibition design are the metonymy technique and the use of authentic artifacts to provide the historical narrative. Metonymy, or "the substitution of the name of an attribute or adjunct for that of the thing meant, is a technique used by many museums.

social functions â&#x20AC;&#x201C; changing museum designs. Social objects help in engaging the user in an alien environment in order to establish an interaction. The advent of internet social media and sharing shows a great deal of interaction is possible while one is confined to the comforts of ones very room. Also there are no physical hassles like waiting in line etc. They also empower the user to register their views and allows other users to build on one personâ&#x20AC;&#x2122;s perspective promoting a healthy dialogue within the social realm. However, to replicate such a successful system in a place where ones physical presence is required is quite a challenge. Social media, though unparalleled in its own accord, has a few setbacks. They do not offer the real world experiences that one feels as they walk through the corridors of a museum. The hands on experience that one gets in a museum is also absent. Deriving these positives that social media has provided, and implementing them in the physical realms of a museum will add to its quotient of sociability and sustain and promote its existence in the society.

spatial layouts â&#x20AC;&#x201C; an inferred observation. The spatial layouts of the various museums analyzed provide a study of comparison between the different layouts. The chosen Case studies have mushroomed at different decades of time. However, they more or less, provide a study of similarity when compared. The conceptual model is a proposed way of thinking, as a method for reading museum space as a set of formal potentials, built out of a number of basic concepts. In that sense it might be suggested that these ideas could be a valuable contribution to the design of museums in that they provide designers with a better understanding of principles and some knowledge of systematic consequences of strategic design decisions. More importantly perhaps, they can also inform the application of new ideas, and encourage new ways of handling spatial and display considerations. The space definition, though varied, carries a common concept. For instance, the unpredictability of the experience is emphasised in both castelvecchio as well as in Louisiana, however the spatial treatment varies. The theories emphasise on the ends rather than the means. The use of objects to define the floor space shows a definitive method of defining areas without walls, or any other such space markers. This theory is well emphasised in the design of The Berlin Museum by Meis Van der Rohe which uses the exhibits to define the floor space, thereby creating definitive circulation paths for the people to follow.

museum as heterotopia. A heterotopia is a space of difference, a space that is absolutely central to a culture but in which the relations between elements of a culture are suspended, neutralized, or reversed. Unlike utopias, heterotopias are real places ‘designed into the very institution of society’ in which all the other real emplacements of a culture are ‘at the same time, represented, contested, and reversed, sorts of places that are outside all places, although they are actually localizable’ (Foucault 1998: 178). Foucault’s prime examples of the heterotopia are the cemetery and the ship: the cemetery is a different place compared with ordinary cultural spaces; it is a space of the difference of life and death, duration and eternity; and yet it is a space that is connected to all the othe emplacements of the society, since every individual and family has relatives in the cemetery. The ship is ‘a piece of floating space, a placeless place’; it functions according to its own rules in the space between ports, between cultures, between stable points. Foucault’s museum is defined as a space of difference and a space of representation: a space in which the difference between words and things is put on display and made available for public contestation. The museum is an Enlightenment institution not only because its essence is the problem of representation, but also because the museum partakes of the Enlightenment ethos of permanent critique: a reflection upon its own conceptual conditions of possibility. In allowing for the possibility of transgressing those conceptual conditions, the museum is not mired in Enlightenment critique that searches for ‘formal structures with universal value’, but moves toward Foucault’s version of transformed critique that is ‘a historical investigation into the events that have led us to constitute ourselves and to recognize ourselves as subjects of what we are doing, thinking, saying’. Foucault’s definition of the museum as heterotopia is useful, firstly because it overcomes the problems of defining the museum exclusively in terms of objects, collecting practices, or methods of display that are historically contingent; it enables us instead to define it in terms of a philosophical problem that is part of the museum’s essence. Secondly, the definition of the museum as heterotopia explains how the museum can be progressive without subscribing to politically problematic notions of universality or ‘total history’. Indeed, museums are best placed to critique, contest, and transgress those problematic notions, precisely on the basis of their Enlightenment lineage.

culture-led regeneration. From the 1980s onwards culture-led regeneration has been used as a strategy throughout Europe for regenerating and revitalising cities and regions which have suffered social and economic problems through de-industrialisation. These strategies have undoubtedly been successful in a number of different cities throughout the UK and Europe. In a crowded international market, it can mark the city as distinct, giving it a brand image. This can indirectly promote its economic competitiveness by increasing its position in the quality-life indexes of international investment rankings. The Bilbao region of Spain is often cited as one of the most successful examples. Beset with economic decline and social deprivation, the Bilbao region was revitalised with the 1997 opening of the Guggenheim Museum playing a central role in changing the fortunes of the region. Indeed, a number of European cities have attempted to achieve their own version of the ‘Guggenheim Effect’, often by placing flagship artistic or cultural projects at the centre of their regeneration schemes. These flagship projects are predominantly located in ‘high-profile’ areas such as city centres or waterfront locations.

overall findings and conclusions.

findings. Museum spaces, however small or big, have been conceived with a single, main philosophy, it may have a number of smaller theoretical influences, but its existence is defined by one single diktat, which defines and shapes it. The evolution of museum spaces have seen remarkable spurts in recent times as people scurry to refurbish and remarket these spaces as that of Enlightenment, a shift away from the earlier role of museums as store houses of the past. Moreover, their role does not only confine to the impacting of society and the spread of knowledge, they are also being conceived with its primary objective being an economic driver. Museums, coupled with their philosophies have evolved over the years with an ever expanding realm, bringing in various factors to play as the day and age progress. Museums are no longer developed as spaces in isolation, but are being conceived as spaces for inclusion, the advent of the development of a Social Character for the space has been acknowledged.

conclusions. The museum space has an underlying philosophy which shapes it into existence. This philosophy need not necessarily be a design guideline or a design theory. The philosophy is simply the resolve to conceive a particular space in a given location. This resolve is the primary starting point for the development of the museum as a conceptualization. Societal and other social implications need to be satisfied to prolong the permanence of such an institution. The museum, as a space defines and promotes the objects on display and always plays second fiddle to the exhibits. The conviction of the Museum as a Heterotopia by Michel Foucault has helped in theorising and breaking down of many philosophies leading to a better understanding of museums as a ‘Place of Otherness’. The function of the museum as a sanctuary for storing the past, in all its brilliance, has undergone a definitive shift in focus. The museums are no longer conceived as spaces which translate to their literal meaning. They characterise so much more of essence as a space for public gathering and interaction. But at the same time, there cannot be generalised parallels drawn between these spaces and the colloquially popular public spaces such as town squares, town centres etc. for the simple reason that despite their evolved nature in terms of conception, the basic spirit of the museums is to educate, interact and entertain the masses. The primary focus of such a public space, being the space itself, one can easily conclude that the museum has been successful in evolving into a Social Object/Entity. The conception of museums and such public spaces as object of Culture Led Regeneration is more of an economic model of a cultural revival movement. The eventual positives that come out of such programs trickle down to the realms of a cultural regeneration movement which strengthens the will of the locals to take pride in their local culture. This model of “Cultural Regeneration” witnesses the intersection of a rational entity like economics with an abstract entity such as the arts and culture. It is a fascinating amalgamation which bridges the gap between two opposites. Culture Led Regeneration has led to the creation of landmark structures such as the Guggenheim Museum, Bilbao and the Denver Art Museum, Denver, Colorado, etc. It is important to ensure the development of such structures as they are literally history in the making for the future generations of the society. They are Louvre and the Tate of the generations to come. In fact, they represent the architecture, the design philosophies, the mentalities and the spirit of the people of our times ad cocoon them within their skin for the future to peruse through. The architecture, the exhibits and the eventual spaces are the reflections of the society, as we know it. And therefore, it is important to theorize the spaces sensibly and preserve an essence in them because after all, history is indeed being written, and it is imperative to ensure that it is done so in the right way.

case studies.

case study 1 goveernment museum, egmore, chennai purpose of study. The egmore museum complex is one of the oldest and biggest museums in Asia. It is a fine example of a British colonial structure. Understanding a museum setup within such a structure will help facilitate a good insight into the spatial outlay of the space in such a structure.

Case study 2 national museum, janpath, new delhi purpose of study. The importance of this museum given the scale of its representation of the Indian culture, commands a study of its spatial arrangements and other features. It is one of the primary modern day museums of the country, the study of which becomes imperative, as it caters to a wide audience from within and outside the country.

case study 1 government museum, egmore chennai

Site details Type - Public building Architectural style - Indo-Saracenic Location - Pantheon Road, Chennai, India Address â&#x20AC;&#x201C; Egmore, Chennai, Tamil Nadu 600 009 Inaugurated â&#x20AC;&#x201C; 1854

History

Major Access to site Entry to the Government Museum Complex, Chennai is from Pantheon Road as well as the exit. There are no other service entries or pedestrian entries into the site Road Geometrics in the site The site houses a number of structures within it. Hence, there is a network of service roads (4.5m wide) connecting both the museum, library and administrative buildings

Government Museum, established in 1851, is located in Egmore, Chennai. Known as the Madras Museum, the museum is the second oldest museum in India, the first being the Indian Museum at Kolkata, started in 1814. It is also one of the largest museums in South Asia. It is particularly rich in archaeological and numismatic collections. It has the largest collection of Roman antiquities outside Europe. Many of the buildings within the Museum campus are over 100 years old. Among them, the colossal Museum Theatre is one of the most impressive. The National Art Gallery is also present in the museum premises. Built in IndoSaracenic style, it houses rare works of artists such a Raja Ravi Varma. In August 1778, the governor of Madras granted 43 acres for an estate to a civil servant, who, subsequently in 1793, assigned the grounds to a committee of 24 which then regulated the public amusements in the city. In 1821, the committee sold the main house and central garden space to E. S. Moorat, an Armenian merchant who, in turn, sold it back to the government in 1830. The government first used the buildings and the grounds as the collector's "Cutcherry" and later for the "Central Museum." The museum was originally established in a building on College Road in Nungambakkam in the year 1851 and was shifted to the present site in 1854

Topography

Site topography remains to be predominantly flat.

Utilities The buildings receive electricity from a dedicated transformer located within the compounds of the site. All buildings are connected underground sewage lines which connect with the corporation line located outside the site.

Surrounding Context Neighbouring strucutres within the site are of similar nature in terms of architecture and heritage value. However, surrounding sites contain commercial structures which are relatively modern in terms of architecture.

Parking facilities Parking space is provided for 20-25 cars as well as segregated parking for buses. Multiple attractions within the complex raises the need for ample parking with due consideration given to the need of each buildings

Landscape features The service roads are lined with trees giving ample shade to the entire site. In fact, the entire site has a dense canopy covering it providing an escape from the concrete jungle outside the confines of its compound walls. There is no other planned landscaping done except for pots of plants lined along building entrance paths.

Sustainable Aspects Rain Water Harvesting has been administered on the buildings in line with the mandatory requirements of the state government. Coupled with this, solar CFL street lights have been provided along the service roads and paths. No other sustainable measures have been adopted primarily because the structures are heritage buildings.

The Museum The museum consists of 2 connected buildings – The old block and the New annexe. The Old Block houses – The Archaeology Section The Zoology Section The Geology Section Physical Anthropology Section The Folk Art Gallery The Musical Instrument Gallery The Ethnology Section The Arms Gallery The Pre-History Section

The Sequence The museum follows a linear plan, uniformly in all its spaces making it a monotonous experience for the visitors. Addition of curved circulation, etc will sustain the interest of the visitor as he progresses through the spaces. Display items within a particular space are sequeced chronologically from start to finish creating an impression of an untold yet implied narrative. However, space transition from one place to another is rather abrupt and to an extent, random

The New Block houses the sculpture Gallery. In addition to this sculpture gallery, a sculpture garden is located outside the walls of the museum creating a feature – space for any passer-by and instigating an interest in them

The Display Systems The museum has resorted to 2 types of display systems – Systematic(static) Displays which are used to display items as they are Diorama Displays- create a dynamic scene within the display unit showing the item in its native place and use

Lighting Natural day lighting is provided by means of bay windows as well as ventilators in the sculpture gallery There is no restriction or restraint that has to be exercised owing to the nature of the exhibits. Artificial lighting by means of metal halide lighting and ordinary tube lights are provided Halogen lamps are used to create focus on the exhibits

Exhibits Circulation Ample circulation area has been provided with respect to exhibits.

Certain areas get congested during peak hourrs, especially around the main exhibit attractions causing a disruption in the flow of people Connectivity between the different museum sections is a matter of concern as there are abrupt changes in themes as one moves from one section to another. For instance a person moving from the amaravati gallery will proceed into the whale room which belongs to another contrasting category

All exhibits are prepared and treated within the museum premises from materials sourced from the store Most of the relics on display are replicas of the original for fear of theft and for preserving their delicate condition from the harshness of weather change, moisture etc. Materials used to manufacture the exhibits are plywood, glass, laminate covering, acrylic sheets, metal rods

case study 2 national museum, janpath delhi

Site details Type - Public building Location - Janpath, Delhi, India Inaugurated â&#x20AC;&#x201C; August 15, 1949

Major Access to site Entry as well as exit are located on Janpath. Located amidst Government buildings like that of the External Affairs, the access seems rather restricted, more in the spirit than literally.

Road Geometrics in the site The site has the basic approach road coupled with one for parking for employees alone. Visitors vehicles are not permitted inside the gates

History The roots of the National Museum begin with an exhibition of Indian art and artifacts at the Royal Academy in London in the winter of 1947-48.At the end of the London exhibition, the exhibition curators had decided to display the same collection intact in India before returning the artifacts to their individual museums. The Indian exhibition was shown at the Rashtrapati Bhawan in 1949, and was so successful that it led to the decision to form a permanent National Museum. On 15 August 1949, the National Museum was formally inaugurated by the Governor-General of India, Chakravarti Rajagopalachari. At that time, it was decided that until a permanent home could be found for the collection, it would continue to be housed at the Rashtrapati Bhawan. The cornerstone of the present museum building was laid by Jawaharlal Nehru, then Prime Minister of India, on 12 May 1955, and the building formally opened to the public on 18 December 1960. Today, the museum is administered and funded by the Department of Culture, Ministry of Human Resource Development

Topography Site topography remains to be predominantly flat.

Utilities The site sports its own transformer which supplies electricity to the building.

Surrounding Context Neighbouring strucutres are all Government buildings. The Museum is flanked by the ASI building and is opposite to the building belonging to the Ministry of External Affairs. The tone of the buildings have been deliberately sobered down. It is located in the powerhouse of the capital. Design aspects match that of the surrounding buildings and the scale of the structure is quite monumental

Parking facilities Parking space is provided for high level employees alone. Probably owing to security concerns as the building is located in a high risk zone.

Landscape features Neatly trimmed hedges with a few trees comprise the landscaping within the complex as it is with the rest of the government buildings nestled on this road

Sustainable Aspects: Rain Water Harvesting has been administered in the building.

Other Amenities Cloak rooms have been provided for people to drop off unnecessary belongings Audio-guided tours in more than 5 languages helps in catering to the multiple and diverse fraternity of people who from different parts of the world to learn about our culture and heritage

The Museum Unlike the Egmore museum, the National Museum consists of a single structure following a circular plan with an open, central courtyard. It has 3 floors wherein The Ground Floor Houses – Entrance Hall Library Auditorium Harppan Civilisation Gupta Art Bronzes Miniature Paintings Decorative Arts The First Floor Houses – Manuscripts Central Asian Antiquities Coins Thanjavur Paintings Maritime History Ajanta Paintings The Second Floor Houses – Precolumbian and Western Arts Copper Plates Wood Carving Musical Instruments Arms and Armor

The Sequence The museum follows a trapezoidal plan with a sequenced circulation through each floor. The twists and turns generate a curiosity amongst the visitors. However, the exhausting distance to be covered to reach the exit results in reduced sustenance of interest on the exhibits Display items within a particular space are sequeced chronologically on the lines of the egmore museum Space transition works very well from one era to another as the grouping of spaces has been efficiently done

The Display Systems This museum has also resorted to the same 2 types of display systems – Systematic(static) Displays which are used to display items as they are Diorama Displays- create a dynamic scene within the display unit showing the item in its native place and use In addition to this audiobooks are offered which provide insightful information on the exhibits displayed which can be availed at any time by the visitor

Lighting Natural day lighting is blocked out in all of the gallery spaces All items on display are illuminated with metal-halide track lightig system coupled with ordinary tube light s and individual focus lights The only exhibits to be illuminated with natural lighting are those that have been placed in the external passage and those in the courtyard

Exhibits All exhibits are prepared and treated within the museum premises from materials sourced from the store Most of the relics on display are replicas of the original for fear of theft and for preserving their delicate condition from the harshness of weather change, moisture etc.

Circulation

Materials used to manufacture the exhibits are plywood, glass, laminate covering, acrylic sheets, metal rods

Ample circulation area has been provided in and around the courtyard and the exhibits. Sequential transformation is observed as one moves from one space to another Connectivity between the different museum sections is done smoothly. And there is an established heirarchy in the movement through spaces

Exhibits are displayed in cases, pedestals and in the open. Airconditioning throughout the premises helps in the upkeep of the exhibits and prevents the accumulation of dirt as the museum is located close to the road.

conclusions – egmore museum, chennai. •

The entire museum complex is not barrier-free.

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Multiple buildings housing a multitude of sections highly diverse in nature leads to an exhausting journey through the museum

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Disconnected and abrupt sequencing of different sections leaves the visitor confused.

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Lack of signages and audio guidance etc., makes the space less user friendly

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Display systems incorporated are not very effective, bulky and old.

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Virtual displays have not been experimented with.

conclusions – national museum, new delhi.

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The entire exhibition is arranged in a circular circulatory path. The sequence follows a chronological path and the transition from one space to another is smooth

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Audio Books – Provide an automated guided tour explaining about various exhibits around the museum. Available in multiple languages, it is a very effective communication tool, especially for foreign nationals.

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Display systems used are old and inefficient.

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Track lighting is used to create a focus on the exhibits.

considerations for design. museum – space definition. Closed – Plan Fixed Exhibition space Standard visitor path traced each time No flexibility in changing the dynamics and creating variation in the spatial arrangements

Open – Plan Space definition and spatial arrangement is accorded by means of the exhibits themselves High level of flexibility is seen in terms of exhibit arrangement Visitor paths can be altered regularly rendering a differing spatial appeal

museum – social functions. Creating a socially interactive environment to communicate with the visitor Adding elements of monumental/novelty value – like an installation art in a square etc., helps in the retention of the spatial elements of a space in the visitors memory Promoting an interactive atmosphere between the exhibits and the visitors which engages the visitor in a multi-sensory journey as he/she progresses through the museum. This can be done by means of virtual display tools such as cinematic and 3d projections etc. Creating an atmosphere within segments of the space which represents the era of the exhibits

broad guidelines. • • • • •

Prominence and visibility of structure should be maintained Retention of primary and original use of spaces Addition of an annexe complementing the existing space, for other uses Ensuring that the design of the annexe structure is sensitive towards the heritage of the existing structure. Also, ensuring that the newly erected annexe does not over-power or compromise on the prominence of the existing heritage structure.

locating the site. victoria public hall location: poonamallee high road, chennai. current use: under renovation, no proposed use till date.

1. Chennai situated on the shores of the Bay of Bengal is the capital of the Tamilnadu state and it is the fourth largest metropolis in India. 2. Chennai Metropolis located on the coramandal coast in South India and the land is a flat coastal plain. Three rivers viz. Kosasthalaiyar, Cooum and Adyar pass through Chennai Metropolitan 3. Chennai lies on the thermal equator and most of the year it is hot and humid. Highest temperature attained in May-June is usually about 400C (104 0F) for a few days. The coldest time of the year is early January and during that month the temperatures are about 200C (680F). Predominant wind direction is from South East to North West. 4. Chennai Metropolitan Area comprises of the area covered by Chennai City Corporation (Chennai District), 16 Municipalities, 20 Town Panchayats and 214 villages forming part of 10 Panchayat Unions in Thiruvallur and Kancheepuram Districts. It extends over 1189 Sq.Kms

location map. Located on poonamallee high road, the site context is abound with a number of other similar colonial structures like the ripon buildings, chennai central station and the southern railway headquarters. The site is centrally located in one of the busiest parts of the city.

site-land use map. According to the cmda master plan for 2026.

victoria hall road

Building elevation along poonammallee high road

Poonamallee high road

Building elevation along victoria hall road

site plan.

site overview. General information Type - Public building Architectural style - Indo-Saracenic Location - Poonamallee High Road, Chennai, India Address - Park Town, Chennai, Tamil Nadu 600 003 Construction started - 1886 Completed - 1888-1890 Inaugurated - 1888-1890

Technical details • • • • • • • • •

Site Area – 6155.8 sqm Built Up Area – 1239.4 Sq.M Open Area – 4916 Sq.M Road Area or Paved Area – 950.6 Sq.M Width of ROW abutting Site (Proposed) – 30.5m Additionally the site falls within the CRZ-2 line prescribed by the CMDA. Therefore, special regulations are to be exercised while developing on the site Owner - Corporation of Chennai Management - Victoria Public Hall Trust Architect - Robert Fellowes Chisholm

Site Context • • • • • • •

Public and Administrative buildings all around. A number of heritage colonial structures along the same stretch Notable buildings include – Ripon Buildings Chennai Central Station Southern Railways Headquarters Chennai Central Prison – Now Abandoned

history of the structure.

Victoria Public Hall, or the Town Hall, is a historical building in Chennai, named after Victoria, Empress of India. It is one of the finest examples of British architecture in Chennai and was built to commemorate the golden jubilee of Queen Victoria. It served as a theatre and public assembly room in the late 19th century and the early 20th century. The building is located on Poonamallee High Road near Moore Market and between Ripon Building and Chennai Central Railway Station. Constructed with red brick and painted with lime mortar, the rectangular building has an Italianate tower capped by a Travancore-style roof. The ground floor of the building has a built-up area of 13,342 sq ft and the first floor has a built-up area of 12,541 sq ft. The two large halls in the ground and the first floors were built to accommodate 600 persons each, while a wooden gallery in the eastern end has seating arrangement for more than 200 persons. The structure consists of arcaded verandahs along the northern and southern sides in the hall on the first floor supported on sleek Corinthian stone columns, a square tower that is three storeys high, and a carved pyramidal roof. There is also an intricately carved terracotta cornice, which resembles Islamic calligraphy, atop the tower. The hall has four staircases, of which three lead to the hall on the first floor and one to the balcony, and four turrets. The Trevelyan Fountain, a memorial fountain in the grounds of the hall, was raised to mark the contribution Charles Trevelyan, Governor of Madras during 1859-1860 and the developer of the People's Park, towards providing the city with adequate drinking water. On one side of the fountain is a bas relief of Trevelyan's head.

first floor plan.

ground floor plan.

Analysis of Site.  

Site Plan is characterised by an entry for Poonamallee high road as well as secondary entrances from the abutting service roads. Visibility of the structure from the road is low as the tree cover on the site partially blanket the façade of the structure

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Site Entry is characterised by a memorial fountainn erected to honor the Lord of Madras for his governance. The entry looks apt as it is lined with trees which partly cover the façade of the structure raising a sense of curiousity within the visitor.

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Main entry into the building is from the east side of the building which sports a covered portico. The entrance is not that grand and does emanate a sense of grandeur and an escalated scale which is generally seen in a convention hall etc.

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The entry into the hall on the ground floor is simplistic in tune with the plain nature of the entrance portico. Doorway height is 2.8m. The entrance foyer further contains two rooms on either end and a stairwell leading up to the first floor. The entire space characterises a cramped feeling as all these spaces seem to overlap the other

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A defined path and axis has not been established. Another peculiar observation may be that the entrance foyer is somewhat asymmetric in nature with only one entrance into the hall on one end.

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The hall lower hall was primarily used for dining and lounge purposes as people took a break from attending a cultural programme on the upper floor. The space is lofty and is characterised by iron pillars which are slender and with decorated capitals.

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The hall provides a backdrop to a semi-circular room at the west end of the structure. Madras terrace ceilings are observed throughout the entire structure

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The hall has doorways leading out along the sides as well at regular intervals. The doorways are similar to that which is found at the entrance portico.

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Entrances on both sides of the hall are characterised by long corridors on one side and a staircase leading up to the first floor on the other. The staircase on the nort end is not similar to that on the south end of the structure

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Approach to the first floor from all three sides is characterised by wide balconies overlooking the road. There is a stairwell on the south east end which leads to a spiral staircase leading up to the observing tower.

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The tower was primarily used as a viewing deck which overlooked the city of Madras and the Bay of Bengal. Approach is not barrier free. The spiral staircase is rather narrow and is 0.7m wide

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Additionally, two spiral staircases lead up to the roof located on either sides on the east end of the structure. Access to these staircases is only from the first floor.

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The upper floor houses a hall with a stage and a viewing gallery as well. The rear of the hall contains a green room as well as washrooms. The rear space is semi-circular.

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The upper storey along with its mezzanine space has a false ceiling under the rafters of the roof which is made of canvas and painted with organic paint pigments, supported by a grid wooden skeleton.

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The balconies on the upper floor have colonnaded parapets with arches and they have these characteristic semi-circular niches which cantilever out of the structure.

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The roof is sloped with timber trusses supporting mangalore tiles. The rafters provide a sense of airiness and grandeur as one observes the city from these balconies.