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1.ANICPHCONICPAST,PCinpaMHINDUSTIMEPRESENCHENNAPROJEartialfulfi
MASTESCHOOLSTANINACHMUSENTANDNAIMEECTREPSubmitSENTH(1350
fillmentfoEROFAGENLOFARNSTITUTANDSCHENNAOctoberEUMREDFUTU
ETROPPORT(PAttedbyHIL.M0010)rtheawaofARCHITinNERALRCHITECTEOFT
CIENCEAI60310r2014EFLECUREOPOLISAR304)rdofthedECTURCTURETECHNO
03CTINGTOFTHEdegreeREOLOGYTHEE
2.ANICONICTIMEMUSEUMREFLECTINGTHEPAST,PRESENTANDFUTUREOFTHE
CHENNAIMETROPOLISAPROJECTREPORT(PAR304)SubmittedbySENTHIL.M
(1350010)inpartialfulfillmentfortheawardofthedegreeofMASTEROFARCHITECTUREin
GENERALSCHOOLOFARCHITECTUREHINDUSTANINSTITUTEOFTECHNOLOGYAND
SCIENCECHENNAI603103October2014
3.HINDUSTANUNIVERSITY:PADUR,CHENNAI603103BONAFIDECERTIFICATE
CertifiedthatthisprojectreporttitledANICONICTIMEMUSEUMREFLECTINGTHEPAST,
PRESENTANDFUTUREOFTHECHENNAIMETROPOLISisthebonafideworkof
M.SENTHIL(1350010)whocarriedouttheprojectworkundermysupervision.Certifiedfurther
thattothebestofmyknowledgetheworkreportedheredoesnotformpartofanyotherproject/
researchworkonthebasisofwhichadegreeorawardwasconferredonanearlieroccasiononthisor
anyothercandidate.DEANPG&COLLABORATIONSUPERVISORPROF.KERSTINFRICK
PROF.DR.RAVIKUMARBHARGAVASchoolofArchitectureSchoolofArchitectureHindustan
InstituteofHindustanInstituteofTechnologyTechnologyandScience,PadurandScience,PadurThe
ProjectVivaVoceExaminationisheldon_______________INTERNALEXAMINEREXTERNAL
EXAMINER
4.iABSTRACTArchitectureistheartofspaces.Thehumanfeelingswereinfluencedby
architecturalspacefromtimetotime.Relatingtothedesignofahistorymuseum,itcouldevokea
certainfeelingormemoryofahistoricalevent.Thisdissertationfocusesontheinfluenceof
architecturalspaceoverperiodoftimes.Atheoreticalaswellaspracticalkeyissueinthedesignof
museumandgalleriesishowthelayoutofspaceinteractswithdisplaystocreateaspecificeffect,
expresstheintendedmessagetovisitors.Thisdissertationaimstocaptureandrepresentthehistoryof
mankindsunderstandingofspaceinthedesignofanarchitecturalbuilding.BrunoZevidescribes:
Architecturedoesnotconsistinthesumofthewidth,lengthandheightofthestructuralelements
whichenclosespace,butinthevoiditself,theclosedspaceinwhichmanlivesandmoves.Ina
museum,therearemanydifferentfunctions.Itisimpossibletodealwithallthesefunctionswiththe
sametypeofspace.Eventheexhibitionspacesarenotallthesame.Thefixedexhibitionroomis
differentfromthetemporaryexhibitionspacebecauseofitssimplerfunctionandparticular
atmosphere,whichrelatestotheindividualthemeofeachfixedexhibitionroom.
5.iiItisconfirmedbythedesigneratthebeginningoftheprocess,whichcanbepresentedby
architecturallanguage.Nevertheless,thetemporaryexhibitionneedstosuitdifferentdisplays.Alarge,
openandneutralspaceisagoodsolution.Theelementsofspaceplayanimportantrolein

differentiatingonespacefromanother.Bymeansofdesigningtheelement,thefeaturesofspacecan
beintensified.Theelementsincludetheenclosingelements,whichdefinethespace,suchasplane
elements(floor,deckandoverhead)andverticalelements(columnandwall),andcirculation
elements,suchashorizontalcirculation(windowsanddoors)andverticalcirculation(stairsand
ramps).Thefeaturesalsodependonthequalitiesofthespacethatintimatelyrelatestotheseelements,
whichistheresultofthecompositionofdifferentelements.Theformthecolour,texture,patternand
soundtheproportionandscalethedefinitionandconfigurationthedegreeofenclosure,lightand
viewareallthequalitiesofspacethatthedesignisbasedon.Thisdissertationcomprisesofallthe
spatialandfunctionalrequirementsofamuseumplanning.Thedesigncomponentofthisprojectis
locatedinChennai,ametropolitancity.Itintendstoimpressvisitorswithavividhistoryofits
developmentthroarchitecturalexpressions.
6.iiiACKNOWLEDGEMENTIwouldliketothankmydissertationsupervisorProfessorDr.Ravi
KumarBhargavaforhisguidanceandinputduringourtutorialsandthroughoutthisprocess.Iwould
alsoliketothankmywife,Er.S.Jayalakshmiforallofherlove,helpandencouragementduringmy
studiesatHindustanUniversity.Lastly,Iwouldliketothankmyfriendsfortheirsupport.M.
SENTHIL
7.ivTABLEOFCONTENTSCHAPTERNO.TITLEPAGENO.ABSTRACTiLISTOF
FIGURESviiiLISTOFABBREVIATIONSxi1INTRODUCTION11.1DEFINITIONS11.1.1
ICOMDEFINITIONS21.1.2EDUCATIONROLEOFAMUSEUM21.2HISTORYOF
MUSEUM31.2.1ABOUTCHENNAIMUSEUM41.3SPACE51.3.1THEESSENCEOFSPACE
51.3.2THEFEATURESOFSPACE51.4NEEDFORTHESTUDY71.5AIMS&OBJECTIVES
71.6SCOPEANDLIMITATIONS81.7HYPOTHESIS81.8METHODOLOGY9
8.v2DATACOLLECTION112.1TYPEOFMUSEUMS112.2DESIGNGUIDELINES12
2.3PLANNINGFACTORS132.3.1SITESELECTION152.3.2ZONINGOFAMUSEUM15
2.3.3CLIMATE162.3.3CIRCULATIONININDOORANDOUTDOOR162.3.5EXHIBITOF
DISPLAYS192.3.6TYPESOFDISPLAYS212.3.6.1DISPLAYCASE222.3.6.2CONEOF
VISION232.3.7MATERIALS242.3.8LIGHTING242.3.6.1NATURALLIGHTING252.3.6.2
ARTIFICALLIGHTING262.3.9SERVICES282.4LITERATURESTUDY302.4.1STATE
MUSEUM,BHOPAL302.4.1.1LOCATION312.4.1.2PLANNING312.4.1.3INFERENCES35
9.vi2.4.2BHARATBHAVAN,BHOPAL362.4.2.1LOCATION362.4.2.2PLANNING38
2.4.2.3INFERENCES412.4.3REGIONALSCIENCECENTRE,BHOPAL422.4.3.1LOCATION
422.4.3.2PLANNING432.4.3.3INFERENCES452.4.4.NATIONALMUSEUM,NEWDELHI.
462.4.4.1LOCATION462.4.4.2PLANNING472.4.4.3INFERENCES502.4.5.NINGBO
HISTORICMUSEUM,CHINA512.4.5.1LOCATION512.4.5.2PLANNING522.4.5.3
INFERENCES552.4.6.BILBAOGUGGENHEIMMUSEUM,SPAIN562.4.6.1LOCATION56
2.4.6.2PLANNING572.4.6.3INFERENCES603CASESTUDY613.1GOVERNMENT
MUSEUM,EGMORE,CHENNAI61
10.vii3.1.1LOCATION613.1.2PLANNING623.1.3MAINBUILDING653.1.4FRONT
BUILDING683.1.5BRONEGALLERY693.1.6CHILDRENSMUSEUM713.1.7NATIONAL
ARTGALLERY733.1.8CONTEMPORARYARTGALLERY753.1.9INFERENCES774
SYNTHESIS785CONCLUSIONS826BIBLIOGRAPHY&REFERENCES83
11.viiiLISTOFFIGURESFIGURENO.TITLESPAGENO.1.1MethodologyChart102.1
Museumplanningprocess142.2CirculationDiagram172.3GalleryCirculation182.4Circulation
Pattern192.5TypeofDisplays202.6Exhibitionspaces212.7DisplayStandards222.8Coneof
vision232.9Coneofvision232.10Naturallighting252.11Artificiallighting272.12Layoutof
Services282.13FazardsofStateMuseum302.14AerialviewofStateMuseum302.15Gallery
ViewsofStateMuseum312.16GalleryViewsofStateMuseum322.17GroundFloorPlan342.18
FirstFloorPlan342.19ViewofBharatBhavan362.20AerialviewofBharatBhavan36
12.ix2.21ViewsofBharatBhavan372.22ViewsofBharatBhavan382.23PlanofBharat
Bhavan392.24ViewsofBharatBhavan402.25SiteSectionalViewofBharatBhavan402.26View
ofScienceCentre422.27AerialViewofScienceCentre422.28ViewofScienceCentre432.29
ViewofScienceCentre442.30BlockModelofScienceCentre452.31ViewofNationalMuseum46
2.32AerialViewofNationalMuseum462.33GroundFloorplan472.34FirstFloorplan482.35
SecondFloorplan482.36InteriorView492.37AerialViewofNingboHistoricmuseum512.38
Elevationview522.39Sideview532.40Variousperspectives532.41FrontView542.42Front
View562.43FrontView582.44InteriorView582.45Plan59
13.x3.11980sViewofEgmoreMuseum613.2ViewofMuseum623.3SiteplanofMuseum64
3.4Sculpturegallery653.5HinduSculpturegallery653.6GroundandFirstfloorplanofMain
Building663.7ViewofsculptureGallery673.8GroundandFirstfloorplanofFrontBuilding68

3.9ViewofAnthropologyGallery693.10ViewofBronzeGallery693.11GroundandFirstfloor
planofBronzeGallery703.12ViewofChildrensGallery713.13GroundandFirstfloorplanof
ChildrenMuseum723.14ViewofNationalArtGallery733.15GroundfloorplanofNationalArt
gallery743.16ViewofNationalArtgallery743.17ViewofContemporaryArtgallery753.18
GroundandFirstfloorplanofContemporaryArtGallery76
14.xiLISTOFABBREVIATIONSASIArchaeologicalSurveyofIndiaBIMBuilding
InformationModelingCCTVClosedCircuitTeleVisionCMDAChennaiMetropolitan
DevelopmentAuthorityDCRDevelopmentControlRulesHVACHeating,VentilationandAir
ConditioningICOMInternationalCouncilofMuseumsMEPMechanical,ElectricalandPlumbing
UVUltraViolet
15.1CHAPTER1INTRODUCTIONMuseumisatemple,whereartandknowledgearemost
important.Ithasabalancebetweendevotiontoart.Threeprimarytaskofamuseum:Education
PresentationFormingofacollectionNowadays,thepublicwouldnotgotoamuseuminthefirst
instancetoacquireknowledgeorinformation.Instead,visitorsofamuseumexpecttogothrougha
uniqueexperience.Thisiswhymuseumsshouldbeabletoofferaneventintheircompetitionwith
movietheatres,amusementparksandshoppingmalls.Thisdissertationtopicdiscuss,howthemuseum
reflectingtheessenceofpast,presentandfutureofitscitytothevisitors.Thisstudyhasdeveloped
intoastructuredwaytoenhanceinterdisciplinarymuseumdesignwork,bydevelopingaprescriptive
designprocessframework.1.1DEFINITIONMuseumsaredefinedassemiformalplacesof
learningwhichcollect,displayandinterpretartefactsofsomesort,foreducationalpurposes.This
studypaperfocusesoncollectionsbasedmuseums,asdistinctfromsciencecentreswhichutilise
interactiveexhibitstoillustrateculture.InTheEmergenceoftheModernMuseum,Siegeldefinesa
museumas,acollectionofrepositoryofrareandcuriousthingsinnatureandart,arrangedforthe
purposesofstudy.
16.21.1.1ICOMDefinitionTheInternationalCouncilofMuseums(ICOM)isaninternationalnon
governmentalorganizationofmuseumsandmuseumsprofessionalswhichiscommittedtothe
conservation,continuationandcommunicationtosocietyoftheworldsnaturalandculturalheritage,
presentandfuture,tangibleandintangible.TheICOMisbasedinParis.Itwasestablishedin1946.
Withapproximately30,000membersin137countries,ICOMisanetworkofmuseumprofessionals
actinginawiderangeofmuseumandheritagerelateddisciplines.ICOMdefinesmuseumforStudy/
Education/Enjoyment.ItdefinesmuseumasItisanonprofitmaking,permanentinstitutioninthe
serviceofsocietyandofitsdevelopment,andopentothepublic,whichacquires,conserves,
researches,communicatesandexhibits,forpurposesofstudy,educationandenjoyment,material
evidenceofpeopleandtheirenvironment1.1.2EducationalRoleoftheMuseumThemuseumhas
animportantdutytodevelopitseducationalroleandattractwideraudiencesfromalllevelsofthe
community,localityorgroupitserves.Itshouldofferopportunitiesforsuchpeopletobecome
involvedinthemuseumandtosupportitsgoalsandactivities.Interactionwiththeconstituent
communityandpromotionoftheirheritageisanintegralpartoftheeducationalroleofthemuseum
Learninginmuseumsgenerallyinvolvesavisitororagroupofvisitorsattendingtoanobject,a
display,label,person,elementorsomementalconstructofthese.Museumlearninghaslongbeen
examinedinrelationtoattractingpowerandloadingpowerofexhibitsinmuseums.Theinformation
thuscollectedbythevisitorsisstoredinthebrainandremainsthereoveraperiod.
17.3Theinformationavisitorreceivesduringamuseumvisittendstobearacontextualmap.The
museumvisitrepresentsacollectionofexperiencesratherthanasingleunitaryphenomenon.Any
informationobtainedduringthemuseumvisitislikelytoincludesocialrelated,attituderelated,
cognitiverelatedandsensoryrelatedassociation.Theseassociationswillbecomeembeddedinmemory
altogetherwiththeresultthatanyonefacetoftheseexperiencescanfacilitatetherecalloftheentire
experience.1.2HISTORYOFMUSEUMForcenturies,museumshaveplayedanimportantrolein
societiesaroundtheworld.Theyareculturalinstitutionsinwhichpeopleareabletocome,learn,and
enjoyart.Somemuseumshavegainedareputationfortheircollectionofart.Anexaminationofthe
evolutionofthemuseumsfromtheirearlyyearsleadinguptothepresentwillbeusedtorevealtheir
impactonsocietyandtoexplorehowmuseumscananddoplayaroleinculturaldiplomacy,most
notablythroughartexhibitions.TheconceptofmuseumsinIndiamaybetracedbacktothehistoric
times,inwhichreferencestotheChitrasala(picturegallery)dooccur.However,inIndiathemuseum
movementpostdatesthesimilardevelopmentsthatoccurredinEurope.Theearliestnecessitytohouse
objectsofantiquarianremainsdatesbacktolate1796ADwhentheAsiaticSocietyofBengalfeltthe
needtohousetheenormouscollectionofarchaeological,ethnological,geological,zoologicalpursuits.
However,thefirstmuseumbythemwasstartedin1814.ThenucleusofthisAsiaticSocietyMuseum
laterprovidedtotheIndianMuseum,Calcutta.InArchaeologicalSurveyofIndiaalso,duetothe
variousexplorativeinvestigationsthatwasinitiatedsincethetimesofitsfirstDirectorGeneral,
AlexanderCunningham,vastquantityofantiquarianremainswerecollected.

18.4ThecreationofsitemuseumshadtowaituntilthearrivalofSirJohnMarshall,whoinitiatedthe
foundingofthelocalmuseumslikeSarnath(1904),Agra(1906),Ajmer(1908),DelhiFort(1909),
Bijapur(1912),Nalanda(1917)andSanchi(1919).Theconceptofsitemuseumsiswellelucidatedby
Hargreaves,oneoftheformerDirectorGeneralsofASI:ithasbeenthepolicyoftheGovernmentof
Indiatokeepthesmallandmovableantiquities,recoveredfromtheancientsites,incloseassociation
withtheremainstowhichtheybelong,sothattheymaybestudiedamidtheirnaturalsurroundings
andnotlosefocusbybeingtransported.AseparateMuseumsBranchinASIwascreatedin1946by
MortimerWheeler.Aftertheindependence,therewasaspurtinthegrowthofsiteMUSEUMSin
ASI.Atpresentthereare44sitemuseumsunderthecontrolofASI.1.2.1AboutChennaiMuseum
ThisdissertationtopicisorientedtowardsChennaimetropolitancity.TheChennaimuseumwas
foundedin1851.UnderMr.Thurstonscarethemuseumhasbeengreatlydeveloped.Thepolicy
adoptedhasbeentorenderitapopularillustrateguidetonaturalhistory,anditisappreciatedbythe
publicissufficientlyshownbythefactthatitisvisitedannuallybymorethan400,000persons.
AmongthemostvaluableobjectsinthearchaeologicalsectionarethesculptedmarblesfromGuntur
District.ThecollectionofarmsandarmorfromarsenalinthefortandtheTanjorepalace,the
prehistoricantiquities,andthenumismaticcollection,whichisespeciallyrichincoinsofthevarious
nativedynastiesofsouthernIndiaandofthevariousEuropeancompanieswhichhaveheldwasthere,
areothernotablepossessionsoftheinstitution.AttachedtothemuseumistheConnemarapublic
library,whichwasopenedin1896,andatheatre,capableofseating400,providedwithastage
adaptedforlectures,conferencesandcharitableentertainmentsbyamateurs.
19.51.3SPACE1.3.1TheEssenceofSpaceSpaceisthesoulofarchitecture,asLaoTzusaidin600
BC:Weputthirtyspokestighterandcallitawheelbutitisonthespacewherethereisnothingthat
theutilityofthewheeldepends.Weturnclaytomakeavesselbutitisonthespacewherethereis
nothingthattheutilityofthevesseldepends.Wepiercedoorsandwindowstomakeahouseandon
thesespaceswherethereisnothingthattheutilityofthehousedepends.Therefore,justaswetake
advantageofwhatis,weshouldrecognizetheutilityofwhatisnot.Theutilityofarchitectureisnot
thesolidshellwhichencloseaspace,butthespaceitself.Ofcourse,toencloseacertainspace,we
mustusephysicalmaterials,andinaccordancewithcertainconstructionmethodstofitthesematerials
together.Butthesearenotthepurposeofarchitecture,butameansofachieving.1.3.2TheFeatures
ofSpaceArchitectureistheartofspace:itsvisualform,itsdimensionsandscale,thequalityofits
lightallofthesequalitiesdependonourperceptionofthespatialboundariesdefinedbyelements
ofform.Asspacebeginstobecaptured,enclosed,molded,andorganizedbytheelementsofmass,
architecturecomesintobeing.Thespacethatconcernsarchitectsismostusuallyexpressedinan
enduringarchitecturalelement:theroom.Theroomisahumancreation.Therootofthewordis
relatedtoRaum,whichinGermanmeansaplaceclearedforsettlementorlodging.
20.6Thefeaturesofspacemakeonespacedifferentfromothers,justlikeabedroomisdifferent
fromalivingroomandanofficeisdifferentfromalibrary.Itmakesthebedroomcosierandthe
libraryquieter.Itmakesaspacevividandaffecting.Whenaspaceisalivingroomaswellasa
bedroom,itwilllosesomefeaturesinordertofitthemultiplefunctionsofit.Thusthefeaturescould
belinkedtothefunctionofthespace.Whilethespaceisonlywithasinglefunction,thefeatureof
thisspaceispure,strongandthemostaffecting.Apparently,whenaspaceismultifunctional,the
featureofitwouldbecomeneutraltocaterfordifferentfunctions.Inamuseum,therearemany
differentfunctions.Itisimpossibletodealwithallthesefunctionswiththesametypeofspace.Even
theexhibitionspacesarenotallthesame.Thefixedexhibitionroomisdifferentfromthetemporary
exhibitionspacebecauseofitssimplerfunctionandparticularatmosphere,whichrelatestothe
individualthemeofeachfixedexhibitionroom.Itisconfirmedbythedesigneratthebeginningofthe
process,whichcanbepresentedbyarchitecturallanguage.Nevertheless,thetemporaryexhibition
needstosuitdifferentdisplays.Alarge,openandneutralspaceisagoodsolution.Theelementsof
spaceplayanimportantroleindifferentiatingonespacefromanother.Bymeansofdesigningthe
element,thefeaturesofspacecanbeintensified.Theelementsincludetheenclosingelements,which
definethespace,suchasplaneelements(floor,deckandoverhead)andverticalelements(columnand
wall),andcirculationelements,suchashorizontalcirculation(windowsanddoors)andvertical
circulation(stairsandramps).Thefeaturesalsodependonthequalitiesofthespacethatintimately
relatestotheseelements,whichistheresultofthecompositionofdifferentelements.Theformthe
colour,texture,patternandsoundtheproportionandscalethedefinitionandconfigurationthe
degreeofenclosure,lightandviewareallthequalitiesofspacethatthedesignisbasedon.
21.71.4NEEDFORTHESTUDYThefollowingaretheneedforstudyaboutmuseumplanning
process:Toanalysethefeelofspaceinanhumanenvironment.Toprovideaeffectivecirculation
pathandservices.Todevelopnewconceptsforinteriorspacesaswellstudyingsustainablebuilding
materialsthrocasestudies.Toinvestigatemuseumarchitectureandtodefinetheroleofa
contemporarymuseumintermsoffunctionandarchitecturalimplementation.Theabovesaidneed
clearlydefinestheimportanceofmuseumstudies,hencethistopicasdissertation.1.5AIMSAND
OBJECTIVESThisdissertationaimstoexplorehowpeoplemakemeaninginandfrommuseums,

throughthespacesfromtimetotime.Museumsarebroadlyviewedasplacesofinformallearning,and
mostpeoplevisitmuseumsexpectingtolearnsomething.ThisDissertationseekstoexplorevarious
representationsofcontemporaryandhistoricalspatialconceptions,usingarchitectureasthemedium
forrepresentation.Fromthisresearch,itishopedthatthereaderwillgainanunderstandingofspace
andtheimpactithasonmuseums.Amuseumhasspecificfunctionsdifferentfromotherkindsof
buildings.Itsarchitecture,interiorsandexhibitionsareunique.Museumspacefollowsfunctionandits
interiorspaceshouldrespondtoandgowellwithitsexhibitions.Inaddition,theexhibitions,
presentationsanddisplaysshouldbeinterestingandinteractive.Thearchitectureshouldcommunicate
scientificfeelingandthoughttothevisitors.
22.8Thepurposeofthisdissertationistofindinterpretationguidelinesforahistoricmuseumand
appropriatemethodsofcommunicatingwithvisitorsviathemuseumsexhibits,interiorsandexterior.
Thisdissertationfocusesonthemajorissuesinliteraturestudyandcasestudy.Theyare:1.Site
location2.Buildings,surroundingsandarchitecturalinterpretation,and3.Museuminteriors,activities
andexhibitions.Thefindingssuggestthatthemuseumshavedifferencesaccordingtotheirsite
locations,classifications,interiorspatialityandexhibitions,andintheirarchitecture,whichareiconic
ofmuseums.Thesolutionsareguidelinesforculturalhistorymuseumdesign1.6SCOPEAND
LIMITATIONSIdentifyingthescopeandaddressingthelimitationsoftheworkabouttobe
undertakenisparticularlypertinentforaprojectsuchasthis.Documentationofthespacewithcareful
considerationoftheparametersandlimitationstoworkwithin.Thesubjectscoveredinthis
dissertationareverybroadandcancovermanyareas.Duetoconstraintsontheamountoftext
allowed,onlyareasthatpertaintothistopicwillbecovered.1.7HYPOTHESISThecentral
hypothesisforthisstudyisthatbuiltenvironmentswhichpossessaqualityofexpressionofspacein
bothinteriorandexteriorfromtimetotime.Howdoesarchitectureaffectourexperienceof
museums?Howdoesitrelatetotheartofexhibiting?Intriguedbythesequestionsandguidedbythe
beliefthatspacecanbeseenasthecontentofthemuseumbuilding,asimportantastheobjects
themselves,thispaperpresentsthefindingsregardingtheinteractionbetweenspatialdesignand
displaylayout.Totestthehypothesis,thisresearchutilizessecondarydata.
23.91.8METHODOLOGYThemethodologyforthisresearchisqualitativeandisderivedmostly
fromdeskresearchbothinlibrariesaswellasfromtheInternet.Themajorityoftheresearchand
evidencetosupportthehypothesiscomesfrombooks,articlesandgovernmentdocuments.The
frameworkforthisstudywillbeaninformationalexaminationofmuseumsasawhole,notstickingto
anyspecificdepartmentsbuttoexaminemuseumsasculturalinstitutionsandhowtheyfitintosociety
intimes.Thefig:1.1showthemethodologychartforthisstudy.Thismethodologychartexplainsthe
firststep,aboutthestudyofgeneralinformationofmuseumplanning.Thisincludesthecomponents
ofmuseumplanning,definitionofmuseumandevolutionofmuseumspaceintermsofforeign
contextandIndiancontext.Thenextstepisthestudyofissuesinmuseumplanningfromvariouscase
studies.Thentheclassificationofissuesindifferentaspectsismadefromthefindings.Thenthedetail
studyismadeforeachaspectsthroughdifferentcasestudies.Finally,thesynthesisismadeforeach
aspectandscopeforfurtherresearchisidentified.
24.10GENERALSTUDYOFMUSEUMPLANNINGVariousdefinitionsSiteselection
ZoningEvolutionofmuseumspace(Foreign&Indiancontext)MuseumcirculationTypeof
ExhibitsTypeofDisplayLightingServicesISSUESINMUSEUMPLANNING(Through
variouscasestudies)CLASSIFICATIONOFMUSEUMSMUSEUMDESIGNFACTORS
SYNTHESISSCOPEFORFURTHERRESEARCHFig:1.1Methodologychart
25.11CHAPTER2DATACOLLECTIONTheArchaeologicalSurveyofIndia(ASI)isthelargest
governmentinstitutioninchargeofmonumentsofnationalimportance.Thesemonumentsandsites
havevastquantitiesofantiquarianremainsthatwereunearthedandcollectedatarchaeologicalsites
acrossIndiabyASI.ArchaeologicalSurveyofIndia[ASI]hasprescribedsetofguidelinesfor
planningamuseum.Sixpillarsofmuseummanagementidentifiedofferastable,longlasting
frameworktopreparetheguidelinesforASImuseum:1.ResearchandDissemination2.Preservation
andConservation3.InterpretationandPresentation4.EducationandOutreach5.VisitorServicesand
Amenities6.AdministrationandManagement2.1TYPEOFMUSEUMSItvaries,fromlarge
institutions,coveringmanyofthecategoriesbelow,toverysmallinstitutionsfocusingonaspecific
subject,location,oranotableperson.Categoriesinclude:finearts,appliedarts,craft,archaeology,
anthropologyandethnology,biography,history,culturalhistory,science,technology,children's
museums,naturalhistory,botanicalandzoologicalgardens.Withinthesecategoriesmanymuseums
specializefurther,e.g.museumsofmodernart,folkart,localhistory,militaryhistory,aviation
history,philately,agricultureorgeology.Anothertypeofmuseumisanencyclopedicmuseum.
Commonlyreferredtoasauniversalmuseum,encyclopedicmuseumshavecollectionsrepresentative
oftheworldandtypicallyincludeart,science,history,andculturalhistory.
26.12Thetypeandsizeofamuseumisreflectedinitscollection.Amuseumnormallyhousesacore

collectionofimportantselectedobjectsinitsfield.Thispaperfocusesonculturalhistorymuseum.2.2
DESIGNGUIDELINESWhiletheoverallguidelinesforthearchaeologicalsitemuseums,theywill
requirespecificadditionsandinterpretationstoaidthevisitorsunderstandingoftheperiod.Inother
wordspeopleshouldhaveanexperientialvisittosuchmuseumswhichisevokedthroughgood
lighting,sound/music,recordedmaterial,interactivespacesandaudiovisualfootagetoenhancethe
ambiance.1.Thebuildingsambienceshouldbemaintainedinsideaswellasoutside.Landscaping
aroundthebuildingshouldbedevelopedinawaythatitcomplementstheexperiencewithinthe
museum.2.Aestheticchoicessupportandreflectthethemeandtoneoftheexhibition.3.Orientation,
spatialorganization,andtrafficflowareappropriatetothegoalsoftheexhibition.4.Thephysical
space(suchaslayout,lighting,flooring)iscreatedinsuchawaythataudiencemembersofvarying
physicalsizesandabilitiesareabletonavigateandinteractwiththeexhibition.5.Ifrequiredaudio
visualfootage,voicerecordings,ambiancemusicetc.mayalsobeusedforcreatingacomplete
experience.OtherthanfollowingASIguidelinesformuseumplanning,thelocalbuilding
developmentcontrolrulesalsotobefollowed,themuseumcomesunderinstitutionalbuildings
categoryinDCR[DevelopmentControlRules].
27.132.3PLANNINGFACTORSThemuseumplanninginvolvesplanningtheactualmissionofthe
museumalongwithplanningthespacethatthecollectionofthemuseumwillbehousedin.Theway
thatmuseumsareplannedanddesignedvaryaccordingtowhatcollectionstheyhouse,butoverall,
theyadheretoplanningaspacethatiseasilyaccessedbythepublicandeasilydisplaysthechosen
artifacts.TheplanningProcessofamuseumshouldbeusingthestoryboardasaguide,thedesigner
shouldthenproceedtoevaluateandallocateexhibitionspaceaccordingtostoryboardthemesandother
visualandcommunicationneeds.Fig2.1Showsmuseumplanningprocess.TheSelectionof
appropriatesiteandzoningthefunctionalrequirementsandDeterminethecirculationspaceneeded,
includingdisabledaccessrequirements,securityneedsandofficiallegalnormssuchasfireescapes.
Examineanddistributeobjectsbyunits,sections,subsectionsthatcorrespondtothemesandsub
themesinthescriptandstoryboardanddesigningtheexhibitionfurnituresystem:panels,free
standingexhibitshowcases,screens,caseshelves,blockcases,tablecases,wallhungpanelsandother
wallmountedelements.
28.14PLANNINGSiteselectionsSiteZoningSpacerequirementsCirculationDisplaysExhibits
ServicesLightingFig:2.1Museumplanningprocess
29.152.3.1SITESELECTIONSiteselectioninvolvesmeasuringtheneedsofanewprojectagainst
themeritsofpotentiallocation.Siteselectionispartoftheplanning.Listsoffactorsaffectingthe
decisionareusuallydrawnup,including:Availability,Access,Costofacquisitionand
developmentSecurityconsiderationsVisibilityCompatibilityofneighboringfacilitiesEachfactor
shouldbeweightedbeforeitisevaluated.Theweightingofsiteselectionfactorsshouldbedonein
relationtofundamentalissuesofthemuseumsmission,itspoliciesanditsinstitutionalcharacter.2.3.2
ZONINGOFAMUSEUMZoningasamuseumPlanningTool.Inthepracticeordesigningthe
zoningcanbearrangedasPublicCollectionAreas:Zonewithenvironmentalcontrolsandsecurity
designedforthepreservationofcollections.NonPublicAreas:Zonewhichismeantforthestaff
alonewithenvironmentcontrolsandsecurity.PublicNoncollectionAreas:Zoneinwhichthefinish
anddurabilityandenvironmentcreatedforhumancomforts.NonPublicCollectionAreas:Zonein
whichthefinishanddurabilityandenvironmentcreatedforthestaffsalone.
30.16Zoninganalysisisausefultoolorthefollowingreasons.Itclearlyindicatestheamountof
spacethatmustbecontainedwithinthemuseumsenvironment.Itprovidesbenchmarkswhichassist
themuseumprojectbeaminmonitoringthebrief,Itformsthebasisforpreliminaryofbuilding
runningcosts.2.3.3CLIMATETheBuildingshouldbeorientedinsuchawayitgetsanatural
benefitsforallseasons.Propershadingdevicesdesignedforcontrollingnaturallightglareoverthe
displays.Avoiddrasticchangesinhumidityandtemperatureatalltimes.Asageneralrule,
temperatureandhumidityguidelinessetforstorageareasareappropriateforexhibitgalleryareasas
well.Iftheexhibitgallerycontainsadoorusedbythepublictoenterandexitthemuseum,donotput
artifactsnearthedoorinordertoavoidextremechangesintemperatureandhumidity.TheLight
levelsinstorage:BrightnessandUVlevelsaredamagingtocollectionsandshouldbecontrolled.
CoveralllightswithUVfilters,especiallyflorescenttubes.Refrainfromstoringanyartifactinan
areawithsunlight2.3.4CIRCULATIONININDOORANDOUTDOORCirculationspaceidentifies
areaofabuildingthatisusedforpedestriantravel,suchasahallway,stairway,andareasinaroom
thatleadstoanotherroom.Itisgenerallynotgoodtohaveahomewithahighpercentageof
circulationspace.Whenyouvisitabuilding,yourmainfocusshouldbetheroomsandnotthe
hallway.
31.17Developexhibitionswiththesevisitorcirculationpatternsinmind.Designsothatvisitorsdo
nothavetotakeextrasteps.Minimizethenumberofstepsbynotrequiringbacktracking.Dont
designwithmultiplechoicepointswherevisitorshavetomakechoicesorwheretheywillexitthe

exhibitionwithoutgivingattentiontoalloftheexhibitelements.Avoiddesigningtwosided
exhibitionswhereexhibitsononesidecompetewiththoseontheother.Fig.:2.2CirculationDiagram
32.18Designingcirculationspacesshouldbe:Widencorridorsbeyondthetypical89feetcurrently
inuse.Corridorsshouldbeabletoeasilyhandletwowaytraffic.Breakupcorridorlengths.This
willreducetraveltimeandalsodiscouragekidsfromrunningthroughthehalls.Keepcorridorsa
consistentwidth.Corridorsthatexpandandcontractcreatebottlenecks.Considerroundingor
anglingcornerssothereisasightlinetotheintersectingcorridor.Blindcornerscanbeahazard.
Peoplewhowalkatafastpaceorturncornersquicklydonotseethetrafficintheintersecting
hallway.Thiscanleadtocongestion,bumping,collisions,andaltercations.Fig.:2.3Gallery
Circulation
33.192.3.5EXHIBITOFDISPLAYSSpacesshouldreinforceandpromotetheaudiences
engagementwiththecollectionConcludingaccessoryuses.Whilewalkingthroughamuseum,well
oftenencounterstunninganddisplaysthataremeanttoshowacertainartifactorpieceofartworkin
themostattractivewaypossible.Thesevisuallystimulatingdisplaysofteninvokeaweandwonderin
childrenandadultsalike.Thesewondrousdisplaysarereferredtoasmuseumexhibits.Theycanbe
foundinalltypesofmuseums,includingartmuseums,historymuseums,andsciencemuseums.
Museumexhibitsaresetupandarrangedtobebothattractiveandeducational.Designingamuseum
exhibit,thereforetakesagooddealofcarefulplanningandhardwork.Theexhibitsinamuseumare
typicallysetupsothattheyareplacedanddisplayedasnaturallyaspossible.Theymustalsobe
designedwithamuseumsavailablespace.Fig.:2.4CirculationPattern
34.20Someexhibitsaredesignedtobepermanentfixturesinamuseum,whileothersareonly
temporary.Somemaybedesignedtoallowhandsoninteraction,whileothersmustbeprotectedfrom
curiousmuseumgoers.Fig.:2.5TypeofDisplays
35.212.3.6TYPEOFDISPLAYSIfthecasesarearrangedwithgentlycurvinglinestotake
advantageofthispatternofmovementvisitorswillfindtheroommoreattractiveandcanprogress
easilywiththelineofthecase.Fig.:2.6Exhibitionspaces
36.22fig2.6showsOftenthearrangementscanbestaggeredwhichproducesacertainmysteryanda
desireonthepartofthevisitortopeekaroundcornerstoseewhatisnext.Casesthatareaarrangedto
narrowtheentranceabit,sothatthehallinsidethenopensout,provideacertainamountofinterest.
2.3.6.1.DisplayCaseAdisplaycaseisacabinetwithoneoroftenmoretransparentglass(orplastic,
normallyacrylicforstrength)sidesand/ortop,usedtodisplayobjectsforviewing.Adisplaycase
maybefreestandingonthefloor,orbuiltin.Builtindisplaysmaybemountedonthewall,mayact
asroompartitions,ormaybehangingfromtheceiling.Fig.:2.7DisplayStandards
37.232.3.6.2ConeofVisionTheconeofvisionisthevisualregiondisplayedbyadrawingthat
relatestoapersonsnormalvisionwithouthis/herperipheralvision.Inanutshell,theconeofvisionis
theareaofsightortheangleofsight.Forexample,ifapersonwantedtoseetheentireartdisplay,
usuallyaconeofvisionis60degreesisrequired,soapersonwouldneedtositfarenoughbackto
achievethisdegreeofvision.Fig.:2.8ConeofvisionFig.:2.9Coneofvision
38.242.3.7MATERIALSThematerialsusedforthebuildingconstructionaswellfortheexterior
treatmentshouldbelocallyavailableone,andalsoitshouldreflecttheregionscharacter.Goingfora
locallyavailablematerialsgiveawaytosustainabledevelopment.AndfortheExhibitspaces,itisbest
tousestablematerialsintheconstructionofcases.However,ifforexample,unstablematerialsneed
tobeusedbecauseoffinancialreasons,thereareprecautionsthatmaybetakentominimizeharmful
effects.Sealallwoodwithawaterbasedpolyurethanesealant.Coveringthewoodwithmetalfoil
willworkalso.Usedindustrialshelvingisanoptionforreadymadestoragesolutions.Coverthe
shelvingwithstablematerialsappropriatetothecollection:i.e.,ethafoam,volara.Usedustcoversfor
openshelving.Unbleachedcottonmuslinworkswellformanysolutions.2.3.8LIGHTINGLighting
inmuseumsandartgalleriesplaysakeyroleinavisitor'sabilitytoperceiveandenjoyboththe
artefactsinamuseumandthebuildingintotal.Inordertodevelopasuccessfullightingscheme,a
museumlightingdesignermustsatisfymanyconflictingdesignrequirements.Dramaticvariationsin
lightlevelsfromexhibittoexhibit,orfromexteriortointerior,canaffectavisitor'sabilityto
appreciateartworkbecausethehumaneyerequiresseveralminutestoadjusttolargechangesinlight
levels.Sharplycontrastinglightlevelsbetweenabrightentryandadarkgallerycanbevery
disturbing,andpotentiallyTheelementsofexhibitlightingmatchthethreegoalsofanymuseum:
PRESENTATION:ShowingthetruebeautyofartandhistoricartifactsPRESERVATION:
Protectingexhibitsfromfadinganddamage,andCONSERVATION:Conservingenergy,resources,
manpowerandfunds
39.252.3.8.1NATURALLIGHTINGNaturallightingisachievedthroughtheuseofatriumsandcut
outspaces,especiallybynorthlighting.Fig.3.8showstheplanandsectionofvariousnaturallighting

arrangements.Fig.:2.10Naturallighting
40.262.3.8.2ARTIFICIALLIGHTINGFluorescentlighting:Behingcasefasicapanel[without
diffusingpanelseparatinglightfromcaseinterior]anglesofvisionmusetbecalculatedtoavoidglare
fromlightsource.VerticalLighting:SlimFluorescenttubessetincasecorners,forminglight
columnssuitablefarwallcaseswithsolidsides.Fluorescentcolumn:setbehindcaseuprightsa
possiblesolutionfarlightinginoldwallcases.SideLighting:Louvresessentialtomaskfluorescent
tubesaccuratecalculationoflightspreadisneededtoensureevenilluminationoncasebackpanel.
Internalcaselighting:Slimlightboxforminiaturefluorescentorincandescentlampsbrightnessat
eyelevelshouldbecarefullycontrolledwiringtothelightbox,housedincasecorner,maybe
distracting.Externallighting:throughflasstap,butheatmaybuildupunlesscoollightsourceis
usedobjectscancastshadowswhenlitbyslantinglightandpossibleproblemsofglare.Integral
Lighting:Lightboxseparatedfromcaseinteriorbydiffusingglassorlouvers[withclearglasspanel
excludingdust]fluorescentforeven,welldistributedlight,ortungsten,forhighlighting,canbe
accommodated.Lightingfrombelowaswellasfromupperlightboxtoreduceeffectofshadows
andtolightundersidesofobjectslightsourcemustbemasked,usuallybylouvers.Backlighting:
fluorescenttubesbehinddiffusingmaterial,usuallyopalPerspextubesmustbeevenlyspaced,at
somedistancefromdiffuserideallyfittedwithdimmerstocontrolbrightness.Striplights
[fluorescentortungsten]attachedtoshelfendsinsidethecase,illuminatingbothaboveandbelowa
shelfcanonlybeusedforobjectswithnoconservationrisks.
41.27*Lightingisclassifiedbyintendeduseasgeneral,accent,ortasklighting,dependinglargely
onthedistributionofthelightproducedbythefixture.Formsoflightingincludealcovelighting,
whichlikemostotheruplightingisindirect.Thisisoftendonewithfluorescentlighting.Fig.:2.11
Artificiallighting
42.282.3.9SERVICESIntheoperationofcollectionservices,noteveryoperationnecessarily
requiresaseparatespace,someservicesmaybeprovidedbyoutsideagencies.Asfaraspossible,
collectionmovementandpubliccirculationshouldbekeptseparate.Fig.:2.12Layoutofservices
43.29InMuseumPlanning,Buildingservicesengineeringcomprisesmechanicalengineering,
electricalengineeringandplumbing(MEP)engineering,allofwhicharefurthersubdividedintothe
following:Communicationlines,telephonesandITnetworksEscalatorsandliftsFiredetection
andprotectionHeating,ventilationandairconditioning[HVAC]LightningprotectionNatural
lightingandartificiallighting,andbuildingfacadesSecurityandalarmsystemsWater,drainage
andplumbingBuildingServicesinfluencethearchitectureofabuildingandplayasignificantroleon
thesustainabilityandenergydemandofabuilding.ThelatesttrendinMEPorbuildingservices
engineeringistheutilizationofBuildingInformationmodelingorBIMwhichmayinclude3Dand4D
modeling.3DBIMservicesenablebuildingvisualization,previeworprototypeofarchitectural
structuresbeforeactualconstruction.
44.302.4LITERTAURESTUDY2.4.1STATEMUSEUM,BHOPALThearcheological
departmentofMadhyaPradeshhasabout6000prehistoricequipments,aboutonelakhcopperrelics
ofcopperage,about60,000copperinscription,500armsandweapons,about1,000very
distinguishedstoneidolsabout10,000coins,1000manuscriptsandabout1000ancientminiature
paintings.Fig.:2.13FazardsofStateMuseumFig.:2.14AerialviewofStateMuseum
45.312.4.1.1LocationThemuseumissetuponavastprecinctof5acresonthetopofthe
picturesqueshyamlahillsisexpectednotonlytobeamajorattractionfortouristsandinterested
citizens,butaplaceofresearchinterestforscholars.Themuseumhas16galleriesthathavebeen
categorizedthemwise.Thegalleriesare,Asalescounter,libraryandawellequippedauditoriumare
alsoprovided.2.4.1.2PlanningTheStateMuseumofMadhyaPradeshthroughcarefulselectionof
artifactsshowcasesthemultifacetedrichculturalheritageofMadhyaPradesh.Ithasseventeen
galleries,categorizeditemwisewhichincludesprehistoricarticlesandfossils,excavatedobjects,
sculptures,epigraphs,manuscripts,paintings,royalcollection,textiles,documentaryheritageof
princelystatesofMadhyaPradesh,especiallyregardingfreedommovement,miniatures,coins,rare
musicalinstruments,armsandweaponsdepictingtheuniqueheritageofMadhyaPradesh,the
heartlandofincredibleIndia.Alargenumberoffossilremainsfromtheprehistoricsitesare
displayedintheFossilsgallery.Fig.:2.15GalleryViewsofStateMuseum
46.32ThepaintingsintheBaghgallerywhicharecontemporaryoftheAjantacaves,replicatedby
NandlalBosein1923areadelighttowatch.TheevolutionofdifferentreligionssuchasBuddhism,
Jainism,Vaishnavism,ShaivismaswellasthepracticeofworshippingShaktiandTantricism,in
MadhyaPradeshreflectthereligiousdiversityovertheageswhichfounditsexpressionsinthestone
andbronzesculpturesdisplayedinthemuseum.Theextraordinarymasterpiecesbeartestimonytothe
factthatthereweremanymastersculptorsinthebygoneerawhowerewellacquaintedwiththe
principlesofIconography.Someofthesculptureexhibitsareablendofthesacredandthephysical

whileotherssimplyenchantthespectatorastheyarechiseledtoperfection.MadhyaPradeshisa
uniqueamalgamationofdiversecultural,politicalandreligiousinfluencesovertheages.Themusical
instruments,literature,paintings,weapons,coinsandtextileskeptatthemuseumspanmanycenturies.
Theinscriptionsprovideinformationaboutsocial,political,culturalandreligiousactivitiesofthose
times.Fig.:2.16GalleryViewsofStateMuseum
47.33ThepalmleafmanuscriptscontainmythologicalstoriesandepicssuchasRamayanaand
Mahabharata,religiouspracticesaswellasmedicalsciences.ThemanuscriptsaremostlyinSanskrit
andbelongtothe18thand19thcentury.Themusicalinstrumentsgalleryhasmadeeffortstopreserve
someoftherareinstruments.Theintricatecolorfulillustrationintheminiaturepaintingshaveevolved
overthecenturiesandareapartofourcountrysrichculturalheritage.Therarecoinsdisplayedin
numismaticsgalleryreflectthestabilityandprosperityoftherulers.Theearliestcoinsarethesilver
andcopperpunchmarkedcoinsform2ndcenturyB.C.VariousdynastiessuchastheMaurya,Shunga,
Satavahana,Kushana,Gupta,Pratihara,Paramara,Chandela,Kachchhapghata,Kalchuri,Mughaland
lateronBundelas,Baghelas,Gonds,MarathadynastiesofHolkarandScindiaruledovertheState.
Theartifacts,textiles,weapons,sealsandstampsfromMadhyaPradeshhavebeenprotectedand
preservedfortheposterity.Talesofvalourduringthefreedommovementandtherisingagainstthe
Britishhavebeenportrayedinvariousdocuments.Alsopreservedarethefamousautographs,letters,
manuscriptsaswellasrarebooks.AninterestingcollectionofdocumentsofPrincelyStatesprovides
valuableinsightstoresearchersandhistorians.Thetextilesandfineembroiderysuchasjardoziand
dabkaworkpatronizedbytheNawabasofBhopal,acquiredthestatusofthefineartforminBhopal.
TheroyalartgallerydisplaysartifactswhichwerepartofthepersonalcollectionoftheNawabsof
Bhopal.ItenhancesthetourismpotentialoftheStateleadingtoeconomicdevelopmentandcultural
empowerment.
48.34Thenewmuseumbuildinghasbeendesignedkeepinginviewtheconvenienceofthevisitors.
Thegallerieshavebeeninterconnectedinsuchamannersoastoensureeasyaccesstothemwhile
maintainingtheinterestandthethrillofthevisitors.Fig.:2.17GroundFloorPlanFig.:2.18First
FloorPlan
49.35Theentirepremiseshavebeenconnectedtoaramptofacilitateaneasyaccessforthedisables.
Alifthasalsobeenprovided.Stateoftheartlightingarrangementslikecoldlightandfibrelighting
havebeenmadeinthebuildingbesidesensuringnaturallight.2.4.1.3INFERENCESTheplanning
ofthisstatemuseum,Bhopalscirculationpatternisradial,whichismostsuitableformformuseum
planning.Hereallthefacilitiesareenclosedwithinonebuilding.Thedistributionofdifferenttypes
ofgalleriesthroughthecentralcourtyard,whichallowsusertoviewgalleriesinasequentialorder
fromthelobby.Naturallightingisachievedthroughtheuseofatriumsandcutoutspaces.The
locallyavailablematerialsisusedforfaadedesign,whichgivesawayforsustainableconstruction.
Thedesertsunplaysafundamentalrole,transformingthearchitectureintoaplayoflightand
shadows.Thelargespanofspacescanbeachievedthroughcofferslabroofdesign.Buildingis
iconicandaptforthatlocation.
50.362.4.2BHARATBHAVAN,BHOPALTheBharatBhavanestablishedin1982,itisnodoubta
centreforinnovativecreativity,pursuitofclassicsandtraditionandwideparticipationinanew
culturalupsurge.OneofthemostuniquenationalinstitutesinIndia,BharatBhavanisacenterforthe
performingandvisualarts.2.4.2.1LOCATIONBharatBhavanisintheShamlaHills.Itisan
independenttrustcreatedbytheLegislatureofMadhyaPradesh.Fig.:2.19ViewofBharatBhavan
Fig.:2.20AerialviewofBharatBhavan
51.37DesignedbytherenownedarchitectCharlesCorrea,itscontoursmergeinexquisiteharmony
withthelandscapecreatingavisualimpactofspaciousandnationalelegance.Itisaplacefor
contemporaryarticulation,exploration,reflectionandinnovation.Fig.:2.21ViewsofBharatBhavan
52.382.4.2.2PLANNINGThesiteisonagentlyslopingplateauoverlookingthelakeinBhopal.
Thenaturalcontoursofthesitehavebeenusedtocreateaseriesofsunkencourtsandterracegardens
aroundwhichanumberofculturaleventsareorganizedTheterracesandcourtyardsonceagainreflect
Correasconcernwithprogressionthroughspacethemazeorpuzzlewherepartsarecasually
relievedandthecomplexofinternalstreetactratherlikeavillagelayout.Fig.:2.22ViewsofBharat
Bhavan
53.39Itisamultiartcentrehousingamuseumofthearts,anartgallery,aworkshopforfinearts,a
repertorytheater,indoorandoutdoorauditoria,rehearsalroom,andlibrariesofIndianpoetry,
classicalandfolkmusicThesiteforthisArtCentreisonagentlyslopinghilloverlookingthelakein
Bhopal.Thenaturalcontoursofthesitehavebeenusedtocreateaseriesofterracedgardensand
sunkencourtyardsoffwhicharelocatedanumberofculturalfacilities,includingamuseumof
TribalArt,alibraryofIndianpoetry(inallthe17majorlanguages),galleriesforContemporaryArt,
workshopsforlithographyandsculpture,andastudioforanartistinresidence.Fig.:2.23Planof

BharatBhavan
54.40BharatBhavanalsohousesafullfledgedtheatricalrepertoirecompanyandfacilitiesforthe
performingarts,includingtheAntarang(indoorauditorium),andtheBhairang(openair
amphitheater),overlookingthelake.Lightingandventilationwithinthebuildingareprovidedbytop
lights(fromtheconcreteshellsandfromslotsalongtheterraceparapets).Theopeningstothe
courtyardsandterraceshavetwosetsofshutters:theinneronesconsistingofacombinationoffixed
glassandoperablepanelsforlightandventilation:theouteronesconsistingoflargewoodendoors,
closedatnightforsecurity.Fig.:2.24ViewsofBharatBhavanFig.:2.25SiteSectionalViewof
BharatBhavan
55.412.4.2.3INFERENCESThismuseumisownedbyprivateinstitution,hencefreedomofdesign
inaestheticscanbeseen.Theoverallplanningwithrespecttoitssitecontoursplaysanimportant
roleinsegregatingvariousfunctionalspaces.Thesegregationofspacescanbeachievedthrough
courtyardsThesunkencourtsandterracedgardenarethespecialfeaturesofthisproject.The
Planninghasbeendoneinsuchawaythatthespacesareclearlyidentifiedthrothecirculationpath.
56.422.4.3REGIONALSCIENCECENTRE,BHOPAL2.4.3.1LOCATIONTheRegionalScience
CenterBhopalwasopenedon12thJanuary1995bythethenpresidentofIndialateShankarDayal
Sharma.TheCentreislocatedontheShyamlaHills.ThenearestbusstopsareatPolytechnicCircle
andJawaharChowkDepotChowraha,about1Kmaway.ThedistancefromHabibgunjRailway
stationis9kmandfromBhopalRailwaystationis7km.Fig.:2.26ViewofScienceCentreFig.:
2.27AerialViewofScienceCentre
57.432.4.3.2PLANNINGTheRegionalScienceCenterisuniqueinwholeofMadhyaPradesh,
Spreadover5acresoflandscapewithvarietiesofplants,treesandshrubs.TheRSCbuilding
architectureisspecialwheremorethan266scienceexhibitsrelatedtomechanics,energy,sound,light,
atmosphereetc.areinstalled.Thiscenterisoneofthe27constituentunitsofNationalCouncilof
ScienceMuseums(NCSM)whichisanautonomousscientificorganizationundertheMinistryof
Culture,Govt.ofIndia.ExhibitionGalleries1.Invention2.FunScience3.TheUmbrella4.The
Energy5.ScienceParkScienceShows1.TaraMandalShow2.3DScienceShow3.Sky
ObservationShowScienceActivitiesIndoorActivitiesa.ScienceDemonstrationLectureb.Computer
AwarenessProgramsc.CreativeAbilityCenterd.PopularScienceLecturee.ScienceDramaf.
TeacherTrainingProgramsg.VacationCreativeAbilityProgramsFig.:2.28ViewofScienceCentre
58.44OutdoorActivitiesa.ScienceDemonstrationLectureb.MobileScienceExhibitionFacilitiesa.
Auditorium200seatscapacityb.ConferenceHall25seatingcapacitySlopeshavebeenwiselyused
bydesigningthebuiltspacesatdifferentlevels.Inspiteofdifferentlevels,theroofofthewholebuilt
upspaceliesinthesameplane.Onfirstfloors,aseriesofverticalshadingdevicesareprovidedrear
thewindows.Cylindricalshadingstructureswitharchesatitstopandbottomhavebeenprovidedat
theelevationofprojectedareasofthebuilding.Fig.:2.29ViewofScienceCentre
59.452.4.3.3INFERENCESThesciencecentre,Bhopalplanningissimplearrangementofsquares
infourcornersthroughthecorridorsandstairs.Themuseumgavecirculationahighpriority.The
elevationtreatmentwillbethelocallyavailablebuildingmaterials.Overallplanningandcirculation
spacesareinterlockingthegalleriesShadingdevicesactsaselevationdesigninthisbuilding.Fig.:
2.30BlockModelofScienceCentre
60.462.4.4NATIONALMUSEUM,NEWDELHITheNationalMuseuminNewDelhiisoneofthe
largestmuseumsinIndia.Establishedin1949,itholdsvarietyofarticlesrangingfromprehistoricera
tomodernworksofart.ItfunctionsundertheMinistryofCulture,GovernmentofIndia.The
museumissituatedonthecornerofJanpathandMaulanaAzadRoad2.4.4.1LOCATIONThe
Museumhasaround200,000worksofart,bothofIndianandforeignorigin,coveringover5,000
years.ItalsohousestheNationalMuseumInstituteofHistoryofArts,ConservationandMuseology
onthefirstfloorwhichwasestablishedin1983andnowisaDeemedUniversitysince1989,andruns
MastersandDoctorallevelcoursesinHistoryofArtConservationandMuseology.Fig.:2.31Viewof
NationalMuseumFig.:2.32AerialViewofNationalMuseum
61.47Itsrichholdingsofvariouscreativetraditionsanddisciplineswhichrepresentsaunityamidst
diversity,anunmatchedblendofthepastwiththepresentandstrongperspectiveforthefuture,brings
historytolife.2.4.4.2PLANNINGTheNationalMuseumbuildinghas2floors.Ithasarotunda
aroundwhichthestructureisbased.Presently,thereareseveraldepartmentsintheNationalMuseum.
ThecollectionsoftheNationalMuseumcoversnearlyallthedepartments.Itrepresentsalmostall
disciplinesofart:Archaeology(SculpturesinStone,Bronze&Terracota),Arms,Armour,Decorative
Arts,Jewellery,Manuscripts,MiniaturesandTanjorePaintings,Textiles,Numismatics,Epigraphy,
CentralAsianAntiquities,Anthropology,PreColumbianAmericanandWesternArtCollections.Fig.
:2.33GroundFloorplan

62.48Thefirstfloorgalleryhastwocupboards,containingthestonetoolsfoundacrossIndia
belongingtothelowerPalaeolithicperiodtotheNeolithicageandalsocopperhoardobjects.Mrand
MrsHeeramaneckhavedonatedthepreColumbianartobjects.Fig.:2.34FirstFloorplanFig.:2.35
SecondFloorplan
63.49Thestarofthemuseumisthestrongroomortheroomwithabuiltinvault.Itdisplaysgold
objectslikeastatueofBuddhaweighing20kginpuregold,anIvoryscreenwithfourfoldshaving
picturesofMumtazMahalandShahJahan,andothergoldobjects,preciousstones,Tanjorepaintings
studdedwithalmosttwoinchlargestonesofrubies,diamonds,emeraldsandgoldfoil.Fig.:2.36
InteriorView
64.50Besidethegalleries,themuseumalsohasanauditoriumwithaseatingcapacityof250people.
AbrieffilmintroducingtheMuseumanditscollectionsisscreenedintheAuditoriumregularly.Film
showsonArt,HistoricalandHeritagearealsoshown.2.4.4.3INFERENCESTheNationalMuseum,
Newdelhiasenormouscollections,displayedthrovariousgalleries.Asimpleplanningarrangement,
whichclearlyleadsvisitorstothegalleries.Hereallthefacilitiesareenclosedwithinonebuilding.
Careshouldbetakenforthesecurityoftheartefacts.TheCCTVcamerawsinstalledandmonitored.
Naturallightingisachievedthroughtheuseofatriumsandcutoutspaces,especiallybynorthlighting.
65.512.4.5NINGBOHISTORICMUSEUM,NINGBO,CHINA2.4.5.1.LOCATIONNingbo
HistoricMuseumdesignedbyWangShu,whoisProfessorandHeadoftheArchitectureDepartment
atChinaAcademyofArt,HangzhouandanarchitectfromtheAmateurArchitectureStudio,is
locatedinanopenandclearsquareinYinzhouDistrict,Ningbo,aseasidecityintheeastofChina.
TheareaisapartofNingbocity,whichisafamoushistoricalcity,thoughitlooksasifitwerebuilt
lastyear.Theroadsaroundthesquarearewideenoughtoaccommodate6ormorecarriageways,but
theyarenotopentotraffic.Thereareonlytreesandshrubsbesidetheroadsandwitheredgrass
betweentiles.Totheeastofthesite,therearetwohugegovernmentbuildings,acapacioussquareand
aculturalcentre.Acrossapark,thereisavastexpanseofpaddyfieldinthesouthofthesite,butthese
paddyfieldsofabeautifulvillagewillsoondisappear.Fig.:2.37AerialViewofNingboHistoric
museum
66.522.4.5.2.PLANNINGInthisarea,whichhadbeenmutilated,thereareonlyvisiblebroken
bricksandtileseverywhere.Inthedistance,theoutlineofanewhighriseapartmentandan
unfinishedofficebuildingsecretlyforetellstheprosperityinthefuture,thoughatpresentthisareais
temporarilyinastateoflimbo,withthepastgoneandthefuturestillvague.Thedesignersaidthat
whenhebegantodesignthebuilding,hethoughtoftheloftymountains.Hecouldnotdesignforthe
city,becausetherewasnocity.Thereforehewantedtocreatesomethingzoeticandanimate.Finally,
hedecidedtodesignthemuseumwiththeconceptofthemountain,whichispartoftheChinese
tradition.Inthisnewandclearurbanarea,whichlacksavitalforce,theformofNingboHistoric
Museumwasdesignedintoafragmentofamountain.Themountainsarecontinuous,justastheurban
contextofavitalcityiscontinuous.Therefore,thebuilding,withthesquareborderasthemanmade
fragmentcutfromthecontinuousmountains,remainedorwaslefthere.However,itcanalsobe
imaginedasafragmentfromtheurbancontextfromwhichacitysrebuildingiscontinuing.Fig.:
2.38Elevationview
67.53Thebottomofthebuildingisasimplerectangle.Onthetop,itissplitintofivepiecesasa
similarshapeofamountain.Visitorsenterthemuseumthroughaflat30metrewideholeinthe
middleofthebuilding.Thenorthofthebuildingisinanartificialpool,withsoftbanksandreeds
plantedinthewater.Thewaterrunsoverastonedaminthemiddleofthepool,endinginthelarge
pebbleshoals.Onthetopofthebuilding,thereisanopenplatformhidingbehindthefiveoffsets.The
visitorscanseetheviewofthecityandthedistantviewofthepaddyfieldandthemountains.The
facadeofNingboHistoricMuseumisreinforcedconcretemoldedonthesurfaceusingbamboocanes
insteadofwoodenplanks,aswellasalargenumberofoldbricksandtilescollectedfromold
demolishedbuildingsanddemolishedsitesallovertheregion.Fig.:2.39SideviewFig.:2.40
variousperspectives
68.54ThiskindofwallbuiltbyrecycledbricksandtilesiscalledWaPanWall,whichisdeveloped
bylocalfarmerstocopewithnaturaldisastersbutisnearlylostnowadays.Thefacadeofthebuilding
presents20differenttypesofbricksandtilesthatformauniquepattern.TheapplicationoftheWa
PanWall,withtheextensiveuseofresourcesavingrecycledmaterials,embodiesthetraditional
Chinesevirtueofrecyclingconstruction.Ontheonehand,itembodiesthetraditionalconstruction
systemofNingbo,withitstextureandcolourfullyintegratedinnature.Ontheotherhand,itfreezes
thetime.Theserecycledbricksandtilescontainhundredsofyearsofhistory.Theyarethewitnesses
ofhistory.Thecollectionofthesebricksandtilescoincidewiththecollectionofhistory,whichisthe
ideaofthemuseum.Thebamboocanemoldedconcretewasanewcreation.Bambooisa
characteristiclocalplantintheNingboregionandthenatureofthebamboosrandomcrackingis

clearlyshownontheconcretethroughitstexture.Fig.:2.41FrontView
69.55ThedesignerindicatesthatthenewmuseumisanalogoustotheChinesegarden.Atthe
beginningofthecompletionoftheChinesegarden,thestateisnotatitsbest,butaftertenyearsof
nourishment,itisprovidedwithathrivingvitalforce.TheapplicationofspecialmaterialofNingbo
HistoricMuseumgivesitavitalenvironment.Someyearslater,whentheWaPanWalliscovered
withgreenmossandevenshrubs,themuseumwillimmerseinnatureandtrulyintegrateintohistory.
2.4.5.3INFERENCESThisbuildingexplainstheimportanceofoldbuildingmaterials.The
buildingwassimplerectangularinshape,applyingaconceptofmountainoveritinitsform.The
oldmaterialsusedwerewoodenplanks,oldbricks,tilesfromolddemolishedbuildingswereusedto
designthemuseumofspaces.Thereweremanydifferenttypesofrecycledbrickswereusedinthe
elevationtreatment.
70.562.4.6BILBAOGUGGENHEIMMUSEUM,BILBAO,SPAIN2.4.6.1LOCATIONThe
GuggenheimMuseumBilbaodesignedbyFrankO.GehryislocatedinthecityofBilbaoinnorthern
Spain.ThismuseumwasmentionedasthegreatestbuildingofourtimebyPhilipJohnson.King
JuanCarlosIsaid:Itisthebestbuildingof20thcentury.ItssiteisbetweentheNervionRiver,
whichrunsthroughthecitytotheAtlanticCoast,LaSalveBridge,therailwayandthenewtown.Itis
asymboloftheBasquemetropolisthatcanbeseenfromaconsiderabledistance.Lookingintothecity
fromthenorthshoreofNervionRiver,themuseumisthemoststrikingsightofoffshorewaterasthe
firstlayer.Facedwithsuchanimportantandmostchallengingsite,Gehrygavethemostdaring
answerinthewholehistoryofarchitecture:thewholebuildingwasacombinationofagroupof
masseswithirregularsurfacescoveredbytitanium,itsformforeigntopastarchitecturalpractice,
beyondanyexperienceinthehabitofconstruction.Itmakesthemuseumintegrateintotheurban
contextseamlessly.Fig.:2.42FrontView
71.572.4.6.2.PLANNINGTheunfoldingshapesofstone,glass,andtitaniuminterconnectona
32,500m2sitealongtheNervionRiverintheoldindustrialcentreofthecity.Sinceitsopeningin
1997,thismuseumwashailedasoneofthemostimportantbuildingsofthe20thcenturywithits
distinctivetitaniumcurvesandsoaringglassatrium.Onthewaterfrontnorthelevation,the3level
exhibitionhallwithalongtransversewaveisdesignedtobeinperfectharmonywiththehorizontal
flowofwateranditslargescale.Becauseofthebacklightinginthenorthorientation,andthefactthat
themainelevationofbuildingisintheshadowsallday,thebuildingsurfacesaredesignedasaseries
ofrandomcurvesinordertocatchsunlight.Withtheangleofsunlightchanging,eachcurvedsurface
ofthebuildingwillshowtheconstantlychanginglightandshadows.Furthermore,itsuccessfully
avoidsthetediousnessofthenorthelevationofalargebuilding.Tothesouthofthebuilding,infront
ofthemainentranceofthemuseum,thereisonlyonestreetbetweentheoldbuildingsinthe19th
centuryurbanareaandthemuseum.Therefore,thebuildingisdesignedtomatchtheoldurbanarea
byform,scaleandmaterial.Inthesouthelevation,tobedifferenttothenorth,someclassic
orthogonalshapeswithstonefacadesaredesignedtobeatransitiontotheurbancontext.Furthermore,
inordertoresolvetheimpactbetweenLaSalveBridgeandthegroundfloorofthemuseum,Gehry
designedpartofthemuseumtobeunderthebridgeonthegroundandconnectedtoatoweronthe
othersideofthebridge,inordertocreateanimpressionofthebridgeasbeingheldinthearmbythe
museum.Tothesouth,aroadrunsthroughthegroundfloorofthebuilding,undertheplazainfront
ofthemainentrance.Themuseumconnectsindivisiblywiththeurbancontext.
72.58Asaplaceofarrival,orientationandrelaxationforthevisitor,thevastatriumisthetrueheart
ofthemuseum,whichisoneofthemostcharacteristicspacesinthismuseum.Inthisspace,itis
possibletogetanideaofeachexhibitionspaceandgallery.Thewholemuseumispresentedtovisitors
inthisspace.Theenormousglasswalls,theunusualirregularshapedgalleriesandtherectangular
shapedonesareallshownatthesametime.Itisanessentialpartinthemuseum.Inthe50meterhigh
space,thereareaseriesofbridges,glassliftsandastaircasetower,whichisconnectedtoexhibition
spacesatthreelevels.Fig.:2.43FrontViewFig.:2.44InteriorView
73.59Inthismuseum,thespacesareprovidedforavarietyofexhibitiondisplaysandspecially
commissionedinstallations,whichhasbeenplannedwithandforartistsbythedesigner.Thereare20
galleriesdistributedinthe11,000m2exhibitionspace.Tenofthemareinclassicorthogonalplans,
whichareidentifiedfromtheexteriorbytheirstonefinishes.Asaremarkablecontrast,theirregularly
shapeofnineothergalleriesfollowtheirswirlingformsoutside,whichcanbeidentifiedbytheir
titaniumcladding.Thelargestonewasdesignedasatemporaryexhibitionspace,30mwideand130m
long.In2005,thelargestsculpturecommissionedinhistory,RichardSerra'smonumentalinstallation
TheMatterofTimewasdisplayedinthisroom.Thereisnodoubtthatitisahighlycomplex
building.However,thecirculationisquiteclear.Itcanbesimplifiedintooneofbasiccirculation,in
whichthereisanatriumconnectingtoeachofthegalleries.Aftervisitorsfinishonegallery,theyneed
togobacktotheatrium.Theotherbasictype,thetandemtype,ispartiallyusedalso.Inthelargest
orthogonalshape,thereare3galleriesintandemwitheachotheroneachlevel.Anothercharacteristic

ofthismuseumisthatthegeneralideaofthedesignisshownperfectlyinthevastatrium.Visitorscan
understandthewholemuseumearlierwhentheyareintheatrium.Fig.:2.45Plan
74.602.4.6.3INFERENCESHereinthiscasestudy,theelevationofmuseumforthefirsttime,it
iscontrasttotheworldmuseumelevation.Thewaythearchitectusedfazardtreatmentisdifferent
comparetocontemporaryarchitecture.Thecurvesontheexteriorofthebuildingwereintendedto
appearrandomTheoverallformofthebuildinglookslikeansculpture.Itsacombinationofa
materialstitanium,stoneandglass.Themuseumisseamlesslyintegratedintotheurbancontext,
unfoldingitsinterconnectingshapesofstone,glassandtitanium.
75.61CHAPTER3CASESTUDY3.1GOVERNMENTMUSEUM,EGMORE,CHENNAI.3.1.1
LOCATIONThegovernmentmuseumatEgmorewasestablishedin1851,islocatedinEgmore,
Chennai.ItisKnownastheMadrasMuseum,themuseumisthesecondoldestmuseuminIndia.Itis
particularlyrichinarchaeologicalandnumismaticcollections.IthasthelargestcollectionofRoman
antiquitiesoutsideEurope.ManyofthebuildingswithintheMuseumcampusareover100yearsold.
Amongthem,thecolossalMuseumTheatreisoneofthemostimpressive.TheNationalArtGalleryis
alsopresentinthemuseumpremises.BuiltinIndoSaracenicstyle,ithousesrareworksofartistslike
RajaRaviVarma.Fig.:3.11980sViewofEgmoreMuseum
76.62LocatedclosetothemainmuseumentrancegatesonPantheonRoad,themuseumtheatreisa
rarespecimenoftheitalianatestyleofarchitecture,inspiredbyClassicalarchitectureanddevelopedin
1802atBritainbyJohnNash.However,thetheatrewasbuiltbythebritishinthelate19thcentury
whenthisstylewasnolongerpopularinEngland.3.1.2PLANNINGManyadditionstotheoriginal
buildingwereconstructedbetween1864and1890.Thecoreoftheoldmuseumbuildingincludesthe
onlysurvivingremnantsofthePantheon,identifiedfromthebroadstepsleadingintoitwhenviewed
fromthenorth.AmongsttheadditionsistheConnemaraPublicLibrary,builtwithstainedglass
windows,ornatewoodworkandelaboratestuccodecorations,formallyopenedin1896andnamed
afteritsprogenitor.ThebuildingwasbuiltbyNamberumalChettyandwasdesignedbyHenryIrwin,
withtheinteriorsresemblingthoseofBankofMadras(SBI).Fig.:3.2ViewofMuseum
77.63Thedesignincludedahugereadingroomwithawoodenceilingbetweentwocurvedrowsof
stainedglass,supportedbyornatepillarsandarchesembellishedwithsculptedacanthusleaves.Itwas
supplementedwithteakwoodfurniture,marbledfloor,anddecorativewindows.Allofthesewere
restoredin20042007.ThebuildingnowhousestheOldCollection(pre1930),whichisusedfor
referencepurposeonly.Themuseumcomplexconsistingofsixbuildingsand46galleriescoversan
areaofaround16.25acres(66,000m)ofland.Theobjectsdisplayedinthemuseumcoveravariety
ofartifactsandobjectscoveringdiversefields.TheMadrasMuseumiscategorizedintoeleven
sections:EightGalleriesAnthropology,ArtArchaeologyBotanyChildren'sMuseum
Geology,Numismatics,andZoologyThreesupportingsectionsDesignandDisplay,Chemical
conservation,andEducation
78.641.MainBuilding2.FrontBuilding3.BronzeGallery4.ChildrensMuseum5.NationalArt
Gallery6.ContemporaryArtGalleryFig.:3.3SitePlanofMuseum
79.653.1.3MAINBUILDINGThestructurehasahighplinthandisaccessedthroughatallflightof
stairs.Itisprimarilyasemicircularstructurewitharectangularwingattherear.Thelatterwingnow
housessomeofthegalleriesofthemuseum.Themainhallisaccessedthroughaverandahwitharow
ofcolumnslinkedbysemicirculararches.Thewallsandcolumnsareembellishedwithfloraland
geometricdesigns.Fig.:3.4SculptureGalleryFig.:3.5HinduSculptureGallery
80.66Fig.:3.6GroundandFirstfloorplanofMainBuilding
81.67Thehugemainhallwasinitiallydesignedforstagingtheatricalperformances.Ithasaround
600seatsandacommodiousstageandtheactors'dressingroomsadjointhisstage.DuringtheBritish
era,thetheatrewasmainlyusedforstagingEnglishplayspreferredbytheBritisheliteofthecity.
Now,themuseumhasbeenusingthetheatreforitsownculturalandacademicprogramssuchasart
workshops,lecturesandconferences.Italsorentsthehallforvariousculturalperformances,mainly
dramas.ThehallhaswitnessedseveralplaysincludingthoseofShakespeare.Fig.:3.7Viewof
SculptureGallery
82.683.1.4FRONTBUILDINGFig.:3.8GroundandFirstfloorplanofFrontBuilding
83.69Thisfrontbuildinghasnumberofgallerieswhichincludethecollectionofarms,wood
carvings,industrialarts,ethnologygallery,raremusicalinstrumentsgallery,physicalanthropology
gallery,kathakalligalleryandfolkartgallery.3.1.5BRONZEGALLERYFig.:3.9Viewof
AnthropologyGalleryFig.:3.10ViewofBronzeGallery
84.70Figshowsbronzegallery.Thisgalleryhasafabulouscollectionofabout1500objects85

Buddhist,25JainandtherestHindu.Thecollectionincludesspecimensfromvariousperiodsof
historyrangingfromtheearlycenturiesoftheChristianeratorecenttimes.Fig.:3.11Groundand
FirstfloorplanofBronzeGallery
85.713.1.6CHILDRENSMUSEUMThemuseumforchildreninthecomplexhousesseveralstatic
exhibitssuchasgalleriesofdollsadornedwithcostumesofvariousnationsandcivilizationsandalso
exhibitsertainingtoscience,transportation,andtechnologyFig.:3.12ViewofChildrensGallery
86.72Fig.:3.13GroundandFirstfloorplanofChildrenMuseum
87.733.1.7NATIONALARTGALLERYTheNationalArtGalleryisoneoftheoldestartgalleries
inIndia.ItisConstructedwithredstonessourcedfromSatyaveduinAndhraPradesh,theGallerywas
builtin1906inIndoSarsenicarchitectureandhousespaintingsfromThanjavur,Rajasthan,Kangra
andDeccanareas,aswellassandalwoodsculptures.TheNationalArtGallerywasbuiltduringthe
celebrationofQueenVictoria'sGoldenJubileeinIndoSaracenicstyle,designedbyarchitectHenry
Irwin.ThegallerycontainsseveralMugulpaintingsandrareworksofRajaRaviVarma.Italsohas
variousTanjorePaintings.PortraitsofvariousBritishofficerssuchasLordConnemaraandLord
WilliamBentinckarealsopresent.Theartgalleryalsoincludednumerousminiaturepaintings
depictingcourtandbattlescenes.Fig.:3.14ViewofNationalArtGallery
88.74TheGalleryhasbeenidentifiedasaHeritagesitebytheCMDA.TheGalleryhasremained
closedsince2002,aspartofthestructuresuffereddamage.Fig.:3.15GroundfloorplanofNational
ArtgalleryFig.:3.16ViewofNationalArtgallery
89.753.1.8CONTEMPORARYARTGALLERYTheContemporaryArtGallerynowdisplays
modernpaintingsandsculptures.Inordertopreventultravioletraysfallingonpaintingsbothfrom
naturalandartificiallight,anewtracklightingsystemwithDichroicHalogenlampshasbeeninstalled
intheContemporaryArtGallery.TheContemporarypaintingshavebeenredisplayedonOctanorm
typeshowcaseswithspecialDichroiclights.Fig.:3.17ViewofContemporaryArtgallery
90.76Fig.:3.18GroundandFirstfloorplanofContemporaryArtGallery
91.773.1.9INFERENCESThereisnograndvisitorslobbytothebuilding,TheMainBuilding
EntranceisattheNortheastrearend.Thevisitorscirculationpatternisnotclear,onehastovisit
seriesofgalleriesandaftercompletingthefinalgalleryview,hehastowalkbacktotheentranceto
exit.Therearehugesculpturecollections,butthegivenspaceisnotenough,itseemstoocrowdy.
Displayexhibitsandthetypeofexhibitsarenotattractive.Thestaircasetotheupperfloorgalleries
arenotlocatedproperly.Thereisnolinkbetweengalleries,thatis,thesequentialorderismissing,
moreoverfewgallerieswerelocatedinaseparatebuildingnamedfrontbuilding.Inchilderns
museum,mostoftheequipmentswerenotworking,thesciencetechniquesusedwereofoldtypes.
RearPlayareawithkidsplayingequipmentswerewelcoming.Nationalartgallerywasclosedforthe
renovationwork,thereweremanyvisiblecracksseeninelevationofthebuilding.Contemporaryart
galleryhasahugecollectionofpainting,securityforthepaintingweremissing.
92.78CHAPTER4SYNTHESISSincethemideightiesmuseumshavechangedtheirpolicymore
andmoreintoaproceedingprofessionalismoftheiractivities.Thetasksofamuseumconcentratedon
thepresenceofobjects(collection,scientificresearch,conservationandrestoration)andits
presentation.Inthisstudy,itisexaminedtowhatextentthisshifthastakenplace,andwhatthe
consequencesareofthisshiftontheoriginaltasksofanmuseum.Theaimofthispaperistoexplain
thefeelofmuseumspacetothevisitors.AccordingtoKotler&Kotlertherearefivebasicelements
thattogethershouldbeabletoorganisethemuseumvisitorstimeandactivityduringhisorhervisit:
1)Themuseumsetting,itsexteriorandinterior2)Theobjects,thecollectionandexhibitions3)The
interpretivematerialavailablesuchaslabelsandcatalogues4)Themuseumprogramswhichinclude
lecturesandperformances5)Themuseumservices,suchasreception,foodandthemuseumshop.
Withagoodfunctioningofthesefivebasicelementsthepleasureofthevisitorwillbeincreased
duringhisorherstayinthemuseum.Itisnolongersufficienttosimplydisplayacollection,people
havehighexpectations.Moderntrendsinthemuseumworldhavebroadenedtherangeofsubject
matterandintroducedmanyinteractiveexhibits,whichgivethepublictheopportunitytomake
choicesandengageinactivitiesthatmayvarytheexperiencefrompersontoperson.
93.79Moreover,today,newpresentationpossibilities,suchasmuseumnightsandeveningopening
hours,areexploredbymuseumswiththesameobjective:toreachawideraudienceandto
accommodatethemduringtheirstayatamuseum.Thefocusoncollectionsandeducationhasbeen
joinedbyafocusonmuseumgoingexperiences,andasaresult,contextualandinterpretive
materialismstorytellingandexplorationofthemeaningofobjectsmoreandmoresurroundcollections
andexhibitions.Visitorsfeelbetterinformedandarebetterabletoparticipateinmuseums.Theend
productofamuseumisnotsimplyviewinganexhibit.Amorefundamentaloutcomeistochangea

visitorsawarenessandknowledgesothatafterwardsheorshecanrecalltheexperienceasa
significantone.Theexperiencehasbecomemoreimportant,notonlyintheculturesector,butinall
sectorsofsociety.Sincemuseumshavetocompetewithotherculturalorganizationsforthescarce
leisuretimeoftheirpotentialvisitors,theyarelookingforwaystodifferentiatethemselvesinthe
hopethattheywillattractmorevisitors.Theirmaingoalistogivethesevisitorsbackground
informationonacertainexhibitionandtoeducatethemonthedevelopmentsintheartworld.They
areeducationalactivitiesthatfitwithinthetasksandfunctionsofamuseumthatconsistsofcollecting,
documenting,preserving,exhibitingandinterpretingmaterialevidenceandassociatinginformation
forthepublicbenefit.TheDesignProcessassuggestedbyICOMisasfollows:Evaluateandallocate
exhibitionspaceaccordingtostoryboardthemesandothervisualandcommunicationneeds.
Determinecirculationspaceneeded,includingdisabledaccessrequirements,securityneedsandofficial
legalnormssuchasfireEscapes.
94.80Examineanddistributeobjectsbyunits,sections,subsectionsthatcorrespondtothemesand
subthemesinthescriptandstoryboard.Designtheexhibitionfurnituresystem:panels,freestanding
exhibitshowcases,screens,caseshelves,blockcases,tablecases,wallhungpanelsandotherwall
mountedelements.Designlightingsystems.ConsultwithspecialistandconservatorDesignsound
systems.ConsultwithspecialistandeducationspecialistThedesignofmuseumshasevolved
throughouthistory,however,museumplanninginvolvesplanningtheactualmissionofthemuseum
alongwithplanningthespacethatthecollectionofthemuseumwillbehousedin.Therearemuseums
ofdifferentcategoriessuchas:1.Museumsownedbythestategovernment2.Museumsownedbythe
centralgovernment3.Museumsownedbytheuniversities/semigovtorganizations4.Museums
ownedbytheNongovtorganizations[trust,society,etc.,]5.Museumsownedbytheprivate
individualsOtherthanthecategoriesasdiscussedthereweremanytypesofmuseums,dependonthe
collections.Thosecategorieswere:finearts,appliedarts,craft,archaeology,anthropologyand
ethnology,biography,history,culturalhistory,science,technology,children'smuseums,natural
history,botanicalandzoologicalgardens.Withinthesecategoriesmanymuseumsspecializefurther,
e.g.museumsofmodernart,folkart,localhistory,militaryhistory,aviationhistory,philately,
agricultureorgeology.
95.81Thispaperhistorymuseumwerefocussed,andtheproposalshouldbeofculturalhistory
museum.Historymuseumscontainawiderangeofobjects,includingdocuments,artifactsofall
kinds,art,archaeologicalobjects.ThispaperfocusesonthestategovernmentownedGovernment
Museum,EgmoreasacasestudyfurtherliteraturestudydoneovertheStateMuseum,Bhopal
governedbystategovernment.AnationalMuseum,NewDelhiownedbythecentralgovernmenthas
beentakenforaliteraturestudy.ABharatBhavan,Bhopalownedbythenongovernment
organizationshasbeentakenforaliteraturestudy.AlsoaScienceCentre,Bhopalforatypeof
museumtakenforaliteraturestudy.AndacasestudyofBilbaoGuggenheimMuseum,Bilbao,Spain
andNingboHistoricMuseum,Ningbo,Chinashowsthewaytherecycledmaterialsusedandthenew
materialsinthefazardtreatment.ThroughallthecasestudiesfromIndiaaswellfromChinaand
Spain,itisclearthatmuseumofspacehasanimpactovervisitorsthrothewaytheybuilt.Allthe
abovesaidcasestudiedmuseumswereiconictimemuseumreflectingthepast,present,futureofits
ownimageofthecity.
96.82CHAPTER5CONCLUSIONOnthedetailedanalysisofvariouscasestudies,itisclearthat
themuseumofspacehasanimpactovermankind.Themuseumidentifiestheimageofthecityaswell
thestudyofthesociety.Theplanningofamuseumshouldbesuchawayitgivesansocialimpactto
thevisitors.Fromcasestudies,itisclearthat,inmuseumplanning,circulation,Typesofexhibits,
displaysofexhibits,serviceswerethemaincore.Theplanningofmuseumshouldbeinsuchaway
thatthebuildingshouldbeiconicoverperiodoftimesreflectingthepast,presentandfutureimageof
thecity.Thisdissertationdatainvestigatemuseumarchitectureanddefinestheroleofamuseumin
termsoffunctionandarchitecturalimplementation.
97.83BIBLIOGRAPHYChing,Frank,2007,Architecture:Form,Space,&Order,3rded,Hoboken,
N.J.:JohnWiley&Sons.Dean,D.(1994).MuseumExhibitionTheoryandPractice.London:
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Ritual:AnIconographicAnalysis,MarxistPerspectives,vol.1,no.4,Winter,pp.2851.Giedeon,
Siegfried,Space,TimeandArchitecture,Cambridge,MA:HarvardUniversityPress,1947Hillier,B.,
Tzortzi,K.,2006,SpaceSyntax:TheLanguageofMuseumSpace,S.Macdonald(Ed),A
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92.Hill,D.A.(1982).DesignProcedures.NewYork:VanNostrandReinholdCo.Ltd.Hooper
Greenhill,E.(1994).MuseumsandTheirVisitors.London:RoutledgePublisher.ICOM(2006)Code
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ofCentralEngland.

98.84Lord,G.D.andLord,B.(1999).TheManualofMuseumPlanning.2nded.London:HMSO
PublicationsCentre.MetStudio(1998).TheDiscoveryCentreatMillenniumPointMasterplan.
Unpublishedcontent,Birmingham:TheDiscoveryCentre.Nigam,1982,M.L.,MuseumResearchand
EducationinIndiancontext.JournalofIndianMuseums,vol.XXXVIII,,NewDelhi.P.P.17.Pugh,
S.(1991).TotalDesign.NewYork:AddisonWesleyPublishersLtd.Tunstall,G.(2000).Managing
theBuildingDesignProcess.Oxford:ButterworthHeinemann.Velarde,G.(2001).Designing
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99.85WEBSITESWikipedia.TheFreeEncyclopedia(homepage).URL:http://en.wikipedia.org
InternationalCouncilofMuseums(ICOM)(homepage).URL:http://icom.museum/ethics.htmlState
MuseumBhopal(homepage).URL:www.mparchaeology.org/statemus.aspBharatBhavanMuseum
Bhopal(homepage).URL:http://bharatbhawan.org/NationalMuseum,NewDelhi(homepage).
URL:http://www.nationalmuseumindia.gov.in/RegionalScienceCentre,Bhopal(homepage).
URL:http://www.rscbhopal.gov.in/ArcheologicalSurveyofIndia,ASI(homepage).URL:
http://asi.nic.in/asi_museums.aspGovernmentMuseum,Egmore,Chennai.(homepage).URL:
http://www.chennaimuseum.org/

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