art center bandra reclamation

8/9/2019 Art Center Bandra Reclamation

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CERTIFICATE

This is to certify that the design dissertation of ART CENTRE at BANDRARECLAMATION is the bonafide work of MR. OMKAR U. RANE of final year B.Arch,

Bharati Vidyapeeths College of Architecture and has been prepared under myguidance.

PROFESSOR IN CHARGE PRINCIPAL


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ACKNOWLEDGEMENT

The Book deriving ideas on the topicART CENTRE

at BANDRA RECLAMATION

I take the honor to express my deep gratitude to Prof. Ar. Kajale, my Project Guide

for providing me an opportunity to work under his guidance. I am grateful to himbecause without his encouraging support, valuable suggestions and constantinputs, the project would not have been in the shape it has turned out to be.

I would also like to express my kind regards to Mr. Suresh Mankar (Principal,Bharati Vidyapeeths College of Architecture) and for his valuable guidance andmoral support during the entire course of the making the thesis and supporting theideas and suggesting changes which were quite valuable.

And lastly I would like to thank my parents & my family for giving me moral supportand helping as and when required.

I am much thankful to my friends for their valuable help. I owe a numbers of debtsof gratitude to all those sources from which I have drawn information and persons

from whom I have received help and advice in completing this project.

OMKAR U. RANE


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CONTENT

INTRODUCTION OF MUSEUM

DefinitionsOrigin and Key PrinciplesHistory of the MovementInfluences on Later Art

Types of MuseumMuseums and Galleries in India

CASE STUDIES

Jehangir Art Gallery, MumbaiNational Museum, New DelhiNGMA, MumbaiCrafts Museum, New DelhiGuggenheim Museum, Bilbao, Spain

Grand Louvre, Paris, FranceBharat Bhavan, BhopalGandhi Smarak Sangrahalaya, Ahmedabad

DESIGN CONSIDERATIONS

Museum EnvironmentMuseum Lighting PhilosophyDaylight in Museums

Artificial Lighting in MuseumsType of LightDelivery SystemsControl SystemsTrack Lighting InformationCase LightingSecurityFire Protection

DESIGN

Site AnalysisDesign Requirements

BIBLIOGRAPHY


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ART CENTRE at BANDRA RECLAMATION

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DEFINITIONS

1. An art centre is a non-profit making permanent institution in the service of societyand of its development, and open to the public which acquires, conserves,researches, communicates and exhibits, for purposes of study, education andenjoyment, material evidence of people and their environment.

a. The above definition of an art centre shall be applied without any limitationarising from the nature of the governing body, the territorial character, thefunctional structure or the orientation of the collections of the institutionconcerned.

b. In addition to institutions designated as "art centres" the following qualify asart centres for the purposes of this definition:

i.

natural, archaeological and ethnographic monuments and sites andhistorical monuments and sites of an art centre nature that acquire,conserve and communicate material evidence of people and theirenvironment;

ii. institutions holding collections of and displaying live specimens andplants and animals, such as botanical and zoological gardens,aquaria and vivaria;

iii. science centre and planetaria;iv. conservation institutes and exhibition galleries permanently

maintained by libraries and archive centre;v. nature reserves;

vi.

international or national or regional or local museum organizations,ministries or departments or public agencies responsible for artcentres as per the definition given under this article;

vii. non-profit institutions or organizations undertaking research,education, training, documentation and other activities relating to artcentres and museology;

viii. such other institutions as the Executive Council, after seeking theadvice of the Advisory Committee, considers as having some or all ofthe characteristics of an art centre, or as supporting art centres andprofessional museum workers through museological research,

education or training.ix. cultural centre and other entities that facilitate the preservation,continuation and management of tangible or intangible heritage

resources (living heritage and digital creative activity);


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The word of museum here denotes any permanent establishment, administered inthe general interest, for the purpose of preserving, studying, enhancing by variousmeans and, in particular, of exhibiting to the public for its delectation and instructiongroups of objects and specimens of cultural value: artistic, historical, scientific andtechnological collections, botanical and zoological gardens and aquariums. Publiclibraries and public archival institutions maintaining permanent exhibition roomsshall be considered to be art centres.

Museum, institution dedicated to helping people understand and appreciate thenatural world, the history of civilizations, and the record of humanity as artistic,scientific, and technological achievements. Art centres collect objects of scientific,aesthetic, or historical importance; care for them; and study, interpret, and exhibit

them for the purposes of public education and the advancement of knowledge.

There are art centres in almost every major city in the world and in many smallercommunities as well.

Art centres offer manybenefitsto their visitors, their communities, and society as awhole. As educational institutions, they offer unparalleled opportunities for self-directed learning and exploration by people of diverse ages, interests,backgrounds, and abilities. They are public gathering places where visitors can beentertained, inspired, and introduced to new ideas. Art centres enrich local culturallife and make communities more appealing places to live and to visit.

For society as a whole, art centres provide valuable intangible benefits as sources

of national, regional, and local identity. They have the singular capacity to reflectboth continuity and change, to preserve and protect cultural and natural heritagewhile vividly illustrating the progression of the human imagination and the naturalworld.


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INTRODUCTION


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ORIGINS AND KEY PRINCIPLES

The Arts and Crafts Movement began primarily as a search for authentic andmeaningful styles for the 19th century and as a reaction to the eclectic historicismof the Victorian era and to "soulless" machine-made production aided by theIndustrial Revolution. Considering the machine to be the root cause of all repetitiveand mundane evils, some of the protagonists of this movement turned entirelyaway from the use of machines and towards handcraft, which tended toconcentrate their productions in the hands of sensitive but well-heeled patrons.

Yet, while the Arts & Crafts movement was in large part a reaction toindustrialization, if looked at on the European whole, it was neither anti-industrialnor anti-modern. Some of the European factions believed that machines were in

fact necessary, but they should only be used to relieve the tedium of mundane,repetitive tasks. At the same time, some Art & Craft leaders felt that objects couldalso be affordable. The conflict between quality production and 'demo' design, andthe attempt to reconcile the two, dominated design debate at the turn of the last

century.

Those who sought compromise between the efficiency of the machine and the skillof the craftsman thought it a useful Endeavour to seek the means through which atrue craftsman could master a machine to do his bidding, in opposition to thereality which was much more prevalent during the Industrial Age; humans had

become slaves to the industrial machine.

The need to reverse the human subservience to the unquenchable machine was apoint that everyone agreed on. Yet the extent to which the machine was ostracizedfrom the process was a point of contention debated by many different factions

within the Arts and Crafts movement throughout Europe.

(This conflict was exemplified in the German Arts and Crafts movement, by theclash between two leading figures of the Deutscher Werkbund (DWB), HermannMuthesius and Henry Van de Velde. Muthesius, also head of design education forGerman Government, was a champion of standardization. He believed in mass

production, in affordable democratic art. Van de Velde, on the other hand, sawmass production as threat to creativity and individuality.)

Though the spontaneous personality of the designer became more central than thehistorical "style" of a design, certain tendencies stood out: reformist neo-gothicinfluences, rustic and "cottagey" surfaces, repeating designs, vertical andelongated forms. In order to express the beauty inherent in craft, some productswere deliberately left slightly unfinished, resulting in a certain rustic and robusteffect. There were also socialist undertones to this movement, in that anotherprimary aim was for craftspeople to derive satisfaction from what they did. This


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satisfaction, the proponents of this movement felt, was totally denied in theindustrialised processes inherent in compartmentalised machine production.

In fact, the proponents of the Arts and Crafts movement were against the principleof a division of labour, which in some cases could be independent of the presenceor absence of machines. They were in favour of the idea of the master craftsman,creating all the parts of an item of furniture, for instance, and also taking a part in itsassembly and finishing, with some possible help by apprentices. This was incontrast to work environments such as the French Manufactories, where everythingwas oriented towards the fastest production possible. (For example, one person orteam would handle all the legs of a piece of furniture, another all the panels,another assembled the parts and yet another painted and varnished or handledother finishing work, all according to a plan laid out by a furniture designer who

would never actually work on the item during its creation.) The Arts and Craftsmovement sought to reunite what had been ripped asunder in the nature of humanwork, having the designer work with his hands at every step of creation. Some ofthe most famous apostles of the movement, such as Morris, were more than willingto design products for machine production, when this did not involve the wretcheddivision of labour and loss of craft talent, which they denounced. Morris designed

numerous carpets for machine production in series.

HISTORY OF THE MOVEMENT

Red House, Bexleyheath, London (1859), by architect Philip Webb for Morris

himself, is a work exemplary of this movement in its early stages. There is adeliberate attempt at expressing surface textures of ordinary materials, such asstone and tiles, with an asymmetrical and quaint building composition. Morrisformed the Kelmscott Press and also had a shop where he designed and soldproducts such as wallpaper, textiles, furniture, etc. Morris's own ideas emergedfrom the thinking that had informed Pre-Raphaelitism, especially following thepublication of Ruskin's book The Stones of Veniceand Unto this Last, both of whichsought to relate the moral and social health of a nation to the qualities of itsarchitecture and designs. The decline of rural handicrafts, corresponding to the riseof industralised society, was a cause for concern for many designers and social

reformers, who feared the loss of traditional skills and creativity. For Ruskin, ahealthy society depended on skilled and creative workers. Morris and other socialistdesigners such as Crane and Ashbee looked forward to a future society of freecraftspeople. The Aesthetic movement, which emerged at the same period, fed intothese ideas. In 1881 the Home Arts and Industries Association was set up byEglantyne Louisa Jebb in collaboration with Mary Fraser Tytler (later Mary Watts)and others to promote and protect rural handicrafts. A group of reformist architects,followers of Arthur Mackmurdo, later established the Art Workers Guild to promotetheir vision of the integration of designing and making. Crane was elected as its

president.


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INFLUENCES ON LATER ART

Europe

Widely exhibited in Europe, the Arts and Crafts movement's qualities of simplicityand honest use of materials negating historicism inspired designers like Henry vande Velde and movements such as Art Nouveau, the Dutch De Stijl group, VienneseSecessionstil and eventually the Bauhaus. The movement can be assessed as aprelude to Modernism, where pure forms, stripped of historical associations, would

be once again applied to industrial production.

In Russia, Viktor Hartmann, Viktor Vasnetsov and other artists associated with

Abramtsevo Colony sought to revive the spirit and quality of medieval Russian

decorative arts in the movement quite independent from that flourishing in GreatBritain.

The Wiener Werksttte, founded in 1903 by Josef Hoffmann and Koloman Moser,

played an independent role in the development of Modernism, with its WienerWerksttte Style.

United States

In the United States, it spawned complementary and sympathetic American craftmovements such as the "mission oak" style furniture embraced by Gustav Stickley,the Roycroft community, the "Prairie School" of Frank Lloyd Wright, the Country Day

School movement, the bungalow style of houses popularised by Greene andGreene, and the contemporary studio craft movement. Studio pottery exemplified by Rookwood pottery, Bernard Leach in England, and Pewabic Potteryin Detroit as well as the art tiles by Ernest A. Batchelder in Pasadena, California,and idiosyncratic furniture of Charles Rohlfs also demonstrate the clear influence of

Arts and Crafts movement. Mission, Prairie and the California Craftsman styles ofhomebuilding remain tremendously popular in the United States today.


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TYPES OF MUSEUMS

The major types of museums are art history natural history, and science. In certainmuseums, these disciplines may be combined. Within these categories there arealso many specialized museums emphasizing particular topics or types ofcollections, such as museums of local history music the cultural heritage of nativepeoples or maritime history.

ART MUSEUMS

Art museums reflect artistic accomplishment, both historic and contemporary.

Through exhibitions and educational programs, art museums enhance visitorsunderstanding, appreciation, and enjoyment of art. They contain many kinds ofartworks, including paintings sculpture prints drawings photographs ceramicsand glass metalwork and furniture. Art museums represent diverse culturaltraditions from all parts of the world. One collection might contain Egyptian

statuary, funerary objects, and jewelry; another might contain sculpture, masksand utilitarian objects from Africa; and another might contain pottery textiles

beadwork and basketryfrom native peoples of the Western Hemisphere.

Some art museums have comprehensive collections that span many styles andperiods. Outstanding museums of this type include the Metropolitan Museum of Art

in New York City; the Louvrein Paris, France; the State Hermitage Museum in SaintPetersburg, Russia; the National Gallery in London, England; and the VaticanMuseum in Rome, Italy. Many art museums, however, specialize in works of certain

periods or types. For example, the Tate Gallery in London is known for its collectionof international modern art and its collection of British art from 1500 to the present.

The Among modern art museums in the United States, the Museum of Modern Artin New York City has an unequaled collection representing every school of art from

the late 19th through the 20th century. The museum was the first to collectexamples in diverse media such as photography, film, video, and design. The

Solomon R. Guggenheim Museum designed by American architect Frank LloydWright, is as renowned for its architecture as for its masterpieces of modern andcontemporary art. Other notable modern art museums include the San Francisco

Museum of Modern Art and the Museum of Contemporary Art in Los Angeles.

The largest art museum in Canada is the National Gallery of Canada in Ottawa,Ontario. An internationally recognized institution, the gallery holds the mostextensive collection of historical and contemporary Canadian art in existence. Italso has strong collections of Inuit art, Western European and 20th-century

American art, and Asian art. Its photography and media-arts collections are amongthe finest in the world. In Montr, Qu bec, the Montreal Museum of Fine Arts has a


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comprehensive collection of arts and crafts, particularly those of Canada. The ArtGallery of Ontario in Toronto houses British, European, American, and Canadianart, as well as a large collection of sculptures by British artist Henry Moore.

ART GALLERY

An art galleryor art museumis a space for the exhibition of art usually visual artand usually primarily paintings, illustrations, and sculpture. It is also sometimesused as a location for the sale of art.

The art museum is considered a fairly modern invention, the first being the Louvre

in Paris, which was established in 1793, soon after the French Revolution when theroyal treasures were declared for the people. Here we see the beginnings of

removing art collections from the private domain of aristocracy and the wealthy intothe public sphere, where they were seen as sites for educating the masses in tasteand cultural refinement. Early Museums in America were often a part of or affiliated

with Lyceums, Atheneaums, or Libraries with a broader cultural mission, and werenot necessarily devoted exclusively to art. Many Museums are associated with

universities or colleges.

Generally, the term Art gallery is used to mean buildings or locations dedicated todisplaying and/or selling art, though the large rooms in museums where art is

displayed for the public are often referred to as galleries as well, with a roomdedicated to Ancient Egyptian art often being called the Egyptian Gallery.

Although primarily concerned with providing a space to show works of visual art, artgalleries are sometimes used to host other artistic activities, such as music

concerts or poetry readings. Conversely, some works of visual art are not shown ina gallery and, due to their form, never can be. Altarpieces, for example, are rarelyshown in galleries, and murals generally remain where they have been painted.

Various forms of 20th century art, such as land art and performance art, alsousually exist outside a gallery. Photographic records of these kinds of art are often

shown in galleries, however.

Similar to an art gallery is the sculpture garden (or sculpture park), which presentssculpture in an outdoor space. Sculpture installation has grown in popularity,whereby temporary sculptures are installed in open spaces during events like

festivals.


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ART EXHIBITION

Art exhibitionsare traditionally the space in which art objects (in the most generalsense) meet an audience, a temporary presentation of art.

Such expositions may present pictures, drawings or sculptures of individual artists,groups of artists or collections of a specific form of art. The art works may bepresented in museums, art halls, art clubs or private art galleries. Sometimes theevent is organized on a specific occasion, like a birthday, anniversary or

commemoration.

There are different kinds of art exhibitions, like retrospectives, individual expositions,

group expositions, or expositions on a specific topic.


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MUSEUMS AND ART GALLERIES IN INDIA

During the last few years, the contemporary art scene in the country hasblossomed into a high profile attention getter, auctioned at never before prices byinternational auctioneers. The works of all Indias best artists are pre sold almostalways, but can sometimes be seen at art galleries in New Delhi, Bombay, Madras,Calcutta, Vadodara and Trivandrum. Art exhibitions are held in these cities fromtime to time, and feature solo and group shows. Museums all over the countryexhibit objects that range from finds at archaeological sites, miniature paintings,and royal memorabilia to Indias finest traditional crafts. Of course, this varies from

one museum to another.

New DelhisNational Museumexhibits a range from terra-cotta figures of the 5th

and 6th centuries BC to exquisitely damascened swords of the Mughal period. Alsoin New Delhi, theCrafts Museumdisplays the folk art of India. Periodical exhibitionsinclude textiles, wooden sculptures of coastal India and other thematic subjects.

Jaipurs City Palace, itself an object of wonder, houses a collection of royal i2

memorabilia, as do the museums in other parts of Rajasthan: Bikaner, Jodhpur,Jaisalmer, Alwar and Bundi. Each of these was princely states whose rulers weregreat patrons of art, and miniature paintings in the distinctive style of each state

form the nucleus of many a museums treasures.

In Gujarat, the city of Ahmedabad has a sprinkling of museums, all the private

collections of an individual or a family. The Shereyas Museum of Folk Art theCalico Museum of Textiles the Kite Museum and the Utensils Museum eachdisplay another facet of the rich heritage of craft traditions of Gujarat. Vadodarasmuseum is housed in an old palace building and includes extremely rare bronze

figurines.

In the north, Jammus two museums display a valuable collection of miniaturepaintings collectively known as Pahari or hill schools. SrinagarsSPS Museum isthe only place in India where one can see stone sculptures of deities executed inthe distinctive style that was a hallmark of Kashmir in the 7th to 11th centuries.

Bhopals museum revolves around the considerable tribal skill of Madhya Pradesh,the focus of which is dhokra figures, made in the lost wax technique out of bell

metal. PunesDinkar Kelkar Museum is the lifelong collection of one man whosetheme was the celebration of everyday life in art. Ink pots, cooking vessels andbetel nut crackers, all display the wealth of everyday art. Hyderabads most famousmuseum is the Salar Jung Museum again a personal collection which featurespriceless treasures and whimsical objects side by side.


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Trivandrum has a museum whose building is probably the most photographededifice in the city. Objects displayed inside are exquisitely carved bronze templefigures. Cochin has a number of museums housed in buildings that were built bythe Dutch as palaces, and by local rulers. A small museum on the outskirts of thecity is the Museum of Natural History the vision of its founder. Sound and lightshows bring to life all the figures exhibited that range from classical dancers toPortuguese traders. Calcutta too has a museum that was the personal collection of

one family, atMallicks Palace.It is impossible to give a brief account of a subjectthat requires a full volume to itself. Every city or town in the country will have amuseum featuring classical, tribal or folk art. Information regarding timings andspecial exhibitions will be available at the hotel counter.


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CASE STUDIES


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CASE STUDY JEH NGIR RT G LLERY


JEH NGIR RT G LLERY

BUILT IN:1952BUILT BY:Sir Cowasji Jehangir,

LOCATION:Kala GhodaARCHITECTURAL STYLE: Neo classicARCHITECT:George Wittet

ABOUT JEHANGIR ART GALLERY

A prime art gallery in the city of Mumbai Jehangir Art Gallery caters to the artistictastes of people. This is situated behind the museum and has four exhibition halls.Facing to Elphistone College and adjacent to the Prince of Wales Museum, thisgallery situated at Kala Ghoda is the most prestigious and modern venue for Indian

artists. It was built in the year 1952. Managed by the Bombay Art Society, the entirecost of this beautiful mansion was donated by Cowasji Jehangir. This gallery is oneof the city's most highly visible art galleries and having to exhibit a work of art hereis a great treat for artists. The unending lists of applicants to have their work put upon the walls of this gallery speak for itself of the great importance and the mediaattention one attracts. Some might have to wait a couple of years to have their workput up here.


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CASE STUDY NGMA MUMBAI


NATIONAL GALLERY OF MODERN ART MUMBAI

The Cowasji Jehangir hall is transferred into a branch of NGMA by an architect Mr.Romi Khosla. The entire curving semicircular yellow basalt structure was designedby George Wittet, constructed in renaissance style;

SURROUNDINGS:

Prince of Wales Museum, the only high-rise building is the stock exchange and Tajhotel buildings.

PARKING:

All the cars, tourist buses are parked outside, only service vehicles are allowed in.

ENTRANCE:

There is only one entrance for entry and exits which leads to entrance of thebuilding. The building has big entrance canopy.

ABOUT NGMA

The warp and weft of historic buildings and the overlay of modemarchitecture hold the urban fabric of each city together. This dichotomy of the past

and present is unavoidable and architects often have to deal with challengingsituations when their professional services are required to create a delicateinterface between the old and new, and reconfigure an old vernacular to adapt tomodem interiors and exteriors as per requirement.

A whole new set of permutations emerge each time an architect begins tomarvel the folds of the past in a building, in an effort to give it a contemporaryinterpretation for maintaining its relevance in a changed time.

NAME: Sir Cowasji JehangirHall and the Institute of Science

LOCATION:NGMA, Kala Ghoda,Colaba, Mumbai.

ARCHITECTURAL STYLE:Renaissance style

ARCHITECT:Sir George Wittet.


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A case in point is the old Sir Cowasji Jehangir Public Hall, Mumbai, designedby the British architect George Witter as a public hall and theatre. The buildinggradually lost its significance as a cultural center. The architect Romi Khosla as hislandmark project describes its recent conversion into the National Gallery ofModem Art (NGMA), as an extension of the one in Delhi. He uses a new term -"Historic Retrieval" to describe the conversion and affirms, "It is a term I use todescribe the project as it reflects how the heritage building has been retrieved from

the past to perform a modem function and regain its relevance in the contemporarycontext."

The client's brief included the need for modem electrification. Air-conditioning,auditorium and multilevel gallery spaces within a public hall that was ill-equipped to

handle such a variety of functions either structurally or in terms of modem services

and infrastructure.

To create minimal interference within the heritage structure, separate pilefoundations were erected to support the multilevel galleries. An internal envelopewas created by circumscribing a circular wall within the original hall and the hollowsection between the old wall and the new was used to carry electrical conduits, air-

conditioning ducts and vents. The external facade and entry foyer were restoredkeeping in mind the historic value of the building.

Using a system of three load-bearing wall supports, the internal space wasconverted into a multilevel art gallery with a central staircase acting as the visual

fulcrum. Within this staircase, the architect used a combination of elements likechrome-finished steel balusters Supported. Almost symbolically, by archaicwooden bracket motifs.


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By raising the level of the existing floor by means of new wooden flooring, boththe old walls and the original floor are kept largely intact. The old domed roof hasbeen restored and a false ceiling (that had been a later addition) was removedexpose the original roof profile of the interior hall.

The neutral wooden flooring and stay white walls let the paintings stand outwithout disturbing sight lines. The furniture and glass display boxes have been kept

to a bare minimum and the colors and textures used.

The project is an endeavor to rime a historic building from the sands of time toonce again become the center of the cultural world of Mumbai.

MASSING:the building is G+3.


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PLANNING:

The gallery includes six free form exhibitions spaces, offices, storerooms and

elevators. Four galleries are semicircular and staggered through 2 floors. Thetopmost gallery is a complete circle and connected by two staircases in the centre fthe room and crowned by a round domed skylight. The central stairs allows peoplegoing from one exhibit to another a clear view of everything before and below them.The hall is circular on the right ringed by verandahs. The hall was 60 feet diameterand enclosed by eight- foot wide verandahs. The outer walls are yellow basalt stoneand The internal walls are two feet distant from the originals ones, are f gypsumboard fixed on metal frames. The auditorium is situated at top floor and has 200people seating capacity. All services located on ground floor.

GROUND FLOOR PL N

1.

PORCH2. MAIN ENTRANCE LOBBY3. GALLERY I4. PAINTING STORE5. LOBBY6. TOILET

FIRST FLOOR PL N

1. DRAWING GALLERY2. PROJECTION ROOM3. AUDITORIUM GALLERY

4.

STAGES

1 SCULPTURE TERRACE2 SCULPTURE GALLERY3 GALLERY4 GALLERY IV5 CURATOR'S OFFICE6 STAIR LOBBY

7 OFFICES

SECOND FLOOR PLAN1. DRAWING GALLERY2. PROJECTION ROOM3. AUDITORIUM I GALLERY V

4. STAGE


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MATERIALS:

They used natural materials such as pale teak, marble, white painted gypsum

board, iron, and brass. Wooden flooring laid in radial pattern emphasizes theroundness of the rooms.

FLOOR FINISHES:

In exhibition spaces wooden flooring is laid in radial pattern. White marble floor tilesfor lobby, verandah, administration etc.

LIGHTING:

Lighting radiates out from the center of hall ceiling. To focus on painting spot lightused such way that can adjusted according to painting.

SERVICES:

Smoke detectors are placed at different and regularintervals in circular pattern. There was also provision of wet

riser and down comer system, fire alarm system. AC plant room is located on ground floor cool air is

distributed to upper floors through ducting system.Lighting and sound system are concealed.

They also used agro meter placed at various places inexhibition hall for humidity check.

ANALYSIS:

NEGATIVE POINTS:

The entire building has been convertedinto gallery so all services like electricalwires are seen on the interior walls andit is spoiling interior of gallery

And also in reception lobby there is ACout door units are kept which gives uglylook at entry point.

Lighting seems excessive and intensivein some places, and lacking in otherplaces.

There is no provision for cafeteria or restaurant


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CASE STUDY - NATIONAL MUSEUM NEW DELHI


National Museum New Delhi

The capital city of Delhi is not only a treasurehouse of historical monuments, but also boasts

of having some of the some of the finestmuseums and galleries exhibiting some preciouscollections of art, artifacts and finds from theprehistoric and historic periods. Though theseare lesser-visited sites, they provide a glimpseinto India's history, its traditions, art, culture andmuch more. These places are especiallyimportant for those travelmasti visitors who areinterested in history and civilization. Its a treatunparallel if curiosity demands quenching.

LOCATION: The national museum is locatedon Janpath intersected between Rajpath andmaulana azad roads.

ARCHITECT:Ar. Devlalikar

ORIENTATION: Located west side of India Gate on the Janpath


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SURROUNDINGS:

ENTRANCE:Having two entries, one is for one is for visitors another for VIPS.and staff.

MASSING:G+2 building and also has basement to it.

BUILDING MATERIALS: made up of yellow red basalt stone to its frontfaade and one of the side walls.

PARKING:

Parking on surroundingroads and in the museum premises is

prohibited.


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GALLERIES:

HARAPPAN CIVILIZATION

This gallery was jointly set up by the Archaeological Surveyof India and the National Museum. It has a rich collectionof a large number of artifacts from the sites of HarappanCivilization. The collection includes pottery, seals, tablets,weights and measures, jewellery, terracotta figurines, toys,etc. It also has copper tools from Harappan sites like axes,chisels, knives, etc. About 3,800 objects have been displayed in the modernisedHarappan Gallery from the National Museum collection. This Gallery also has 1,025excavated artifacts belonging to the Indian Harappan site of the Archaeological

Survey of India collection.

ARCHAEOLOGY

A prestigious collection of approximately 800 sculptures havebeen displayed in the Archaeological Galleries on the groundfloor, the rotundas on the ground, first and second floors andaround the museum building.

The sculptures displayed are mostly in stone, bronze andterracotta, dating from the 3rd century B.C., through the 19th

century A.D., representing all major regions, periods and schoolsof art.

BUDDHIST ARTS

An added attraction is the gallery on Buddhism: A spiritualjourney, with the focus on the sacred relics of the Buddha (5th-4th century B.C.) unearthed from Piprehwa, Distt. Basti andoutstanding specimens of Buddhist Art as a global movement,is illustrated through 84 exhibits in stone, bronze, terracotta,stucco, wooden sculptures and painted scrolls or Thankas from Nepal, Tibet,Central Asia, Myanmar, Java and Combodia, representing the three principalBuddhist forms - Hinayana, Mahayana, Vajrayana. Of special importance are theimages of Kapardin Buddha from Ahichchhatra, Buddha - pada (footprints) fromNagarjunakonda, Distt. Guntur in Andhra Pradesh and Buddha's life scenes fromSarnath in Uttar Pradesh as well as ritualistic objects from the trans-Himalayanreign. These objects stimulate a sense of devotion dedication and love forhumanity.


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INDIAN MINIATURE PAINTINGS

The Museum has in its possession the rich heritage of IndianMiniature paintings. These belong to major styles such as, Mughal,Deccani, Central Indian, Rajasthani, Pahari and many other sub-styles relating to the period from 1000 A.D. to 1900 A.D. It alsoincludes paintings on palm leaf, cloth, wood, leather, paintedmanuscripts, covers on wood and hardboard and Thankus oncanvas, etc. The major theme of these miniatures are JainKalpasutra, the epics such as Ramayana, Mahabharata, Bhagwatpurana,Durgasaptasati, Jaideva's Geetgobind, Ragamala, Baramasa, Panchatantra and

Vishnu Purana. A few Indo-lslamic manuscripts such as Shahnama andBaburnama are also noteworthy. The portraits of medieval kings, rulers and saints

are also part of this large heritage. The gallery displays selected 352 exhibits forpublic view.

EVOLUTION OF INDIAN SCRIPTS AND COINS

In the gallery, 26 large-sized well-lit glass transparencies are onshow narrating the wonderful story of the development of variousIndian scripts from Brahmi and coins.

DECORATIVE ARTS (two galleries)

The gallery brings to light for the first time 232 exclusive decorativearts artifacts, which are dated from 18th-20th century. All theseutilitarian and decorative objects are made with different material,i.e. ivory, jade, glass, wood, marble, metal and ceramic. Amagnificent ivory temple shrine, finest enamelled and filigree work insilver, exquisite designed silver huqqa, wooden peacock andcopper inscribed degcha (cooking vessel) are the few

JEWELLERY

The specially designed gallery, housing 202 items from the 3rdmillennium B.C. to 20th century A.D. in chronological sequencersthe first of its kind in the museums of India. The most outstandingpieces include Indus jewellery, Taxila jewellery, Mugal and Islamicjewellery, belts and buckles, decorative objects, necklaces, varioustypes of bracelets, armlets, bangles, enamels. South Indianjewellery, Navratan ornaments, bridal, ceremonial and templejewellery are exhibited in 27 showcases.


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MANUSCRIPTS (under renovation)

The National Museum has an appreciable collection ofmanuscripts in various languages and scripts covering a largenumber of subjects. These manuscripts are a feast for curiouseyes as they are written on different types of materials such asparchment, birch bark, palm leaf, cloth, paper, metals, etc.

Aesthetic value and richness of the collection are quite evidentby their remarkable illuminations and charming illustrations. Dated manuscriptselaborate Indian History with authoritative authenticity. Despite being the resourceof all mystic knowledge and learning, manuscripts of Indian origin attract theviewers by various sizes of scrolls, different styles of writing on palm leaves, goldenletters on coloured background of paper and natural shaded beauty of birch bark

folios, while Arabic and Persian manuscripts mesmerise the Islamic world andhistorians by the royal seals and dates on it. Holi Quran, Royal Farmans andalluring treasure of illustrations are worth seeing. All the manuscripts representvarious religions and sects of the Indian subcontinent. The exhibits cover the periodof manuscripts from the 7th century to the 19th century. In this gallery 1,500manuscripts are proposed to be displayed.

CENTRAL ASIAN ANTIQUITY

Amongst or Non-Indian collections, whichadorn the National Museum, the Central

Asian Arts Collection is the richest - bothqualitatively and quantitatively. Thecollection consists of some of the most outstanding wall paintings, painted silkbanners, sculptures in wood, stucco and terracotta, coins, porcelain and potteryobjects, leather, grass and fibre, precious items of gold and silver, religious andsecular documents. The vast and varied collection was excavated, explored andcollected by Sir Aurel Stein, the foremost amongst the archaeological explorers ofthe early 20th century, during three major expeditions carried out by him in 1900-1901, 1906-1908 and 1913-1916. This gallery includes 600 choicest exhibits.

COINS

the gallery will display 1672 coins in a modernised format.The collection of coins in the National Museum is remarkablefor its variety, rarity and antiquity. The entire history of Indiancoinage, starting from about 6th century B.C. to thebeginning of the 21 st century A.D., is well represented herealong with the dioramas depicting various techniques of coin production. It has in itpractically all Indian coins from the earliest bent bar, punch-marked coins to thoseof Indian States, British India and post-independence coins. A study of thesecurrencies reveals how the Indian currency system developed from cowrie shells tocredit card; These coins are a rich and authentic source of information on various


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aspects of Ancient, Medieval and Modern Indian history. A record of political andeconomic changes, its narrative and aesthetic impact reflect the culturaleffervescence in different epochs in various regions of the country.

PAINTINGS FROM TANJORE AND MYSORE

This gallery presents the two famous schools of South India-Tanjore and Mysore for viewers. The important themes aredisplayed in this gallery: Indian mythology, stories from epics,various gods and goddesses. Fifty paintings are on displaywhich shows a fine admixture of tradition and spiritual aspect ofIndian Art from South India. The technique, how to make aTanjore painting is also displayed with the help of seven

pictures.

INDIAN TEXTILES

The textile gallery displays the fabulous and magnificentcollection of Indian traditional textiles of the later Mughalperiod. One hundred and twenty-five choicest cotton, silkand woolen textiles, which are beautifully woven, printed,dyed and embroidered, have been displayed in the gallery.These have been arranged according to the technique ofmanufacturing and decoration. Among them special mention may be made of silkand zari woven sari pallu of the mid-17th century from Chanderi, printed and

painted artistically designed cotton coverlet of the 17th century from Golconda anda reconstructed royal chamber illustrating various textiles in their respective use.

PRE-COLUMBIAN AND WESTERN ART

Pre-Columbian and Western Art collections were giftedmostly by Mrs. and Mr. Nasli Heeramaneck of U.S.A. Theseart objects covered mostly the pre-1492 A.D. period whenChristopher Columbus unknowingly reached this part of theworld in search ofThe new sea route to India and South-East Asia. In thisgallery most of the objects belong to Mexico, Peru, Maya,Inca, North-West coast of America, Panama, Costa Rica andEl Salvador. Apart from these some objects of Indonesia,Iran, Iraq, Egypt and some objects of Germany and Franceare also displayed in the gallery. About 252 exhibits are ondisplay.


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WOOD CARVING

The tradition of carving wood in India for architecture,religious, utilitarian and decorative needs is well reflected inthe gallery of woodcarving. With the help of a hundred andtwenty exhibits an attempt have been made to show varioustechniques and vivid subjects, which illustrates all the varietyfrom architectural dwellings, doors, windows to cotlegs, boxesand mirrors. Intricately carved Mandapa of a Gujarat templefrom the 16th 17th century A.D. is a very important piece ofthe gallery. Beautifully carved door and pillar from the Suntemple of Katarmal (DT Almora, Uttaranchal) dated 13thcentury A.D. are on display in the Late Medieval Gallery(ground floor) .This gallery includes 46 exhibits.

MUSICAL INSTRUMENTS

The Museum has a large collection of musical instruments, both folkand classical. The collection was donated to the Museum by Mrs.Saran Rani Backliwal in 1980 and 1987. Most of the Indianinstruments belong to the period between the 17th-19th centuriesThere are also a few 19th century Western instruments. The objectshave been divided into different categories like string instruments

(veena, sitar, santur). Percussion instruments (tabla, dholak) andwind instruments (flute, trumpet, etc.). There are 125 musical

instruments on display.

TRIBAL LIFE-STYLE IN NORTH-EAST

A total of 327 excellent traditional exhibits such as dresses,apparel, ornaments basketry, woodcarvings and personaladornments, etc., of several tribal groups inhabiting the land of"seven sisters" are on view.

ARMS AND ARMOURThe Museum has one of the finest collections of Indian Arms andArmour comprising edged weapons, projectiles, smashing weapons,armour for men and animals, ornamental, sacrificial and ritual weapons,fire arms and war accessories. The collection is predominantly Mughalin addition to Maratha, Sikh, Rajput and Hindu arms which are also wellrepresented. The Arms embellished with damascening, enamelling,filigree work or those inscribed or studded with semi-precious andprecious stones are in the collection. This gallery has been modernisedby displaying 500 exhibits.


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TEMPLE CHARIOT (near the entrance gate of the Museum)

The octagonal chariot is made of saal, sagvan wood has five tiersconsisting of six wheels, beams around 425 carved panels,brackets, angles, etc. weighing approximately 2,200 kgs. This 18th-19th century chariot, dedicated to Lord Vishnu, is fromKumbakonam, Tamil Nadu, South India. It illustrates various Saivaand Vaishnava themes, i.e. Vishnu, Laxshmi-Narayan (Lord Vishnuwith his consort), Rama (one of the incarnations of Lord Vishnu),

Varaha (Boar incarnation of Lord Vishnu), Narsimha (Lion andhuman incarnation of Lord Vishnu), Venugopal (Krishna with flute),etc.

PLANNING:

BASEMENT

StoresPhotography section,Modeling section

Canteen

GROUND FLOOR PLAN

1. Entrance Hall2. Library3. Auditorium4. Pre-History and Indus Valley civilization5. Maurya, Sanga and Satvahana Art6. Kushan Art

7. Gupta Art8. Gupta Terracotta and early Medieval Art9. Bronzes10. Late Medieval Art11. Buddhist Art12. Tantra Art13. Transparencies of Indian Scripts and Coins14. Decorative Art-II15. Decorative Art-I16. Jewellery


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FIRST FLOOR PLAN

1. Special Exhibitions2. Manuscripts3. Indian Miniatures4. Central Asian Antiquities-II5. Central Asian Antiquities-I6. Tribal Art7. Thanjavur Paintings8. Maritime Heritage9. National Museum Institute10. N.M.I. and D.Gs Office11. Ajanta Paintings

SECOND FLOOR PLAN

1. Decorative Arts and Textiles2. Pre-Columbian and Western Art3. Decorative Arts and Textiles4. Coins and Copper Plates5. Arms and Armour6. Wood Carving - I7. Wood Carving I

8. Musical Instruments9. Anthropology

FLOOR FINISHES: museum has different kinds of flooring: such as whitemarble with flowerer pattern design on it with green marble in the main entrancelobby.In most of the galleries has Shahabad stone tiles.In the first floor corridor pink tilesare combination with white tiles. In the second floor corridor granite tiles are laid in

radial pattern.


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LIGHTING:In most of the galleries track light system used.Artificial tube lights for display in showcases.

SERVICES:

Central plant system of air conditioning has been used in all galleries.Central plant is located on the terrace.

All lighting equipment is concealed in ceiling.Provision of fire extinguishers in each gallery.In some of the galleries also have smoke detectors.

National Museum contains one of the largest and most precious collections ofIndian art, terracotta and wood sculptures dating back to the Mauryan period (

Second and Third century BC), exhibits from the Vijayanagar period in south India,miniature and mural paintings, and costumes of various tribal people.

The National Museum, one of the premier museums in the country, continued todevelop in all directions, such as acquisition, exhibition, conservation and culturalactivities.


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ACQUISITION

Art objects worth Rs. 3.61 lakhs were purchased by the Museum and a largenumber of objects were received as gifts from various sources. Significant amongthe gifts are 2 more Sunga Pillars from Amin seized by the C.B.I., a more gold coinof Vindhya Sakti from Shri S. M. Sukla, a more Head of Shiva image of Kushanaperiod from Mrs. Krishna Ribound, 5 sculptures from Mrs. Pupul Jayakar, 4sculptures from Shri Kejriwal, an image of Kartikeya from Dr. Rai Govind Chandra, 2remark- able stone sculptures from Shri M. N. Deshpande.

EXHIBITION

The following exhibitions were organised in the Museum:-

(a) Recent finds of the Indus Valley Civilization in collaboration with theArchaeological Survey of India.

(b) Excavated antiquities from Sonkh in collaboration with the Max Mueller Bhawan.

(c) Reproductions of Masterpieces of Art from the Museums in the GermanDemocratic Republic.

(d) Pre-Historic Art, Handicrafts and Modern Paintings from Mexico.

In addition it organised a photographic exhibition of the World of Lord Buddha andBuddhism in Japan.

Among the new exhibitions in view are the following

(i) Musical instruments from the personal collection of Smt. Sharan Rani Backliwal,which has been offered as a gift to the Museum.

(ii) Woodworks in the collection of National Museum.

(iii) Newly acquired objects.

An exhibition of Indian Miniature Paintings was sent to the U.S.S.R. on the occasionof the 60th Anniversary of the Great October Revolution.

A seminar on `Pre-Kushan art in Mathura' was organised in collaboration with theMax Mueller Bhawan.


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EDUCATIONAL PROGRAMME

A series of extension lectures was instituted with the inaugural lecture by ProfessorNihar Ranjan Ray on "What is Classical in Indian Art".

Under the Plan Scheme, `propagation of culture among students in schools andcolleges' kits were prepared jointly by the National Museum and the University ofDelhi and were distributed among teachers who attended refresher coursesorganized at different places on the appreciation of fine arts.

A regular programmed of gallery talks of Sectional/Departmental Heads/expertswas also launched. Besides, guided tours, special illustrated lectures, film showsetc. were held in the Museum and many schools and colleges.

The mobile exhibition van mounted with the exhibition "Architects of India's Glory"was circulated to a large number of schools and colleges in Delhi, and also to

Allahabad on the eve of the Kumbh Mela.

The modeling section of the Museum continued to prepare replicas of master-pieces of art for sale to visitors as well as to the educational and culturalinstitutions. A Modeller was sent to Mexico to learn reproduction in fiber glass.

CONSERVATION

The conservation laboratory of the Museum continued to advise and assistmuseums in India in conservation and preservation of art objects. The laboratory isalso assisting the National Museum of Afghanistan in preservation of their artobjects and setting up of a conservation laboratory in Kabul. A 3-month course onconservation of cultural property is being organized from mid-February to April.


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CASE STUDY - CR FTS MUSEUM, NEW DELHI


CR FTS MUSEUM,,NNEEWWDDEELLHHII

INTRODUCTIONThe institution of the museum, aimed at housing objects of antiquity, is of Westernorigin. Indians themselves did not have a tradition of setting up museums offragmented sculptures, rusted swords and out-of-context paintings. Broken images

were immersed in holy water, worn-out objects were left to decay and merge withthe very earth from which they were created. It is due to this continuous process ofabandonment of the old and reproduction of the new that the traditions ofcraftsmanship have formidably survived in India. As India adopted the readymadeWestern archaeological museum concept in the traditions of craftsmanship haveformidably survived in India. As India adopted the readymade Westernarchaeological museum concept in the nineteenth century, it missed out on the factthat, unlike the West, the 'past' and 'present' were not so severely divided in itscase, and it therefore failed to give adequate importance in its museums to theevolving context of its culture - the living practices of rituals; festivals; weeklymarkets; picture-shows of itinerant storytellers; the materials, techniques and tools

of artisans; the cultural changes and the attitude towards the past and thecontemporary tradition as such. It is this overlook dimension of Indian culture whichis emphasized in the concept of the Crafts Museum.

Soon after the independence of India, various projects and schemes forpreservation and development of handicrafts were envisaged in the First andSecond Five Year Plans. The establishment of a Crafts Museum was an integralpart of this policy. The core collection of the Crafts Museum was put together in the1950s and 60s to serve as reference material for the craftsmen whose hereditarytraditions were fading on the face of modern industrialization.


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The low-lying museum building, most appropriate for displaying India's rural andtribal arts, is designed by the renowned architect Charles Correa, to act asmetaphor for an Indian village street - affable, accommodative and active. A walkacross the Crafts Museum building would be through open and semi-openpassages covered with sloping, tiled roofs and lines with old carved wooden bidriwork; paintings; terracotta and cane and bamboo work. The Museum's rarecollections include carved wooden figures of the bhutas, fikj deities of coastalKarnataka; tribal bronzes from Chhattisgarh; carved wooden architecture of Gujaratrepresented by a whole haveli(traditional house), jharokha(balcony) and a palatialfaade; embroidered, beaded and printed wall hangings; saris employingtechniques of brocade, ikat, jamdaniand tie-and-dye.

LOCATION:New Delhi, IndiaADDRESS:At Pragati Maidan Bhairon Road, New Delhi 110001OPENED ON:first phase 1977 & second phase in 1987

ARCHITECT:Charles Correa

BUILT UP AREA:6,800 Sq.m.ARCHITECTURAL STYLE:Vernacular styleAPPROACH:the main entry from Bhairon road and anther back side entry frominside of Pragati Maidan


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SURROUNDINGS: Raj Renewalstructure in Pragati Maidan, Purana Qullaas backdrop.

GARDEN: tried to create naturalvegetation in the museum complex.

PARKING: parking for office staff isoutside the main gate and for visitorsparking is given in parking areas which is

located outside the complex.

ENTRANCE:Have two entries one is towards Bhairon road, and another from

inside Pragati Maidan.

MASSING: major structure on ground and few portions are elevated on firstfloor some part of first floor which is open act as sculpture gallery.

MAIN ATTRACTION

The institution of the museum, aimed at housing objects of antiquity and curiosity,is of western origin. Indians themselves did not have a tradition of setting upmuseums of fragmented sculptures, rusted swords and out-of-context paintings.

Broken images were immersed in holy water, worn out metal objects were melteddown to cast new ones, and terracotta votive objects were left to decay and mergewith the very earth from which they were created.

The core collection of the Crafts Museum was actually put together to serve asreference material for the craftsmen who were increasingly losing touch with theirown traditions in terms of materials, techniques, designs and aesthetics of their artsand crafts due to the sudden changes caused by modern industrialization. Here thecraftsman feels free to confine to his tradition or to innovate in response to his newcontemporary environment.

Views with details of ornament and landscape elements


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GALLERIES IN THE MUSEUM:

ON VIEW

Crafts Demonstrations by master Craftspersons

Bhuta Sculptures Gallery,

Folk & Tribal Crafts Gallery

Cultic Objects Gallery

Courtly Crafts Gallery

Temporary Exhibiton Gallery

Reference Collection of Handicrafts

Textile Gallery and Reference Collection

Village Complex

A Collection of Unique Item of Tribal Arts

The large permanent collection of 20,000 items of folk and tribal arts, crafts andtextiles is housed in a concrete, but almost invisible building. Charles Correa, thearchitect, had a challenge before him on the one hand to provide a pucca buildingfor safe preservation and display of the rare art objects, but on the other, not to letthe building be so imposing that it would belittle the humbler objects collected fromvillage homes. The scale and appearance of the building had to be such that itwould not attempt to upstage its ancient neighbour, the Purana Qila on the oneside and the Village Complex of the Museum on the other.

Consequently the low-lying building has old carved wooden doors and windowsfrom Gujarat and Rajasthan, central courtyards having champa trees, tulsishrinesand a monumental temple-car coexist in this modern building not asrevivalist ethnic chic exercise, but as a contemporary juxtaposition of past traditionsin a modern building meant for a modern Indian Crafts Museum.

Other Marvelous Artifacts

The museum collection, built over a period of thirty years, comprises bronze

images; lamps and incense burners; ritual accessories; utensils and other items ofeveryday use; wood and stone carvings; papier mache; ivories, dolls, toys, puppetsand masks; jewellery; decorative metalware including bidri work; paintings;terracotta; cane and bamboo work and a large number of textiles, from differentregions of India.Galleries of folk and tribal arts and crafts, aristocratic objects, andthat of traditional Indian textiles, display selected objects within these categorieswhich are unavoidably overlapping as the culture itself. Moreover, there is a VisualStore for reference, comprising about 15,000 objects which can be used byscholars, designers, craftsmen and interested public for study and research. Whilebrief captions provide basic information about the displayed objects, for further


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information the Museum catalogue could be consulted.The Crafts Museum Shop on the premises sells books, picture-postcards and awhole range of exquisite contemporary handicrafts. The objective of the shop is tosell original creations of the finest Indian craftspersons and not to marketmechanically replicated souvenir.

CRAFTSPERSONS AT WORK

By an informal estimate, there are morethan 30 million weavers, craftspersonsand folk artists living in India whopossess inherited skills and by which thyearn their livelihood. In this programme,

the Museum invites about 50craftspersons from all over the country tobe in residence, providing them anopportunity to demonstrate their craftand find new market opportunities. Theprogramme has proved to be extremelypopular with school children, art students, artists, designers, the craft trade and theart loving public from all over the world. Every month a new group of craftspersonsis invited.

THE VILLAGE COMPLEX

The Museum's Village Complex is a remnantof a temporary exhibition on the theme ofrural India, set up in 1972. spread over anarea of about four acres, the Village Complexcomprises 15 structures representing villagedwellings, courtyards and shrines from

Arunachal Pradesh, Himachal Pradesh,Madhya Pradesh, Gujarat, Rajasthan, WestBengal, Tamil Nadu, Orissa and the

Andaman & Nicobar Islands.

All the huts, courtyards and shrines are builtin facsimile with regional constructionmaterial and by the respective villagemasons, artisans, thatchers and carpenters.In every hut and couryard, items of day-to-day life are displayed.

Many a bare wall of the Museum hasprovided a magnificent 'canvas' for visiting


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tribal and rural artists who have done paintings on them either by confining to theirown inherited visual vocabulary or by introducing new creative experiments.

PLANNING OF BUILDING:

Designed by the Indian architect Charles Correa, this charming complex near thePurana Qila houses thousands of artifacts and handicrafts. You're greeted outsideby playful terra-cotta sculptures from Tamil Nadu. Inside, the annotations aresketchy, but the collection is fascinating. Items in the Folk and Tribal Art Gallery,including some charming toys, illustrate village life throughout India. In onecourtyard you'll see a giant wooden temple cart, built to carry deities in festive

processions; one of the adjacent buildings contains a lavishly decorated Gujaratihaveli (upper-class house). The Courtly Crafts section suggests the luxurious livesof India's erstwhile royalty, and the entire upper floor is a spectacular showcase ofsaris and textiles. In the village complex out back, craftspeople demonstrate theirskills and sell their creations in replicas of village homes.

Continuing the same effort to interpret Indias vernacular architecture in a moderntypology, the National Crafts Museum (1975-90) at Pragati Maidan, New Delhi,provides a forum to craftspeople nationwide to showcase their art and theprocess of its creation! to visitors, both resident and alien.

FINISHES:

Its spaces massed together to recreate an Indian village, the Museum incorporatesextensive use of vernacular material stone, bamboo, brick, mud, thatch anduses craftwork as both interior and exterior ornamentation. The result is once againa very impressive series of spaces that hold together as a unit, and display a highdegree of functional efficiency. Correa demonstrates here a successful transition ofthe vernacular to the modern, as also how traditional architectural vocabulary neednot be synonymous with backward.


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Plan


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CASE STUDY GANDHI SMARAK SANGRAHALAYA AHMEDABAD

ART CENTREat BANDRA RECLAMATION

GGAANNDDHHIISSMMAARRAAKKSSAANNGGRRAAHHAALLAAYYAA

SSaabbaarrmmaattiiAAsshhrraamm,,AAhhmmeeddaabbaadd

ARCHITECT: Charles Correa

ABOUT GANDHI SMARAK SANGRAHALAYA

Mahatma Gandhi lived at the ashram on the bank of the River Sabarmatibetween 1917 and 1930. It is from here that he commenced his historicmarch to Dandi - a milestone in his campaign of civil disobedience whicheventually led to Indian independence.

Correa was asked to design a memorial museum and study centre in 1958to house a treasure of some 30,000 letters written to and by Gandhi (someon microfilm), photographs and documents including several hundredvolumes edited by his secretary Mahadev Desai.

The collection continues to be added to and is the major repository ofmemorabalia on Gandhi. The commission was the architect's first importantwork in private practice.

In order to reflect the simplicity of Gandhi's life and the incremental natureof a living institution the architect used modular units 6 metres X 6 metres ofreinforced cement concrete connecting spaces, both open and covered,allowing for eventual expansion.


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The modular simplicity of the structure is continued in the use of basicmaterials: stone floors, brick walls, wooden doors and louvred windowsdevoid of glass, and tiled roofs. The units are grouped in a consciouslyasymmetric manner to be analogous to the Indian village with its pathwaysand seemingly randomly placed buildings and its meeting points; in thisinstance the central water court. The initial construction consisted of 51modular units. Some of the units are enclosed by walls; the exhibition

spaces so created counterpointed by areas for rest where the visitor can sitand meditate. Since its completion the Sangrahalaya was inaugurated byJawaharlal Nehru in 1963 and the units have been added to, extending theexisting pattern.


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In his essay in this book Correa remarks that in a warm climate people havevery different relationships to built form. He singles out the chatri, anoverhead canopy and a traditional Indian form, as an example of theminimal protection required by the climate. He makes use of this form in thememorial museum of Mahatma Gandhi at Ahmedabad. The unit is apyramidal tiled roof supported on brick piers. Some units are omitted toform courtyards open to the sky; others with exhibits needing protection are

enclosed with panels or louvers. It is architecture of deep recession and ofextreme contrasts of light and shade. "One steps out of the 'box' to findoneself .... in a verandah, from which one moves into a courtyard, and thenunder a tree, and beyond on to a terrace covered by a barn.boo pergola,and then perhaps back into a room and out on to a balcony


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CASE STUDY GUGGENHEIM MUSEUM BILBAO SPAIN


SSAATTEELLLLIITTEEMMUUSSEEUUMMAASSSSYYMMBBOOLLOOFFCCIIVVIICCRREEBBIIRRTTHH::

GGUUGGGGEENNHHEEIIMMMMUUSSEEUUMM,,BBIILLBBAAOO,,SSPPAAIINN

ARCHITECT Frank O. Gehry, Architect (1997)

BACKGROUND AND PROGRAM

In the last two decades, with the decline of the shipbuilding, steel, and iron refiningindustries, Bilbao elected to emphasize culture in its efforts to attract newbusinesses and create a tourist industry. The museum is a major element of acomprehensive urban redevelopment program and architectural renaissance.Because of its location in an industrial corridor, it provides the focus for numerousother large-scale improvements that are transforming the city.

Plans for a new cultural institution for Bilbao date back to the late 1980s, when theBasque administration began formulating a redevelopment program for the city. Amuseum of modern and contemporary art was conceived to be an essential part ofthis plan. In 1991, Basque officials approached the Solomon R. GuggenheimFoundation to propose that it participate in Bilbao's redevelopment program. Apreliminary agreement was reached that year, leading to the establishment of theGuggenheim Museum Bilbao Foundation to manage the new institution. TheBasque administration brings to the relationship its political and cultural authority,land, and financial resources for both capital improvements and total operatingsupport. The Solomon R. Guggenheim Foundation provides the core collection forthe new museum and offers curatorial and management expertise as well asprogramming.


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SITE

The 301,000-sq-ft Guggenheim Museum Bilbao creates a dramatic and highlyvisible landmark for Bilbao. It stands on an irregularly shaped site that marks thecenter of a cultural triangle formed by the Museo de Belles Artes, the Universidadde Deusto, and the Old Town Hall.

A water garden surrounds the building, linking the site with the river andpromenade. The auditorium, restaurant, and book/gift shop are accessible from themain plaza as well as from within the museum, enabling them to operateindependently of the museum's hours and to support the urban life of Bilbao.

SIGNIFICANT ISSUES

Program The museum as centerpiece for an urban redevelopment project

Site planning A riverfront site, once dedicated to industry and shipbuilding, tobecome a cultural centerStructural system Innovative large-span columns to free exhibition spacesMaterials

Unique use of titanium zinc roofingInternational challenges

Worldwide outreach of famed New York museumFinancing The entire capital and operating costs of the museum to be undertakenby government

Site plan


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DESIGN AND MATERIALS

The museum is composed of interconnected building blocks, clad in limestone,

which house exhibition spaces and public facilities. These are:

Galleries 113,520 sq ft

Public spaces 26,900 sq ft

Auditorium (350 seats) 6,500 sq ft

Library 2,150 sq ft

Curatorial and administrative office 12,900 sq ft

Retail and bookshop 4,000 sq ft

Restaurant 5,000 sq ft

Caf 2,600 sq ft

Entrance to Guggenheim/Bilbao View of long gallery on first floor,

with Richard Serra sculpture

Individual building components are unified into a single architectural compositionby the Guggenheim Museum Bilbao's signature roof, a composition of twisting,curving, and jutting forms made of titaniuma metal rarely used in construction, butsuited to the saltwater marine environment of Bilbao.

The central feature of Gehry's design is a 165-ft-high atrium, more than one and ahalf times the height of the rotunda of Frank Lloyd Wright's building in New York.


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Flooded with light from glazed openings in the roof, the atrium is served by twoglass enclosed elevators and curvilinear pedestrian catwalks that connect with twostairways, providing views of the river and the city and hills beyond.

GALLERIES

Three levels of galleries are organized around the central atrium. Included are thosedesigned for the presentation of large-scale works of art and site-specificinstallations that could not be mounted in more conventional museums.

LIGHTING

Natural light enters galleries through skylights with adjustable blinds whosespectrum-controlled glass limits the penetration of ultraviolet light. Galleries areartificially illuminated by a lighting system mounted on exposed catwalks

suspended from the ceiling.

Conceptual sketchesof Guggenheim/Bilbao by Frank Gehry


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First floor plan

1 Gallery2 Water garden3 Caf/bookstore4 Loading dock/receiving5 Entry6 Storage

7 Atrium8 Auditorium9 Parking10 Retail11 Retail storage12 Crate storage

North elevation


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Second floor plan1 Gallery2 Library3 Bookstore

4 Kitchen5 Open to below

South elevation


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Third floor plan

1 Gallery2 Conservation3 Open to below

West elevation


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Fourth floor plan

1 Fan room2 Open to below3 Mechanical room

East elevation


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Roof plan

Section AA1 Atrium2 Gallery3 Kitchen4 Storage


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Section BB

1 Atrium2 Gallery3 Library4 Administration

Section CC

1 Group entry2 Auditorium3 Gallery

4 Restaurant

Section DD1 Auditorium2 Plaza3 Gallery4 Storage5 Maintenance


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CASE STUDY GRAND LOUVRE PARIS


URBAN MUSEUM RECAST:

GRAND LOUVRE PARIS FRANCE

ARCHITECT: M. Pei & Partners, Pei Cobb Freed & Partners, Architects(1989/1993)

BACKGROUND AND PURPOSE

Begun in 1202 as the fortified castle of Philippe Auguste and transformed into thepalace of virtually every French king thereafter, the 800-year-old complex of theLouvre chronicles the history of France in stone. The buildings, a series of royalresidences, were ill suited to serve as a museum, however. With only a fraction ofthe 40 percent support space now considered mandatory for museums, the Louvrewas, as I. M. Pei says, ''a theater with no backstage."The challenge for President Franois Mitterand in 1981 was to renovate andsignificantly expand this national monument, enhance its links to the City of Paris,and vastly improve the museum for public useall without destroying the landmarkarchitecture of the palace or interrupting its daily operations.

SITE PLAN AND CIRCULATION

Phases I and II of the solution involved these key elements:Reorganization of the U-shaped museum around a focal courtyard. The striking Louvre Pyramid in theseven-acre Cour Napolon becomes the new public entrance to the museum.

Visitors entering through the Pyramid emerge onto the Belvedere, aprojecting triangular balcony that looks down into the main lobby, or Halle


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Napolon (Great Hall), and out through the Pyramid to an unobstructed viewof the palace and the sky. The Belvedere disperses crowds by means of twoescalators and a helicoidal staircase that spirals down to the main lobby. Inaddition, an open cylindrical elevator rises and descends pistonlike withoutlateral support.

The Halle Napolon (lobby/Great Hall), the museum's reception area, is a skylitpublic square that can be enjoyed without admission to the exhibition galleries.Surrounded by information desks and automated ticket dispensers, its four sideslead to the following areas:

A 420-seat multiuse auditorium

An orientation center for children and group visits

Restaurants and cafs

A bookstore

The Pyramid at night

A half-mile-long expansion building, constructed under the courtyard, serves as abridge for the Louvre's wings and provides greatly needed museum services andpublic amenities.

Once a barrier to circulation, this building has become a vital connective tissue withpedestrian links to the surrounding city. A new underground vehicular networkhelps to relieve congestion around the museum.

Conversion of the Richelieu Wing from the Ministry of Finance into exhibition space.Six floors of dingy government offices were demolished. Within the historic shell


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structure, and to coincide with the original faade, the interior has been rebuilt intothree levels for:

Sculpture

Decorative arts

Painting galleries

Spaces between public areas are devoted to:

Visitor services

Staff facilities

Museum storage

SIGNIFICANT ISSUES

Program:To restore and enlarge the museum, improving services and opening more of itscollection to the public

Circulation:Bringing order to a historically inaccessible structureUnique design concerns:How to modernize one of France's greatest landmarksSite planning:Conveying pedestrians and vehicles to a difficult siteLighting design:Introduction of controlled natural lightInterior issues:Protecting historic interior spacesWayfinding:Orienting the visitor within a complex plan

Site plan of Grand Louvre, Paris


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Pyramid at the main entrance Grand Louvre toward the Tuileries

Key to Grand Louvre

1 Cour Marly2 Passage Richelieu3 Cour Puget

4 Cour Khorsabad5 Jardin des Tuileries6 Terrasse Tuileries7 Gnral Lemonnier Underpass8 Jardin du Carrousel

9 L'Arc du Carrousel10 Abords du Palais11 Rond Point Carrousel

12 Pyramide Inverse13 Cour Napolon14 Pyramid/Main Entrance15 Cour Carre16 Place du Palais Royale


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CASE STUDIES GRAND LOUVRE PARIS


Plan of Concourse below grade) level

Section through Louvre

Plan of ground entry) level


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Section through new enclosed courtyard

. Note glass (skylight) roof over courtyard.

SUMMARY OF THE RESTORATION AND EXPANSION OF THE

LOUVRE

Phase I

Entrance Pyramid (Cour Napolon)Plaza pyramidsHalle Napolon

Belvedere (grade level) 3,130 sq.ft.

Mezzanine 224,640 sq.ft.

Main recreation hall 268,920 sq.ft.

Technical level 172,800 sq.ft.Total building area 669,490 sq.ft.

Phase II

Richelieu Wing 348,400 sq.ft

Public Areas 235,500 sq.ft

Permanent exhibition 188,300 sq.ft

Temporary exhibition 2,600 sq.ft

Information areas 17,000 sq.ft

Reception, circulation, cafs 23,600 sq.ft


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Technical 116,800 sq.ftIslamic art 13,500 sq.ftFrench sculpture 108,600 sq.ftEastern antiquities 30,300 sq.ftDecorative arts 52,600 sq.ftPainting collections

French painting 10,500 sq.ft

Northern European painting 37,600 sq.ft

Salle Rubens 72,300 sq.ftRelated spaces

Underground parking 80 spaces

Staff parking 180 spaces

Public parking 620 spaces

LIGHTING

The restored Richelieu Wing is penetrated by three skylit sculpture courts. Theskylights regulate the distribution and amount of light admitted into the galleries.They are composed of:

A top layer of translucent glass with a polyvinyl filter to absorb destructiveultraviolet rays

Egg-crate-like screens of inclined white aluminum blades to prevent theentry of direct sunlight

A bottom layer of white plaster fins to reflect light and direct it onto the walls

Supplementary lighting is provided by artificial sources installed out of view,in reflective trays set into the upper surface of the white plaster fins.

Section through renovated gallery. Note new skylight admitting controlled natural light.Louvers and new ceiling construction provide distribution of light

VISITOR PROGRAMS

In past years, the museum received some three million visitors annually. Withcompletion of the modernization project, that number exceeded five million andwas still growing. To accommodate this increase, the Louvre expanded its visitorservices program. In the Richelieu Wing there are:

Eight rest areas

Information centers within exhibition spaces

Two new restaurants

Rest rooms on each floor

Six escalators

Handicapped lifts and elevators


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Conceptual sketch of Pyramid entry by I. M. Pei

Exploded view of Concourse level below Pyramid entrance


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CASE STUDY BH R T BH V N

RT CENTREat BANDRA RECLAMATION

BBHHAARRAATTBBHHAAVVAANN,,BBHHOOPPAALL

An exhibition in the evening

ARCHITECT: Charles Correa

ABOUT BHARAT BHAVAN

The centre, which started in 1975 and was completed in 1981, is one ofCorrea's most sophisticated expressions of the ideas of "maze"; of"progression"; of his early structural and design statements. It alsocombines these with a respect for landscape and site which becomes evenmore profound in his later works. For these reasons Bharat Bhavan is one ofhis key projects.

Entrance View back towards the entrance


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SITE AND THE DESIGN

The site for this arts centre is on a gently sloping plateau overlooking the

lake in Bhopal. The natural contours of the site have been used to create aseries of sunken courts and terrace gardens around which a number ofcultural facilities are organised. These cover a wide range and include amuseum of Tribal Art, a library of Indian Poetry (in all the seventeen majorlanguages of India), galleries for Contemporary Art, workshops forlithography and sculptures, and a studio for an artist-in-residence. BharatBhavan (literally "India House") houses a full-fledged theatre repertoirecompany and extensive facilities for the performing arts, including the

Antarang (indoor auditorium) and the Bhairang (open-air amphitheatre)overlooking the lake.

The terraces and courtyards once again reflect Correa's concern withprogression through space - the maze or puzzle - where parts are casuallyrevealed and the complex of internal streets act rather like a village layout.In this way the architect makes the building reflect Bhopal's ownorganisational layout.

Another device, the top li t "cannon", provides the lighting and ventilation tothe sunken covered spaces. In addition to these, the openings to thecourtyards and terraces have two sets of shutters: the inner ones consistingof a combination of glass and openable panels for ventilation, and the outerones with large wooden doors which can be closed for security.

Terrace garden overlooking the city of Bhopal


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Courtyard and gallery entrance Museum of Tribal Art


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Gallary of ModernArt with its top light Courtyard of museum of Tribal Art


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CASE STUDIES


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DESIGN CONSIDERATION

ART CENTRE at BANDRA RECLAMATION------------------ ----------------- ----------------- ------------------ ---------------- ------------------ ----------------- ----------------- ------------------ -----------------

MUSEUM ND G LLERY LIGHTING

LIGHTING for Museums and Art Galleries has a unique set of priorities, those ofconservation and effective display. In many ways these two requirements conflictas there is a necessity to restrain lighting levels to promote the former whilst thelatter requires sufficient light of a high quality to provide optimum viewing

conditions. The process of lighting design becomes something of a balancing actto provide an effective compromise between these conflicting requirements. Toattain this balance we need to look to the entire armoury of the lighting designer,specifying only the best equipment available, and we should consider all aspects oflight within the display area. A complete understanding of the reasons for, andrequirements of, conservation level lighting is essential and I would strongly adviseeveryone to read The Museum Environment before embarking on any project.

MUSEUM LIGHTING PHILOSOPHY

DAYLIGHT IN MUSEUMS

ARTIFICIAL LIGHTING IN MUSEUMS


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DESIGN CONSIDERATION

ART CENTRE at BANDRA RECLAMATION------------------ ----------------- ----------------- ------------------ ---------------- ------------------ ----------------- ----------------- ------------------ -----------------

MUSEUM LIGHTING PHILOSOPHY

Our approach to lighting museums is one of embracing light and moulding it tomeet the apparently conflicting requirements inherent in the museum environment.Light is on one hand a destructive force and thus conflicts with the museums role inpreserving our heritage on the other it is essential to vision, the principal means ofcommunicating the information held within and around the objects in themuseums collection, it is a key element in providing a context in time and spacefor the museum visitor, in an architectural sense as well as the relationship with thecollection and it provides a key interpretive tool to extend the possibilities incommunication.

All these elements are brought to a balance in the different projects I will be

showing you. It is naturally difficult to isolate these aspects as they are sointerrelated however I will try to describe how these different aspects come togetherin the results illustrated for each project.

St Mungos Museum of Religious Life and Art, G

art center bandra reclamation

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