4. i ABSTRACT Architecture is the art of spaces.

The human feelings were

influenced by architectural space from time to time. Relating to the design of a
history museum, it could evoke a certain feeling or memory of a historical event.
This dissertation focuses on the influence of architectural space over period of
times. A theoretical as well as practical key issue in the design of museum and
galleries is how the layout of space interacts with displays to create a specific
effect, express the intended message to visitors. This dissertation aims to capture
and represent the history of mankinds understanding of space in the design of an
architectural building. Bruno Zevi describes: Architecture does not consist in the
sum of the width, length and height of the structural elements which enclose space,
but in the void itself, the closed space in which man lives and moves. In a museum,
there are many different functions. It is impossible to deal with all these functions
with the same type of space. Even the exhibition spaces are not all the same. The
fixed exhibition room is different from the temporary exhibition space because of its
simpler function and particular atmosphere, which relates to the individual theme of
each fixed exhibition room.
5. ii It is confirmed by the designer at the beginning of the process, which can be
presented by architectural language. Nevertheless, the temporary exhibition needs
to suit different displays. A large, open and neutral space is a good solution. The
elements of space play an important role in differentiating one space from another.
By means of designing the element, the features of space can be intensified. The
elements include the enclosing elements, which define the space, such as plane
elements (floor, deck and overhead) and vertical elements (column and wall), and
circulation elements, such as horizontal circulation (windows and doors) and vertical
circulation (stairs and ramps). The features also depend on the qualities of the
space that intimately relates to these elements, which is the result of the
composition of different elements. The form; the colour, texture, pattern and sound;
the proportion and scale; the definition and configuration; the degree of enclosure,
light and view are all the qualities of space that the design is based on. This
dissertation comprises of all the spatial and functional requirements of a museum
planning. The design component of this project is located in Chennai, a metropolitan
city. It intends to impress visitors with a vivid history of its development thro
architectural expressions.
6. iii ACKNOWLEDGEMENT I would like to thank my dissertation supervisor
Professor Dr. Ravi Kumar Bhargava for his guidance and input during our tutorials
and throughout this process. I would also like to thank my wife, Er. S. Jayalakshmi
for all of her love, help and encouragement during my studies at Hindustan
University. Lastly, I would like to thank my friends for their support. M. SENTHIL
7. iv TABLE OF CONTENTS CHAPTER NO. TITLE PAGE NO. ABSTRACT i LIST OF
FIGURES viii LIST OF ABBREVIATIONS xi 1 INTRODUCTION 1 1.1 DEFINITIONS 1 1.1.1
ICOM DEFINITIONS 2 1.1.2 EDUCATION ROLE OF A MUSEUM 2 1.2 HISTORY OF
MUSEUM 3 1.2.1 ABOUT CHENNAI MUSEUM 4 1.3 SPACE 5 1.3.1 THE ESSENCE OF

SPACE 5 1.3.2 THE FEATURES OF SPACE 5 1.4 NEED FOR THE STUDY 7 1.5 AIMS &
OBJECTIVES 7 1.6 SCOPE AND LIMITATIONS 8 1.7 HYPOTHESIS 8 1.8 METHODOLOGY
9
8. v 2 DATA COLLECTION 11 2.1 TYPE OF MUSEUMS 11 2.2 DESIGN GUIDE LINES
12 2.3 PLANNING FACTORS 13 2.3.1 SITE SELECTION 15 2.3.2 ZONING OF A
MUSEUM 15 2.3.3 CLIMATE 16 2.3.3 CIRCULATION IN INDOOR AND OUTDOOR 16
2.3.5 EXHIBIT OF DISPLAYS 19 2.3.6 TYPES OF DISPLAYS 21 2.3.6.1 DISPLAY CASE 22
2.3.6.2 CONE OF VISION 23 2.3.7 MATERIALS 24 2.3.8 LIGHTING 24 2.3.6.1 NATURAL
LIGHTING 25 2.3.6.2 ARTIFICAL LIGHTING 26 2.3.9 SERVICES 28 2.4 LITERATURE
STUDY 30 2.4.1 STATE MUSEUM,BHOPAL 30 2.4.1.1 LOCATION 31 2.4.1.2 PLANNING
31 2.4.1.3 INFERENCES 35
9. vi 2.4.2 BHARAT BHAVAN, BHOPAL 36 2.4.2.1 LOCATION 36 2.4.2.2 PLANNING
38 2.4.2.3 INFERENCES 41 2.4.3 REGIONAL SCIENCE CENTRE, BHOPAL 42 2.4.3.1
LOCATION 42 2.4.3.2 PLANNING 43 2.4.3.3 INFERENCES 45 2.4.4. NATIONAL
MUSEUM, NEW DELHI. 46 2.4.4.1 LOCATION 46 2.4.4.2 PLANNING 47 2.4.4.3
INFERENCES 50 2.4.5. NINGBO HISTORIC MUSEUM, CHINA 51 2.4.5.1 LOCATION 51
2.4.5.2 PLANNING 52 2.4.5.3 INFERENCES 55 2.4.6. BILBAO GUGGENHEIM MUSEUM,
SPAIN 56 2.4.6.1 LOCATION 56 2.4.6.2 PLANNING 57 2.4.6.3 INFERENCES 60 3 CASE
STUDY 61 3.1 GOVERNMENT MUSEUM, EGMORE, CHENNAI 61
10. vii 3.1.1 LOCATION 61 3.1.2 PLANNING 62 3.1.3 MAIN BUILDING 65 3.1.4
FRONT BUILDING 68 3.1.5 BRONE GALLERY 69 3.1.6 CHILDRENS MUSEUM 71 3.1.7
NATIONAL ART GALLERY 73 3.1.8 CONTEMPORARY ART GALLERY 75 3.1.9
INFERENCES 77 4 SYNTHESIS 78 5 CONCLUSIONS 82 6 BIBLIOGRAPHY &
REFERENCES 83
11. viii LIST OF FIGURES FIGURE NO. TITLES PAGE NO. 1.1 Methodology Chart 10
2.1 Museum planning process 14 2.2 Circulation Diagram 17 2.3 Gallery Circulation
18 2.4 Circulation Pattern 19 2.5 Type of Displays 20 2.6 Exhibition spaces 21 2.7
Display Standards 22 2.8 Cone of vision 23 2.9 Cone of vision 23 2.10 Natural
lighting 25 2.11 Artificial lighting 27 2.12 Layout of Services 28 2.13 Fazards of
State Museum 30 2.14 Aerial view of State Museum 30 2.15 Gallery Views of State
Museum 31 2.16 Gallery Views of State Museum 32 2.17 Ground Floor Plan 34 2.18
First Floor Plan 34 2.19 View of Bharat Bhavan 36 2.20 Aerial view of Bharat Bhavan
36
12. ix 2.21 Views of Bharat Bhavan 37 2.22 Views of Bharat Bhavan 38 2.23 Plan
of Bharat Bhavan 39 2.24 Views of Bharat Bhavan 40 2.25 Site Sectional View of
Bharat Bhavan 40 2.26 View of Science Centre 42 2.27 Aerial View of Science
Centre 42 2.28 View of Science Centre 43 2.29 View of Science Centre 44 2.30 Block
Model of Science Centre 45 2.31 View of National Museum 46 2.32 Aerial View of
National Museum 46 2.33 Ground Floor plan 47 2.34 First Floor plan 48 2.35 Second
Floor plan 48 2.36 Interior View 49 2.37 Aerial View of Ningbo Historic museum 51

2.38 Elevation view 52 2.39 Side view 53 2.40 Various perspectives 53 2.41 Front
View 54 2.42 Front View 56 2.43 Front View 58 2.44 Interior View 58 2.45 Plan 59
13. x 3.1 1980s View of Egmore Museum 61 3.2 View of Museum 62 3.3 Site plan
of Museum 64 3.4 Sculpture gallery 65 3.5 Hindu Sculpture gallery 65 3.6 Ground
and First floor plan of Main Building 66 3.7 View of sculpture Gallery 67 3.8 Ground
and First floor plan of Front Building 68 3.9 View of Anthropology Gallery 69 3.10
View of Bronze Gallery 69 3.11 Ground and First floor plan of Bronze Gallery 70 3.12
View of Childrens Gallery 71 3.13 Ground and First floor plan of Children Museum
72 3.14 View of National Art Gallery 73 3.15 Ground floor plan of National Art gallery
74 3.16 View of National Art gallery 74 3.17 View of Contemporary Art gallery 75
3.18 Ground and First floor plan of Contemporary Art Gallery 76
14. xi LIST OF ABBREVIATIONS ASI Archaeological Survey of India BIM Building
Information Modeling CCTV Closed Circuit Tele Vision CMDA Chennai Metropolitan
Development Authority DCR Development Control Rules HVAC Heating,
Ventilation and Air Conditioning ICOM - International Council of Museums MEP
Mechanical, Electrical and Plumbing UV - Ultra- Violet
15. 1 CHAPTER 1 INTRODUCTION Museum is a temple, where art and knowledge are
most important. It has a balance between devotion to art. Three primary task of a
museum: Education Presentation Forming of a collection Nowadays, the public
would not go to a museum in the first instance to acquire knowledge or information.
Instead, visitors of a museum expect to go through a unique experience. This is why
museums should be able to offer an event in their competition with movie
theatres, amusement parks and shopping malls. This dissertation topic discuss, how
the museum reflecting the essence of past, present and future of its city to the
visitors. This study has developed into a structured way to enhance interdisciplinary museum design work, by developing a prescriptive design process
framework. 1.1 DEFINITION Museums are defined as semi-formal places of learning
which collect, display and interpret artefacts of some sort, for educational purposes.
This study paper focuses on collections-based museums, as distinct from science
centres which utilise interactive exhibits to illustrate culture. In The Emergence of
the Modern Museum, Siegel defines a museum as, a collection of repository of rare
and curious things in nature and art, arranged for the purposes of study.
16. 2 1.1.1 ICOM Definition The International Council of Museums (ICOM) is an
international non-governmental organization of museums and museums
professionals which is committed to the conservation, continuation and
communication to society of the worlds natural and cultural heritage, present and
future, tangible and intangible. The ICOM is based in Paris. It was established in
1946. With approximately 30,000 members in 137 countries, ICOM is a network of
museum professionals acting in a wide range of museum-and heritage-related
disciplines. ICOM defines museum for Study / Education / Enjoyment. It defines
museum as It is a non-profit making, permanent institution in the service of society

and of its development, and open to the public, which acquires, conserves,
researches, communicates and exhibits, for purposes of study, education and
enjoyment, material evidence of people and their environment 1.1.2 Educational
Role of the Museum The museum has an important duty to develop its educational
role and attract wider audiences from all levels of the community, locality or group
it serves. It should offer opportunities for such people to become involved in the
museum and to support its goals and activities. Interaction with the constituent
community and promotion of their heritage is an integral part of the educational
role of the museum Learning in museums generally involves a visitor or a group of
visitors attending to an object, a display, label, person, element or some mental
construct of these. Museum learning has long been examined in relation to
attracting power and loading power of exhibits in museums. The information thus
collected by the visitors is stored in the brain and remains there over a period.
17. 3 The information a visitor receives during a museum visit tends to bear a
contextual map. The museum visit represents a collection of experiences rather
than a single unitary phenomenon. Any information obtained during the museum
visit is likely to include social related, attitude related, cognitive related and sensory
related association. These associations will become embedded in memory
altogether with the result that anyone facet of these experiences can facilitate the
recall of the entire experience. 1.2 HISTORY OF MUSEUM For centuries, museums
have played an important role in societies around the world. They are cultural
institutions in which people are able to come, learn, and enjoy art. Some museums
have gained a reputation for their collection of art. An examination of the evolution
of the museums from their early years leading up to the present will be used to
reveal their impact on society and to explore how museums can and do play a role
in cultural diplomacy, most notably through art exhibitions. The concept of
museums in India may be traced back to the historic times, in which references to
the Chitrasala (picture gallery) do occur. However, in India the museum movement
post-dates the similar developments that occurred in Europe. The earliest necessity
to house objects of antiquarian remains dates back to late 1796 AD when the Asiatic
Society of Bengal felt the need to house the enormous collection of archaeological,
ethnological, geological, zoological pursuits. However, the first museum by them
was started in 1814. The nucleus of this Asiatic Society Museum later provided to
the Indian Museum, Calcutta. In Archaeological Survey of India also, due to the
various explorative investigations that was initiated since the times of its first
Director General, Alexander Cunningham, vast quantity of antiquarian remains were
collected.
18. 4 The creation of site museums had to wait until the arrival of Sir John Marshall,
who initiated the founding of the local museums like Sarnath (1904), Agra (1906),
Ajmer (1908), Delhi Fort (1909), Bijapur (1912), Nalanda (1917) and Sanchi (1919).
The concept of site museums is well elucidated by Hargreaves, one of the former
Director Generals of ASI: it has been the policy of the Government of India to keep

the small and movable antiquities, recovered from the ancient sites, in close
association with the remains to which they belong, so that they may be studied
amid their natural surroundings and not lose focus by being transported. A
separate Museums Branch in ASI was created in 1946 by Mortimer Wheeler. After
the independence, there was a spurt in the growth of site MUSEUMS in ASI. At
present there are 44 site museums under the control of ASI. 1.2.1 About Chennai
Museum This dissertation topic is oriented towards Chennai metropolitan city. The
Chennai museum was founded in 1851. Under Mr. Thurstons care the museum has
been greatly developed. The policy adopted has been to render it a popular
illustrate guide to natural history, and it is appreciated by the public is sufficiently
shown by the fact that it is visited annually by more than 400,000 persons. Among
the most valuable objects in the archaeological section are the sculpted marbles
from Guntur District. The collection of arms and armor from arsenal in the fort and
the Tanjore palace, the prehistoric antiquities, and the numismatic collection, which
is especially rich in coins of the various native dynasties of southern India and of the
various European companies which have held was there, are other notable
possessions of the institution. Attached to the museum is the Connemara public
library, which was opened in 1896, and a theatre, capable of seating 400, provided
with a stage adapted for lectures, conferences and charitable entertainments by
amateurs.
19. 5 1.3 SPACE 1.3.1 The Essence of Space Space is the soul of architecture, as Lao
Tzu said in 600 BC: We put thirty spokes tighter and call it a wheel; but it is on the
space where there is nothing that the utility of the wheel depends. We turn clay to
make a vessel; but it is on the space where there is nothing that the utility of the
vessel depends. We pierce doors and windows to make a house; and on these
spaces where there is nothing that the utility of the house depends. Therefore, just
as we take advantage of what is, we should recognize the utility of what is not. The
utility of architecture is not the solid shell which enclose a space, but the space
itself. Of course, to enclose a certain space, we must use physical materials, and in
accordance with certain construction methods to fit these materials together. But
these are not the purpose of architecture, but a means of achieving. 1.3.2 The
Features of Space Architecture is the art of space: its visual form, its dimensions and
scale, the quality of its light all of these qualities depend on our perception of the
spatial boundaries defined by elements of form. As space begins to be captured,
enclosed, molded, and organized by the elements of mass, architecture comes into
being. The space that concerns architects is most usually expressed in an enduring
architectural element: the room. The room is a human creation. The root of the word
is related to Raum, which in German means a place cleared for settlement or
lodging.
20. 6 The features of space make one space different from others, just like a
bedroom is different from a living room and an office is different from a library. It
makes the bedroom cosier and the library quieter. It makes a space vivid and

affecting. When a space is a living room as well as a bedroom, it will lose some
features in order to fit the multiple functions of it. Thus the features could be linked
to the function of the space. While the space is only with a single function, the
feature of this space is pure, strong and the most affecting. Apparently, when a
space is multifunctional, the feature of it would become neutral to cater for different
functions. In a museum, there are many different functions. It is impossible to deal
with all these functions with the same type of space. Even the exhibition spaces are
not all the same. The fixed exhibition room is different from the temporary
exhibition space because of its simpler function and particular atmosphere, which
relates to the individual theme of each fixed exhibition room. It is confirmed by the
designer at the beginning of the process, which can be presented by architectural
language. Nevertheless, the temporary exhibition needs to suit different displays. A
large, open and neutral space is a good solution. The elements of space play an
important role in differentiating one space from another. By means of designing the
element, the features of space can be intensified. The elements include the
enclosing elements, which define the space, such as plane elements (floor, deck
and overhead) and vertical elements (column and wall), and circulation elements,
such as horizontal circulation (windows and doors) and vertical circulation (stairs
and ramps). The features also depend on the qualities of the space that intimately
relates to these elements, which is the result of the composition of different
elements. The form; the colour, texture, pattern and sound; the proportion and
scale; the definition and configuration; the degree of enclosure, light and view are
all the qualities of space that the design is based on.
21. 7 1.4 NEED FOR THE STUDY The following are the need for study about museum
planning process: To analyse the feel of space in an human environment. To
provide a effective circulation path and services. To develop new concepts for
interior spaces as well studying sustainable building materials thro case studies.
To investigate museum architecture and to define the role of a contemporary
museum in terms of function and architectural implementation. The above said
need clearly defines the importance of museum studies, hence this topic as
dissertation. 1.5 AIMS AND OBJECTIVES This dissertation aims to explore how people
make meaning in and from museums, through the spaces from time to time.
Museums are broadly viewed as places of informal learning, and most people visit
museums expecting to learn something. This Dissertation seeks to explore various
representations of contemporary and historical spatial conceptions, using
architecture as the medium for representation. From this research, it is hoped that
the reader will gain an understanding of space and the impact it has on museums. A
museum has specific functions different from other kinds of buildings. Its
architecture, interiors and exhibitions are unique. Museum space follows function
and its interior space should respond to and go well with its exhibitions. In addition,
the exhibitions, presentations and displays should be interesting and interactive.
The architecture should communicate scientific feeling and thought to the visitors.

22. 8 The purpose of this dissertation is to find interpretation guidelines for a

historic museum and appropriate methods of communicating with visitors via the
museums exhibits, interiors and exterior. This dissertation focuses on the major
issues in literature study and case study. They are: 1. Site location 2. Buildings,
surroundings and architectural interpretation, and 3. Museum interiors, activities
and exhibitions. The findings suggest that the museums have differences according
to their site locations, classifications, interior spatiality and exhibitions, and in their
architecture, which are iconic of museums. The solutions are guidelines for cultural
history museum design 1.6 SCOPE AND LIMITATIONS Identifying the scope and
addressing the limitations of the work about to be undertaken is particularly
pertinent for a project such as this. Documentation of the space with careful
consideration of the parameters and limitations to work within. The subjects
covered in this dissertation are very broad and can cover many areas. Due to
constraints on the amount of text allowed, only areas that pertain to this topic will
be covered. 1.7 HYPOTHESIS The central hypothesis for this study is that built
environments which possess a quality of expression of space in both interior and
exterior from time to time. How does architecture affect our experience of
museums? How does it relate to the art of exhibiting? Intrigued by these questions
and guided by the belief that space can be seen as the content of the museum
building, as important as the objects themselves, this paper presents the findings
regarding the interaction between spatial design and display layout. To test the
hypothesis, this research utilizes secondary data.
23. 9 1.8 METHODOLOGY The methodology for this research is qualitative and is
derived mostly from desk research both in libraries as well as from the Internet. The
majority of the research and evidence to support the hypothesis comes from books,
articles and government documents. The framework for this study will be an
informational examination of museums as a whole, not sticking to any specific
departments but to examine museums as cultural institutions and how they fit into
society in times. The fig: 1.1 show the methodology chart for this study. This
methodology chart explains the first step, about the study of general information of
museum planning. This includes the components of museum planning, definition of
museum and evolution of museum space in terms of foreign context and Indian
context. The next step is the study of issues in museum planning from various case
studies. Then the classification of issues in different aspects is made from the
findings. Then the detail study is made for each aspects through different case
studies. Finally, the synthesis is made for each aspect and scope for further
research is identified.
24. 10 GENERAL STUDY OF MUSEUM PLANNING Various definitions Site selection
Zoning Evolution of museum space (Foreign & Indian context) Museum
circulation Type of Exhibits Type of Display Lighting Services ISSUES IN
MUSEUM PLANNING (Through various case studies) CLASSIFICATION OF MUSEUMS

MUSEUM DESIGN FACTORS SYNTHESIS SCOPE FOR FURTHER RESEARCH Fig: 1.1
Methodology chart
25. 11 CHAPTER 2 DATA COLLECTION The Archaeological Survey of India (ASI) is the
largest government institution in-charge of monuments of national importance.
These monuments and sites have vast quantities of antiquarian remains that were
unearthed and collected at archaeological sites across India by ASI. Archaeological
Survey of India [ASI] has prescribed set of guide lines for planning a museum. Six
pillars of museum management identified offer a stable, long lasting framework to
prepare the guidelines for ASI museum: 1. Research and Dissemination 2.
Preservation and Conservation 3. Interpretation and Presentation 4. Education and
Outreach 5. Visitor Services and Amenities 6. Administration and Management 2.1
TYPE OF MUSEUMS It varies, from large institutions, covering many of the categories
below, to very small institutions focusing on a specific subject, location, or a notable
person. Categories include: fine arts, applied arts, craft, archaeology, anthropology
and ethnology, biography, history, cultural history, science, technology, children's
museums, natural history, botanical and zoological gardens. Within these categories
many museums specialize further, e.g. museums of modern art, folk art, local
history, military history, aviation history, philately, agriculture or geology. Another
type of museum is an encyclopedic museum. Commonly referred to as a universal
museum, encyclopedic museums have collections representative of the world and
typically include art, science, history, and cultural history.
26. 12 The type and size of a museum is reflected in its collection. A museum
normally houses a core collection of important selected objects in its field. This
paper focuses on cultural history museum. 2.2 DESIGN GUIDELINES While the
overall guidelines for the archaeological site-museums, they will require specific
additions and interpretations to aid the visitors understanding of the period. In
other words people should have an experiential visit to such museums which is
evoked through good lighting, sound/music, recorded material, interactive spaces
and audio-visual footage to enhance the ambiance. 1. The buildings ambience
should be maintained inside as well as outside. Landscaping around the building
should be developed in a way that it complements the experience within the
museum. 2. Aesthetic choices support and reflect the theme and tone of the
exhibition. 3. Orientation, spatial organization, and traffic flow are appropriate to the
goals of the exhibition. 4. The physical space (such as layout, lighting, flooring) is
created in such a way that audience members of varying physical sizes and abilities
are able to navigate and interact with the exhibition. 5. If required audio-visual
footage, voice recordings, ambiance music etc. may also be used for creating a
complete experience. Other than following ASI guidelines for museum planning, the
local building development control rules also to be followed, the museum comes
under institutional buildings category in DCR [ Development Control Rules ].
27. 13 2.3 PLANNING FACTORS The museum planning involves planning the actual
mission of the museum along with planning the space that the collection of the

museum will be housed in. The way that museums are planned and designed vary
according to what collections they house, but overall, they adhere to planning a
space that is easily accessed by the public and easily displays the chosen artifacts.
The planning Process of a museum should be using the storyboard as a guide, the
designer should then proceed to evaluate and allocate exhibition space according to
storyboard themes and other visual and communication needs. Fig 2.1 Shows
museum planning process. The Selection of appropriate site and zoning the
functional requirements and Determine the circulation space needed, including
disabled access requirements, security needs and official legal norms such as fire
escapes. Examine and distribute objects by units, sections, subsections that
correspond to themes and sub-themes in the script and story board and designing
the exhibition furniture system: panels, free standing exhibit showcases, screens,
case shelves, block cases, table cases, wall hung panels and other wall mounted
elements.
28. 14 PLANNING Site selections Site Zoning Space requirements Circulation
Displays Exhibits Services Lighting Fig: 2.1 Museum planning process
29. 15 2.3.1 SITE SELECTION Site selection involves measuring the needs of a new
project against the merits of potential location. Site selection is part of the planning.
Lists of factors affecting the decision are usually drawn up, including: Availability,
Access, Cost of acquisition and development Security considerations
Visibility Compatibility of neighboring facilities Each factor should be weighted
before it is evaluated. The weighting of site selection factors should be done in
relation to fundamental issues of the museums mission, its policies and its
institutional character. 2.3.2 ZONING OF A MUSEUM Zoning as a museum Planning
Tool. In the practice or designing the zoning can be arranged as Public Collection
Areas: Zone with environmental controls and security designed for the preservation
of collections. Non Public Areas: Zone which is meant for the staff alone with
environment controls and security. Public Non-collection Areas: Zone in which the
finish and durability and environment created for human comforts. Non PublicCollection Areas: Zone in which the finish and durability and environment created
for the staffs alone.
30. 16 Zoning analysis is a useful tool or the following reasons. It clearly indicates
the amount of space that must be contained within the museums environment. It
provides benchmarks which assist the museum project beam in monitoring the
brief, It forms the basis for preliminary of building running costs. 2.3.3 CLIMATE
The Building should be oriented in such a way it gets a natural benefits for all
seasons. Proper shading devices designed for controlling natural light glare over the
displays. Avoid drastic changes in humidity and temperature at all times. As a
general rule, temperature and humidity guidelines set for storage areas are
appropriate for exhibit gallery areas as well. If the exhibit gallery contains a door
used by the public to enter and exit the museum, do not put artifacts near the door
in order to avoid extreme changes in temperature and humidity. The Light levels in

storage: Brightness and UV levels are damaging to collections and should be

controlled. Cover all lights with UV filters, especially florescent tubes. Refrain from
storing any artifact in an area with sunlight 2.3.4 CIRCULATION IN INDOOR AND
OUTDOOR Circulation space identifies area of a building that is used for pedestrian
travel, such as a hallway, stair way, and areas in a room that leads to another room.
It is generally not good to have a home with a high percentage of circulation space.
When you visit a building, your main focus should be the rooms and not the hallway.
31. 17 Develop exhibitions with these visitor circulation patterns in mind. Design
so that visitors do not have to take extra steps. Minimize the number of steps by
not requiring backtracking. Dont design with multiple choice points where visitors
have to make choices or where they will exit the exhibition without giving attention
to all of the exhibit elements. Avoid designing two-sided exhibitions where exhibits
on one side compete with those on the other. Fig. :2.2 Circulation Diagram
32. 18 Designing circulation spaces should be: Widen corridors beyond the typical
8-9 feet currently in use. Corridors should be able to easily handle two-way traffic.
Break up corridor lengths. This will reduce travel time and also discourage kids
from running through the halls. Keep corridors a consistent width. Corridors that
expand and contract create bottlenecks. Consider rounding or angling corners so
there is a sight line to the intersecting corridor. Blind corners can be a hazard.
People who walk at a fast pace or turn corners quickly do not see the traffic in the
intersecting hallway. This can lead to congestion, bumping, collisions, and
altercations. Fig. : 2.3 Gallery Circulation
33. 19 2.3.5 EXHIBIT OF DISPLAYS Spaces should reinforce and promote the
audiences engagement with the collection Concluding accessory uses. While
walking through a museum, well often encounter stunning and displays that are
meant to show a certain artifact or piece of artwork in the most attractive way
possible. These visually stimulating displays often invoke awe and wonder in
children and adults alike. These wondrous displays are referred to as museum
exhibits. They can be found in all types of museums, including art museums, history
museums, and science museums. Museum exhibits are set up and arranged to be
both attractive and educational. Designing a museum exhibit, therefore takes a
good deal of careful planning and hard work. The exhibits in a museum are typically
set up so that they are placed and displayed as naturally as possible. They must
also be designed with a museums available space . Fig. : 2.4 Circulation Pattern
34. 20 Some exhibits are designed to be permanent fixtures in a museum, while
others are only temporary. Some may be designed to allow hands-on interaction,
while others must be protected from curious museum goers. Fig. : 2.5 Type of
Displays
35. 21 2.3.6 TYPE OF DISPLAYS If the cases are arranged with gently curving lines to
take advantage of this pattern of movement visitors will find the room more

attractive and can progress easily with the line of the case. Fig. : 2.6 Exhibition
spaces
36. 22 fig 2.6 shows Often the arrangements can be staggered which produces a
certain mystery and a desire on the part of the visitor to peek around corners to see
what is next. Cases that area arranged to narrow the entrance a bit, so that the hall
inside then opens out, provide a certain amount of interest. 2.3.6.1. Display Case A
display case is a cabinet with one or often more transparent glass (or plastic,
normally acrylic for strength) sides and/or top, used to display objects for viewing. A
display case may be freestanding on the floor, or built-in . Built-in displays may be
mounted on the wall, may act as room partitions, or may be hanging from the
ceiling. Fig. : 2.7 Display Standards
37. 23 2.3.6.2 Cone of Vision The cone of vision is the visual region displayed by a
drawing that relates to a persons normal vision without his/her peripheral vision. In
a nutshell, the cone of vision is the area of sight or the angle of sight. For example,
if a person wanted to see the entire art display, usually a cone of vision is 60
degrees is required, so a person would need to sit far enough back to achieve this
degree of vision. Fig. : 2.8 Cone of vision Fig. : 2.9 Cone of vision
38. 24 2.3.7 MATERIALS The materials used for the building construction as well for
the exterior treatment should be locally available one, and also it should reflect the
regions character. Going for a locally available materials give a way to sustainable
development. And for the Exhibit spaces, it is best to use stable materials in the
construction of cases. However, if for example, unstable materials need to be used
because of financial reasons, there are precautions that may be taken to minimize
harmful effects. Seal all wood with a water- based polyurethane sealant. Covering
the wood with metal foil will work also. Used industrial shelving is an option for
ready-made storage solutions. Cover the shelving with stable materials appropriate
to the collection: i.e., ethafoam, volara. Use dust covers for open shelving.
Unbleached cotton muslin works well for many solutions. 2.3.8 LIGHTING Lighting in
museums and art galleries plays a key role in a visitor's ability to perceive and enjoy
both the artefacts in a museum and the building in total. In order to develop a
successful lighting scheme, a museum lighting designer must satisfy many
conflicting design requirements. Dramatic variations in light levels from exhibit to
exhibit, or from exterior to interior, can affect a visitor's ability to appreciate artwork
because the human eye requires several minutes to adjust to large changes in light
levels. Sharply contrasting light levels between a bright entry and a dark gallery can
be very disturbing, and potentially The elements of exhibit lighting match the three
goals of any museum: PRESENTATION: Showing the true beauty of art and historic
artifacts PRESERVATION: Protecting exhibits from fading and damage, and
CONSERVATION: Conserving energy, resources, manpower and funds

39. 25 2.3.8.1 NATURAL LIGHTING Natural lighting is achieved through the use of
atriums and cut out spaces, especially by north lighting. Fig.3.8 shows the plan and
section of various natural lighting arrangements. Fig. : 2.10 Natural lighting
40. 26 2.3.8.2 ARTIFICIAL LIGHTING Fluorescent lighting: Behing case fasica panel
[ without diffusing panel separating light from case interior]; angles of vision muset
be calculated to avoid glare from light source. Vertical Lighting: Slim Fluorescent
tubes set in case corners, forming light columns; suitable far wall cases with solid
sides. Fluorescent column: set behind case uprights; a possible solution far
lighting in old wall cases. Side Lighting: Louvres essential to mask fluorescent
tubes; accurate calculation of light spread is needed to ensure even illumination on
case back panel. Internal case lighting: Slim light box for miniature fluorescent or
incandescent lamps; brightness at eye level should be carefully controlled; wiring to
the light box, housed in case corner, may be distracting. External lighting: through
flass tap, but heat may build up unless cool light source is used; objects can cast
shadows when lit by slanting light and possible problems of glare. Integral
Lighting: Light box separated from case interior by diffusing glass or louvers [with
clear glass panel excluding dust]; fluorescent for even, well- distributed light, or
tungsten, for highlighting, can be accommodated. Lighting from below as well as
from upper light box to reduce effect of shadows and to light undersides of objects;
light source must be masked, usually by louvers. Backlighting: fluorescent tubes
behind diffusing material, usually opal Perspex; tubes must be evenly spaced, at
some distance from diffuser; ideally fitted with dimmers to control brightness.
Strip lights [fluorescent or tungsten] attached to shelf ends inside the case,
illuminating both above and below a shelf; can only be used for objects with no
conservation risks.
41. 27 * Lighting is classified by intended use as general, accent, or task lighting,
depending largely on the distribution of the light produced by the fixture. Forms of
lighting include alcove lighting, which like most other up lighting is indirect. This is
often done with fluorescent lighting. Fig. : 2.11 Artificial lighting
42. 28 2.3.9 SERVICES In the operation of collection services, not every operation
necessarily requires a separate space, some services may be provided by outside
agencies. As far as possible, collection movement and public circulation should be
kept separate. Fig. : 2.12 Layout of services
43. 29 In Museum Planning, Building services engineering comprises mechanical
engineering, electrical engineering and plumbing (MEP) engineering, all of which are
further sub- divided into the following: Communication lines, telephones and IT
networks Escalators and lifts Fire detection and protection Heating, ventilation
and air conditioning [ HVAC] Lightning protection Natural lighting and artificial
lighting, and building facades Security and alarm systems Water, drainage and
plumbing Building Services influence the architecture of a building and play a
significant role on the sustainability and energy demand of a building. The latest

trend in MEP or building services engineering is the utilization of Building

Information modeling or BIM which may include 3D and 4D modeling. 3D BIM
services enable building visualization, preview or prototype of architectural
structures before actual construction.
44. 30 2.4 LITERTAURE STUDY 2.4.1 STATE MUSEUM, BHOPAL The archeological
department of Madhya Pradesh has about 6000 pre-historic equipments, about one
lakh copper relics of copper age, about 60,000 copper inscription, 500 arms and
weapons , about 1,000 very distinguished stone idols about 10,000 coins , 1000
manuscripts and about 1000 ancient miniature paintings. Fig. : 2.13 Fazards of State
Museum Fig. : 2.14 Aerial view of State Museum
45. 31 2.4.1.1 Location The museum is set up on a vast precinct of 5 acres on the
top of the picturesque shyamla hills is expected not only to be a major attraction for
tourists and interested citizens, but a place of research interest for scholars. The
museum has 16 galleries that have been categorized them- wise. The galleries are,
A sales counter, library and a well-equipped auditorium are also provided. 2.4.1.2
Planning The State Museum of Madhya Pradesh through careful selection of artifacts
showcases the multifaceted rich cultural heritage of Madhya Pradesh. It has
seventeen galleries, categorized item wise which includes pre-historic articles and
fossils, excavated objects, sculptures, epigraphs, manuscripts, paintings, royal
collection, textiles, documentary heritage of princely states of Madhya Pradesh,
especially regarding freedom movement, miniatures, coins, rare musical
instruments, arms and weapons depicting the unique heritage of Madhya Pradesh,
the heartland of incredible India. A large number of fossil remains from the prehistoric sites are displayed in the Fossils gallery. Fig. : 2.15 Gallery Views of State
Museum
46. 32 The paintings in the Bagh gallery which are contemporary of the Ajanta
caves, replicated by Nandlal Bose in 1923 are a delight to watch. The evolution of
different religions such as Buddhism, Jainism, Vaishnavism, Shaivism as well as the
practice of worshipping Shakti and Tantricism, in Madhya Pradesh reflect the
religious diversity over the ages which found its expressions in the stone and bronze
sculptures displayed in the museum. The extraordinary masterpieces bear
testimony to the fact that there were many master sculptors in the bygone era who
were well acquainted with the principles of Iconography. Some of the sculpture
exhibits are a blend of the sacred and the physical while others simply enchant the
spectator as they are chiseled to perfection. Madhya Pradesh is a unique
amalgamation of diverse cultural, political and religious influences over the ages.
The musical instruments, literature, paintings, weapons, coins and textiles kept at
the museum span many centuries. The inscriptions provide information about
social, political, cultural and religious activities of those times. Fig. : 2.16 Gallery
Views of State Museum

47. 33 The palm leaf manuscripts contain mythological stories and epics such as
Ramayana and Mahabharata, religious practices as well as medical sciences. The
manuscripts are mostly in Sanskrit and belong to the 18th and 19th century. The
musical instruments gallery has made efforts to preserve some of the rare
instruments. The intricate colorful illustration in the miniature paintings have
evolved over the centuries and are a part of our countrys rich cultural heritage. The
rare coins displayed in numismatics gallery reflect the stability and prosperity of the
rulers. The earliest coins are the silver and copper punch marked coins form 2nd
century B.C. Various dynasties such as the Maurya, Shunga, Satavahana, Kushana,
Gupta, Pratihara, Paramara, Chandela, Kachchhapghata, Kalchuri, Mughal and later
on Bundelas, Baghelas, Gonds, Maratha dynasties of Holkar and Scindia ruled over
the State. The artifacts, textiles, weapons, seals and stamps from Madhya Pradesh
have been protected and preserved for the posterity. Tales of valour during the
freedom movement and the rising against the British have been portrayed in
various documents. Also preserved are the famous autographs, letters, manuscripts
as well as rare books. An interesting collection of documents of Princely States
provides valuable insights toresearchers and historians. The textiles and fine
embroidery such as jardozi and dabka work patronized by the Nawabas of Bhopal,
acquired the status of the fine art form in Bhopal. The royal art gallery displays
artifacts which were part of the personal collection of the Nawabs of Bhopal. It
enhances the tourism potential of the State leading to economic development and
cultural empowerment.
48. 34 The new museum building has been designed keeping in view the
convenience of the visitors . The galleries have been inter- connected in such a
manner so as to ensure easy access to them while maintaining the interest and the
thrill of the visitors. Fig. : 2.17 Ground Floor Plan Fig. : 2.18 First Floor Plan
49. 35 The entire premises have been connected to a ramp to facilitate an easy
access for the disables. A lift has also been provided. State of the art lighting
arrangements like cold light and fibre lighting have been made in the building
besides ensuring natural light. 2.4.1.3 INFERENCES The planning of this state
museum, Bhopals circulation pattern is radial, which is most suitable form for
museum planning. Here all the facilities are enclosed within one building. The
distribution of different types of galleries through the central courtyard, which
allows user to view galleries in a sequential order from the lobby. Natural lighting
is achieved through the use of atriums and cut out spaces. The locally available
materials is used for faade design, which gives a way for sustainable construction.
The desert sun plays a fundamental role, transforming the architecture into a play
of light and shadows. The large span of spaces can be achieved through coffer
slab roof design. Building is iconic and apt for that location.
50. 36 2.4.2 BHARAT BHAVAN,BHOPAL The Bharat Bhavan established in 1982, it is
no doubt a centre for innovative creativity, pursuit of classics and tradition and wide
participation in a new cultural upsurge. One of the most unique national institutes in

India, Bharat Bhavan is a center for the performing and visual arts. 2.4.2.1
LOCATION Bharat Bhavan is in the Shamla Hills. It is an independent trust created
by the Legislature of Madhya Pradesh. Fig. : 2.19 View of Bharat Bhavan Fig. : 2.20
Aerial view of Bharat Bhavan
51. 37 Designed by the renowned architect Charles Correa, its contours merge in
exquisite harmony with the landscape creating a visual impact of spacious and
national elegance. It is a place for contemporary articulation, exploration, reflection
and innovation. Fig. : 2.21 Views of Bharat Bhavan
52. 38 2.4.2.2 PLANNING The site is on a gently sloping plateau overlooking the lake
in Bhopal. The natural contours of the site have been used to create a series of
sunken courts and terrace gardens around which a number of cultural events are
organized The terraces and courtyards once again reflect Correas concern with
progression through space the maze or puzzle where parts are casually relieved
and the complex of internal street act rather like a village layout. Fig. : 2.22 Views of
Bharat Bhavan
53. 39 It is a multi art centre housing a museum of the arts, an art gallery, a
workshop for fine arts, a repertory theater, indoor and outdoor auditoria, rehearsal
room, and libraries of Indian poetry, classical and folk music The site for this Art
Centre is on a gently sloping hill overlooking the lake in Bhopal. The natural
contours of the site have been used to create a series of terraced gardens and
sunken courtyards - off which are located a number of cultural facilities, including a
museum of Tribal Art, a library of Indian poetry (in all the 17 major languages),
galleries for Contemporary Art, workshops for lithography and sculpture, and a
studio for an artist-in-residence. Fig. : 2.23 Plan of Bharat Bhavan
54. 40 Bharat Bhavan also houses a full-fledged theatrical repertoire company and
facilities for the performing arts, including the Antarang (indoor auditorium), and
the Bhairang (open-air amphitheater), overlooking the lake.Lighting and ventilation
within the building are provided by top lights (from the concrete shells and from
slots along the terrace parapets). The openings to the courtyards and terraces have
two sets of shutters: the inner ones consisting of a combination of fixed glass and
operable panels for light and ventilation: the outer ones consisting of large wooden
doors, closed at night for security. Fig. : 2.24 Views of Bharat Bhavan Fig. : 2.25 Site
Sectional View of Bharat Bhavan
55. 41 2.4.2.3 INFERENCES This museum is owned by private institution, hence
freedom of design in aesthetics can be seen. The overall planning with respect to
its site contours plays an important role in segregating various functional spaces.
The segregation of spaces can be achieved through courtyards The sunken courts
and terraced garden are the special features of this project. The Planning has
been done in such a way that the spaces are clearly identified thro the circulation
path.

56. 42 2.4.3 REGIONAL SCIENCE CENTRE, BHOPAL 2.4.3.1 LOCATION The Regional
Science Center Bhopal was opened on 12th January 1995 by the then president of
India late Shankar Dayal Sharma. The Centre is located on the Shyamla Hills. The
nearest bus stops are at Polytechnic Circle and Jawahar Chowk Depot Chowraha,
about 1 Km away. The distance from Habibgunj Railway station is 9 km and from
Bhopal Railway station is 7 km. Fig. : 2.26 View of Science Centre Fig. : 2.27 Aerial
View of Science Centre
57. 43 2.4.3.2 PLANNING The Regional Science Center is unique in whole of Madhya
Pradesh, Spread over 5 acres of landscape with varieties of plants, trees and shrubs.
The RSC building architecture is special where more than 266 science exhibits
related to mechanics, energy, sound, light, atmosphere etc. are installed. This
center is one of the 27 constituent units of National Council of Science Museums
(NCSM) which is an autonomous scientific organization under the Ministry of
Culture, Govt. of India. Exhibition Galleries 1. Invention 2. Fun Science 3. The
Umbrella 4. The Energy 5. Science Park Science Shows 1. Tara Mandal Show 2. 3-D
Science Show 3. Sky Observation Show Science Activities Indoor Activities a.
Science Demonstration Lecture b. Computer Awareness Programs c. Creative Ability
Center d. Popular Science Lecture e. Science Drama f. Teacher Training Programs g.
Vacation Creative Ability Programs Fig. : 2.28 View of Science Centre
58. 44 Outdoor Activities a. Science Demonstration Lecture b. Mobile Science
Exhibition Facilities a. Auditorium-200 seats capacity b. Conference Hall-25 seating
capacity Slopes have been wisely used by designing the built spaces at different
levels. In spite of different levels, the roof of the whole built up space lies in the
same plane. On first floors, a series of vertical shading devices are provided rear the
windows. Cylindrical shading structures with arches at its top and bottom have been
provided at the elevation of projected areas of the building. Fig. : 2.29 View of
Science Centre
59. 45 2.4.3.3 INFERENCES The science centre, Bhopal planning is simple
arrangement of squares in four corners through the corridors and stairs. The
museum gave circulation a high priority. The elevation treatment will be the
locally available building materials. Overall planning and circulation spaces are
interlocking the galleries Shading devices acts as elevation design in this building.
Fig. : 2.30 Block Model of Science Centre
60. 46 2.4.4 NATIONAL MUSEUM, NEW DELHI The National Museum in New Delhi is
one of the largest museums in India. Established in 1949, it holds variety of articles
ranging from pre-historic era to modern works of art. It functions under the Ministry
of Culture, Government of India. The museum is situated on the corner of Janpath
and Maulana Azad Road 2.4.4.1 LOCATION The Museum has around 200,000 works
of art, both of Indian and foreign origin, covering over 5,000 years. It also houses
the National Museum Institute of History of Arts, Conservation and Museology on
the first floor which was established in 1983 and now is a Deemed University since

1989, and runs Masters and Doctoral level courses in History of Art Conservation
and Museology. Fig. : 2.31 View of National Museum Fig. : 2.32 Aerial View of
National Museum
61. 47 Its rich holdings of various creative traditions and disciplines which
represents a unity amidst diversity, an unmatched blend of the past with the
present and strong perspective for the future, brings history to life. 2.4.4.2
PLANNING The National Museum building has 2 floors. It has a rotunda around which
the structure is based. Presently, there are several departments in the National
Museum. The collections of the National Museum covers nearly all the departments.
It represents almost all disciplines of art: Archaeology (Sculptures in Stone, Bronze
& Terracota), Arms, Armour, Decorative Arts, Jewellery, Manuscripts, Miniatures and
Tanjore Paintings, Textiles, Numismatics, Epigraphy, Central Asian Antiquities,
Anthropology, Pre-Columbian American and Western Art Collections. Fig. : 2.33
Ground Floor plan
62. 48 The first floor gallery has two cupboards, containing the stone tools found
across India belonging to the lower Palaeolithic period to the Neolithic age and also
copper hoard objects. Mr and Mrs Heeramaneck have donated the pre-Columbian
art objects. Fig. : 2.34 First Floor plan Fig. : 2.35 Second Floor plan
63. 49 The star of the museum is the strong room or the room with a built-in vault.
It displays gold objects like a statue of Buddha weighing 20 kg in pure gold, an Ivory
screen with four folds having pictures of Mumtaz Mahal and Shah Jahan, and other
gold objects, precious stones, Tanjore paintings studded with almost two inch large
stones of rubies, diamonds, emeralds and gold foil. Fig. : 2.36 Interior View
64. 50 Beside the galleries, the museum also has an auditorium with a seating
capacity of 250 people. A brief film introducing the Museum and its collections is
screened in the Auditorium regularly. Film shows on Art, Historical and Heritage are
also shown. 2.4.4.3 INFERENCES The National Museum, New delhi as enormous
collections, displayed thro various galleries. A simple planning arrangement,
which clearly leads visitors to the galleries. Here all the facilities are enclosed
within one building. Care should be taken for the security of the artefacts. The
CCTV camera ws installed and monitored. Natural lighting is achieved through the
use of atriums and cut out spaces, especially by north lighting.
65. 51 2.4.5 NINGBO HISTORIC MUSEUM, NINGBO, CHINA 2.4.5.1. LOCATION Ningbo
Historic Museum designed by Wang Shu, who is Professor and Head of the
Architecture Department at China Academy of Art, Hangzhou and an architect from
the Amateur Architecture Studio, is located in an open and clear square in Yinzhou
District, Ningbo, a seaside city in the east of China. The area is a part of Ningbo city,
which is a famous historical city, though it looks as if it were built last year. The
roads around the square are wide enough toaccommodate 6 or more carriageways,
but they are not open to traffic. There are only trees and shrubs beside the roads

and withered grass between tiles. To the east of the site, there are two huge
government buildings, a capacious square and a cultural centre. Across a park,
there is a vast expanse of paddy field in the south of the site, but these paddy fields
of a beautiful village will soon disappear. Fig. : 2.37 Aerial View of Ningbo Historic
museum
66. 52 2.4.5.2. PLANNING In this area, which had been mutilated, there are only
visible broken bricks and tiles everywhere. In the distance, the outline of a new
high-rise apartment and an unfinished office building secretly foretells the
prosperity in the future, though at present this area is temporarily in a state of
limbo, with the past gone and the future still vague. The designer said that when he
began to design the building, he thought of the lofty mountains. He could not design
for the city, because there was no city. Therefore he wanted to create something
zoetic and animate. Finally, he decided to design the museum with the concept of
the mountain, which is part of the Chinese tradition. In this new and clear urban
area, which lacks a vital force, the form of Ningbo Historic Museum was designed
into a fragment of a mountain. The mountains are continuous, just as the urban
context of a vital city is continuous. Therefore, the building, with the square border
as the man-made fragment cut from the continuous mountains, remained or was
left here. However, it can also be imagined as a fragment from the urban context
from which a citys rebuilding is continuing. Fig. : 2.38 Elevation view
67. 53 The bottom of the building is a simple rectangle. On the top, it is split into
five pieces as a similar shape of a mountain. Visitors enter the museum through a
flat 30 metre wide hole in the middle of the building. The north of the building is in
an artificial pool, with soft banks and reeds planted in the water. The water runs
over a stone dam in the middle of the pool, ending in the large pebble shoals. On
the top of the building, there is an open platform hiding behind the five offsets. The
visitors can see the view of the city and the distant view of the paddy field and the
mountains. The facade of Ningbo Historic Museum is reinforced concrete molded on
the surface using bamboo canes instead of wooden planks, as well as a large
number of old bricks and tiles collected from old demolished buildings and
demolished sites all over the region. Fig. : 2.39 Side view Fig. : 2.40 various
perspectives
68. 54 This kind of wall built by recycled bricks and tiles is called Wa Pan Wall, which
is developed by local farmers to cope with natural disasters but is nearly lost
nowadays. The facade of the building presents 20 different types of bricks and tiles
that form a unique pattern. The application of the Wa Pan Wall, with the extensive
use of resource-saving recycled materials, embodies the traditional Chinese virtue
of recycling construction. On the one hand, it embodies the traditional construction
system of Ningbo, with its texture and colour fully integrated in nature. On the other
hand, it freezes the time. These recycled bricks and tiles contain hundreds of years
of history. They are the witnesses of history. The collection of these bricks and tiles
coincide with the collection of history, which is the idea of the museum. The

bamboo cane molded concrete was a new creation. Bamboo is a characteristic

local plant in the Ningbo region and the nature of the bamboos random cracking is
clearly shown on the concrete through its texture. Fig. : 2.41 Front View
69. 55 The designer indicates that the new museum is analogous to the Chinese
garden. At the beginning of the completion of the Chinese garden, the state is not at
its best, but after ten years of nourishment, it is provided with a thriving vital force.
The application of special material of Ningbo Historic Museum gives it a vital
environment. Some years later, when the Wa Pan Wall is covered with green moss
and even shrubs, the museum will immerse in nature and truly integrate into
history. 2.4.5.3 INFERENCES This building explains the importance of old building
materials. The building was simple rectangular in shape, applying a concept of
mountain over it in its form. The old materials used were wooden planks, old
bricks, tiles from old demolished buildings were used to design the museum of
spaces. There were many different types of recycled bricks were used in the
elevation treatment.
70. 56 2.4.6 BILBAO GUGGENHEIM MUSEUM, BILBAO, SPAIN 2.4.6.1 LOCATION The
Guggenheim Museum Bilbao designed by Frank O. Gehry is located in the city of
Bilbao in northern Spain. This museum was mentioned as the greatest building of
our time by Philip Johnson. King Juan Carlos I said: It is the best building of 20th
century. Its site is between the Nervion River, which runs through the city to the
Atlantic Coast, La Salve Bridge, the railway and the new town. It is a symbol of the
Basque metropolis that can be seen from a considerable distance. Looking into the
city from the north shore of Nervion River, the museum is the most striking sight of
offshore water as the first layer. Faced with such an important and most challenging
site, Gehry gave the most daring answer in the whole history of architecture: the
whole building was a combination of a group of masses with irregular surfaces
covered by titanium, its form foreign to past architectural practice, beyond any
experience in the habit of construction. It makes the museum integrate into the
urban context seamlessly. Fig. : 2.42 Front View
71. 57 2.4.6.2. PLANNING The unfolding shapes of stone, glass, and titanium
interconnect on a 32,500m2 site along the Nervion River in the old industrial centre
of the city. Since its opening in 1997, this museum was hailed as one of the most
important buildings of the 20th century with its distinctive titanium curves and
soaring glass atrium. On the waterfront north elevation, the 3-level exhibition hall
with a long transverse wave is designed to be in perfect harmony with the
horizontal flow of water and its large scale. Because of the backlighting in the north
orientation, and the fact that the main elevation of building is in the shadows all
day, the building surfaces are designed as a series of random curves in order to
catch sunlight. With the angle of sunlight changing, each curved surface of the
building will show the constantly changing light and shadows. Furthermore, it
successfully avoids the tediousness of the north elevation of a large building. To the
south of the building, in front of the main entrance of the museum, there is only one

street between the old buildings in the 19th century urban area and the museum.
Therefore, the building is designed to match the old urban area by form, scale and
material. In the south elevation, to be different to the north, some classic
orthogonal shapes with stone facades are designed to be a transition to the urban
context. Furthermore, in order to resolve the impact between La Salve Bridge and
the ground floor of the museum, Gehry designed part of the museum to be under
the bridge on the ground and connected to a tower on the other side of the bridge,
in order to create an impression of the bridge as being held in the arm by the
museum. To the south, a road runs through the ground floor of the building, under
the plaza in front of the main entrance. The museum connects indivisibly with the
urban context.
72. 58 As a place of arrival, orientation and relaxation for the visitor, the vast atrium
is the true heart of the museum, which is one of the most characteristic spaces in
this museum. In this space, it is possible to get an idea of each exhibition space and
gallery. The whole museum is presented to visitors in this space. The enormous
glass walls, the unusual irregular shaped galleries and the rectangular shaped ones
are all shown at the same time. It is an essential part in the museum. In the 50meter-high space, there are a series of bridges, glass lifts and a staircase tower,
which is connected to exhibition spaces at three levels. Fig. : 2.43 Front View Fig. :
2.44 Interior View
73. 59 In this museum, the spaces are provided for a variety of exhibition displays
and specially commissioned installations, which has been planned with and for
artists by the designer. There are 20 galleries distributed in the 11,000m2 exhibition
space. Ten of them are in classic orthogonal plans, which are identified from the
exterior by their stone finishes. As a remarkable contrast, the irregularly shape of
nine other galleries follow their swirling forms outside, which can be identified by
their titanium cladding. The largest one was designed as a temporary exhibition
space, 30m wide and 130m long. In 2005, the largest sculpture commissioned in
history, Richard Serra's monumental installation The Matter of Time was displayed
in this room. There is no doubt that it is a highly complex building. However, the
circulation is quite clear. It can be simplified into one of basic circulation, in which
there is an atrium connecting to each of the galleries. After visitors finish one
gallery, they need to go back to the atrium. The other basic type, the tandem type,
is partially used also. In the largest orthogonal shape, there are 3 galleries in
tandem with each other on each level. Another characteristic of this museum is that
the general idea of the design is shown perfectly in the vast atrium. Visitors can
understand the whole museum earlier when they are in the atrium. Fig. : 2.45 Plan
74. 60 2.4.6.3 INFERENCES Here in this case study, the elevation of museum for
the first time, it is contrast to the world museum elevation. The way the architect
used fazard treatment is different compare to contemporary architecture. The
curves on the exterior of the building were intended to appear random The overall
form of the building looks like an sculpture. Its a combination of a materials

titanium, stone and glass. The museum is seamlessly integrated into the urban
context, unfolding its interconnecting shapes of stone, glass and titanium.
75. 61 CHAPTER 3 CASE STUDY 3.1 GOVERNMENT MUSEUM, EGMORE, CHENNAI.
3.1.1 LOCATION The government museum at Egmore was established in 1851, is
located in Egmore, Chennai. It is Known as the Madras Museum, the museum is the
second oldest museum in India. It is particularly rich in archaeological and
numismatic collections. It has the largest collection of Roman antiquities outside
Europe. Many of the buildings within the Museum campus are over 100 years old.
Among them, the colossal Museum Theatre is one of the most impressive. The
National Art Gallery is also present in the museum premises. Built in Indo-Saracenic
style, it houses rare works of artists like Raja Ravi Varma. Fig. : 3.1 1980s View of
Egmore Museum
76. 62 Located close to the main museum entrance gates on Pantheon Road, the
museum theatre is a rare specimen of the italianate style of architecture, inspired
by Classical architecture and developed in 1802 at Britain by John Nash. However,
the theatre was built by the british in the late 19th century when this style was no
longer popular in England. 3.1.2 PLANNING Many additions to the original building
were constructed between 1864 and 1890. The core of the old museum building
includes the only surviving remnants of the Pantheon, identified from the broad
steps leading into it when viewed from the north. Amongst the additions is the
Connemara Public Library, built with stained glass windows, ornate woodwork and
elaborate stucco decorations, formally opened in 1896 and named after its
progenitor. The building was built by Namberumal Chetty and was designed by
Henry Irwin, with the interiors resembling those of Bank of Madras (SBI). Fig. : 3.2
View of Museum
77. 63 The design included a huge reading room with a wooden ceiling between two
curved rows of stained glass, supported by ornate pillars and arches embellished
with sculpted acanthus leaves. It was supplemented with teakwood furniture,
marbled floor, and decorative windows. All of these were restored in 2004-2007. The
building now houses the Old Collection (pre-1930), which is used for reference
purpose only. The museum complex consisting of six buildings and 46 galleries
covers an area of around 16.25 acres (66,000 m) of land. The objects displayed in
the museum cover a variety of artifacts and objects covering diverse fields. The
Madras Museum is categorized into eleven sections: - Eight Galleries
Anthropology, Art Archaeology Botany Children's Museum Geology,
Numismatics, and Zoology - Three supporting sections Design and Display,
Chemical conservation, and Education
78. 64 1. Main Building 2. Front Building 3. Bronze Gallery 4. Childrens Museum 5.
National Art Gallery 6. Contemporary Art Gallery Fig. : 3.3 Site Plan of Museum

79. 65 3.1.3 MAIN BUILDING The structure has a high plinth and is accessed through
a tall flight of stairs. It is primarily a semicircular structure with a rectangular wing
at the rear. The latter wing now houses some of the galleries of the museum. The
main hall is accessed through a verandah with a row of columns linked by
semicircular arches. The walls and columns are embellished with floral and
geometric designs. Fig. : 3.4 Sculpture Gallery Fig. : 3.5 Hindu Sculpture Gallery
80. 66 Fig. : 3.6 Ground and First floor plan of Main Building
81. 67 The huge main hall was initially designed for staging theatrical
performances. It has around 600 seats and a commodious stage and the actors'
dressing rooms adjoin this stage. During the British era, the theatre was mainly
used for staging English plays preferred by the British elite of the city. Now, the
museum has been using the theatre for its own cultural and academic programs
such as art workshops, lectures and conferences. It also rents the hall for various
cultural performances, mainly dramas. The hall has witnessed several plays
including those of Shakespeare. Fig. : 3.7 View of Sculpture Gallery
82. 68 3.1.4 FRONT BUILDING Fig. : 3.8 Ground and First floor plan of Front Building
83. 69 This front building has number of galleries which include the collection of
arms, wood carvings, industrial arts, ethnology gallery, rare musical instruments
gallery, physical anthropology gallery, kathakalli gallery and folk art gallery. 3.1.5
BRONZE GALLERY Fig. : 3.9 View of Anthropology Gallery Fig. : 3.10 View of Bronze
Gallery
84. 70 Fig shows bronze gallery. This gallery has a fabulous collection of about 1500
objects 85 Buddhist, 25 Jain and the rest Hindu. The collection includes specimens
from various periods of history ranging from the early centuries of the Christian era
to recent times. Fig. : 3.11 Ground and First floor plan of Bronze Gallery
85. 71 3.1.6 CHILDRENS MUSEUM The museum for children in the complex houses
several static exhibits such as galleries of dolls adorned with costumes of various
nations and civilizations and also exhibits ertaining to science, transportation, and
technology Fig. : 3.12 View of Childrens Gallery
86. 72 Fig. : 3.13 Ground and First floor plan of Children Museum
87. 73 3.1.7 NATIONAL ART GALLERY The National Art Gallery is one of the oldest art
galleries in India. It is Constructed with red stones sourced from Satyavedu in
Andhra Pradesh, the Gallery was built in 1906 in Indo-Sarsenic architecture and
houses paintings from Thanjavur, Rajasthan, Kangra and Deccan areas, as well as
sandalwood sculptures. The National Art Gallery was built during the celebration of
Queen Victoria's Golden Jubilee in Indo-Saracenic style, designed by architect Henry
Irwin. The gallery contains several Mugul paintings and rare works of Raja Ravi
Varma. It also has various Tanjore Paintings. Portraits of various British officers such

as Lord Connemara and Lord William Bentinck are also present.The art gallery also
included numerous miniature paintings depicting court and battle scenes. Fig. : 3.14
View of National Art Gallery
88. 74 The Gallery has been identified as a Heritage site by the CMDA. The Gallery
has remained closed since 2002, as part of the structure suffered damage. Fig. :
3.15 Ground floor plan of National Art gallery Fig. : 3.16 View of National Art gallery
89. 75 3.1.8 CONTEMPORARY ART GALLERY The Contemporary Art Gallery now
displays modern paintings and sculptures. In order to prevent ultra violet rays falling
on paintings both from natural and artificial light, a new track lighting system with
Dichroic Halogen lamps has been installed in the Contemporary Art Gallery. The
Contemporary paintings have been redisplayed on Octanorm type showcases with
special Dichroic lights. Fig. : 3.17 View of Contemporary Art gallery
90. 76 Fig. : 3.18 Ground and First floor plan of Contemporary Art Gallery
91. 77 3.1.9 INFERENCES There is no grand visitors lobby to the building, The Main
Building Entrance is at the North east rear end. The visitors circulation pattern is
not clear, one has to visit series of galleries and after completing the final gallery
view, he has to walk back to the entrance to exit. There are huge sculpture
collections, but the given space is not enough, it seems too crowdy. Display
exhibits and the type of exhibits are not attractive. The staircase to the upper
floor galleries are not located properly. There is no link between galleries, that is,
the sequential order is missing, moreover few galleries were located in a separate
building named front building. In childerns museum, most of the equipments were
not working, the science techniques used were of old types. Rear Play area with
kids playing equipments were welcoming. National art gallery was closed for the
renovation work, there were many visible cracks seen in elevation of the building.
Contemporary art gallery has a huge collection of painting, security for the painting
were missing.
92. 78 CHAPTER 4 SYNTHESIS Since the mid eighties museums have changed their
policy more and more into a proceeding professionalism of their activities. The tasks
of a museum concentrated on the presence of objects (collection, scientific
research, conservation and restoration) and its presentation. In this study, it is
examined to what extent this shift has taken place, and what the consequences are
of this shift on the original tasks of an museum. The aim of this paper is to explain
the feel of museum space to the visitors. According to Kotler & Kotler there are five
basic elements that together should be able to organise the museum visitors time
and activity during his or her visit: 1) The museum setting, its exterior and interior;
2) The objects, the collection and exhibitions; 3) The interpretive material available
such as labels and catalogues; 4) The museum programs which include lectures and
performances; 5) The museum services, such as reception, food and the museum
shop. With a good functioning of these five basic elements the pleasure of the

visitor will be increased during his or her stay in the museum. It is no longer
sufficient to simply display a collection, people have high expectations. Modern
trends in the museum world have broadened the range of subject matter and
introduced many interactive exhibits, which give the public the opportunity to make
choices and engage in activities that may vary the experience from person to
person.
93. 79 Moreover, today, new presentation possibilities, such as museum nights and
evening opening hours, are explored by museums with the same objective: to reach
a wider audience and to accommodate them during their stay at a museum. The
focus on collections and education has been joined by a focus on museum-going
experiences, and as a result, contextual and interpretive materialism storytelling
and exploration of the meaning of objects more and more surround collections and
exhibitions. Visitors feel better informed and are better able to participate in
museums. The end product of a museum is not simply viewing an exhibit. A more
fundamental outcome is to change a visitors awareness and knowledge so that
afterwards he or she can recall the experience as a significant one. The experience
has become more important, not only in the culture sector, but in all sectors of
society. Since museums have to compete with other cultural organizations for the
scarce leisure time of their potential visitors, they are looking for ways to
differentiate themselves in the hope that they will attract more visitors. Their main
goal is to give these visitors background information on a certain exhibition and to
educate them on the developments in the art world. They are educational activities
that fit within the tasks and functions of a museum that consists of collecting,
documenting, preserving, exhibiting and interpreting material evidence and
associating information for the public benefit. The Design Process as suggested by
ICOM is as follows: Evaluate and allocate exhibition space according to storyboard
themes and other visual and communication needs. Determine circulation space
needed, including disabled access requirements, security needs and official legal
norms such as fire Escapes.
94. 80 Examine and distribute objects by units, sections, subsections that
correspond to themes and sub-themes in the script and storyboard. Design the
exhibition furniture system: panels, free standing exhibit showcases, screens, case
shelves, block cases, table cases, wall hung panels and other wall mounted
elements. Design lighting systems. Consult with specialist and conservator
Design sound systems. Consult with specialist and education specialist The design
of museums has evolved throughout history, however, museum planning involves
planning the actual mission of the museum along with planning the space that the
collection of the museum will be housed in. There are museums of different
categories such as: 1. Museums owned by the state government 2. Museums owned
by the central government 3. Museums owned by the universities / semi-govt
organizations 4. Museums owned by the Non-govt organizations [ trust,
society,etc.,] 5. Museums owned by the private individuals Other than the

categories as discussed there were many types of museums, depend on the

collections. Those categories were: fine arts, applied arts, craft, archaeology,
anthropology and ethnology, biography, history, cultural history, science,
technology, children's museums, natural history, botanical and zoological gardens.
Within these categories many museums specialize further, e.g. museums of modern
art, folk art, local history, military history, aviation history, philately, agriculture or
geology.
95. 81 This paper history museum were focussed, and the proposal should be of
cultural history museum. History museums contain a wide range of objects,
including documents, artifacts of all kinds, art, archaeological objects. This paper
focuses on the state government owned Government Museum, Egmore as a case
study further literature study done over the State Museum, Bhopal governed by
state government. A national Museum, New Delhi owned by the central government
has been taken for a literature study. A Bharat Bhavan, Bhopal owned by the nongovernment organizations has been taken for a literature study. Also a Science
Centre, Bhopal for a type of museum taken for a literature study. And a case study
of Bilbao Guggenheim Museum, Bilbao, Spain and Ningbo Historic Museum, Ningbo,
China shows the way the recycled materials used and the new materials in the
fazard treatment. Through all the case studies from India as well from China and
Spain, it is clear that museum of space has an impact over visitors thro the way
they built. All the above said case studied museums were iconic time museum
reflecting the past, present, future of its own image of the city.
96. 82 CHAPTER 5 CONCLUSION On the detailed analysis of various case studies, it
is clear that the museum of space has an impact over mankind. The museum
identifies the image of the city as well the study of the society. The planning of a
museum should be such a way it gives an social impact to the visitors. From case
studies, it is clear that, in museum planning, circulation, Types of exhibits, displays
of exhibits, services were the main core. The planning of museum should be in such
a way that the building should be iconic over period of times reflecting the past,
present and future image of the city. This dissertation data investigate museum
architecture and defines the role of a museum in terms of function and architectural
implementation.
97. 83 BIBLIOGRAPHY Ching, Frank, 2007,Architecture: Form, Space, & Order, 3rd
ed, Hoboken, N.J.: John Wiley & Sons. Dean, D. (1994). Museum Exhibition Theory
and Practice. London: Routledge Publisher. Duncan, C., Wallach, A., 1978, The
Museum of Modern Art as Late Capitalist Ritual: An Iconographic Analysis, Marxist
Perspectives, vol.1, no.4, Winter, pp.28-51. Giedeon, Siegfried, Space, Time and
Architecture, Cambridge, MA: Harvard University Press, 1947 Hillier, B., Tzortzi, K.,
2006, Space Syntax: The Language of Museum Space, S. Macdonald (Ed), A
Companion to Museum Studies, Blackwell Publishing, London, p. 282-301. Harison
Molly, 1960,Education in Museums, The organisation of museum, practical
advice,UNESCO, Paris,, P.P.81-92. Hill, D. A. (1982). Design Procedures. New York:

Van Nostrand Reinhold Co. Ltd. Hooper-Greenhill, E. (1994). Museums and Their
Visitors. London: Routledge Publisher. ICOM (2006) Code of Ethics for Museums,
Paris, International Council of Museums Lin, C. H. (2003). Establishing a
development process for since museum exhibition design. PhD Dissertation,
Birmingham: University of Central England.
98. 84 Lord, G. D. and Lord, B. (1999). The Manual of Museum Planning. 2nd
ed.London: HMSO Publications Centre. Met Studio (1998). The Discovery Centre at
Millennium Point Masterplan. Unpublished content, Birmingham: The Discovery
Centre. Nigam, 1982,M.L., Museum Research and Education in Indian context.
Journal of Indian Museums,vol.XXXVIII, , New Delhi. P.P.1-7. Pugh, S. (1991). Total
Design. New York: Addison-Wesley Publishers Ltd. Tunstall, G. (2000). Managing the
Building Design Process. Oxford: Butterworth- Heinemann. Velarde, G. (2001).
Designing Exhibitions: Museum, Heritage, Trade and World Fairs. 2nd ed. Hants:
Ashgate Publishing Limited. Weeks,2002, Jeffrey R., The Shape of Space, New York:
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99. 85 WEBSITES Wikipedia. The Free Encyclopedia (homepage). URL:
http://en.wikipedia.org International Council of Museums (ICOM) (homepage). URL:
http://icom.museum/ethics.html State Museum Bhopal(homepage). URL:
www.mparchaeology.org/statemus.asp Bharat Bhavan Museum Bhopal(homepage).
URL: http://bharatbhawan.org/ National Museum, New Delhi (homepage).
URL:http://www.nationalmuseumindia.gov.in/ Regional Science Centre,
Bhopal(homepage). URL:http://www.rscbhopal.gov.in/ Archeological Survey of India,
ASI(homepage). URL: http://asi.nic.in/asi_museums.asp Government Museum,
Egmore, Chennai. (homepage). URL: http://www.chennaimuseum.org/