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AN ICONIC TIME MUSEUM REFLECTING THE
PAST, PRESENT AND FUTURE OF THE
CHENNAI METROPOLIS
A PROJECT REPORT (PAR 304)
Submitted by
SENTHIL . M
(1350010)
in partial fulfillment for the award of the degree
of
MASTER OF ARCHITECTURE
in
GENERAL
SCHOOL OF ARCHITECTURE
HINDUSTAN INSTITUTE OF TECHNOLOGY
AND SCIENCE
CHENNAI 603 103
October 2014

HINDUSTAN UNIVERSITY: PADUR, CHENNAI - 603 103
BONAFIDE CERTIFICATE
Certified that this project report titled “ AN ICONIC TIME MUSEUM REFLECTING
THE PAST, PRESENT AND FUTURE OF THE CHENNAI METROPOLIS ” is
the bonafide work of “M.SENTHIL ( 1350010)” who carried out the project work
under my supervision. Certified further that to the best of my knowledge the work
reported here does not form part of any other project / research work on the basis of
which a degree or award was conferred on an earlier occasion on this or any other
candidate.
DEAN PG & COLLABORATION SUPERVISOR
PROF. KERSTIN FRICK PROF. DR. RAVI KUMAR BHARGAVA
School of Architecture School of Architecture
Hindustan Institute of Hindustan Institute of Technology
Technology and Science, Padur and Science, Padur
The Project Viva-Voce Examination is held on _______________
INTERNAL EXAMINER EXTERNAL EXAMINER

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
mankind’s 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.

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.

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

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

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

vi

2.4.2 BHARAT BHAVAN, BHOPAL 36
2.4.2.1 LOCATION 36
2.4.2.2 PLANNING 38
2.4.3 REGIONAL SCIENCE CENTRE, BHOPAL 42
2.4.3.1 LOCATION 42
2.4.3.2 PLANNING 43
2.4.4. NATIONAL MUSEUM, NEW DELHI. 46
2.4.4.1 LOCATION 46
2.4.4.2 PLANNING 47
2.4.5. NINGBO HISTORIC MUSEUM, CHINA 51
2.4.5.1 LOCATION 51
2.4.5.2 PLANNING 52
2.4.6. BILBAO GUGGENHEIM MUSEUM, SPAIN 56
2.4.6.1 LOCATION 56
2.4.6.2 PLANNING 57
3 CASE STUDY 61
3.1 GOVERNMENT MUSEUM, EGMORE, CHENNAI 61

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 CHILDREN’S 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

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

ix

2.21 Views of Bharat Bhavan 37
2.23 Plan of Bharat Bhavan 39
2.25 Site Sectional View of Bharat Bhavan 40
2.26 View of Science Centre 42
2.27 Aerial View of Science Centre 42
2.30 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

x

3.1 1980’s 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 Children’s 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

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

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 inter-disciplinary
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.’

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 world’s 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.

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.

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. Thurston’s 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.

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.”

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.

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.

8
The purpose of this dissertation is to find interpretation guidelines for a historic museum
and appropriate methods of communicating with visitors via the museum’s 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.

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.

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

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.

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 visitor’s 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 building’s 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 ].

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.

14
PLANNING
Site selections
Site Zoning
Space requirements
Circulation Displays Exhibits
Services
Lighting
Fig: 2.1 Museum planning process

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 Public-Collection Areas: Zone in which the finish and durability and
environment created for the staffs alone.

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.

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.
• Don’t 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

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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

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2.3.5 EXHIBIT OF DISPLAYS
Spaces should reinforce and promote the audience’s engagement with the collection
Concluding accessory uses. While walking through a museum, we’ll 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 museum’s
available space .
Fig. : 2.4 Circulation Pattern

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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

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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

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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

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2.3.6.2 Cone of Vision
The cone of vision is the visual region displayed by a drawing that relates to a person’s
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

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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 region’s 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

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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

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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.

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*
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

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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

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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.

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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

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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 pre-
historic sites are displayed in the Fossils gallery.
Fig. : 2.15 Gallery Views of State Museum

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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

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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 country’s 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.

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

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, Bhopal’s 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 façade 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.

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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

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

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 Correa’s 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.

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

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. : 2.25 Site Sectional View of Bharat Bhavan

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.

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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

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

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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.

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

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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

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

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

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

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.

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

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 city’s rebuilding is continuing.
Fig. : 2.38 Elevation view

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

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
bamboo’s random cracking is clearly shown on the concrete through its texture.
Fig. : 2.41 Front View

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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.

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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.

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.

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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 50-meter-high space, there are a series
of bridges, glass lifts and a staircase tower, which is connected to exhibition spaces at
three levels.
Fig. : 2.44 Interior View

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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

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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. It’s 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.

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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 1980’s View of Egmore Museum

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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

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 m²) 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

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1. Main Building
2. Front Building
3. Bronze Gallery
4. Children’s Museum
5. National Art Gallery
6. Contemporary Art Gallery
Fig. : 3.3 Site Plan of Museum

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

66
Fig. : 3.6 Ground and First floor plan of Main Building

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

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3.1.4 FRONT BUILDING
Fig. : 3.8 Ground and First floor plan of Front Building

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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

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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

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3.1.6 CHILDREN’S 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 Children’s Gallery

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Fig. : 3.13 Ground and First floor plan of Children Museum

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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

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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

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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

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Fig. : 3.18 Ground and First floor plan of Contemporary Art Gallery

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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 childern’s 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.

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 visitor’s 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.

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 visitor’s 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.

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.

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 non- government 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.

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.

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.

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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: Marcel Dekker.
Zevi, 1957,Bruno, Architecture as Space, New York: Horizon Press.

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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/

Dissertation _ Museum

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