bollywood museum

Chitkara School of Planning and Architecture

AR-522

Architectural Design Thesis Project-IX

Bollywood Museum, Mumbai

Submitted by:

Meenakshi Goyal

7051515920

Semester X

B.ARCH

2 Architectural Design IX(Thesis Project)2011-2012 Bollywood Museum

RECOMMENDATION

We hereby certify that the Thesis Design Project entitled Bollywood Museum in Mumbai,

prepared by Meenakshi Goyal under our guidance, be accepted as a requirement for the partial fulfillment of the Degree of Bachelor of Architecture.

Dated: 01 May 2012

S.K. Midha Sunanda Kapoor

(Thesis Co-ordinator )

Surjit S Bais I J S Bakshi

(Principal) (Director)

External Examiner External Examiner


Acknowledgement

I am deeply indebted to my thesis guide Ar. Gurkanwal S. Boparai for showing faith and confidence in

me for taking up such a project for my thesis. He has always been instrumental in moulding my

thoughts, perceptions and interpretations right through this thesis programme.

I am really grateful for his kind and able guidance and valuable suggestions without which my work

would not have come up the level, presented.

I am also thankful to Ar. Sunanda Kapoor, my thesis co-ordinator and principal Proff. S.S. Bais for their

guidance and moral support.

I also extend my sincere thanks to Ar. S.K. Midha for his support throughout.

Not to forget my friends. And above all.. my family whose whole hearted co-operation and hand was on

my head.


Contents: page no.

1. Synopsis

1.1. Introduction to project 8

1.2. The intent: Bollywood 10

1.3. Project Briefs 11

1.3.1. The Site 11

1.3.2. Validity of project 13

1.4. The Project 14

1.5. Scope and project objectives 15

1.6. Methodology 16

2. Case study

2.1. Purpose of case study: 20

2.2 Live case study 21

2.2.1. Akshardham, Delhi 22

2.2.2. Kingdom of Dreams, Gurgaon 29

2.2.3. National Science Centre, Delhi 33

2.3. Literature Study 41

2.3.1. Museum of Moving Images, New York 42


2.3.2. National Media Museum, Bradfore, England 50

2.4 Analysis and inferences 53

3. Library Study

3.1. Museum-An introduction 56

3.1.1. What museums must do 58

3.1.2. Role of museum 59

3.2. Design of museum 60

3.2.1. Layout of exhibition spaces 60

3.2.2. Circulation 61

3.2.3. Modes of display 64

3.2.4. Lighting design 65

3.3 Office Areas 68

3.4 Auditorium/Screening halls 69

3.5 Restaurants and kitchen 75

4. Site Analysis

4.1. About Mumbai 78

4.1.1. The climate of Mumbai 78

4.1.2. Inferencesfor design 79

4.2 The site: Location 80

4.3. Apparoach and Surroundings 81

4.4. On site 82


4.4.1. Gulshan Mahal 83

4.4.2. Office Buildings and Library 84

4.5. Analysis 85

5. Programme Formulation and Area Analysis

5.1. Programme Formulation 87

5.2. Area Analysis 89

Bibliography


Chapter -1

Synopsis


1.1 Introduction to the project: Bollywood Museum

The Government of India has envisaged to establish a National Museum of Indian

Cinema in Films Division Complex, Mumbai- first ever of its kind in Asian Region with a view to give impetus to the movement of showcasing the history of Indian Cinema and its global impact.

The main objective of the proposed Museum are to:

To encapsulate the socio-cultural history of India as revealed through the evolution of cinema;

To develop as a research center focusing on the effect of cinema on society;

To exhibit the work of the noted directors, producers, Institutions etc. for the benefit of visitors/film enthusiasts;

To arrange seminars, workshops for film makers & film students;

To generate interest in the future generation in the field of film movement; The Museum of Moving Images will not only provide a store house of information to the laymen

but it will also help film makers, film students, enthusiasts and critics to know and evaluate the development of cinema as a medium of artistic expression not only in the country but also in all

parts of the world.

The Major Exhibits in the Museum

Artefacts, equipments like Cameras, Editing, & Recording Machines, Projectors etc., Costumes,

Photographs and other material are proposed to be kept in the Museum. The properties, dresses, sets, tapes, vintage equipment, posters, copies of important films, prints, promotional

leaflets, developing equipment books, biographies, sound tracks, trailers, transparencies,

Cinema magazines, statistics covering film distribution etc. to be displayed in a systematic arrangement depicting the history in a chronological manner, will be procured through donations

and also by purchase. There will also be a Museum shop which will sell the copies/photographs etc. of the vintage items, books and booklets on the work of noted film makers and mementoes.

Some of the Resources for display in the Museum are contemplated to be consisting of :

a) Artefacts Costumes, Wardrobes, Draperies, Jewellery, and other propos and drum

dance sets and Make up kits like cloth banners, holdings , three dimension Cut outs and lighting display mechanisms, specially prepared miniature

models of Cinema Theatres from the early tent cinemas specially

associated with landmark films made in the country like Sant Tukaram, Sikander, Chandralekha, Awara, Mother India, Pather Panchali, Mughale-e-


Azam, Sholay, Dilwale Dulhaniya Le Jayenge etc;

b) Equipment Cameras, Sound recording, Editing, Laboratory and Projection equipments used from the beginning of Cinema, Cameras from manual (hand cranked to

motorized ones for various gauges and electronic used for silent and sync shooting, sound recording and reproduction equipments from wire

recordings, Gramophone disc recording to optical (variable density, variable area) to magnetic and stereo(Dolby, DTC) and the related equipments like

microphones etc., Editing gadgets from simple magnifying glass to viewer to pedaled moviola, and multiple edged prism viewed Steenbeck and the

electronic editing Avid systems.

c) Films,

Tapes, CD,s/DVDs

Copies of all classics of Indian and world cinema in permanent collection

preferably in film format and with English subtitles. Disc records, Audio tapes, CDs/DVDs of film songs and interviews with film personalities.

d) Manuscripts & Paper

print material

Original hand written shooting scripts with Directors notes and sketches, Personal diaries of film people, producer, Star, Director, Technicians,

Studios, Distributors, Exhibitors Agreements and Contracts.

Paper print material like Books, Journals, Film Magazines, Directories,

Yearbooks, Film Festival Catalogues, Souvenirs and other publications. Still Photographs, Working stills, Slides, Transparencies Publicity folders.

Wall Posters of different sizes. Song Booklets, Screenplays and Shooting

Scripts; Dialogue & Continuity Sheets, Silent Film Music scores, Film can

labels, Set design sheets, Art Directors drawings, News paper Advertisements and clipping, Film Reviews and comments, Censor records,

Postage stamps on film personalities brought out in India and abroad, Theatre programme notes, Cinema Tickets etc.

Source: NATIONAL MUSEUM OF INDIAN CINEMA Ministry of Information & Broadcasting Government of India Films Division Complex 24-Dr. G. Deshmukh Marg, Mumbai-400 026. Email : [email protected] / website : www.filmsdivision.org


1.2 The intent: Bollywood

Bollywood is used informally to refer to the film industry in India. It was coined as a shortened form of 'Bombay' plus 'Hollywood'. Bombay's name has since changed to Mumbai, but the name 'Bollywood' is here to stayas is the industry: 'The film industry in Bombay. . . is the biggest in

the world. It makes almost double the number of movies and sells a billion more tickets each

year than Hollywood' (Boyk 2004).

Producing nearly 1000 films, selling 3.1 billion cinema tickets and grossing close to ten billion

dollars a year, Bollywood exerts an extreme stronghold on the Indian culture and influences daily the approximate 15 million people who go to see Bollywood films.

Bollywood and its influence on people

Bollywood has always had immense influence on the people across the country, the actors set

trends and the fans follow them madly. This is often a product of the love that followers have for Bollywood. People worship actors and feel a deep connection with their charisma. Bollywood

and fashion have always had a very intimate relationship with each other. Cinema takes the audiences into a dream world and they try to imitate the actors by emulating them.

Film allows us the opportunity to escape for a few hours into lives that are not our ownlives

that may be, in fact, quite different from our own.

The influences of Bollywood are ubiquitous; they can be seen in everything from haute couture

fashion to music, often blurring the line between high and low art.

However, Bollywood films may appeal to young Indians on a deeper level. The actors who star in them are true role models, because the films mirror issues that are specific to them: 'Increasingly these films are about the schizophrenic worlds that contemporary young Indians

live in, the worlds of airplanes, blended cultures and the east-west embrace' (Melwani 2005).

Thus, young people recognize and respond to this. They, too, want to be strong and independent.

People idolize their stars and are crazy for them

Influence of Bollywood on people


1.3 Project Briefs:

1.3.1 The Site:

The site chosen for the museum is located in the premises of National Film division of India office on Pedder Road in South Mumbai

.

Location:

Proposed site for Bollywood Museum

Bollywood Museum is proposed in south Mumbai, in the premises of film division building

situated on Pedder road.


Pedder Road

Jaslok Hospital

Antilla

Film Divison Office premises

Site for Bollywood Museum


1.3.2. Validity of site

Mumbai and Bollywood

Mumbai is home to the world's largest film industry namely Bollywood. Bollywood churns up

more films annually as compared to Hollywood and other film industries in the world. No wonder, the popularity of this film industry is on rise not just in India but also abroad. Tourists

are especially eager to take in the song and dance sequence that is unique to Indian cinema. Taking in view the popularity of this evergreen industry, Bollywood (Film City) in Mumbai was

developed to cater to the needs of Hindi cinema. Fortunate tourists are also able to round up their trip to Mumbai in a true Bollwood style at the film city.


1.4 The Project:

An overview of the spaces to be provided

Introduction to film making

Fashion hall: exhibition of costumes and props

History gallery: A tribute to Dadasaheb Phalke

Gallery showing lives of the bollywood actors and actresses

Museum of Equipments

Clips from movies, showing the changes in movies

Music and dance gallery

Theme restaurant and kitchen

Souvenier shops

Other ancillary spaces

"The project has begun, but we are still working on its content," Suresh Menon, Deputy Director General, Films Division told Guardian20. NMIC is being constructed within the premises of the

Films Division Complex on Peddar Road in Mumbai and will be an interactive space. One floor

will display artefacts representing the history of Indian cinema, while another section will be a constantly changing space portraying the evolution of cinema. Two theatres within the museum

will screen films in different Indian languages. Menon says, "The museum will be a platform for

displaying and studying Indian cinema and therefore, will not focus only on Bollywood films. It will also screen short films, documentaries, etc. Films reflect culture and the museum will be a

research lab for the younger generation to experience the works of doyens like Satyajit Ray, Adoor Gopalakrishnan, etc.

Source :

http://www.sunday-guardian.com/masala-art/india-will-get-its-first-film-museum


1.5 Scope and project objectives:

1.5.1. Objectives of the project

To achieve a relationship between the visitor and the bollywood world

The built form, as well as the interior and exterior spaces will be designed in order to connect the visitor to the world of Indian Cinema

Circulation

It would be designed to prevent physical fatigue, and maintain the visual interest of the visitor for the exhibits. The design will facilitate the functional connectivity of various spaces. Proper

segregation of vehicular and pedestrian traffic will be taken care of.

Innovative display technique

Innovative display and lighting systems to be used to create an interest of the visitor for the

exhibit

Informal atmosphere

To attract visitors and to stimulate their instincts of play and exploration, thereby catalysing the learning processes and the leisure, various entertainment spaces will be provided.

Landscape design

The landscape design will enhance the environment of the theme and functionality and cater to the circulation needs of outdoor spaces

1.5.2. Limitations:

Time factors may be the major constraints imposed on this study, so extent of detailing shall depend on the duration available

Non availability of prototype case study

No laid down norms exist for a project of this type

Structural design calculations will not be carried out in detail

Economic consideration will not be considered

Study of building technologies will be qualitative


1.6 Methodology


Nature of study Purpose of study Source Understanding the

project, its scope and limitations

to understand the elements that the

project would comply of and accordingly defining the project in terms of its aims

and objectives, scope and limitations

Data collection and

analysis

Site study To study the feasibility of site and relation of the project to the

location

Study of site features

Climatic Data

Internet study and

data available in books

Library study Anthropometric data to know the spatial requirements of various components

Standards and data pertaining to museums, auditoriums, studios, etc.

Study of film making.

Standards and books available in the

library on film making and

museums

Information available on

net

Case studies

Case studies for functional Research

Sri Krishna Museum, Kurukshetra

National Science Centre, Delhi

Film city, Noida Case studies for

aesthetic research

Akshardham,

Delhi

Kingdom of Dreams,

Understand functions and short comings of projects, buildings

Study inter-relationship of spaces circulation and modes of display in galleries

Study architectural character

Study various materials used for construction and services, etc.

Visual survey supplemented

with sketches and

photographs

Available data from journals

and internet


Gurgaon

Literature study

Contextual studies

Museums in general

Design

parameters Film making

To explore the constituents in the designing of museums

Defining the context of project

Information available on internet and library

Framing of design requirements, guidelines

and evolution of design concept and final design

proposal

Preparing a detailed area statement

Framing requirements and formulating the design concept

considering the above studies

From the combined data collected from

various studies


Chapter -2

Case studies Live case study

Kingdom of dreams, Gurgaon Akshardham, Delhi National Science Centre, Delhi

Literature case study Museum of moving images, New York National Media Museum, England


2.1 Purpose of case study

The main purpose of carrying out the case studies:

To study the general architecture, display technique and flow pattern of a museum

(functional purpose)

To study the architectural styles using different materials to create the theme (aesthetic purpose)

Hence various museums having different subjects of display were studied. Their general

fields of study included

Flow technique

Connectivity of various spaces

Display method of items and their information

Relationship of the museum with its architectural design

Case studies

For functional research

National Science Centre, Delhi

Museum of moving images, New York

National Media Museum, Bradford, England

For aesthetic research

Akshardahm, Delhi (the exhibits)

Kingdom of Dreams


2.2 Live Case Studies

Akshardham, Delhi

Kingdom of Dreams, Gurgaon

National Science Museum, Delhi


2.2.1 Akshardham Delhi- A spiritual theme park

Intent of study: Campus planning and different modes of exhibition

Location- NH-24. Noida Mor, Delhi.

Area- 17 acres

Swaminarayan Akshardham in New Delhi epitomises 10,000 years of Indian culture in all its

breathtaking grandeur, beauty, wisdom and bliss. It brilliantly showcases the essence of Indias ancient architecture, traditions and timeless spiritual messages. The Akshardham experience is

an enlightening journey through Indias glorious art, values and contributions for the progress, happiness and harmony of mankind.

Apparoach to the temple:

Akshardham is located on the Delhi-Noida highway. Earlier it was apparoached from the road

only but in recent years a metro station has been built near the temple to facilitate the visitors.

Akshardham Metro station

Parking for cars and buses

Exhibition area

Food court and Souvenier shop

Main temple

Garden


Campus planning

The campus is well planned along with a sprawling landscape merging with the theme of the

campus design based on symbolic principles of planning.

Exhibition area:

The campus has three distinct exhibition areas exhibiting the lives of Lord Swaminarayan and the culture of India.

Sahajanand Darshan

(Hall of Values)

Neelkanth Darshan

(cinema Hall) Sanskruti Vihar

(Boat Ride)

To line up

Food court

Musical fountain

Hall of Values

Also known as Sahajanand Pradarshan, the Hall of Values features life-

like robotics and dioramas which display incidents from Swaminarayan's life, portraying

his message about the importance of peace, harmony, humility, service to others and

devotion to God. The Sahajanand Pradarshan is set in 18th century India and displays of

15 dioramas through robotics, fiber optics, light and sound effects, dialogues, and music.

The hall features the world's smallest animatronic robot in the form of Ghanshyam

Maharaj, the child form of Swaminarayan.


The halls were acoustically treated with gypsum boards to prevent the mixing of audios from

two different rooms since the cycle moved with different audiences in different halls.

The story was timelines in the halls

Each hall had an emergency exit.

Theatre

Named Neelkanth Kalyan Yatra, the theatre houses Delhi's first and only large format screen, measuring 85-foot (26 m) by 65-foot (20 m). The theatre shows a film specially commissioned for the complex, Neelkanth Yatra, to recount a seven-year pilgrimage made by Swaminarayan made during his teenage years throughout India. Mystic India, an international version of the

film called, was released in 2005 at IMAX theatres and giant screen cinemas worldwide.

A series of rooms showing lives of Swaminarayan Bhagwan in chronological order


The picture format used for this movie is 70mm wide film on which each picture is eight to ten

times bigger than the normal 35mm film, which means a clearer and much larger projection on a screen between 65 and 100 ft high. This is a difficult medium to handle because the clarity and

depth of the film makes it more challenging for the cameraman to get the right frame. Thus, very few stories have been filmed in large format because of this difficulty.

The hall had provisions for physically handicapped in form of ramps and designated seats for

handicapped

Boat ride

Named Sanskruti Vihar, this ride takes visitors on a journey through 10,000 years of Indian history in approximately 12 minutes. Visitors sit in specially designed peacock shaped boats

that make their way around an artificial river, passing through a model of Takshashila, the world's first university, chemistry laboratories, ancient hospitals, and bazaars, finally ending with

a message expressing hope for the future of India.

The IMAX theatre of Akshardham mandir with the large screen with a seating capacity of 600.

Entry/Exit

The artificial river

The exhibit


Inference:

Medium of presentation: use of technology and the mode of presentation in a chronological order makes the exhibition more informative and interesting.

This makes it an effective mode of presentation for learning that is the major motive of the exhibition.

Other facilities:

Premvati Ahargruh

The Premati Ahargruh or the Premvati Food Court is a vegetarian restaurant modeled on the Ajanta and Ellora caves in Maharashtra, India and an Ayurvedic bazaar. The restaurant

caters a variety of traditional dishes.

Souvenier shop- Akshar Haat

The complex has a souvnier shop selling books, clothes, ayurvedic items, etc.

Landscape

The complex exhibits the importance of landscape design in the grandeur of the campus

design. The gardens are based on the spiritual theme and form an important part on the planning of the complex

Bharat Upvan

Yogihriday Kamal


Image: overlooking the main temple from the food court plaza showing the lotus shaped sunken


Design for accessibility:

The campus has been design taking into considerations special provisions for the physically

handicapped providing ramps for every level change.

It serves as a suitable example for campus planning with a grandeur in design.


2.2.2 Kingdom of Dreams, Gurgaon

Area: 6 acres

Location:Sector 29, Gurgaon inNCR Delhi, near the Leisure Valley Park.

Intent of study: Representation of theme in the design and relation of architectural character of building to its use.

Kingdom of dream is Indias first live entertainment and leisure destination point which is located

at the apex of the golden triangle of Jaipur, Agra and Delhi. This kingdom is spread across 6 acres and run by Great India Nautanki Company, a Joint venture between Wizcraft and Apra

group. It is a place where the festival that is India is celebrated in the grand and glamorous style. It is a grand palace of gargantuan proportions with lavish interiors. The Kingdom offers

authentic cuisine, live entertainment in the form of Musicals, Dramas, Mythological Shows, Street Dances, Mock Indian Wedding, Indias art, crafts and much more all with modern

technology. Kingdom of dreams includes Nautanki Mahal, Showshaa Theatre, Culture Gully,

Idea Buzz Lounge and a Theme Restaurant which offers 350 exotic food preparations by certified chefs from across 14 states. But the main attraction and jewel of Kingdom of dreams is

Nautanki Mahal, which is built like a palace and is Indias first 850 seat auditorium.

Campus planning:

Entry

Entry

Parking

Parking

Culture gully

Nautanki mahal

Showshaa theatre

Black light theatre


Nautanki Mahal

Indias first dynamic state of the art 4D theatre designed and conceptualised to offer breath-

taking & magical experiences.

Number of seats: 848

Designed like a palace with a grand entrance.

Architectural character:

The stage has two parts that can dip down to the basement and also rise up to 2m so that

elephants and trucks can amazingly show on stage. The stage can have 16 flying acts of people or objects at a same time.

Culture gully

A kaleidoscope of Indias unique cultural diversity

A vibrant space that offers a unique Indian experience

14 State Pavilions

Themed Restaurants

Street Bars

Live Arts & Crafts Village

The building has a complete Indian Palace look which gives it the grandeur.

The large projection screens on the facade makes it more interesting

The outer wall of the theatre is carved with designs of some geometric filigree and some Khajurahi ideas

Seating design of the auditorium

Screens on 3 sides


The India Tea House & Library

Coffee Shop

Ethnic Jewelry Store

Indian Home Dcor Store

Mystic Center

Culture Gully, one of the core attractions of Kingdom of Dreams, is an elaborate boulevard of culture, arts & crafts and cuisine under Indias first ever skydRome. Spread over 100,000

square feet, this magical avenue offers an exciting experience of a busy Indian street showcasing India as a delightful destination to savour the best of local cuisines, sample many of

Indias renowned handicrafts and enjoy live performances by traditional artists. The Culture Gully presents a magnificent Indian carnival showcasing 14 states of India in all its splendor on

a single street enveloped under a breathtaking skydRome.

The theme has been majorly achieved through the creative design in the interiors. The building

plan is linear divided into subsections.

The interiors of the boulevard are completely theme based. Plan of the culture gully


Showshaa theatre

An amphitheatre of seating capacity of 350 for theatre shows and cultural ceremonies like

weddings.

IIFA Buzz Cafe

This cafe is a part of culture gully and is been made on the bollywood theme.

Accessibility:

The building is designed for handicap access with special provisions for them including a lift for

the physically handicapped.

Landscape design:

Due to the space constraints on site, no special landscape design has been made.


2.2.3 National Sciene Centre, Pragati Maidan, Delhi

Architect: Achyut Kanvinde

Site Area: 7000sq.m

Built up area: 14,000 sq. m

Display: - Our Science and technology herit

Information revolution

Human biology

Pre historic life

Fun science

Emerging technologies

Intent of study: the built up form of museum and the different exhibition techniques. The National Science Centre is located on the Bhairon Marg in Pragati Maidan area of New

Delhi. Designed especially for kids, the National Science Centre has a large collection of working science models to educate children about the scientific facts. The National Science

Centre of Delhi is one of the largest science centers in India. The strategic location coupled with

interesting play of form has made the center an important landmark in the city. The inspiration of a crystal seems to have taken over in creating this prismatic structure. Since

museums essentially are centers of learning, it is imperative that the visitors sustain interest while going through the exhibit area. Efforts have been made in designing the building to

generate excitement and interest through the organization of spaces so that receptivity of mind on the part of the visitor is sustained while going around the building. The building is a

cascading form, with indoor and outdoor spaces at all levels tending to create suspense as one moves through the well-articulated space.


Site: A building of national significance, the National Science Center, New Delhi, was assigned rather

a small wedge-shaped site measuring 7000 sqm. The building had to house the museum, including the exhibition area, an auditorium, the conference rooms and the cafeteria within

14,000sqm in addition it required workshops, preparation rooms, depositories for exhibits and services such as a power generator, mechanical area, etc. working with such a large

requirement list on a tight site resulted in the building emerging as a multilevel complex. The

nallah bordering the site along Bhairon road has occasionally caused problems in basement due to overflowing.

Building:

A six-storey structure situated on a site that forms part of the Trade Fair complex. The building comprises an auditorium, conference rooms, lecture hall, library, training centre, exhibition

areas, and a cafeteria, totaling 14,000 square metres of built up area. An entrance concourse on the first floor leads to the multi-level display; and terraces provide additional outdoor

exhibition areas. The building is finished with aggregate plaster using local Delhi blue quartzite stone chips with bands in Dhopur stone chips, and polished Kota stone with Jaisalmer stone

(ochre) bands are used for the flooring.


Planning of building:

Museum is normally a very boring word and a sleepy place, but this museum has redefined this definition. It has something or other, for every age group, interesting, informative, which is fun to

learn and understand. The floors in the building are designed so as to provide total freedom in designing the circulation

of the various exhibits inside. These circulations are defined by constructing partitions which

also act as the backdrop of display units.


Museum organisation: It is divided into four major activity zones:- 1. Public Spaces: exhibition halls, reception halls, cafeteria, toilets.

2. Semi-public spaces: activity areas including computer education, observatory, seminar hall, auditorium and library.

3. Administration

4. Service areas: exhibit design laboratories, workshops, storage, A.C. plant and generator

room.

The administration block has separate entry gates and staircases. While the upper floors are designed for exhibition areas, the ground floor has been allocated to the auditorium, foyer and

the cafeteria. A sprawling basement houses the depository, workshops, and art studios producing fascinating castings. Some of

Circulation: There is a forced system of circulation. A channelled route is followed. Visitors do not have the

choice of selecting a particular gallery. A visitor upon entering the first floor is taken to the 3rd floor via escalator. Then he is supposed to do a half circuit of the 3rd floor galleries, take the

stairs to the 4th floor, do a complete loop of the 4th floor galleries and then come down to other half of the 3rd floor. From here one finds his way to galleries bellow. The access to the fun

science and information revolution is only through third floor heritage gallery. Within the galleries entry/exit points are not suitably located to form a complete round of the gallery. This

necessitates double back of some movement parts or altogether omission of some display areas. Provisions for the circulation of the disabled are given through a ramp to reach the lift

core, which in turn connects every story.


Various floors:

Basement: Consists of storage area, depository area, exhibit development labs, mechanical workshops, services, etc. The exhibit development lab becomes the mechanical workshop with sections for carpentry, metal works, welding, electric workshop and also an art section.

Ground Floor: some of the exhibition sections form an abrupt change of topic from their neighboring sections. There is no defined circulation system. The lighting arrangements often

cause glare and reflections. Some exhibits require more height.

First Floor: The main entrance is through the first floor which has reception and an escalator. It also contains post and telegraph section, railway station, early printing, energy ball, oral

communication, Indian independence, etc. Second Floor: It houses the school science centre. Third Floor: It has the heritage and the dinosaur gallery. Fourth Floor: It consists of the human biology gallery. Fifth Floor: It has the observatory and the radio station. Landscaping: It has been done all around the building. A small retaining wall has been built to control the dampness at the ground floor level. A small water body under the entrance staircase

is also there. Flower beds and pots and trees give a lush green impact to the whole site.

Building form: The building has a cascading form with multiple terraces. Outside the main entrance is a double

height space containing the office, cloak room etc. the visitor firstly enters the multilevel space with reception on one hand and a huge multilevel energy conversion exhibit on the other hand.

One can turn to the computer display, go down to the temporary exhibitions or go up to the heritage zone. One can use escalator or steps.

Steps are not continuous but are broken with displays at various levels. The exhibits are varied and interactive. They include wall display and working models. Hereafter, the circulation is fixed

as explained earlier. The info evolution sec ion is the best section as it provides complete experience. There are mock up settings of various places like post office, railway station,

printing press etc.. Sounds play an important part in enhancing the overall experience. The effect is strengthened by dim lights and the absence of windows. While one walks, one sees

several terraces but these are not accessible. The exhibits are too many to see in one go and there is very little space provided to sit and relax.


Galleries: Science and technology It majorly depicts history of our rich heritage, from Harappan culture to marvels of architecture, from Jantar Mantar to Taj Mahal, discovery of

shunya. Many of things which we never know, that they were a part of Indian heritage.

Information revolution The story of revolution of information and technology depicted beautifully, with different models, machinery.

Human biology This gallery shows the anatomical, physiological, biochemical, structural,

functional and systemic aspects of human body. We pedal a cycle, and a skeleton behind the glass wall on the similar cycle will depict how our

different joints are coordinating and moving when we pedal. How spinal cord coordinates when we get a shock, and we do get a mild shock there,

when we keep our palms on that exhibit. Pre historic life This is a newly constructed gallery which shows the prehistoric life. The effect is similar to a ghost house, dim lights, electro-pneumatically

animated specimens, moving heads of dinosaurs, background voices, give u a different experience altogether.

Fun science This was the best gallery for my kids. The mirror maze, rolling balls, all

the experiments which can be explained by science, were created in

such an interesting way, that they looked like magic. It was based on method of Keep It Simple, Make it Fun. A new facility, 3D Theatre has

been added in this gallery. Emerging technologies This section focuses on the revolutionary changes, in different fields;

Space, Information and Communication, medical, agriculture etc.


Lighting:

Though skylights have been provided at certain places, the museum almost completely relies on artificial lighting. Natural light has been used in lobby, reception, cafeteria and library by

providing windows. Vertical openings in the form of windows with fixed and open able glass (with clear glazing or

tinted glazing) have been given inside the galleries where direct light is not an issue of worry. Near the terraces and entry exit points of galleries, vertical openings are given.

All sections of exhibit areas utilize lighting from fluorescent or incandescent sources. Moveable track lights have been provided which can be moved and focused as per the requirement of the

exhibits. These lights move along the tracks and provide a very flexible lighting arrangement

giving the museum authorities the freedom to change the setup of the exhibits as and when required.

Also it gives the provision of adding new exhibits and displays without the worry of lighting arrangements. The lighting in some of the display areas is not consistent with the requirement

of the exhibits. The skylights have been taken through fibre glass sheets but these are mostly covered with

dust and leaves as these require regular cleaning and maintenance, hence making the illumination level decrease in that particular area.

The most common luminaries used are the florescent tubes or compact fluorescent lamps which are most economical in todays time, however their initial cost is much more than that of

incandescent lamps which also produce more heat which is harmful to some of the exhibits.


2.3 Literature case studies

Museum of Moving Images, New York

National Media Museum, England


2.3.1 Museum of moving images, New York

Architects: Leeser Architecture Location: 35 Avenue at 37 Street, Astoria, New York, USA New York Founder and Principal: Thomas Leeser Design Team: Simon Arnold, Kate Burke, Sofia Castricone, Henry Grosman, Joseph Haberl Project Area: 50,000sqf Project Year: 2008-2011

Intent of study: Design of museum as an interactive space, use of new technologies in the design

The Museum of the Moving Image was renovated with a 264-seat theater, 68-seat screen

room, Video Screening Amphitheater and gallery for changing exhibitions. The complete

redesign of the ground floor plus construction of a three-story addition and Courtyard Garden, doubled the size of the existing building, enabling growth and innovation in the Museums

uniquely comprehensive presentation of screen culture in all its forms (film, television, and digital media) and welcoming visitors into an experience in which architecture is seamlessly

fused with the moving image.

A relocated and redesigned entrance on 35 Avenue presented visitors with a portal of mir- rored

and transparent glass with the words Museum of the Moving Image in letters three and a half

The semi-transparent storefront entrance, with its triangular motif and oversize pink-edged lettering, is the first screen that visitors encounter.


feet tall. With its teasing play of light merging direct vision and reflection within a single plane

the entrance is itself the first screen that visitors encounter at the Museum.


As visitors move into the new lobby, across a polyester floor in a cool light blue, they pass along

a 50-foot-long wall coated with screen paint, used as the surface for a seamless panorama of projected video, with works selected on a changing basis by the curatorial team. Lending a

sense of dynamism to the visitors progression through the lobby, the projection wall is canted at an 83-degree angle. Toward the far end of the lobby, a new caf is located opposite a gathering

space carved out beneath a sloping ceiling, whose angle follows the underside of the main theater.

Behind the grand stair, the secondary screening room beckons through a pink vestibule. At left, a 15 m-long wall projection transforms a tilted wall into a screen.


Visitors may turn to the right from the lobby and step up through either of two tunnels in Yves

Klein blue into the new 264-seat theater: a space designed as a capsule for the imaginary voyage of movie going. The ceiling and walls are a woven felt surface of sensuous, vibrant Yves

Klein blue, which slips under the stadium-rake seating to give the audience a sensation of floating. This wraparound surface is made of 1,136 triangular panels, fitted together with open

joints with the lighting integrated within. Outfitted with an ample screen of classic proportions and projection equipment for formats from 16mm to 70mm and highdefinition digital 3-D, the

theater will provide an unsurpassed filmgoing experience. A stage accommodates the Museums ongoing series of discussions and other live events, while a miniorchestra pit

provides space for musical accompaniment of silent films.

On the left side of the lobby, across from the entrance to the theater, stands the grand staircase. At the

first landing, the staircase widens into a 1,700 sqf Video Screening Amphitheater. The seats are an

abstract landscape of built-in benches, while the wall above the staircase serves as the screen for

changing exhibitions of moving-image works. Passing up the staircase to the second floor, visitors will

Section perspective inside the new addition. Counter-clockwise from lower left: Theatre, lobby/caf, exhibition space, amphitheater, flexible exhibition space, archive. Above: The ground-floor lobby, a seamless bluish-white space that prepares ones senses for full immersion. Blue light emanates from the tunnel entrances to the theater, defining the sloping ceiling.

The 264-seat theater is a luminous cocoon whose walls and ceiling are wrapped in blue felt.


find a small exhibition gallery, a secondary entrance to the main theater and an entrance to one of the two

floors of the 15,000 sqf core exhibition Behind the Screen, which has been completely refurbished with

new monitors, computers, interactive software and lighting.

At the top of the grand staircase, the new gallery for changing exhibitions on the third floor provides the Museum with its first completely flexible space for presenting cutting edge new projects. With 4,100 sqf of

unencumbered space, the gallery is designed to allow the Museum to present exhibition materials of

every variety, from screen culture artifacts to digital media installations.

Incorporated into the Education Center, but regularly used for public programs, is the new 68- seat film and digital Celeste and Armand Bartos Screening Room. Equal in excellence to the

264-seat main theater but presenting a striking design contrast, this secondary screening room has a hot pink entrance and features exposed loudspeakers and a grey, perforated acoustical

The 68-seat screening room, with exposed loudspeakers and perforated grey acoustical surface, accessed through a pink corridor.

The Video Screening Amphitheater is an informal viewing space with built-in benches and ramp


wall surface, making it more of an exposed machine for the moving image. The space is ideal

for more intimate screenings and presentations, as well as classroom and symposium use.

The new Ann and Andrew Tisch Education Center occupies the entire west side of the ground floor in both the addition and the existing building, as well as spaces on the third floor and the

lower level. Enabling the Museum to accommodate twice as many school groups as in the past, to serve 60,000 students a year, the Education Center provides a dedicated group entry, the

William Fox Amphitheater for student orientation, a flexible Digital Learning Suite with specially designed mobile computer workstations (divisible into two discrete media labs, or able to

function as an open auditorium for up to 100 students), and the Nam June Paik Experimental

Production Studio where students can record their own hightech video works, finish them in a postproduction bay and distribute them to a world-wide audience via the Internet.

The new on site space for collection storage, located on the third floor, serves an international

community of researchers and scholars, offering unprecedented access to much of the Museums unparalleled collection of more than 130,000 objects. The Courtyard Garden, 10,370

sqf, incorporates the dedicated entrance for school groups. During summer months, it will provide space for an outdoor caf, and a large temporary screen may be installed for open air

movie showings.

To control light levels and define classroom areas in the education centerwith its separate student entrythe architects installed a sinuous ceiling-mounted track, along which runs a curtain designed by textile-artist Cindy Sirko


The new rear faade of the Museum is comprised of a surfacepattern of triangles like those in the main theater, but made in this case out of 1,067 thin aluminum panels, which are mounted

on the support structure with open joints, so that every joint is a rain grate. Light blue in color, the panels look razorsharp but create the impression of a super light floating skin dematerialized

against the sky: another visual reference in the architecture to the infinite thinness of the moving image. In their pattern, the panels also bring to mind the lines of wireframe computer drawings.

Because the triangular panels must fit together precisely to form the skin, the entire rear faade, which is approximately 200 feet long, is built to a tolerance of 3/16 of an inch.


2.3.2 National Media Museum, Bradford, England

Intent of study: Arrangement of different exhibition areas in a building

The National Media Museum is situated in the heart of Bradford, UNESCO City of Film.

About the museum

The Museum is home to over 3.5 million items of historical significance. It includes National Photography, National Cinematography, National Television and National New

Media Collections.

Insight: Collections & Research Centre is where much of the Collection is held, to be explored and enjoyed by everybody.

Traditional and interactive galleries located across eight floors of the Museum investigate and celebrate film, photography, television, animation and new media.

Two gallery spaces display a changing programme of exhibitions which are inspired by Collection.

The touring exhibitions programme enables to share our exhibitions and the National Collections with audiences across the UK and abroad.

The Museum is the home of the BBC in Bradford. Visitors can watch presenters and researchers collating news stories and broadcasting online and on-air in this real, working

exhibit. The UK's first IMAX theatre opened right here in Bradford. It continues to offer an exciting

programme of 3D and blockbuster films for that essential, all-embracing viewing experience. The Museum houses two other cinemas which can accommodate a wide range of film formats.

Pictureville and Cubby Broccoli cinemas host an impressive film programme, from cult classics to contemporary art house cinema.


Pictureville cinema boasts the only permanent, regularly programmed Cinerama installation in

Europe, a magnet for enthusiasts worldwide. The Museum organises three major film festivals every year: Bradford International Film

Festival, Bradford Animation Festival and Fantastic Films Weekend. A comprehensive programme of cultural and educational events and activities bring the

Museum's subject matter to life for families, schools and adults alike. Pictureville Bar and Intermission Caf serve up a mouth-watering selection of food and drink,

while the Museum Shop stocks a wide range of media-related resources, gifts and souvenirs.

Planning of Museum:The museum is a single building seven storey high with different functions on different floors.


The Kodak Gallery takes the visitor on a journey through the history of popular photography, from the world's first photographs to the digital snapshots of today. Most of the items on display in the gallery are taken from collection of 35,000 objects and images donated by Kodak Ltd.

Games lounge traces the evolution of gaming and serves as a gaming hub

Cafeteria

The first and second floors houses the temporaru galleries

This floor houses the exhibition space dedicated to television.

The Magic Factory uses hands-on exhibits to demonstrate the scientific principles of light and colour, and help develop your understanding of the science behind photography, film and television.

This floor houses the animation gallery

Seventh floor has the conference rooms and the resources room or the library


2.4 Analysis and inferences:

Akshardham, Delhi Intent of study: Campus planning and different modes of exhibition

Kingdom of Dreams, Gurgaon Intent of Study: Representation of theme in the design and relation of architectural character of building to its use.

National Science Centre, Delhi Intent of Study: the built up form of museum and the different exhibition techniques.

Museum of Moving Images, New York Intent of study: Design of museum as an interactive space, use of new technologies in the design

National Media Museum, England Intent of study: Arrangement of different exhibition areas in a building

Inferences

Enterance

Enterance shall be welcoming and give the visitor an idea about the theme of the museum

Temporary displays

Display of the month or a similar item at the entrance foyer adds to the interest. A similar

approach can be used to notify the visitor what to expect inside the museum.

Circulation in the museum

Interest of the visitor should be created by creating both in planning the entire museum, and

inside individual gallery. This can be done by avoiding circulation patterns in which the visitor

notices the entire line of display as at one glance (which kills the interest of moving forward and exploring).

A definite circulation pattern ensures that a visitor visits displays in the sequence that the

designer wants them to be visited.

The circulation shall either be such that one has to visit all galleries, or every gallery shall be

entirely independent from others.

Interaction with the exhibits

Visitors are more attracted to areas where there is an activity to do. This also makes easier to

teach or explain something.


Children have a greater attraction towards areas where there are activities to do, rather than

areas where there is too much to see or read.

Use of models- animatronics

Actual scale models and human figures better convey the message, than images or scaled

models.

Ancillary spaces: relief areas

If it is a big museum, some respite is needed. Visitors need a space to sit in between or

maybe a cafeteria should have been provided.

Lighting:

Almost total reliance on artificial lighting and no access to outdoors leads to a claustrophobic environment. One can actually see people trying to look outside with their noses pressed to the

windows.


Chapter-3

Library Study


3.1 Museum- An introduction

A museum is an institution which collects, documents, preserves, exhibits and interprets

material evidence and information for the public benefit.

Aim of design:

The principal activity of a museum is PRESENTATION i.e. exhibition to display the objects

belonging to its collection. The aim is to provoke and facilitate direct contact between the individual and the object.

The visual and tactile experiences are intended to sharpen the encounter between the object

and the observer, whether the individual be a child, member of a social group or an adult alone, whether the object be-a work of art, a specimen belonging to natural sciences or a technological

innovation.

The museum's basic function is to be a source of inspiration. A museum should be able to

give the visitor a lasting impression, some experience which could introduce a new element into

his life.

The museum not only serves as a platform for exhibition or display of mere artefacts, but also

stands as a landmark of long term personal growth. A museum can do much to stimulate a student's lifelong interest in a subject.

It also provides a scope for interaction between the viewer and the object; the student and the

teacher; which leads to retention and inter-analysis of another wise academic topic.

Museums have existed as early as 3rd century BC to serve the scholars then. The 19th century witnessed the development of national galleries in the western countries. That was the

era that saw a rise in the Public Museums.


Designing a Wonderful Experience When its a great experience, going to a museum can teach us, delight us and inspire us;

however, a lot of effort goes into a museum exhibit design. As architects, we can learn a lot by understanding the ingredients that make such designs so successful.

A museum is constantly looking for different ways to attract visitors, but what happens once they get there? Often they suffer from three main problems they cant find a specific piece of

information, they must leave too soon because they are bored or they stay a long time but miss

key lessons from the main exhibits. Obviously, visitor accessibility and attention are paramount, but thats not all it takes to design

for a great museum experience. Access for people with disabilities The building should accommodate the needs of people with any kind of disabilitv.

Entrance: Ideally the building should be accessible to all through the main entrance. Where there are conservation constraints with an historic building, changing the main point of entry for

everyone can avoid the need for harmful alterations. Otherwise a separate route for wheelchair users and others may be necessary.

WCs for disabled users at all levels. Staff needs: Access is required for staff with disabilities to all offices and stores, with accessible toilet facilities on the office level. This would open up these areas to disabled students, researchers and colleagues from elsewhere wishing to study items in store.


3.1.1 What Museums Must Do

The following are 10 factors for successful museum exhibit design: 1. Motivate Visitors:

Target an audience the general public and/or specific communities 2. Focus Content:

Filter content so visitors are not bombarded with information overload 3. Immersion:

Engage visitors within a story 4. Modularity:

Present smaller themes instead of one larger complex topic 5. Skimmability:

Information should be easy to take in because visitors are often standing and/or have different levels of education

6. Patterns: Incorporate traffic/circulation patterns, exhibit sequence patterns and pre-existing

framework patterns (architectural elements)

7. Capture Curiosity: Use storytelling techniques to engage visitors

8. Interaction: Give visitors a fun experience by tapping into their emotion

9. Integrate Technology: Technology should enhance visitors experience, not detract from it

10. Layer Content: Present information in a hierarchical manner


3.1.2 Role of museum:

Up to the middle of the 20th century a museum was a place of learning, in which notions of

cultural dominance were reinforced visually through an imposing and often severe approach in the design of the building. The museum now has to represent a much more welcoming, all-

embracing image, as it can no longer afford to present a single establishment view of society and must reflect a diversity of cultures and expectations. The most important task of the

contemporary museum is to communicate to the widest possible audience the breadth of collections and accessibility of learning facilities.

Museums today are complex buildings housing different activities for people with diverse interests, containing collections and accommodating general and specialist staff dedicated to

providing a service to the public as well as caring for their collections. They have to be designed for both client and local community, and to connect people of all

types with museum objects.


3.2 DESIGN OF MUSEUM

Design of exhibition spaces:

A very important aspect of museum design; the visitors need a clear idea of the layout of the

exhibition rooms.

3.2.1.Layout of exhibition spaces:

The spatial character

The spatial characters of a gallery must provide a spontaneous and unconscious stimulates to the

attention of the visitor. A fundamental approach in order to facilitate the understanding of museum

spaces is towards open architecture. The visitor should be able to have an overall view of the spaces he

moves in or he should be able to locate himself in relation to some known points in the complex.

Besides, there are some general tendencies in human behaviour that should be considered while

designing:

People enjoy surprises and visual excitement

Change in scale, lighting and layout makes the journey short.

People are curious in nature and crowd and queues attract them.

Viewing:

Exhibition is the first and the foremost a method of seeing things. Viewing is a complicated

business because there is too much to view. We are conditioned to concentrate on what

interests us, ignoring everything else. Human observations are highly sensitive.


3.2.2.Circulation:

Circulation pattern is a major attribute of any planned development. An object cannot be comprehended entirety at one instant or from any point of observation. It is judged through a

flow of impressions. When in motion, one sees a series of images blending into an expanding

visual realization of objects, spaces and sense. Further, circulation can be divided into three main groups.

1. Public Circulation - both for visitors and students

2. Goods and exhibits circulation

3. Administrative Circulation

Ideally the visitor entering the museum should sense the disposition of public services and exhibits with a minimum of help from signs and plans.

Reception facilities should be visible from the entrance lobby, and then the architecture itself should lead the way.

Non exhibition areas such as auditorium, shop, restaurant, meeting and orientation rooms should be conveniently close to the entrance. Since they may be used at hours when galleries

are closed, these areas should be close to the entrance for reasons of visitors orientation and accessibility, and convenience of evening openings.

The circulation pattern in a museum converses with the visitor at two levels: 1. MICRO LEVEL

2. MACRO LEVEL


MICRO LEVEL (circulation within a gallery) It is of two types:

1. Controlled circulation

2. Uncontrolled circulation

Controlled circulation: When the exhibits have a story to tell in a definite sequence, the only way to ensure that

everybody sees everything is through controlled circulation.

People are not offered choice of route. It requires careful planning.

Absolute controlled circulation must not last more than a maximum of 100 yards and there

should be loosening of the layout to avoid the feeling of unbearable constriction.

All displays that are part of a related sequence should be arranged together and down the same side of the gallery.

Each display is passed by every visitor, so ADEQUATE SPACE

for stopping and looking must be provided around special displays likely to draw large crowds.

Uncontrolled circulation: where the public is allowed free choice of things to see

may lead to confusion and the viewer misses out on many exhibits

However, in children's fun galleries, where an informal and playful

layout is required, such circulation is suitable.

A good design for circulation gives the visitors freedom at the same

time directing their movement.

MACRO LEVEL (circulation between galleries) Also known as EN-SUITE system, it offers a sequence of galleries one after the other. Advantage: It offers simpler circulation in a lesser space.

Disadvantage: Forces the visitor to pass through several galleries to arrive at a specific gallery.

If one gallery is closed, the flow of circulation is disturbed.


Division of exhibition spaces:

Design of galleries:


3.2.3 Modes of display: The dissemination of knowledge in a museum can be carried out through a number of mass

communications. Display is a graphic in 3-dimensions. The arrangement of objects in space, sculptured by light is the strength of displays.

The major models of display in a science museum are: Panels/screens

Movies

Models

Unconventional models

Display cases

Panels/Screens Mainly used for display of 2-d exhibits. The interactive communication may be hard to achieve by this mode, which is often overlooked by the visitors in their quest for more existing and

interactive modes of communication. Movies Audio Visual mode of presentation is always an easier way of conveying the message. A visitor

does not have to read or concentrate to understand. Even a passer-by can grasp information from a running video on a screen.

Models: Owing to their communicative and comprehensive nature, all types of visitors conveniently

acknowledge models. Models must be designed to be aesthetically stimulating so as to attract the attention of the visitor. These can be widely used to demonstrat e the various phases of

science in interesting manners, which should be particularly inviting to the young and the inquisitive minds.

Through every exhibit explanation may not be comprehensible to all ages or society groups, this type of mode is vastly effective in generating response by catalyzing the receptivity of the

visitors mind due to its dynamic character. Such models, however, require very specific conditions of environment as well as technical arrangement for proper control. Therefore they

are not very flexible and are used for permanent exhibitions only.


Display cases: These are in a scene miniaturized and protected rooms, containing al elements of gallery walls, screen, flooring ceiling, pedestals and services within the confined format of partly or entirely

glass enclosed box. Cases mediate on scale between a small exhibit and bigger spaces of gallery.

There are three aspects to the protection, which in showcases give: 1. Theft is made difficult as it requires forcibly entry.

2. Dust and insects excluded or their effect minimized.

3. Local climatic conditions can be created and monitored much more readily than within

gallery.

A museum or gallery display is composed of permanent and temporary exhibits in varying proportions. Temporary exhibitions can amplify and extend permanent exhibitions, and provide

an opportunity to display material normally kept in storage.

3.2.4.Lighting design:

Usually display lighting should aim to present the exhibits accurately in terms of the whole

object and its details, while making the display attractive. This generally requires a combination of ambient and accent lighting. Lamps achieving good colour rendering must be used.

The light level needs to be sufficient to provide a balance between the lighting of the object on display and the whole visual field. Exhibits should be brightest to ensure optimum visibility of the

display.


Display lighting: At least three independent lighting systems will be required: (1) working lights for use during installation, cleaning, maintenance, dismantling, and security

patrols outside opening hours (2) emergency lighting for visitor safety

(3) display lighting


Glass frames and cabinets can act as

total or partial mirrors obscuring the object within.

To avoid reflected glare any bright source must be

excluded from the area seen by reflection in the

exhibit -this area is often described as the 'offending zone'.

Natural Lighting

Natural light is an important element for any design. Natural light can play an interesting role in the interiors


3.3 Office areas

Reception/Front Of House The reception area of the building should have a sensitive relationship with the landscape.

Some contemporary designs have used sophisticated glass facades and bright lighting in the entrance foyer, allowing the interior to spill out onto the street and creating a more inviting

access for the public. Other structures are more sculptural, with large open plans and interesting uses of natural lighting.

Office- Desk areas

Office shall be a part of the administrative area of the building.


3.4 Auditorium/screening halls

Auditorium spaces are designed to accommodate large audiences.

As such, they tend to have wide spans and are multiple-stories high in order to

accommodate seating, sightline, and acoustical requirements.

Raised stage/dais floors and special lighting equipment are often required as well.

Shapes for Auditoriums

END STAGE - rectangular shape with acting area in one of the rectangle sides with all the seats facing the stage area

COURTYARD THEATRE- it is a rectangular plan as well as the end stage but with additional galleries along the sides and back of the seating area. This format gives a deeper sense of enclosure.

HORSESHOE SHAPE- This layout gives the same sense of enclosure as the courtyard but the side galleries are rounded. The side galleries in this format have a better viewing angle to the

stage than the side galleries of the courtyard format

FAN SHAPE- The fan shape could have range of angles between 90 and 180. This format has some characteristics of the end stage. As the angle increase, the stage extends into the audience and it takes on some of the characteristics of the theatre in the round seating area as

in the case of horseshoe.

End stage Courtyard theatre

Horse-shoe shaped

Fan shaped


THEATRE IN THE ARENA: This format could be applied on circular plan or rectangular one. This arrangement suits a particular style of performance.

Design of Auditorium Seat

The area per seat varies between 0.38m2 and 1.05m2

Row to-Row Spacing Different types of Support Systems

Row format

Seats could be arranged conventionally in stepped rows or they could be offset or staggered by a distance equal to half the seat spacing.

Spectator clocks between the heads of spectators in the next row and over the head of spectators in the rows after.

Theatre in the arena


Seating format

Two main types of seating arrangements are known, the traditional type and the continental

type. The term continental seating is generally used to describe seating where each row extends virtually the fully width of the auditorium without any intercepting gangways, i.e. rows in

which there are more than twenty-two seats.

Sightlines

Horizontal:

vertical:

Proportions of auditorium

Good view without head movement, but slight eye movement of about 300

Good view with slight head movement and slight eye movement approximately 600 Maximum perception angle without head movement is about 1100 i.e., in this field

everything which takes place between the corners of the eyes is perceived.

Control room A projection room is not required for 8mm film but is required for 16mm, 35mm and 70 mm

film. The controller:

Controls the film timing, focusing and direction. Regulates the volume and tone of sound reproduction.

Adjusts the masking Plays music from the records or tapes during the intervals

Controls house lights and screen curtains Repairs, replaces and rewinds the films


Takes charge of all equipment.

The minimum sizes of control room Minimum equipment- 3.9*4m

With effects lantern and spotlight- 3.9* 7.5m

Acoustics Quality acoustical characteristics are important in Auditorium spaces so that

performances and presentations can be clearly heard and understood. Materials used:

vinyl wall covering and fabric covered acoustical wall panels for the interior wall finish in the auditorium;

vinyl wall covering for the stage area;

vinyl wall coverings for 1/3 of the front of the orchestra (audience) sidewalls and fabric covered acoustical panels for 2/3 of the back of the orchestra (audience) sidewalls;

fabric covered acoustical panels for rear walls; and a plaster and plywood combinationbecause of their reverberation

characteristicsfor the ceiling.

Lighting system Dramatic lighting systems used in auditorium include front lighting, foot lighting, spot

lights, follow spot lights, beam lights, and flood lights, and a projection room/booth with manual and programmable lighting controls, and space for the spot light operator space.

Lighting systems should be flexible to accommodate various performance venues (e.g., lectures, plays, musical performances, etc.) in the Auditorium.

Fire protection Preventing fires occurring

Non-combustibility of materials including finishes and seating Protection of electrical circuits

Care with lighting, and Separation of hazardous processes such as scene-painting.

Detecting them early when they do occur Smoke and heat detectors backstage, in auditorium and all voids Alarms connected to the

automatic detector system and central indicator panel, and possibly direct link to local fire station.

These should be visual (flashing light) in auditorium and not audible. Preventing them spreading

Enclosing walls and floors to be fire-resistant Self-closing firedoors to openings

Either a safety curtain to the stage area or special on-stage precautions. Facilitating extinguishing


Hose-reels

Portable extinguishers Automatic sprinkler systems backstage.

Design for physically challenged Regulations require a minimum of six places for wheelchair users, or 1/100th of the audience

capacity, whichever is the greater

Public facilities (as per NBC)


Design guidelines Stage visibility is a very sensitive aspect. Each one of the design factors has strong

impact on it.

The vertical viewing angles are affected by the rows format, the rows geometry and audience to stage relationship.

The horizontal viewing angles are affected by the stage format and the rows geometry. The viewing distance is affected by the basic plan format and the relationship between the

seating are and the stage. The plan form does not have a direct impact on the vertical viewing angle. It has effect on

other physical parameters like number of rows, distance of first row from focal point, etc. These parameters could affect the vertical viewing angles.

With the exception of the central stage, audience to stage relationship does not affect the horizontal viewing angles.

Straight rows give better horizontal viewing angles than the curved rows.

The rows' geometry (curved or straight) has strong impact on the horizontal viewing angles and has a very small impact on the vertical viewing angles.

The seating format (staggered or non-staggered) has strong impact on the vertical viewing angles and it has no effect on the horizontal viewing angles.

Audience to stage relationship affects stage visibility. Central stage has the worst average and standard deviation while the end stage gives the best average and

standard deviation. Curved rows give a better stage visibility than the straight.

Basic plan format has a great impact on the stage visibility and the viewing distance.


3.5 Restaurants and Kitchens: Restaurants serve as good entertainment space and is an important source of income

generation in these type of complexes. Layout of a restaurant:

Anthropometric dimensions for layout and furniture sizes:

The layout and relationship

between different areas is dependent on the type of facility.


Design of Kitchen:

The kitchen is designed as per the cuisine to be served in the restaurant area.

Area requirements

An alternative method is to calculate areas as follows (including food store, cold room, wash-up, chef's office):

main restaurant kitchen area- 1.4m2 x no. of covers banquet kitchen and service area-.2m2 x no. of covers

coffee shop kitchen separate independent -0.3m2 x no. of covers

coffee shop- 0.45m2 x no. of covers


Chapter-4

Site-Analysis


4.1 About Mumbai

Mumbai is the capital of the Indian state of Maharashtra. It is the most populous city in India, and the fourth most populous city in the world, with a total metropolitan area population of

approximately 20.5 million. Along with the neighbouring urban areas, including the cities of Navi Mumbai and Thane, it is one of the most populous urban regions in the world. Mumbai lies on

the west coast of India and has a deep natural harbour. As of 2009, Mumbai was named an Alpha world city. Mumbai is also the richest city in India, and has the highest GDP of any city

in South, West or Central Asia.

4.1.1 The climate of Mumbai

The climate in Mumbai is predominantly warm and humid. Although temperatures are not very high in summer, conditions are uncomfortable due to the high humidity. May is the hottest

month with the monthly average daily maximum temperature reaching as high as 32 C, coupled with a humidity of about 60% during daytime. At nights, wind or fan induced ventilation

can provide comfort. In March, only ventilation cooling is needed. The months of January, February, November and December are mostly comfortable.


Climatic chart for Mumbai

4.1.2 Inferences for design:

OBJECTIVES PHYSICAL MANIFESTATION

1)Resist heat gain

Decrease exposed surface area Orientation and shape of building

Increase thermal resistance Roof insulation and wall insulation.

Reflective surface of roof. Increase buffer spaces Balconies and verandahs

Increase shading Walls, glass surfaces protected by overhangs, fins and trees

Increase surface reflectivity Pale colour, glazed china mosaic tiles, etc.

2)Promote heat loss Ventilation of appliances Provide windows/ exhausts

Increase air exchange rate (Ventilation throughout the day)

Ventilated roof construction. Courtyards, wind towers and arrangement of openings

Decrease humidity levels Dehumidifiers/ desiccant cooling


4.2 The Site: location

Location:

The site is located on Pedder road, South Mumbai in premises of Film division office premises.


4.3 Apparoach and Surroundings

A view of the Peddar road

The main apparoach to the site is from the Peddar road.

Surroundings:

The Peddar road is a major arterial road of the city which has many landmarks.

The site is surrounded by commercial and residential areas.

Jaslok hospital, on Peddar Road

View of Antilla from the gate of the site


4.4 On Site

The site has four major constructed buildings

The Gulshan Mahal an old movie set

Office buildings- there are two office buildings on the site for Film Division of India

Library building- the library building is in a dilapidated condition and not usually used

Gulshan Mahal

Film division office

Film division office

Library

Site for museum


4.4.1 Gulshan Mahal

The Gulshan Mahal is a construction of over a century old, renovated with perfection. It is

proving to be a super hit among the mumbai entertainment industry. Being lent out for shooting, this oldest and bigger vintage building attracting movie makers like a magnet.

Restoration work going on in Gulshan Mahal. This will serve as a part of museum.


4.4.2 The office buildings and the library

The library

The office buildings:

The site has two 10 storey office buildings.

The library building in the premises.

It is more of a temporary structure having no heritage value and is in a dilapidated condition

The construction site


4.5 Site Analysis

Strength:

The site is located on a major artery of the road hereby attracting many visitors.

The presence of an old shooting set (Gulshan Mahal) on site will make it more interesting.

Weaknesses:

The presence of the existing buildings increases the constraints for design .

Location of residential sector around deceases the opportunity of amphitheatre design as it may cause noise pollution around.

Threats:

This type of building on the busy Peddar road may increase the traffic problems around.


Chapter-5

Programme formulation and area analysis


5.1 Programme formulation

After studying the standards and analysis from the case studies done, following areas have

been identified, and formulated as spatial requirement for the project. The areas in the Bollywood museum shall be divided under the following subheads

Entrance lobby:

Reception desk

Ticket counter and checking area

Security check

Public amenities (Toilets)

Museum exhibits

Permanent display

Temporary display

Storage areas

Curators area

Maintainence workshop

Types of galleries: Costumes/ props used by the actors/actresses in the movies

Equipments used in production

Gallery of photographs

Old cinema tickets and old movie posters

Screening areas exhibiting clips from movies A chronological sequence exhibiting different eras of Bollywood


Open air theatre

For performances, functions and gatherings.

A drive in theatre for screening of movies.

Administration

bollywood museum

Documents