Bollywood Museum 4o1j63

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

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

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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 . I also extend my sincere thanks to Ar. S.K. Midha for his throughout. Not to forget my friends. And above all.. my family whose whole hearted co-operation and hand was on my head.

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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.

15

Scope and project objectives

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 2.3.1. Museum of Moving Images, New York

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Architectural Design IX(Thesis Project)2011-2012

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Bollywood Museum

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

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4.4.1. Gulshan Mahal

83

4.4.2. Office Buildings and Library

84

4.5. Analysis

85

5. Programme Formulation and Area Analysis

Bibliography

5.1. Programme Formulation

87

5.2. Area Analysis

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Architectural Design IX(Thesis Project)2011-2012

Chapter -1

Synopsis

Bollywood Museum

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Bollywood Museum

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-

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Bollywood Museum

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)

d)

Films,

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

Tapes,

preferably in film format and with English subtitles. Disc records, Audio

CD,s/DVDs

tapes, CDs/DVDs of film songs and interviews with film personalities.

Manuscripts

Original hand written shooting scripts with Director’s notes and sketches,

& Paper

Personal diaries of film people, producer, Star, Director, Technicians,

print

Studios, Distributors, Exhibitors Agreements and Contracts.

material

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

Director’s

drawings,

News

paper

ments 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

Architectural Design IX(Thesis Project)2011-2012

Bollywood Museum

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 stay—as 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 own—lives 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

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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.

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Bollywood Museum

Jaslok Hospital

Film Divison Office premises

Pedder Road

Antilla

Site for Bollywood Museum

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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.

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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

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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

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Architectural Design IX(Thesis Project)2011-2012

1.6 Methodology

Bollywood Museum

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Bollywood Museum

Nature of study

Purpose of study

Source

Understanding the

to understand the elements that the

Data collection and

project, its scope and

project would comply of and accordingly

analysis

limitations

defining the project in of its aims and objectives, scope and limitations

Site study

Library study



To study the feasibility of site and

Internet study and

relation of the project to the

data available in

location

books



Study of site features



Climatic Data



Anthropometric data to know the







Standards and

spatial requirements of various

books

components

available in the

Standards and data pertaining to

library on film

museums, auditoriums, studios,

making and

etc.

museums

Study of film making.



Information available on net

Case studies



Case studies for



Study inter-relationship of spaces

with sketches

Sri Krishna

circulation and modes of display in

and

Museum,

galleries

photographs



Study architectural character

National Science



Study various materials used for

from journals

construction and services, etc.

and internet

Film city, Noida

aesthetic research Akshardham, Delhi 



Kurukshetra

Case studies for



Visual survey supplemented

Centre, Delhi 



comings of projects, buildings

functional Research 

Understand functions and short

Kingdom of Dreams,



Available data

Architectural Design IX(Thesis Project)2011-2012

Bollywood Museum

Gurgaon Literature study 

Contextual studies





To explore the constituents in the

Information available

deg of museums

on internet and library



Defining the context of project



Preparing a detailed area

From the combined

statement

data collected from

Framing requirements and

various studies

Museums in general



Design parameters

Film making Framing of design requirements, guidelines and evolution of design



concept and final design

formulating the design concept

proposal

considering the above studies

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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

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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

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Architectural Design IX(Thesis Project)2011-2012

2.2 Live Case Studies 

Akshardham, Delhi



Kingdom of Dreams, Gurgaon



National Science Museum, Delhi

Bollywood Museum

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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 India’s ancient architecture, traditions and timeless spiritual messages. The Akshardham experience is an enlightening journey through India’s 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

Food court and Souvenier shop

Garden

Main temple

Exhibition area

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Architectural Design IX(Thesis Project)2011-2012

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.

To line up

Musical fountain

Sahajanand Darshan (Hall of Values)

Food court

Neelkanth Darshan Sanskruti Vihar

(cinema Hall)

(Boat Ride)

Hall of Values Also known as Sahajanand Pradarshan, the Hall of Values features lifelike 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.

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

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.

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

Entry/Exit The artificial river

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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

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Architectural Design IX(Thesis Project)2011-2012

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

Bollywood Museum

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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.

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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 India’s 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 t 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, India’s 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 India’s first 850 seat auditorium. Campus planning:

Showshaa theatre

Entry Parking Culture gully

Entry

Parking

Nautanki mahal

Black light theatre

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Architectural Design IX(Thesis Project)2011-2012

Nautanki Mahal India’s first dynamic state of the art 4D theatre designed and conceptualised to offer breathtaking & magical experiences. Number of seats: 848 Designed like a palace with a grand entrance. Architectural character: 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 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 India’s unique cultural diversity A vibrant space that offers a unique Indian experience 

14 State Pavilions



Themed Restaurants



Street Bars



Live Arts & Crafts Village

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Architectural Design IX(Thesis Project)2011-2012



The India Tea House & Library



Coffee Shop



Ethnic Jewelry Store



Indian Home Décor Store



Mystic Center

The interiors of the boulevard are completely theme based.

Bollywood Museum

Plan of the culture gully

Culture Gully, one of the core attractions of Kingdom of Dreams, is an elaborate boulevard of culture, arts & crafts and cuisine under India’s 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 India’s 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.

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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.

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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 deg 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.

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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.

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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 deg the circulation of the various exhibits inside. These circulations are defined by constructing partitions which also act as the backdrop of display units.

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

The istration 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.

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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.

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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 ts 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.

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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 today’s 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.

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2.3 Literature case studies 

Museum of Moving Images, New York



National Media Museum, England

Bollywood Museum

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

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 Museum’s 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

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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.

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As visitors move into the new lobby, across a polyester floor in a cool light blue, they 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 visitor’s progression through the lobby, the projection wall is canted at an 83-degree angle. Toward the far end of the lobby, a new café 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.

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

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 s, fitted together with open ts 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 unsured filmgoing experience. A stage accommodates the Museum’s ongoing series of discussions and other live events, while a miniorchestra pit provides space for musical accompaniment of silent films. The 264-seat theater is a luminous cocoon whose walls and ceiling are wrapped in blue felt.

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. Pas the staircase to the second floor, visitors will

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

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

Incorporated into the Education Center, but regularly used for public programs, is the new 68seat 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

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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.

To control light levels and define classroom areas in the education center— with its separate student entry—the architects installed a sinuous ceilingmounted track, along which runs a curtain designed by textile-artist Cindy Sirko

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 Museum’s 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 café, and a large temporary screen may be installed for open air movie showings.

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The new rear façade 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 s, which are mounted on the structure with open ts, so that every t is a rain grate. Light blue in color, the s 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 s also bring to mind the lines of wireframe computer drawings. Because the triangular s must fit together precisely to form the skin, the entire rear façade, which is approximately 200 feet long, is built to a tolerance of 3/16 of an inch.

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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.

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

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

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

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

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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.

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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.

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

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Pictureville cinema boasts the only permanent, regularly programmed Cinerama installation in Europe, a magnet for enthusiasts worldwide.

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The Museum organises three major film festivals every year: Bradford International Film Festival, Bradford Animation Festival and Fantastic Films Weekend.

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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 Café 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.

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

This floor houses the animation gallery

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 exhibition space dedicated to television.

The first and second floors houses the temporaru galleries

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

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.

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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.

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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.

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Chapter-3

Library Study

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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 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.

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Deg a Wonderful Experience When it’s 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 can’t 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 that’s 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 s and others may be necessary. WCs for disabled s 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.

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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 visitor’s experience, not detract from it 10. Layer Content: Present information in a hierarchical manner

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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, allembracing 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.

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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 deg: 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.

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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. istrative 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 visitor’s 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

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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 ed 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 through several galleries to arrive at a specific gallery. If one gallery is closed, the flow of circulation is disturbed.

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Division of exhibition spaces:

Design of galleries:

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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: s/screens Movies Models Unconventional models Display cases

s/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 er-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.

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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 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.

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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

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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

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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 istrative area of the building.

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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

End stage Courtyard theatre

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

Horse-shoe shaped Fan shaped

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.

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

Theatre in the arena

Design of Auditorium Seat

The area per seat varies between 0.38m2 and 1.05m2 Row –to-Row Spacing

Different types of 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.

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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

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Good view with slight head movement and slight eye movement approximately 600

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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.

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Regulates the volume and tone of sound reproduction.

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Adjusts the masking

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Plays music from the records or tapes during the intervals

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Controls house lights and screen curtains

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Repairs, replaces and rewinds the films

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•

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Takes charge of all equipment.

The minimum sizes of control room •

Minimum equipment- 3.9*4m

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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.

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Materials used:

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

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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 s for 2/3 of the back of the orchestra (audience) sidewalls; fabric covered acoustical s for rear walls;

•

and a plaster and plywood combination—because of their reverberation characteristics—for 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 , 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

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–Hose-reels –Portable extinguishers –Automatic sprinkler systems backstage.

Design for physically challenged

Regulations require a minimum of six places for wheelchair s, or 1/100th of the audience capacity, whichever is the greater

Public facilities (as per NBC)

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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.

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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.

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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

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Chapter-4

Site-Analysis

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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.

Architectural Design IX(Thesis Project)2011-2012

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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

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4.2 The Site: location Location: The site is located on Pedder road, South Mumbai in premises of Film division office premises.

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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. View of Antilla from the gate of the site

Jaslok hospital, on Peddar Road

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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

Film division office

Site for museum

Film division office

Library

Gulshan Mahal

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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.

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4.4.2 The office buildings and the library The library

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

The office buildings: The site has two 10 storey office buildings.

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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.

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Chapter-5

Programme formulation and area analysis

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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



Curator’s 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

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Open air theatre For performances, functions and gatherings. A drive in theatre for screening of movies. istration 

Reception



Waiting area



Staff toilet



Director’s office with a toilet



Registrar’s office with a toilet



s



Conference room



Cashier



Maintainence incharge



Pantry

Restaurant 

Seating area



Kitchen



Store



Toilets



Staff changing and toilets

Service areas 

Electrical room



AC plant room

Bollywood Museum

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5.2 Area analysis: Since exact areas were not available during the case studies, the area analysis has been formulated taking into the considerations the standards studied and the museums visited. Area type

Area required(m2)

istration Reception

15

Waiting area

25

Director’s office

25

Registrar’s office

25

Conference room

50

Staff toilets

30

s

30

Maintainence-incharge

20

Pantry

10

Total

230

Museum Exhibition Entry lobby

200

Ticket sale

10X2

Toilets

25X4

Exhibition galleries(permanent)

25X10

Exhibition halls

600X4

Temporary display

200X4

Storage

50

Workshop

50

Total

4050

Screening halls Entrance foyer and ticketing

150

Seating

120+3x50

Toilets

50

Total

700

Restaurants

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Restaurant for 100

200

Cafeteria for 50

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Total

275

Bollywood Museum

Service areas Staff changing and toilets

50

Service rooms

100

Maintaince workshop

50

Total

200

Total

5455

Circulation

30%

Grand total

7100(APPROX.)

BUILT UP AREA =7100sq.mt. (Approx.) This may change with the design process. Landscape features: Open air theatre (for 300) Gardens, etc.

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Bibliography: The Architects’ Handbook Akshardham brochure Swaminarayan Akshardham- making and experience Time saver standards for building types- JosephDe Chiara& John Callender A+D Nov-Dec 1995 www.akshardham.com http://www.nationalmediamuseum.org.uk/ http://www.bigmoviezone.com/txshows/theaters/index.html?uniq=829 http://www.kingdomofdreams.in http://www.nscdelhi.org/gallery-listing.php http://www.archinomy.com/case-studies/1901/achyut-kanvinde http://archnet.org/library/sites/one-site.jsp?site_id=9738 http://www.domusweb.it/en/architecture/museum-of-the-moving-image-/ http://www.architectmagazine.com/cultural-projects/museum-of-the-moving-image.aspx http://www.archdaily.com/104505/museum-of-the-moving-image-leeser-architecture/

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