Final 1

National Museum of Mankind

INTRODUCTION PREAMBLE : The instinct to collect and preserve artifacts has increased with the evolution of the civilization and increasing curiosity. Cultural and educational imperatives demand three-dimensional documentation display and so the museums are increasing in number.

-

The role of

museums has become synonymous with that of the cultural centres, where not only are design techniques being used to provoke greater communication between viewer and exhibit, but space for lectures, audiovisuals and get together are essential. Previously the museum was only a collection of art objects, for display, by the kings and the aristocracy.

In Europe it was a

demonstration of power of the state anxious to educate and improve the cultural standards of its citizens. They were the great pallazi, modelled on the ideal of 'Napolean's Louvre'. It was a place where the inherited/looted was put on display to a bourgeois avid for culture and prestige.

They

flocked to use the artifacts, which were once the preserve of the aristrocracy. Even the museums built in the second half of the century echoed the palazzo form. In the modern times, when the concept of rigid formality has given place to a place of education through recreation, it has still remained as a place set apart from the normal civic life. But the trend is changing with museums like the VECHAAR UTENSILS MUSEUM" at Ahmedabad.

"THE CALICO MUSEUM OF TEXTILES' and "THE ART

AND CRAFTS MUSEUM" at Delhi which have all come up in contextual settings. The idea being to present the collection in accordance to its true and proper environment. Hence the "VECHAAR

MUSEUM",

where

traditional utensils are kept, are in a scaled down vernacular design and structure; the "ARTS AND CRAFTS" MUSEUM, which is in a truly ethnic School of Architecture,C.O.E.T.,Akola

1

National Museum of Mankind

setting

and

the

"BIRLA

INDUSTRIAL

AND

TECHNOLOGICAL

MUSEUM" is in vogue with the modern times. The architectural organisation of the museum is determined by the total method of communication to the visotor. The visitor becomes a participant, the exhibits as well as their backdrop (the museum environment) becomes an experience.

Instead of creating a conflict

between art and architecture - either by totally negating the museum environment to emphasize the exhibit to be entirely free of its background; we should strive for a working relationship between the two. DESIGN IMPERATIVE : Open surrounding spaces. Ample storage area Conservation workshops Space for adaptability and expansion Climatic and site conditions Zones of physical and visual refreshment along the movement of pedestrian.

School of Architecture,C.O.E.T.,Akola

2

National Museum of Mankind

PROBLEM National Museum of Mankind, Pune It will represents “The story of man highlighting the sociological and cultural evolution. The institution will tell the story of human kind with particular reference to India highlighting (a) Biological and (b) cultural evolution. A distinguishing feature of the complex will be an extensive indoor complex, to be set up in their natural setting. There are many types of museums in our country. The oldest and the best known are the art museum. There are also museums which deals with natural history, archaeology, science, industry, costumes, handicrafts etc. over the past two decades, there has developed all over the world on awareness of the need to present the story of human evolution and richness and variety of human culture.

The older museums have been

reorganized to highlight aspects of human evolution and variation, the new museums have been started to display the peoples culture and life styles, new experiments have been conducted to make such museums a living experience. These museums have become centres of education, research and training in advanced techniques of dissemination of knowledge by means of the indoor and outdoor complexes. The National Museum of Mankind is an institution will be dedicated to the presentation of human saga in the time and space. To this end the museum will seek to portray human evolution and human biological and cultural adaptation. The museum will attempt to present a unified and integrated vision of human life, it will bring the objectives alive by imaginatively recreating the environment in which they acquire meaning and functions.

School of Architecture,C.O.E.T.,Akola

3

National Museum of Mankind

OBJECTIVE : The National Museum of Mankind of Pune has, as its main objectives, to create an awareness amongst the people that they belong to a whole evolution process of inter-action between nature and various other ethnic factors that have inhabited India throughout this phase. It is to make the people aware of the immense bio-cultural variety that is present within them and which makes them distinct from all others and that the process of national integration, aims at creating an awareness of Natural and Cultural Identity. FUNCTIONS : 1.

To present an integrated story of the evolution of Man and Culture with special reference to India and the richness and diversity of the cultural patterns in the country. Tribal culture

Highlight will be especially on the

- their settlement patterns, social customs, arts and

crafts and technology. 2.

Salvaging and preservation of the fast vanishing aspects of our culture and the documentation and systematic research of the same.

3.

Will act as a major centre for research and training and enhance the museum movement in Indian to present and preserve the variety of cultural life.

School of Architecture,C.O.E.T.,Akola

4

National Museum of Mankind

CASE STUDY (DATAMATICS) CASE STUDIES : The following three case studies have been done : 1) Indira Gandhi Rashtriya Manav Sangrahalaya, Bhopal. 2) Bharat Bhawan (Bhopal) 3) Regional museum of Natural history, Bhopal.

Indira Gandhi Rashtriya Manav Snagrahalaya, Bhopal. Introduction The Indira Gandhi Rashtriya Manav Sangrahalaya (IGRMS) an autonomous organisation of the Ministry of Tourism and Culture, Government of India, is dedicated to the depiction of the story of humankind evolving in time and space. The headquarters is situated at Bhopal, the capital city of Madhya Pradesh, in the central province of India (between 77°25°,E longitudes, 23°17° N latitudes), about 200 acres of undulating terrain near the bank of a seven mile long upper lake by 36 painted rock shelters. While the Southern Regional Centre of the IGRMS situated in the historical Wellington house (near bus stand) on lrwin Road, Mysore, Karnataka. The objectives of IGRMS are: (a) To present an integrated story of the evolution of man and culture with special reference to India. (b) To highlight the richness and diversity of cultural pattern in India and its underlying unity. (c) To promote national integration. (d) To organise indoor and outdoor exhibitions on: i.

Human Evolution and Human Variation.

ii.

Culture and Society in pre-and proto-hisloric times.

iii.

Patterns of Culture.

School of Architecture,C.O.E.T.,Akola

5

National Museum of Mankind

(e) To take steps lo salvage and preserve the fast vanishing aspects of the Indian culture. (f)

To promote and conduct research in the related subjects and provide

funds and mate arrangements with other similar institutions for the purpose of furtherance of the objectives of the Samiti. (g) To act as a centre of research and training in museology of the appropriate kind and generate, in the course of time, a new museum movement in the different regions of India to present and preserve variety of cultural life. (h) To undertake all such activities as and when considered necessary for the achievement of the said objectives. Site Location : The site of IGRMS is spread over an area of 198 acres.

It is

situated just at the outskirts of Bhopal and is easily accessible from the city through the lake view drive on the northern side and Bhadbhada road on the southern side. The site id compromised of rocky hilly terrain with gradual slope merging into the Bhopal lake on the northern side. The highest point rises upto 605 mts. on the PREMPURA HILLOCK on the southern side a large area of 650 acres has been allocated for wild life park. There are rock shelters just west of the Regional College of Education on the west slope and some cave paintings have been recently discovered.

School of Architecture,C.O.E.T.,Akola

6

National Museum of Mankind

School of Architecture,C.O.E.T.,Akola

7

National Museum of Mankind

Rainfall :

School of Architecture,C.O.E.T.,Akola

8

National Museum of Mankind

Average rainfall is 150mm. Rainfall is mostly concentrated in 3 months, namely July, August & September. Wind Direction : Wind direction is westerly and north westerly. Average velocity of wind varies from 4 Km. to 9 Km. per hour. Variation in speed and direction of winds on the lower reaches of the site and is because of higher reaches of its east and south.

BREEZE IN WINTER FROM WESTERLY WIND

WIND IN WINTERS NORTH WESTERLY

Wind in summer from lake

Wind in summer and spring western winds

Vegetation : Basically a scrub land with wild growth. There are few trees on the western slope of PREMPURA HILLOCK. The ground is of hard soil mixed with jutting boulders. The top soil is only 6". Services :

School of Architecture,C.O.E.T.,Akola

9

National Museum of Mankind

A powerline cuts through the site.

Water is presently pumped

from a bore well which is essentially the sub-soil lake water within the site the water table is low. All the rain water collects in the nalla and runs into the lake. There is a windmill generating electricity near the entrance on the western side. Water Drainage : The nalla formed in the rainy season sheds its water in the upper lake on the northern side and in a pond on the southern side.

SECTION The museum building has

been

designed

with

large open halls, flowing into one another, uncluttered by columns, sliced

under

shell

permitting display

and

split

and

domes,

flexibility the

and

use

in of

natural light and atmosphere. The museums lectures and programmes

School of Architecture,C.O.E.T.,Akola

10

National Museum of Mankind

including its musical and dramatic performances on arts and craft workshops, presented by communities, traditional groups or guids are targeted to both specialised and general audience groups, whole lists are updated by advertisement or direct contacts. INDOOR MUSEUM HAVING FOLLOWING REQUIREMENTS 1) Administration with huge entrance lobby. 2) Library with other facility. 3) Auditorium 4) Research labs. 5) Technical labs with all facility. 1500 sqm. 6) Seminar Hall 150 sqm. 7) Temporary exhibition area. 300 sqm 8) Museum gallries - Following are the requirements of museum gallaries. a) Human evolution - 850 sqm. b) Evolution of material culture - 850 sq.m. c) Human variation - 600 sq.m. d) Habitation

- 600 sq.m.

e) Food

- 300 sq.m.

f) Traffic and transportation - 600 sq.m. g) Religion practice & cosmology - 400 sq.m. h) Music and dance - 400 sq.m. i) Art and crafts

School of Architecture,C.O.E.T.,Akola

- 400 sq.m.

11

National Museum of Mankind

j) Costume and dresses

- 400 sq.m.

k) Horticulture

- 200 sq.m.

MATERIAL USED 1) Kota stone

- 12,000 sq.m.

2) Powder coated glazing with 6 mm glass

- 1200 sq.m.

3) Sand stone cladding over domes

- 6000 sq.m.

4) Acoustic plaster under domes, vaults

- 6000 sq.m.

5) Aluminium sky light glazing

- 700 sq.m.

GUEST HOUSE CUM HOSTEL The final design is in the form of two blocks, inter-connected by an entrance lobby, which establishes the link between the two, the sitting dimensioning and form of these blocks in determined with following objectives in mind. 1) Comfort living areas 2) Easy and clarity in circulation 3) Agreeable condition for social interaction 4) Desired views from areas of major activities. 5) Built form to complete the topographical characteristic of the site. 6) A simple yet distinct architectural expression. 7) A low profiled built form with a landscaped terrain 8) Desired orientation from areas of major activities.

School of Architecture,C.O.E.T.,Akola

12

National Museum of Mankind

GROUND FLOOR PLAN



FRONT

ELEVATION OF GUEST HOUSE CUM HOSTEL

VIEW OF  BUILDING

INTRODUCTION This housing cluster is made for staff of various departments. It is divided in five categories. One is for Director's residence and another four School of Architecture,C.O.E.T.,Akola

13

National Museum of Mankind

is for staff. Plan showing type II and type 4 IV cluster.

Section ‘AA’ Type II :- This consist of one courtyard, one living cum dining area, two bed rooms, one kitchen and toilet and bath. No of unit are 12 this cluster is made for class three officers. Type IV :- This block also have one big courtyard, three bedrooms, one living cum dining area one kitchen and two toilets and one bathroom. One bedroom have one toilet this room can used as Guest room. The no. of unit is 4 this block is made for class II officers. HOUSING CLUSTER Type III :- Type III has no courtyard.

But in place of

courtyard it has terrace.

It

has two bedrooms one living cums dining, one kitchen, toilet and bath. This is used for II class officers. Following are the sizes of

Type II, III, IV

Bed room

3.6 M x 3.2 M

Type II

Living room

3400 mm x 3000 mm

52.5 Sq.m.

Kitchen room

2400 mm x 2200 mm

School of Architecture,C.O.E.T.,Akola

14

National Museum of Mankind

Bed room (2 Nos) 3600 mm x 3200 mm

Type III

Living room

6000 mm x 3400 mm

64.96 Sq.m.

Kitchen room

2400 mm x 2200 mm

Bed room (3 Nos) 3600 mm x 3200 mm Living

6000 mm x 3400 mm

Kitchen

3400 mm x 2200 mm

Attach toilet

2800 mm x 1800 mm

Type IV 93.3 Sq.m.

GROUND FLOOR PLAN

 SIDE VIEW OF HOUSING CLUSTER

School of Architecture,C.O.E.T.,Akola

15

National Museum of Mankind

BHARAT BHAWAN Looking Back :

School of Architecture,C.O.E.T.,Akola

16

National Museum of Mankind

Bhopal the city of lakes known for its natural splendor and cultural heritage is named after Raja BHOJ. The catchment area of the lake created at Bhojpur was so vast that it included in folklore as "Taal-Mein Taal, Bhopal Taal, Baaki Sab Talayya". In Brief : Location

:

Bhopal

Ownership

:

Department of culture, M.P.

Architect

:

Mr. Charles Correa

Site Area

:

1200 sq. mts.

Project cost

:

194.0 lakhs

Cost per sq.ft.

:

Rs. 130.00

Work began

:

1980

Work completed

:

1982

The Requirements : In 1974 a building was proposed to house a museum for art and culture with requirements as follows : Permanent museum  Art gallery  Library  Indoor & Outdoor auditoriums  Art workshop  Theatre workshop  Administrative areas.

School of Architecture,C.O.E.T.,Akola

17

National Museum of Mankind

In 1978 the concept change from a museum for art and culture to a place of MULTI ARTS COMPLEX providing interactive proximity to the verbal, visual and performing arts. The requirements change to as follows:  Galleries  Permanent exhibition  Temporary exhibition  Graphic/ceramic/sculpture workshop  Music library  Indoor auditorium  Open air theatre  Green Room  Restaurant  Administration The entrance is through an iron-gate 8 m wide and leads to a paved approach towards the COURT OF FOUNTAIN. Court of Fountain : Courts form a major special element in the building. The MUGHALS always planned their complexes around the courtyard.

From the court of

the fountain one has a visual choice due to the level difference. This court guides the visitor to TRIBAL FOLK ART GALLERY & ADMINISTRATION, ANTARANG, BHAIRANG, & VAGARTH towards west and south. This is the largest court in the 3 courts. Folk Art & Tribal Court; This court

is also square in plan. The walls are barren and the

visitor traffic is less as compared to the other courts. Informal seating is done on the steps like GHATS. SCULPTURE AND LOW LEVEL LANDSCAPE

are

the

dominating

School of Architecture,C.O.E.T.,Akola

features

of

this

court. 18

National Museum of Mankind

ADMINISTRATION of the complex is housed in this court. At nights when the INTERIORS get lighted the walls become dark and looks like a cave architecture. Court of Antarang : On one enters this court either from the circulation axis from the court of fountain.

The overbridge is the main gate for the entrance to

this court. The court leads to GRAPHIC AREA, PERMANENT GALLERY & ANTARANG.

The court performs as an extension and a out space,

passage, room for the visitor waiting to gain entry in the permanent museum. Roopankar - Tribal & Folk Art Gallery : The gallery exhibits a permanent museum of Tribal & Folk Arts. There are three levels in this museum and the entrance and exit are in the same level.

Continuous low

ceiling has a clear height of 2.4 m. and makes the gallery even smaller even though the area covered is a large one. THE

WAFFLE

SLAB ROOF with coffers makes

the

otherwise

heavy roof seem light. Large

cut

outs

in

PYRAMIDICAL SHAPES breaks the monotony and natural light is taken from them. Wooden FLEXIBLE

School of Architecture,C.O.E.T.,Akola

A view of the Tribal Art Gallery

19

National Museum of Mankind

PARTITIONS sub divide the space and gives the sense of direction. Cubical are placed in between areas to define the movement pattern. Large pieces of art are place under the skylight and look dwarf even though they are very huge. Urban Art Museum : The skylight over the shells and along the bays and

edges

“YELLOW

form POOL

the OF

LIGHT". To avoid the direct sunlight on paintings wooded vertical blinds are

used as controlling

devices. The entry is from a 6.0 meter wide gate.

The

artificial lighting is done by lamps placed in the waffle slab and is directed towards the exhibit.

The images of

buildings from old Bhopal are

condensed

in

the

galleries of urban art.

The

modern art section is sprea over three levels. The lowest level is plus 88.2 and houses the TRAVELLING exhibitions. While the upper level plus 90.2 houses the PERMANENT MUSEUM OF MODERN ART. Urban Art Gallery : The -traveling exhibition has a low ceiling. The total height of the free space is 2.4 meter with the height increasing at the middle level and subsequently.

This change in height was originally conceived so as to

School of Architecture,C.O.E.T.,Akola

20

National Museum of Mankind

accomodate large paintings and sculptures. The column free space which square in plan allows for maximum permutations and combinations and a flexible use of space. The main considerations considered are as follows:  Column free space  Change, in level framing small spaces using structural columns  Artificial lighting. Antarang : Antarang

with

U

SHAPED flooring and seating pattern with a capacity of 350 people is a delight in itself. The seating is on the steps created as a GHAT.

This is

one of the most casual and intimate

space

wearing

theatre in the entire country. Bahirang : The Bahirang is the multifunctional multi

and

dimensional

arena.

The steps seating made out of natural slope resembles the

TERRAI farming. In the hilly tracks of the Himalayas. The lake view to the west gives another dimension to the entire theatre. the

mosque

The minarets of in

the

backdrop

reminds of the traditional past of the city. upper

A control room on the

most

tier

controls

the

School of Architecture,C.O.E.T.,Akola

21

National Museum of Mankind

lighting and audio needs of the theatre. The total seating capacity is 650 people. The steps seating form the QUADRIANGLE of a full circle. The levels are done considering the site lines. Though the focal points is the stage mind is always diverted to the surrounding areas even the land scapping doesn’t prevented. Air Circulation : Air slits - 8640 mm long have been provided for ventilation of the galleries and exhibition theatres just below the roof slab. 16 large and 25 small air slits have been provided in the entire complex for better air circulation. During the summers galleries becomes very hot and stuffy. Due

to

non

compact

spread

horizontal,

horizontal

planning,

air

section

of

conditioning is a must and proves to be very expensive In large galleries

like the modern

art

gallery

Roopankar. The deep spaces lacks clear ventilation. Terrace gardens are always wet as water cannot seep through. The flower beds are filled with black cotton soil upto 50-60 cm. above the coba.

R.C.C. nitches of the flower bed rests over a coba finish.

Landscaping prevents the HEAT BUILT UP inside the complex by two ways and saves energy. (a) Provides an insulative layer for solar heat gains. (b) Enhances the ventilation through air slits by convection. ANALYSIS Plus Points : (a) Material Economy.

Extensive use of local material like BASODA

STONE & ALANGA for masonry and external wall. These have a low rejection factor of 33%.

School of Architecture,C.O.E.T.,Akola

22

National Museum of Mankind

(b) Space Economy. The positioning of columns on a square grid of 9.2 x 9.2 mtr. gives a .large column free space. (c)

Energy

Economy.

Horizontal spread receives maximum solar

gains of 80% of the roof is covered with lawn and saves extensive use of artificial energy. Negative Points : (a) Maintenance.

High cost of maintenance of the terrace garden

is a lacking factor.

40% of the annual repair bill goes for this

purpose 40% is spent on water proofing of roof, skylights, on walls, floors, stair and expansion joints. (b) Restricted

Future

Expansion.

With

covering

entire horizontal

space available if the- need arrive for expansion there is no space left for this purpose. Existing exhibition area cannot be expanded due to maximum horizontal coverage. CONCLUSION : In the previous chapters we have tried to understand what the institution called 'The Museum' is all about, in terms of what is and what it stands for.

This has been done in

various ways, depending on what

aspect is being examined, by examining what it is today and why and how it came to be the way it is. The development of museums as we can realise is closely, linked to our history and to the outlooks, attitudes and priorities of the society.

In its own ways the Museum has always been

trying to understand what is expected of it and has been accordingly redefining it aims to meet new challenges and fulfill its obligations. The modern museum is very different from its predecessors and

its function

has changed entirely. It shares very little with the original functions of the first public museums. Not only has the form of the museum changed

School of Architecture,C.O.E.T.,Akola

23

National Museum of Mankind

but also its content. The material exhibited has been intensively expanded and diversified. Within the society the modern museum fulfills an active and varied cultural role

educational departments, orientation galleries,

slide presentations, catalogues, posters and other museum publications. The modern museum is characterised used by more flexibility in its planning, in keeping with the dynamic nature of the modern society.

REGIONAL MUSEUM OF NATURAL HISTORY, BHOPAL INTRODUCTION The

Regional

Museum of Natural History, a Regional Centre of the National Museum of Natural History,

New

institution promote

Delhi

devoted

an to

non-formal

environmental education and conservation

awareness

among the public through School of Architecture,C.O.E.T.,Akola

24

National Museum of Mankind

various in-house and outtreach activities located in the Paryavaran parisar in the lake city of Bhopal was opened to the public in 1997. The museum provides a unique opportunity to explore the natural world, diversity of plants and animals, bio-diversity of Central India as well as the intricate network of nature around us. The exhibits in its galleries provide a judicious mix of specimens, models, translites, audiovisual aids, presentation of natural habitats in the form of dioramas sequenced on the theme. There are temporary exhibition hall, a Bioscience Computer Room and a 'Discovery Centre' where learning can be fun and enjoyable. OBJECTIVE The broad objectives of the museum are as follows : Develop exhibits : Depicting flora, fauna and geology of Central India. Depict ecological relationships among plants and animals including man and also to emphasise the importance of conservation through exhibits and educational activities. Provide special exhibits and activities to enrich school curriculum in biology and geology to create environmental awareness among masses. Organise appropriate educational programmes for children, adults and family groups, to create environmental awareness among masses. Organise specialized educational activities for the disabled. Publish

popular

educational

material

useful

for

environmental

education. Develop appropriate intra-institutional collaborations in the Region of Central India to promote environmental education. Conduct statewide programmes for environmental education through activities at district levels.

School of Architecture,C.O.E.T.,Akola

25

National Museum of Mankind

THE MUSEUM The

entry

area

has

a

Reception counter, where the visitor will be able to get information and orientation about the museum. A family of wire-sculptured models of Dinosaurs.

Triceratops,

welcomes

the visitors in the central courtyard of the museum. Fossil excavation site showing exposed fossil fragments have also been reproduced alongside of the models of dinosaurs giving a feel to the visitors of how fossils are found in nature. There are special facilities available with the museum to take care of the needs of disabled. All the resources of the museum will be equally accessible to them. EXHIBIT GALLERIES There are two exhibition galleries 1)Nature’s Network 2)Discovery Centre. Exhibits are the primary learning resource in any museum.

The

strength and potential of the regional museums for imparting non-formal environmental education basically emanates from its well planned and well executed exhibits. The museum gallery dealing with themes of 'Biodiversity, 'Flora, Fauna Geology of Central India', 'Rivers of Madhya Pradesh', 'Inter relationship in Nature', 'Conservation for development' and 'Man and the Environment.'

NATURE’S NETWORK The tour to Gallery begins with a Fascinating Panorama of 7 different Natural Habits- here shown some of. 1) The major ecosystems of the world. 2) Biodiversity of the central India.

School of Architecture,C.O.E.T.,Akola

26

National Museum of Mankind

3) The story of Earth. 4) Rivers of Madhya Pradesh. 5) Prakriti-Putra biogas. 6) Ecology 7) Crisis- out creation. FLORA, FAUNA AND GEOLOGY OF CENTRAL INDIA The different forest types, animals and the geology of the central region. Economic importance of plants, the variety and diveristy of plants and animals of Madhya Pradesh are also depicted. Wetland is the next theme emphasized mainly through lakes and three major river systems in the wall. Exhibits on important minerals, fossils, geomorphology and other rock forms of central region follow next.

MAN AND NATURE Nature existed for millions of years without man.

But man

cannot exist without nature.

He

depends on nature for all his needs - foods, clothing, shelter and sustenance. This is depicted through a dramatic exhibit - a large diorama showing Baiga tribe living in harmony with nature. FOOD CHAIN, FOOD WEB AND FOOD PYRAMID The food made by plants is used by them for their own growth and becomes the principle source of energy for all other forms School of Architecture,C.O.E.T.,Akola

27

National Museum of Mankind

of life. Thus, herbivore animals that feed on plants get their energy. This is again transferred to carnivores, which feed on herbivores. All this is depicted in the exhibits on food chain, several interconnected food chains forming into food web and tropic levels of energy transfer in the form of a food pyramid. SCAVENGERS & DECOMPOSERS When animals die they are fed upon by scavengers like eagles, vultures, hyenas etc.

The ultimate stage in the flow of energy in an

ecosystem is the decomposition of the plant and animal bodies by lower forms of life like fungi and bacteria which split the dead organic matter into their basic elements so as to return it to the nature for use by new life. BIOGEOCHEMICAL CYCLES Life activities are inter-related with a continuous cycling of raw materials such as water, carbon, oxygen, nitrogen and mineral salts. This relationship between the living and the non-living environment is depicted through a series of biogeochemical cycles. The water cycle explains the endless circulation of the earth's water consisting of evaporation from the oceans, lakes and rivers and its redistribution to different parts of the earth. The nitrogen cycle shows the pathways through which nitrogen, an essential ingredient of living matter, is utilized and returned to the atmosphere. Similarly mineral cycle is also presented in the exhibit. Today more species of animals and plant varieties are facing extinction because of man's thoughtless exploitation of nature for his own selfish ends. His own survival depends on the conservation of nature and natural resources. This is the message for you when you leave the gallery after seeing the Indian cheetah, which is no longer seen in India and many other which live a precarious existence and are on the urge of extinction. It is you who will decide what will survive tomorrow.

School of Architecture,C.O.E.T.,Akola

28

National Museum of Mankind

LIFE THROUGH AGES The biological diversity that exists today is the result of millions of years of evolution of life on earth. This fascinating story beginning with the origin of the earth and life through the ages is presented through a huge wall painting where the visitor unravels the mysteries of life over time and space. Painting culminates with the emergence of modern man.

DISCOVERY CENTRE One

of

the

attractions

of

the

museum is the Discovery Centre. This is an area where efforts are made

to

activate

the

various

senses of the visitors who are allowed to choose one or several of the activities provided. The centre consists of a discovery room and a bio-science computer room. DISCOVERY ROOM The Discovery Room provides opportunities for visitors, especially children to handle, examine and study specimens, participate in creative activities as painting, modelling, making animal masks, animal foot prints etc. They can discover information contained in several discovery boxes and test their knowledge about nature in the Quiz Board. BIOSCIENCE COMPUTER ROOM This facility appeals to High School and College students. There are facilities to use computer to study biology. The multimedia techniques provide the visitors an entirely new experience of learning about nature through interactive modules.

School of Architecture,C.O.E.T.,Akola

29

National Museum of Mankind

TEMPORARY EXHIBITION A hall near the central courtyard provides the visitors with exhibitions on various themes of contemporary interest. Since the exhibit themes are temporary in nature, these will be changed in regular intervals. MOBILE EXHIBITION A mobile exhibition van with a intension to create environmental awareness among the rural public with exhibitions on various themes will be changed in regular intervals and visits the surrounding villages of Bhopal. EDUCATIONAL ACTIVITIES A museum communicates to its visitors through exhibitions and educational activities. The educational activities are aimed at stimulating interest in natural history and creating an awareness among the public about the importance of nature and the conservation of natural resources. The proposed educational activities of the museum will include : Guided tours to the visitors in the galleries. Regular film shows and audio-visual presentations. Several programmes for school children. Special programmes for the disabled. Teacher Orientation Workshops. Creative activities like nature painting and animal modeling. Study visits to nature reserves and protected areas. Special programs for family groups. Popular and scientific publications. Special lecturers & exhibitions. Seminars, workshops & symposia.

School of Architecture,C.O.E.T.,Akola

30

National Museum of Mankind

CATEEN Plan

is

in

regular

square form. It is two strayed building on ground floor there is canteen made for visitors and staff also and on first floor there is guest house for V.I.P. people. Canteen is connected through a main building by a

ELEVATION OF CANTEEN BUILDING

covered passage. It has one huge

entrance

sitting area.

lobby,

one

One kitchen

along with store office with toilet

facility

General

is

ladies

provided. and

toilet are provided. good

natural

There

is

small

gents It has

ventilation. duct

Sitting area of canteen

for

disposing the rain water aluminium glazing is provided in windows. One common room is provided.

Kitchen is provided with toilet facility for

workers. Area is big so circulation is good. GUEST HOUSE Guest

house

building

is

made for all type of guests who visit the museum. In guest house building.

There are four rooms

with attached toilet. Two dormitory with attached toilet. One office for

School of Architecture,C.O.E.T.,Akola

31

National Museum of Mankind

In charge the size of room is 7500 x 4000 mm [Four room] size of Dormitory is

6770 x 5900 mm [Two room]

size of Office is

5150 x 4000 mm [One room]

Canteen is on ground floor 40 there is no difficulty for providing service to guests.

SITE SELECTION AND ANALYSIS Why Pune PUNE It is situated at an attitude of 570 m on the Sahyadri hills in Western Maharashtra , dies the historic city of Pune.

Popularly known as the

"Queen of Deccan". If is spread over an area of 138.76 Sq.Km and has population of 15.6 lakh. It is significant mile tone in history of India Pune is get omidst the traditions of Saint , the soldier and Scholar. If 196 km from Bombay. If has salubrious climate and surrounding hills.

School of Architecture,C.O.E.T.,Akola

32

National Museum of Mankind

The city is nicknamed variously such as pensioner's paradise, "the Oxford of East." petroit of India, the "cultural capital of Maharashtra". a) About Site Site is located in Khadki continement Pune district in Maharashtra. The total area of site...........sqm having Murla & Mutha river on the SouthEast and South-West side of site whole Poona City is located. B) Historical Background of Pune : From a tiny agricultural settlement called ‘Punnaka’ in the 8th century, the city has grown into a metropolis covering more than 700 sq. km. are a and supporting about 4 million people. The tiny settlement of the 8th century developed into a small town-Kasbe Pune, during the 11th century under the Moghals. Since then till 1818, the city changed hands from one dynasty to the other, especially between the Moghals of the Marathas. During the IClmid-17th century, the city became the temporary residence of Shivaji. The city rose to prominence when the Peshwas established the seat of Marathas empire here (1749 A.D.) During the Peshwa's rule, the City expanded considerably. The 1761 defeat at Panipat affected the fate of the Maratha Empire and consequently that of the city. The Maratha rule came to an end at Khadki near Pune, in 1871 when the British defeated them and the city and the environs came under the British rule. Under the British, Pune became the ‘Monsoon Capital’ of the then Bombay Presidency. Pune today, is very much a modern city, but still retains its quaint old values and traditions. It is one of the fastest growing industrial area. Pune is the cultural capital of Maharashtra. It boost a fine University and number of educational institutions. It is a Military Cantonment, the Head quarter of Southern Command of Indian Army.

School of Architecture,C.O.E.T.,Akola

33

National Museum of Mankind

C) Physical Settings And Climate Pune (180 31' N, 730 51' E) is a plateau city situated near the western margin of the Deccan plateau. It lies on the leeward side of the Sahyadri i.e. the Western Ghats and is hardly 50 km from the crest of the Ghat country. As the crow flies, it is 100 km east from the Konkan i.e the west coast. It is almost 160 kms south-east of Mumbai, by road. It is situated at a height of 560m above the mean sea level, near the confluence of Mula and Mutha rivers. Two more rivers Pavana and Indrayani transverse the north-western outskirts of the urban area. MulaMutha later empty into the Bhima river. In a sense, the city is located in the upper Bhima basin. The city is surrounded by hills on the east and the south. The Simhagad-Katraj-Dive ghat range is the southern boundary of the urban area. The highest point within the city is the Vetal hill (800 m) whereas the highest point of the urban area is the Simhagad fort (1400m). The climate is typical monsoonal, with three distinct seasonssummer, rains and winter, as elsewhere in India. The height above sea leveland the leeward location with reference to the Western ghats have made the city climate moderate and salubrious. The mean daily maximum and the mean minimum for the hottest month - May is 370 Celsius and 230 Celsius respectively. The evening sea breeze from west/northwest keeps the city summer nights at bearable levels. The same for the coldest month of December are 300 Celsius and 120 Celsius respectively. The relative humidity ranges from 36% in March to 81% in August. Three fourths of the annual rainfall of 70 cm occurs in just four months from June to September. SUMMERS :

Summers here begin from early March to July. Though

not as hot as Northern parts of India, the daytimes are very sunny with dry heat. Early mornings are pleasant and evenings after six, cool and breezy.

School of Architecture,C.O.E.T.,Akola

34

National Museum of Mankind

Bright summery clothes are an obvious suggestion with sunglasses for driving. The temperature ranges from 38 ° C to 20°C. Though, last year, summer hit a new high with 40+ a common temp. MONSOONS:

Being on the leeward side of the ghats, Pune has a

good three months of rains from July-August to October. Clear skies in the morning are not to be deceived by, as it does rain in the evenings. Temperatures range from 18-19 degrees to 30 degrees. WINTERS:

From November to January, Pune has it's winter season.

80C was the lowest recorded last year.

DESIGN CRITERIA From the case study and observation I have arrived at points to be considered while designing National Museum of Mankind many positive and negative aspect come to view. After the case studies this helps to make design better by deducting negative points. Design Consideration School of Architecture,C.O.E.T.,Akola

35

National Museum of Mankind

1. Planning was done at microlevel by determining the size of object or any type of huts which are gorning to display. 2. Planning based on one main consideration and that of one human being and his behaviour and psycology. 3. Orientation of the building in such a way that, to tackle sun movement and natural ventilation issues. 4. Maximum use of natural light in areas, like main lobby, cafeteria, court yards and all museum building. 5. Use of natural material wherever possible like in pathways, courtyards etc. 6. Structural design on a grid which is based on interior planning grid in order to avoid wastage of space. Salient Features 1. Creation of courtyards landscape on site to encourage users to enjoy natural element like light, greenery, water etc. 2. Creation of cafe intersection of landscape and museum bldg to give healthy break between work time to relax and enjoy the surrounding for visitors and staff also. 3. Creating landscaped courts terraces, pathways with natural stone. Use of water as an important element, to give visual environment relief planning recommended trees for foliage around the buildings.

Design concepts Design based on two main parts 1) Indoor exhibition area. 2) Outdoor exhibition area. In indoor exhibition area following galleries are include 1) Evolution of man with time.

School of Architecture,C.O.E.T.,Akola

36

National Museum of Mankind

2) Temporary exhibition gallery. 3) Administrative building with exhibition gallery. 1) Human Evolution Gallery. This gallery shows the evolution of life how man develops from his prehistoric time to modern age and their culture. The earth perhaps is the only planet of our solar system to sustain life. Life appeared in water about 30 billion years ago in the form of single cell creatures. From the Microorganisms to primitive plants and animals without back bones (inverte brates) and higher plants (Gymnoperms) to back boned (vertebrate) animals life went through a herachial chain of events (Evolution). The vertebrates, wills some of their invertebrate and plant cousins, began their successful adaptation to life on land about 290 million years ago first came the amphibians, then the great army of pre-historie reptiles followed by birds and finally mammals. It is curious to know what man was like as he existed before the dawn of human history. It is also interesting to learn as to how modern man Homo Sapiens evolves during his evolutionary history. The question of human evolution is of special interest to us because the history of human evolution includes our own history in a broad sense. From the Microorganisms to primitive plants and animals without backbones (invertebrates) and higher plants (Gymnoperms) to back boneal (Vertebrate) animals life went through a hierachial chain of events (Evolution). The vertebrates with some of their invertebrate and plant cousins, began their successful adaptation to life on land about 290 million years ago first came the Amphibians

School of Architecture,C.O.E.T.,Akola

37

National Museum of Mankind

Reptiles Birds Mammals 1. Dryopithecus

--- lived on threshold of forests and open areas and

livelihood from both. 2. Ramapithecus - truely man Existent in Asia and like Africa. 3. Anstralapithecus --- They lived in pleistocene about two million years ago. If is very close to modern man. 4. HOMO ERECTUS :- This man lived in Mid-pleistocene period about million years ago. It is believed that he could speak and some sort of language. No Associated tools were found. He used fire and implements of stones. 5. Homo – Neanderthalensis (1856) :They used to live in caves. He was skilled tool maker and hunter. He used fire, stone tools and weapons. He burrical the dead with formal rights. 6. Cro-Magnon :- If was intelligent, progressive and was expert in making tools and weapons. He was also an hunter and also an artist. He used fine for cooking and they painted pictures of animals in their caves. 7. Homo Sapiens 8. Modern man : Mirror which is very much modern man i.e. we people. The changes which have taken place during the evolution of modern man were mainly mental rather, than physical.

School of Architecture,C.O.E.T.,Akola

Intelligence

38

National Museum of Mankind

greedly developed by which modern man get adapted to environment and dominated on earth. CULTURAL EVOLUTION OF MAN The early man lived as hunter gatherers, as wandering, unsettled way of life with people restricted to smaller groups. Primitive men were living in caves indicating that they were meat eaters and cannibals. The first step is Use of tools, Stones, bones of animals, long flint blades of stones serving as knives, scappers, borers, spheanpoints and arrow heads. Man came out from caves on open ground and started living in huts invented fire started using it for cooking, warmth for driving a way the wild animals. Planting more and more plant development of agriculture. Origin of speech for efficient communication. Starting own permanent settlements indicating civilization. Modern man It is a separate building for showing the development of man with time. Building is having good landscaped area with one courtyard and also having terrace garden, helps to cool the internal galleries in summer season. Administration with exhibition Gallery. There is no separate building for administration it provided with the museum.

In administration building publication house, staff, library are

included. School of Architecture,C.O.E.T.,Akola

39

National Museum of Mankind

Temporary Exhibition Area 1) It is square in plan with pyramidal roof for good asthetics. 2) Open brick masonry is used for wall. 3) On RCC pyramidal roof there is “Kawelu” which gives the traditional look to the building. 4) Building having semi covered area for making painting, craft for school or college students. 5) Building

having

open

court

yards

which

creates

pleasant

environment. ABOUT THE ‘HUT’ ( MUD BLOCK ) 1) It consists of an earthen plinth and circular conical roof. These are three mud units known as exhibition space for art of Maharashtra state. 2) The wall made up of ‘Bamboo’ which acts like column and flexible ‘Kamchi’, which acts as a binding material for column. Canteen is located inside in such a way that it easily accessible to all units of the site. Like open exhibition area, administrative area and all units of the site. OUTDOOR EXHIBITION AREA Following are the four parts of the exhibition area. Outdoor Museum The outdoor museum is conceived in form of large part within which are accomodate a variety of exhibition areas. Each area depending on its qualitative requirements is proposed to an appropriate landscape, enviornment. The outdoor museum is proposed to be laid on the North - West side of the site. The major componants comprising. School of Architecture,C.O.E.T.,Akola

40

National Museum of Mankind

About Outdoor Exhibitions area are :1. Tribal Habital 2. Coastal village 3. Himalayan Village 4. Desert village 5. Mythological trail 1. Tribal Habitat Tribal habitat (ethno-architecture) is a unique outdoor exhibition bringing out the interactive association of given environmental products in the lifeways of different tribal communities. Traditional dwellings with indoor and outdoor infrastructure are common to Indian communities especially the tribals.

The exhibition

consists of selective ethno-architectural patterns of tribal communities. The adaptive lifeways of the tribals highlight the positive relationship between man and nature.

Display items within this component like

Ghotul, Morung, Dashahra Rath etc. form an important aspect of this exhibitions. A special feature of the exhibition is the preservation of traditional dwellings with ethnographic objects which are developed, by indigenous technology, by using locally available materials, and not losing light of the aesthetic aspects.

The indoor introuctory gallery at the base of the

exhibition provides first hand information about the different tribal cultures. 2. Coastal Village Coastal village, represents the different dwellings from various parts of India like fisherman's huts of Kerala and Orissa, huts from Andhra Pradesh, Tamilnadu and Gujarat.

These are the typical traditional

dwellings representing the lifestyles and cultural identities of Indian coastal communities.

School of Architecture,C.O.E.T.,Akola

41

National Museum of Mankind

Some eco-friendly structures are exhibited which reflect the economic conditions of the inhabitants, like the typical wooden house (ARAPURA) from Kerala, two wooden racing boats (SNAKE BOAT) acquired by the museum give an insight into the social and cultural aspects of the inhabitants of Kerala, and are the main attraction for the visitors. 3. Himalayan Village One of the interesting and unique items in the outdoor section in the India Gandhi Rashtriya Manav Sangrahalaya premises is the typical stone building of Kothi. The dwelling complex of Himachal House. Shimla in Himachal Pradesh.

The imposing entrance gate known as "Parol or

Paraud" (constructed to protect and lend beauty to the courtyard) is a reminder of the culture and ecology of Talsil. The exhibit an excellent example of the indigenous knowledge system about the traditional architecture focusing on the level human adaptation of high altitude Himalayan ranges, as it is linked with weather conditions, availability of

material engraved monolith (in original form)

throws light on ancient practice of mortuary rites, and gives a sense of originality to the whole structure. 4. Desert Village This is represented by the typical dwelling type form Jaisalmer in Rajasthan. A dwelling complex of Rajputs in this exhibition highlights the process and degree of their adaptation with environment. Various

ethnographic

objects

displayed

inside

the

dwellings

represent their lifeways and subsistence strategies. 5. Mythological Trail This is new component of the museum exhibition which depicts compositions as reflected in myths and legends in different media (terra-

School of Architecture,C.O.E.T.,Akola

42

National Museum of Mankind

cotta, wood, stone, iron etc.) The exhibition helps to visualise the oral traditions related to the tribal origin and its cognition. Crafts of various artisan groups, incarnations of folk deities and traditional paintings form the main attraction of the exhibition.

Tribe - Warli Population - About 5 lakhs Area - Thane district in Maharashtra, valsad district in Gujrat and Dadar and Nagar Haveli. The Warli women execute fine details of rituals, social ceremonies and daily life in pictographs painted on inside and outside walls the place is determined by tradition. "Many of the Warli paintings appear at the time of marriages and at the celebration of the Gauri festival after the rains when the Earth awakens to a new cycle of fertility" (popul Joyakar). The School of Architecture,C.O.E.T.,Akola

43

National Museum of Mankind

paintings camping symbolic representation of foot marks called pah tya, are executed by married women on the 'new eating' ritual. The

Warli

occupying

a

large

forested

territory

are

settled

agriculturists. They prefer to have fields around the houses. In villages population of a clan or a lineage is concentrated in a small hamlet of 15 to 20 houses distanced by attached fields each hamlet separated from other by miles of failow land and forest.

T ribe - Toda Population

- About 12 hundred

Area

- Nilgiri district, Tamilnadu. Arsh the half barrel shaped dwelling ; of the todas are built on 'the

top and the slopes of hills, made with the bamboo, needs cane and grass. In the front and back of house are walls made of wooden planks. Inside, at one side, is a raised platform for sleeping and opposite to it another low height platform for seating purpose.

The rear corner Earmarked as

kitchen has a health and cooking parapherenalid. School of Architecture,C.O.E.T.,Akola

44

National Museum of Mankind

No less striking than the people themselves is the appearance of traditional toda hemlet, popularly known as 'Munds' Toda hemlets or 'Mod' are scattered widely across the temperate grassland of the high Nilgiris. A typical toda settlement comprises of one to five dwelling huts, one to three dairy buildings, at least one buffalo - pen and one or more calf-sheds.

Tribe - Bodo Kachari Population - About 6 lakhs Area - Goalpada, Kamrup , Kokrajhar, And Darang district, Assam. The dwelling complex of a bodo - kachari family surrounded by a high fence consist of four thatched structure around a central courtyard. The hut structure are prepared mostly of bamboo and grass with partial application of mud and wood. The main dwelling - house is built with the purpose of a steeping facility and used in day time for household works. For cooking, a separate hut is built. There is a grannary and hut for a guests, used by a family members also and shed for loom worked at by School of Architecture,C.O.E.T.,Akola

45

National Museum of Mankind

both the sexes, is attached to the side wall of kitchen. Meals are served in the courtyard where towards its northern corner is a place of worship in housed by the supreme deity in size plant within a circular enclosure of woven bamboo-splits. Bodo Kacharis engage themselves in religious activities, coincided by events of agricultural cycle throught the year , some of their dieties known as madai are benevolent , other matevolent, all requiring service and offerings on fixed occasions.

Tribe - Kota Population - 15 hundred Area

- Nilgiri district, Tamilnadu. Kota is one of the three major tribal groups of Nilgiris. According to

a Kota legend, the Kota, the Toda and the Kurumba were real brothers and that they were the earliest inhabitants of the Nilgiri hills. These three, as the legend goes, were created from the three drops of the Kambatrayan god's perspiration.

Their separation took place when the

God once asked them what they wanted; one of them said, "Give me talents of art', and he became a kotal who later proved to be an able School of Architecture,C.O.E.T.,Akola

46

National Museum of Mankind

blacksmith, murican, hunter, potter and rope umbrella maker; another said 'Give me buffaloes who can be my friend, Relative and Saviour and he became a Toda dory man; Give the power of destroy those whom I do not like said their third brother who became a Kurumba, possessing powers of sorcery and black magic which the other two dreaded". Although their Economic activities include black smithy pottery and basketry which are traditional, and rearing of cattle and salaried employment which are recent phenomenon, their economy revolves chiefly around agriculture and every Kota house hold has a piece of land on which they grow food grains like Ragi and wheat and potato for self consumption as well as for the sale if. Production is in surplus.

Tribe Gadaba Population - About 56 thousand Area

- Koraput district, Orrisa The Gadaba are agriculturists, their villages consist of two or one

hemlets and pastures surrounded by forest towards the outer periphery. Sadar villages meeting place and the Hundi. The village are the two distinct places of each village.

Three different house types are found

among the Gadbas. The most traditional house type, now rare, characterised by a circular plan with conical roof is called “Chhendidien”. School of Architecture,C.O.E.T.,Akola

The houses of 47

National Museum of Mankind

rectangular plan with four slopped house called “Mordien”. Such houses consist of two to three adjacent room. The third type is a two-slopped house called “Chhendidien”. with two rooms, with or without separate cowshed. The third type is most frequent. In some villages, all the three types are present together. The Gadaba female clothes popularly known as Kerang are manufactured by themselves from cotton-thread and vegetable fibre. The fibre is carefully dried and dyed blue or reddish brown and then woven in to a cloth on a kerang loom. Some Gadaba women wear immense earrings made of long pieces of brass wire.

Tribe Saora Population

-

5 lakhs

Area

-

Ganjam dist. Orissa and Srikakulam district, Andhra

Pradesh. The saora houses are rectangular in shape and built with high plinth and verandah. The stone and mud wall houses with straw-thatched roof are proportionately low. About three fourth of the Inside room is covered with a high wooden platform where grainbins and other possessions are stored. The hearth is located under this platform. from the roof hang a number of objects, baskets, Gourels.

School of Architecture,C.O.E.T.,Akola

Baskets containing the special

48

National Museum of Mankind

clothes of the dead or tutelaries are hanged against the walls which are decorated with icons in honour of the Gods and ancestors. A hilly, forested tract in Orissa and Andhra Pradesh is Abode of Saora tribe. The Saora continue to practice shifting and slash-and-burn cultivation on terraces more for the reasons of coping up with their surrounding environment than any backwardness. The crops taken are a variety of millets and paddy, Each requiring a particular condition for desired growth, so the fields are found situated on hill tops, slopes and in valleys.

Tribe Agaria Pop - About 20 thousand Area - Balaghat, Bilaspur, Mandala district, Madhya Pradesh Only a few agarias still follow their traditional occupation of ironsmelting. Others make a few agricultural implements only. They get iron are from the Maikal range selecting stories of a dark reddish colour only. They mix are with charcoal in equal quantities in the furnace, the blast being produced by a pair of foot-bellows and conveyed to the furnace through bamboo tubes. It is kept up steadily for hrs, soon as the flow of slag ceases, it is supposed that the process is over. The bellows are then School of Architecture,C.O.E.T.,Akola

49

National Museum of Mankind

removed breaking away the clay joints and deposited lump of molten iron is picked, beaten for some time and when ready shaped in to various kinds of objects. Agaria's family God a Dulha Deo.

In the forest tracts they also

worship Bura Deo, the chief God of the Gonds. The deity who presides over their profession is Loha-sur the iron demon, who is supposed to live in the smelting - kilns. They worship their smelting implements on the day of Dashahra and during phagun.

Tribe Maria Bastar, Chatisgarh. Two Exhibit complexes related to Maria belief-system are presented in the Exhibition. (a) Maoli Mata cho Gudi is shrine of Maoli Mata replicated in same size and form as one situated in Matnar village near Chitrakot water fall in Bastar. It consist of two huts. The outer chip stone roofed hut is erected on stone slabs as uprights supporting an intricate wooden frame-work of roof. It is decorated with carved figure of the devotees themselves. It enhouses “Bhairam” god is a vertical post.

School of Architecture,C.O.E.T.,Akola

The inner mud-wall hut

50

National Museum of Mankind

enhouses Maoli; the presiding deity, a form of danteswari the chief goddess of Earstwhile Bastar raj.

The village deity is seated in a

triangular stone housing in open. Another thached hut outside the fence is housed by the clangod. (b) The abode of spirits, situated about 300 steps away from shrine towards the south, features menhiras erected at burial place for the spirits of the dead to live in peace and memorial pillers erected by Marias in the honour of important departed personalities of the village. Maria posses an elaborate system of religious belief, shaped through ages by their interaction with natural environment (hills, forests and its animals, rivers, diseases) for survival and above all, by the needs of an agricultural procedure. They have numerous gods and goddesses related with each other by kinship. In an annual propitiation ceremony of a particular deity held with definite agricultural and social purposes in view. Ceremonies are conducted under the leadership of a hereditary priest who knows Ritual procedures and demands of deity better than all.

Tribe Tharu Population - 35 thousand Area - Nainital district, Uttar Pradesh The house are rectangular in shape , the length being almost three times the width. The two slope roof is either thatched with local grass or tiled. The entrances are always from the front, sometimes two or three. In front is a continuous streteh of courtyards. Towards the entrance, a small rectangular raised body of clay is made on the ground which is the seat of family deities. Towards the opposite side in the same courtyard is a cattle-shed. Situated at sight angle to the main house is a small kitchen School of Architecture,C.O.E.T.,Akola

51

National Museum of Mankind

hut. It contains a variety of hearths, cooking a water vessels and baskets for grains and vegetables. In the main house, large and small grainbins of clay having relief motifs are put along the walls.

Cots, stools and mats are used for

sleeping and seating. A large number of fish-nets, traps and agriculture tools are kept both inside the house and on the roof. The Tharus are primarily a paddy growing agriculturist population, who periodically engage in activities of traditional fishing too.

Their

territory is known as Tharvat. The settlement in villages is invariably very compact. They build houses so close to each other that some times it is difficult to isolate them from one another visually.

Tribe Rathva Surrounded by a wattle fence the Rathva house face towards the East.

The house is rectangular structure.

The roof is made of split -

bamboo covered with baked clay tiles or dried palm leaves. The walls are made of split bamboo plastered with a mixture of cow dung, straw and mud. A separate structure almost as large as the main house is built parallel to the house wish no partition walls for cattle and goats. The main wall of Varandah carries a sacred painting of pithora and the side walls minor dieties. Well known for pithora ritual paintings in bright colours against the white of houe walls matched only by colourful School of Architecture,C.O.E.T.,Akola

52

National Museum of Mankind

altire of the painters themselves, the rathvas are an agriculturist tribe throught to be a sub-grop of Bhil. The landscape of Rathva habitat is often composed of 20-25 houses belonging to one or two lineages, scattered on hill tops and their gradual slopes spread over four to five kilometers. Houses are set apart from each other by Jawar and maize fields with scattered clusters of palm trees. The life of Rathvas revolve around agriculture and rights connected with it. They propitiate bobu 'ind' in anticipation of good agricultural yield and general prosperity of families.

"Akhadodev" is a sanctuary in the

forest where the tribals perform naval or the offering of new horeses for the good of village.

Kucheneme 1.Richman house Tribe - Chakhesang Maga Dist.- Phek, Nagaland 2. Morung ( Youth Dormitory ) Tribe - Konyak Naga Area - Longmeang , Mon district, Nagaland 3. Tribe - Bhil Pop - About 25 lakhs Area - Thabua (M.P.)

School of Architecture,C.O.E.T.,Akola

53

National Museum of Mankind

4. Ghotul ( Youth dormitory ) Pop - About 2 lakh 50 thousand Area - Bastar district, Chhattisgarh 5. Tribe - Kamar Pop - About 18 thousand Area - Raipur, Chhattisgarh. 6. Tribe - Lunghar Pop. - About 85 thousand Area - Ukhrul district, Manipur. 7. Tribe - Reang Village – Bagafa, Dist. South Tripura 8. Tribe - Mishing Area - Assam 9. Tribe - Birhor Area - Hazari Bag, Ranchi District, Bihar Pop - 4377 (1981) 10. Tribe - Karbi Area - Karbi Anglong, Assam. 11. Rabari Dwelling Complex Dist. Kutch.

Tribe - Chowdhari. Pop - About 3 lakhs Area - Surat and Bharoach District Gujrat. The principle deity of Chowdheri Mongra Deo, the crocodile god. The wooden figures of crocodile are carved following an elaborate site and installed at a fixed place annually and propitiated there by the entire village on Shivratri. Towards the outer periphery of fields, clay-domes called ghumat are placed in rows along with terracotal offering.

School of Architecture,C.O.E.T.,Akola

Each row or a cluster

54

National Museum of Mankind

belonging to a particular lineage. They are supposed to enhouse the spirit of the dead. The traditional four slopped roof of Chowdhari houses has been almost completely replaced by a two slopped roof type.

Built on a

rectangular ground plan the houses have about eight feet high mud plastered wattle-wall on all four sides.

The main entrance is provided

through a portely open verandah. The inside space is divided into several functional areas by placing square and rectangular clay grain - bins for separation. The area of cattle inside the house is provided with a door of bamboo splits. The Chowdhari, an agricultural tribal population builds houses in linear - clusters along one or both sides of village - street. Multi ethnic villages, their population is invariably concentrated in a hemlet.

Tribe - Kamar Pop = 17517 (18) Raipur District

Tribe - Santhal Area - Dumka, bust Tharkhad

School of Architecture,C.O.E.T.,Akola

55

National Museum of Mankind

Mythological Trail Following exhibits are included in exhibition 1. Creation mythology of Saora Tribe. 2. Mythology of rivers Narmada & Jrhala 3. The myth of creatia, among the santhal tribe 4. Bil myth of the restoration of laughter and festivity. 5. Lan Kapuri Hanuman 6. Kamdhenu 7. The details of Bastar 8. Significance of dokra bev & Rav dev in farming 9. The myth of buma dev. 10.The myth of the kingdom of Jalmata or Kaina people. 11. The shrine and Ritud of Jimidarin Mata 12.The myth and the Ritual of Kunwav da 13.The myth of Godders danteshwaria coming to bastar. 14.The myth & shrive of Mansa. The snak Goddess. 15.Myth of Genesis of patua painting. 16.Myth of ongu of santahas according to the patua artist. 17.Myth of the battle between Ganga & Durge as sun of by patua painters. 18.The xlaga shrine. Intro Mythological trail Intent on Creation, Barg dev rubbed his hands to create a crow and ordered him to look for the earth. The crow went first to the snake and then to Kakramal, the crab who pressed Kichakmal's the Earth worm's neck so hard that the latter spate out the earth, which was plastered on the web woven by makramal, the spider over the aquatic surface. Creation proceeded apace Bara Dev's fallen hair turned in to trees which in turn produced the plough. As the plough dug in to the earth the grain deity. Sprang forth. Ant hill served as

School of Architecture,C.O.E.T.,Akola

56

National Museum of Mankind

the perfect model for making of the Lillar kothi - the ideal vessel for storing grain for the entire world. flera on the Lillar kothi itself is depicted the mythology. Boat Under the traditional root, a Sarp Nauka has been

kept

and

brought

from pathnam chitta district of Kerala.

This boat has

won hearts hundreds or village

residences,

securing for year the first position in the boat race engineers on the occasion of oram festival in the river pampa more than hundred people at a time soil the boat and hundred such boats joints the boat race. Bhunga Since times immemorial different population groups have been living intraditional circular huts known as Bhunga. A group amongst them is of semi-no medic pestorals known as Rabaris. Different house patterns although come to be adapted now. Then are some villages thought rendered isolated due to marsh and sandy regions in which people have still been living in Bhunga one such village is Tunda Vori Vand situated 200 m way from the sea shore. A feature or this villages been recreated in open air exhibition.

School of Architecture,C.O.E.T.,Akola

57

National Museum of Mankind

Naluuketta Traditional

house

in Kerala have mostly been built up of bricks by cutting laforiitc with roof on coconut leaves. None in

the

village

has

permission to construct house higher then the temple height. Only high custe people could use the roof tiles. All things have now undergone change. Only few houses that were made of wood to house the big joint families (taravad) have been remaining Nairs on account of their important contribution in a army and administration used to occupy a prominent place in the villages. To construct a house without use of an iron nail has been unique feature of Naluketta. 1. Naluketta :

Keral

2. Arapura :

Keral

3. Bhadrakali :

Ambalam

Gudeesa The fishermen build up their houses on the coastal rigions of the bay of Bengal such as suit the heavy winds Gudessa a house with the wall made up of mud and slanting conical roof laden with palm leaves resting upon circular land base collected from Baravleera ( a caste of fishermen ) people pentkota district Vishakhapattam, Andhra Pradesh is an example of such house types in the exhibition.

School of Architecture,C.O.E.T.,Akola

58

National Museum of Mankind

In the exhibition a corner of fishermen village of Arataguda village of Alappy district Kerala have been recreated. Inside the houses the objects associated with domestic and economic activity have been kept in original style. The boats being used by them have also been kept under their traditional roof. Bhadrakali Ambalan Situated on an end of a fishermen village (Arataguda district Happy Kerala) a wooden temple has been replicated.

In its

span it has room for worhsippers, a space of religious dance and lamp pest for gods. Ayyanar Complex On one corner of exhibition, an exhibit of Ayyanar place of god from pudukotti district, Tamilnadu has been displayed, Hundreds of terracotta objects received as traditional offering in worship of God from people acquaint us with the importance of potters in prevalent ritualistic ceremonies in the region. A Arapura After the process of desintegration of joint family system in this century. New house patterns came up substituting the old ones. One of them Aurapura has been created for display in this exhibition. Aarapura :- The unique timber structure brought from Kerala is an example of newly adopted and replacement of traditional house type disorganisation of traditional form of Indian family the joint family system is a landmark of 20th century.

Joint families are replaced by nuclear

families and so the form of dwelling has also undergone change.

GENERAL ABOUT MUSEUMS MUSEUM HISTORY : School of Architecture,C.O.E.T.,Akola

59

National Museum of Mankind

Museums came into being as a reflection of basic human propensity towards inquisitiveness, acquisitiveness and a wish to communicate with others. The inclination toward acquisition is to be found from pre-historic times in the grave goods accompanying palaeolithic burials. The Venetian Republic appears to have been one of the earliest receive

collection

bequeathed

by

public

bodies

to

Grimani family in 1523 and 1583

which formed the basis of the present archaeological museum in Venice. Paintings, antiquites and manuscripts taken over by the municipalities in 16th Century, Switzerland contributed to leading museums like National Swiss Museum, Zurich and historical Museum Berne. In the United States and Canada private museums were still increasing in large number prominent among them being the

- Royal Ontoria Museum (Toronto

1912), Metropolitan Museum of Art (N. York, 1970) American museum of National History (N. York, 1969).

In colonial countries the European

colonisers took initiative in the opening of museums based on existing European models.

The two decades from 1950-1970 saw a renaissance

of museums, even though the essence was still the same they were being adopted to the whole new set of circumstances.

UNESCO came into

being as a patron of international art and culture. MUSEUMS IN INDIA : In the Indian context a large number of aristocratic families were known to have private collections. The two major pre-independence museums

were

the

Indian

earliest museum in Asia and (founded in 1905). European lines.

museum of

Calcutta (founded in 1984)

the Prince of Wales Museum of Bombay

These were founded under colonial influence, on

The next phase of major boost is seen in the time

immediately after independence. This was because a large

School of Architecture,C.O.E.T.,Akola

number of

60

National Museum of Mankind

aristocratic treasures were made public and also due to the formation of the National Museum (New Delhi) in 1949. TYPES OF MUSEUMS : The origin of museums is found either in the royal treasures of the middle ages or in small collections of curious. and specimens originating between the 16th and 18th century.

In a general way art

museums may be said to have sprung from these royal treasures of princely collections while the science museums have inherited the small collections of curious and specimens. The classification of museums into categories, according to the terminology of the disciplines to which the

collections belonged, was started by scholars towards the late 18th

to early 19th century. On this basis it seems more justifiable to divide museums into these three basic categories artistic or aesthetic, historical and scientific. Art Museum Art museums are those whose collections are conceived and displayed

essentially for their aesthetic values, even if the objects they

enclose are not all works of art in the intention of their creator. The state of preservation of the work, the quality of restoration, the environment it is

given,

notably

the

background

and lighting, assume special

importance. Historical Museums : All museums where collections are conceived and presented in a historical perspective are classified as historical museums, their object being

essentially

to document

a

chronological

sequence

or

an

ensemble representative of a moment in an evolving pattern, the Musie de I Historic de France created by kind Louis Phillipe at Versailles displays with the aid of pictures the outstanding events and persons in the country's history during more than a thousand years. Other kinds of

School of Architecture,C.O.E.T.,Akola

61

National Museum of Mankind

history museums include those at archeological sites, museums installed in a historic monument or on a battle field and personal memorial museums. Example Archeological Museum (Taxila). Science Museums : Museums of natural science, of exact or applied science, and technical museums

(except for museums of history of science and

technology which are accepted as historical museums are classified as science museums. The task of science museums is to communicate in three- dimensional form a scientific spirit and mentality, natural

inclination

for science,

progress, to give each person development,

to

to give a

sense

to arouse

information on research and of

sharing

in technological

make people wish to understand, appreciate and

conserve

nature

and

natural

environment

in an ecological

and

historical

perspective,

so as

to demonstrate the evolution of nature

and man. All these museums associated the real object with model and with demonstration in physical experiments, planetariums, exhibitions, field trips. Science museums are probably the best attended and most active of museums.

They have made the most vital progress in

muscology and techniques or presentation. Specialized Museums : These museums are a part of earlier classifications but are different in the way that they appeal to only a particular section of society like museums for children. These museums

have

their

systems

of

preservation and collection and have programmes of activities determined in application by the homogenity of their aduience. Thus one can have museums of clock making, fabrics, wines, musical instruments, ceramics and other subjects. Many of these describe limited economic activity and are more or less tied to the industry they illustrate. Others may depict

School of Architecture,C.O.E.T.,Akola

62

National Museum of Mankind

artistic activity (theatre, music, cinema) and have a threefold aspect historical, artistic and technical. MUSEUM ORGANISATION : In a sharp contrast to the aspect of exhibitions, displays or demonstrations put by the museums about which there is a reasonable amount of public awareness and interest there seems to be a lack of realisation about the basic organisation of the museums in terms of administration and infrastructure and also about the great deal of

effort

which goes behind both the temporary and permanent exhibitions put up by them.

Some of these may actually be a result of purposeful

effort by the museums to underplay this aspect of their functioning. 1 Status : There are basically two types of museums public museums and private museums. The first kind of museums that is the public museums is the most common kind of museum specially in Europe, and the developed countries of Asia, Africa and the Americas.

These kind of

museums are controlled directly of indirectly by the state through one of its organs or agencies.

The major Indian museums

managed

central government or indirectly through a

directly

by

the

are

either

board of members or trustees. The museums in the country have grown either out

of private

collections

of

government itself have established the

the

individuals

museums like

or

the central

the

National

museum, New Delhi to house the collection of the archeological survey of India and those donated by some state governments; those administered as subordinate offices and those taken over by an act of the Parliament.

In addition to these museums there are state museums,

university museums, municipal museums, the site museums of the Archeological survey of India and a few private museums.

School of Architecture,C.O.E.T.,Akola

63

National Museum of Mankind

2

Finance The financial resources and funds of a museum can be ranked

under four

headings. Allocations and subsidies received from public

funds constitute the main element of the budget of public museums regulated by statutes and often form a not inconsiderable part of that of private museums. There is a tendency to believe that entrance fees to a museum constitute an important source of income. They can however be considered negligible for a number of reasons. 3 Personnel : Museum personnel can be classified under three major headings scientific, technical and service. The scientific personnel which is a term applied to the directors curators (keepers, assistants) specialists in education, conservation and restoration have had university training adapted to the museum's needs and if possible a complementary professional

training in museology,

teaching conservation and restoration. Technical Staff - this category includes museograpers, draughtment, documentalists, libraries security specialists, and restorers. It is required that they have sufficient qualification in their particular crafts for example museographers

should have received special training in techniques of

presentation, cataloging etc. Service perssonnel

include

attendants,

maintenance workers and secretaries. 4. Collection : Even though museums today have involved themselves in a diverse range of activities necessary

'Collection' can be identified as the oene activity

for sustainance

of

the

institutions called

'museum'.

Museum collections can be examined under their three basic aspects. There concern programme, acquisition and management. The programme is very essential, it has to be established scientifically and has to be in

School of Architecture,C.O.E.T.,Akola

64

National Museum of Mankind

accordance with the needs of the community and the aims of the museums. The programme determines the type of objects that ought to be acquired to serve the objectives exhibition and for research.

set by the

museum

both

for

The programme is indespensable if the

museum is to function smoothly and expand its energies and finances to some reasonable purpose.

Acquisition itself depends above all on the

available means expeditions and gifts and legacies, it can be made in two ways directly and indirectly. Direct acquisition is essentially the collection of object fom the field by means of excavation, ethnographic or natural science

expeditions.

The

objects

or

scientifically documented and immediately

specimens available

recoveredfor

are

research,

education or exhibition. Indirect acquisition are brought about with the aid of one or more intermediatries, collectors and art and antique dealers. The management

of

collections

begins

in

the

course

of

field

exhibitions (summary identification) or with their entrance into the museum. 5 Storage : After a museum has acquired an object the problem of its storage becomes important.

The need for storage arises under two main

circumstances the first when he object is to be

stored till it has been

studied and documented, the more common case however to when a museum cannot display its entire collection and has to keep a large part of it in a way that they are not harmed and also so that they can be accessible to research scholars. In most modern museums basements are used for storage and this is found to be functional provided due care is taken against seepage and other such problems. heavy objects can

However moving of

still be a problem and this creates a feeling that

storage and study are being 'tucked away' from main public areas even

School of Architecture,C.O.E.T.,Akola

65

National Museum of Mankind

though facilitating study and serving the purpose of the scholar is as much a part of the museum's role. 6 Exhibition : Exhibition techniques have evolved considerably in the last 100 years. the

Under the influence of technical progress, static exhibitions of

past

tied

to monumental architecture has yielded place to much

more varied display arrangements. To take only a few example in the field of modern art light and sound complete the object,

in

scientific

and

technical museums animated models which can be manipulated by the visitor are being encouraged. Of late, research and literature on display techniques have appeared and since the 1960's private firms specialising in museography have appeared. Also research on the museum public had led to the constant adaptation of display to meet the needs of the visitor. 7 Conservation and Restoration : The conservation or preservation of objects which a museum has so that they can be passed on to the future generations is an important responsibility of the museums. Therefore, it is very necessary for museums to have adequate conservation facilities both in terms of laboratory infrastructure and trained personnel. The pattern of the conservation department has to be in keeping with the range of its collections and special care has to be taken in case of museums with large varieties. 8

Research Museums are now facilitating research and studies by scholars and

giving the researchers as much importance as to the public, which visits its exhibitions. For obvious reasons of conservation and management, a museum cannot lend its collections out for people to consult as a library does.

Keeping with the importance of this discipline

School of Architecture,C.O.E.T.,Akola

every museum is

66

National Museum of Mankind

also becoming a documentation, centre, where objects, photographs, films, recordings and texts are readily available.

The library formerly

reserved for the exclusive use by its own scientific personnel, has become a general library covering the range of discipline represented in the museum. The film, photographic & phonographic libraries fill a threefold role, as archieves, as museographic reserves for use in display to the public and for cultural activities, as centres for consultation. MUSEUM ARCHITECTURE/SPATIAL ANALYSIS : The most important feature of museum work today is it's dynamic approach in order to overcome the unfortunate seperation of the past from present and that of man from man.

The museums are meant to

encourage the coming together of the cultural exhibits and their users, thus acquiring a communicative and educative role in our society. Design Parameters : The

making

of

a

museum

begins

with

the director/curator

of the museum, who, assisted by his scientific personnel lays down the programme and chooses the architect, or gives his approval to the choice of one. The architect prepares the project in accordance with the given prograrnne.

Simultaneously the programme is perfected by the

collaborated efforts of

both

the architect and his employer, and the

project is derived from it until the building is completed and the collections and displays installed. Place : The location of a museum greatly influences the museum's ability to discharge it's internal and external functions satisfactorily, determines the image of

the

museum

and

it's

potential

it also to attact

visitors. Attribute to location, museums can be broadly grouped into three main categories, each with a specific character and a definite role.

School of Architecture,C.O.E.T.,Akola

67

National Museum of Mankind

1. Museums in Urban Areas : A museum in a city can be regarded as a "cultural centre" of sorts which provides opportunity for the most communication;

open

varied

types of

discussions,

lectures,

adult education, day courses, further education in the museum library, music evenings, art happenings, refreshment in museum restaurant or cafe's together with many arrangements for leisure activities. 2. Museum in rural areas Another type of museum emerges outside the town preferably in a scenically attractive area popular for holidays and other leisure activities. therefore

A museum in a rural area will receive

most

of

its

visitors

at

weekends, and public holidays in general. Thus in addition to its traditional functions, such

Museum in Rural Area

a museum attempts to provide the visitor with an atmosphere of informality and freedom from the routine and stress of everyday life. 3 Site Museums This third type of museum is one, which is associated with a particular site. This site can be one in which the exhibits of the museum, originated or are linked due to their nature with a certain area or town, for example a salt museum in a saltmining area. Here the visitor is able to view the object in their context and original surroundings. Visitor : Due to the pluralistic nature of the sociological composition of the visitors, a museum might be faced with certain difficulties giving rise to a multitude of requirements and demands.

School of Architecture,C.O.E.T.,Akola

Thus, an attempt has to be

68

National Museum of Mankind

made to try and achieve the most harmonious balance between the architectural environment and the needs and tendencies of the users. The starting point could be an analysis of the circle of people participating in the museum event along the following lines : statistics on demographic characteristics, origin, occupation, education and ecological data. the catchment area, as a museum caters for widely scattered groups of people besides the local users. the sociological development, as a museum will not have the same features in an industrial society as in an agricultural society. a distinction between the actual and potential visitors, and the circle of people who are likely to be involved in the museum activity. 1. Publicity :Today's museum help in the search for values and therefore stands open and inviting to the visitor. This could be achieved by adaptation of existing buildings, a transparent display case architecture or semantically symbolic forms. 2. Information : Nowadays the unprepared visitor, who may be from any social group or strata expects to be offered information which he can avail at any time.

In architectural terms this may mean providing special rooms or

additional space for information purposes. 3. Exhibit : Another innovation in the design and running of contemporary museums in the broadening range of themes a museum can handle, going far beyond the plastic arts to include the decorative architecture

industry,

science,

arts,

technology, cars, ships, planes,

photography film, anthropology, archaeology etc.

School of Architecture,C.O.E.T.,Akola

69

National Museum of Mankind

an archaeological or ethnographical museums collection is mainly documentary. a museum of art, paintings or sculpture possesses work of great aesthetic importance and value with an atmosphere in which their aura can be contemplated completely. museums collecting objects of industrial production tend to exploit the more participative and festive aspect of buildings. a collection of small works of art such as jewellery, small bronzes, medallions miniatures etc. need rooms of comparatively smaller size. Even a picture gallery cannot be designed such to serve equally well for the exhibition of old pictures and modern ones; for, aesthetic considerations recommend different settings for the two groups and a gallery of old

paintings

is

comparatively

stablized,

whereas

a

modern gallery is frequented with additions, changes and rearrangements. 5.

Design Programme : As mentioned earlier the architectural organisation of a museum is

determined by the functions it is expected to perform i.e. exhibition, collection, storage, restoration, education, research along with provision for leisure activities also. Museums space can be broadly classified into the following categories, according to the usage of these areas. 1.

Public

2.

Semi-Public

3.

Semi-Internal

4.

Internal.

1.

Public : The totally public areas of a museum are for the under

mentioned : (a) Entrance and reception

School of Architecture,C.O.E.T.,Akola

70

National Museum of Mankind

(b) Exhibition areas (c) Temporary exhibitions (d) Creative Activities (e) Hospitality. 2.

Semi Public: include the following

(a) Administration (b) Education (c) Lecture Hall (d) Library. 3.

Semi - Internal :

(a) Administration (b) Store (c) Research 4.

Internal :

(a) Workshop (b) Storeroom (c) Packaging (d) Restoration (e) Staff Entrance The programme however, is subject to specific requirements based on museographic and

architectural requirements.

And will be further

discussed in the light of these in the next section. 6.

Location and Accessibility : A museum calls for an effective link up with the urban structure, it

should be located such that it can exert the greatest possible influence on the surrounding community and at the same time afford the freest possible access to it. In this context the following considerations are important.

School of Architecture,C.O.E.T.,Akola

71

National Museum of Mankind

a) Enhancing the vicinity of the museum by providing appropriate additional amenities such as shopping malls, recreational facilities, and public meeting places. b) Exploiting these amenities on behalf of the museum, in order to gain publicity

for example; transparency, action programmes etc., show-

windows for temporary exhibitions. c) The museum should be readily accesible from all part of the town the within easy reach of schools, colleges, universities and libraries. d) Abolishing the distance by changing or improving the layout around a museum into a harmonious space, so as to make a voluntary detour to the museum seem worth while to the visitor.

A belt of trees and some

landscaped areas around the museum can serve as effective element to create

pleasant

surroundings besides acting as an natural filter for dust

and chemical discharge,

it also helps stabiles the humidity of the

atmosphere. 7. Entrance : The entrance into museum is specially significant since it plays an important part in providing a bridge between the public and the collection and thus should be designed as an independent but closely integrated architectural element. Though many outside doors may be found necessary for the various museum services, there should however be only one public entrance, placed quite separately from the rest, for security reasons. This should lead into a vestibule where essential services like-sale of tickets, information service, sale of catalogues, books etc. will be located.

School of Architecture,C.O.E.T.,Akola

72

National Museum of Mankind

The entrance hall should provide an easy introduction to the building such that the visitor can find his own way and large enough for big groups to be greeted and assembled. The show window principle can be extended to the design of an entrance hall with a wide range of indications of what is on show. Here a system of signs such as the display convey

of

typical

visual

works,

which

information,

is

preferable to the use of written panels or texts. In order to produce an effect of intimacy

and

attraction

the

contemporary architect, unlike the past, when the entrance halls were designed on a pompous scale, tend to reduce overhead space and give the greatest possible width and depth. Symmetry is an effective answer to the factor or order, but symmetrical spaces

demand

organization

of

a the

hierarchical collection,

which is not justifiable .

School of Architecture,C.O.E.T.,Akola

73

National Museum of Mankind

The fan shape, symbolize the freedom of choice but should be used with a restraint to avoid the confusion of being offered too much to the visitor.

The rectangle is the most easily perceived, with it’s simple and unambiguous lines.

The circle and the curve have no fixed axis, and but is difficult to perceive them steadily.

Free

forms

are

unsuitable for a large organized space, but can be introduced into a limited space. An arrangement in cubicles in a series of inward looking spaced encourages the visitor to linger in them, but a compulsory circuit should be decided in such case. Systematic arrangement, either horizontal or vertical.

On the basis of scientific considerations, a specific,

continuous sequence leads to the principle of the arrangement in series.

School of Architecture,C.O.E.T.,Akola

74

National Museum of Mankind

Requirements of access/ entry and position in relation to public entrance Area

PUBLIC : Exhibition Gallery Library Auditorium Reception Books and Cards Information centre Cafeteria Amphitheatre PRIVATE : Administration Sp. Administrative sectors Receive room Storage & Workshop Curatorial workshop Technical Laboratory Mechanical Department Meeting Room

Direct access from public entrance

Position near the public entrance

Open to all

* * * *

*

* * * *

* * *

Restricted entry

Needs special security

Needs special entrance

*

* * *

*

*

* * * * * * *

* *

* * * * *

* * * *

8. Area Usage : A museum has, a very clear organisation of served and servant spaces. The primary areas are those directly devoted to communication display galleries, lecture rooms, class rooms, libraries, book and pest card counters-and laboratories,

these

are

storage rooms,

School of Architecture,C.O.E.T.,Akola

served

offices,

by

spaces-work-shops,

mechanical plant rooms-which 75

National Museum of Mankind

make the functioning of the primal spaces possible. The first group is the zone to which the public has immediate access, the second is a private zone of internal housekeeping.

Before considering

the planning of the

museum it is essential to determine the size and location of the various services. Generally an area, which may be as much as 50 per cent of the total space available is set aside for these functions.

However, the

relative sizes vary with the nature of the museum. There is third zone of ancillary

spaces restaurants, washrooms,

coat rooms, club rooms, which are of this group will depend on the number of visitors expected during peak hours. 9.

Space Planning : The most essential aim of a museum is the exhibition and display of

a vast variety of objects and exhibits, and good museum planning greatly influences the viewing sequence and subsequent popularity of its possessions. The visitor's

fundamental

understanding

of

approach

in

order

the museum spaces is

to

facilitate

a

that towards open

architecture, that is the visitor should be able to have an overall view of the sapce he moves in, or he should be able to find his bearings, at any moment, to see where he is, in relation to a known point in the museum building.

Some of

the

elements which impose visual order and

orientation have been analysed by Kevin Lynch in 'The Image of the City'. He has listed those which are important within an urban framework as paths, edges, recognisable

districts, architectural

nodes

and

equivalent

landmarks. relevant

Each

has

a

to orientation within a

museum and to it's total image. Paths are of course, the routes of movement and in a museum usually the

spaces

left between the exhibits. These can be controlled and

challenlled by screens or rigidly defined by walls, cubicles, etc.

School of Architecture,C.O.E.T.,Akola

76

National Museum of Mankind

Edges are linear elements which are not paths be a long glasswall, a change in level etc.

Each edge defines, separates, yet makes the whole

coherent. Districts are sections which can be distinguished and grasped mentally. Such a pause provides a pause between sections of a museum and makes each one a recognisable and easily memorable division. Nodes are focal points from which, and to which paths converge because at these points there is a concentration of activity.

These need not be

central and each district can have its own node. Nodes can be created by having dominant enclosed volumes of service elements or storage areas with open or partially screened areas. Landmarks are points of reference which provide a clue of the position to a visitor, like courtyards etc. Arrangement : The more specific apportionment of the spaces within a museum are closely bound with it's purpose end the nature, quality and principal components of it's collections. Each type of museum has different architectural requirements. A brief classification of these is as follows;

Analysis of Museum Spaces in Relation to Functions SPACE Collection

Preservation

FUNCTIONS Exhibit Interpreting

of collection

collections

Social and personal req.

Exhibition Gallery Library

*

School of Architecture,C.O.E.T.,Akola

*

*

* *

*

77

National Museum of Mankind

Auditorium Educational activities Books counter Information counter Administration office Study collection Storage & Studio Workshop Research laboratory Mechanical Meeting room Cafeteria

*

* * * *

* * *

* * * * * * *

Museums of Art & Archaeology : The sizes of the rooms and the height of the ceilings will be determined by the nature and dimensions of the works to be exhibited.  For old paintings which are large or for medium sized modern canvases a practical minimum room will measure about 5x7 with wall accomodation to a height of about 4m.  The settings for pictures & sculptures is different from the point of view of space & lighting.  For silver, jewellery or precious objects, showcases set in walls should be used. Historical and Archival Museums : These need less space for the showcases, and comparitively large and

numerous store-rooms for the documents kept in reserve.

Rooms should be provided with artificial or indirect natural lighting. Ethnographical and Folk Museums : School of Architecture,C.O.E.T.,Akola

78

National Museum of Mankind

The exhibits are usually displayed in showcases, which are often large and cumbersome, requiring a good deal of space.

Considerable

space is also required for reproducing typical surroundings with genuine pieces or full sized replicas.

Artificial lighting is found to be more

effective. Museums of Physical & Natural Sciences : Owing to a great variety of collections involved, their division into sections is necessary according to scientific cataloguing, which differ in architectural and functional characteristics. When the arrangement is in series the rooms required are medium sized, whereas reconstructions and built up displays need laboratories for the preparation and upkeep of certain exhibits. Systems of Arrangement : The spatial arrangements in a museum is directed by the directionfinding point of view and in accordance with different internal schemes of display.

According to the former the following arrangements can be

recognized : Symmetry is an effective answer- to the factor or order, but symmetrical spaces demand a hierarchical organization

of

the

collection, which is not justifiable The fan shape, symbolize the freedom of choice but should be used with a restraint to avoid the confusion of being offered too much to the visitor. The rectangle is the most easily perceived, with it's simple and unambigous lines. The circle and the curve have no fixed axis, and it is difficult to perceive them steadily.

School of Architecture,C.O.E.T.,Akola

79

National Museum of Mankind

Free-forms are unsuitable for a large organized space, but can be introduced into a limited space. An arrangement in cubicles in a series of inward looking spaces encourages the visitor to linger in them, but a compulsory circuit should be decided in such case. Systematic arrangement, either horizontal (for example, according to the materials) or vertical (for example, chronological). On the basis of scientific considerations, a specific, continuous sequence leads to the principle of the arrangement in series. Exhibition rooms-shape and requirements : As discussed earlier, the requirements depend largely on the nature of the exhibit, however the following considerations are important).  The room size depends upon picture or showcase size but guidelines can be useful. (a)

Normal human angle of vision (54°) is achieved with well lit pictures

10 m away. (b) Space/picture = 3.5 m2 /hanging surface. (c) Space/sculpture = 6-10 m2 /ground surface. (d) Space/400 coins = 1m 2 cabinet space.  A museum with uniform room sizes becomes very monotonous which can be broken by varying their dimensions and the relation between height and width. (a)

Overhead lighting allows greater diversity of shape- rectangular,

polygonal, circular etc. (b) lateral lighting give rise to shallow rooms. The door should be placed in such a way that a visitor coming through it will see the full length of the opposite wall. It should not face a window, which dazles the visitor as he comes in.

School of Architecture,C.O.E.T.,Akola

80

National Museum of Mankind

The colour of the walls and the kind of flooring can be varied for similar reasons. Monotony also results when a number of rooms follow one another in a straight line. 10.

Construction & Equipment :

The following requirements are important for design of museum (a) The building must be protected from vibration, damp rising from the ground, and the danger of fire spreading from neighbouring premises. (b)

In the exhibition rooms and in all public parts of the building, floors

and their supporting walls should be designed to carry a weight of at least half a ton per square yard, with a very wide margin of safety. (c) The materials chosen should aim at reducing the noise to a maximum. (d) The room should be protected from extremes of temperature and humidity. Ceiling and Roof : (a) Rooms - with lateral lighting may have ordinary ceilings (flat, vaulted, smooth or with mouldings), all that is required being a suitable refraction of diffused colourless light; (b) The best method is a compromise in which the ceiling of the room consists completely or partly of glass while the roof above it, is a of a type which shelters the building from atmospheric influences but allows the quantity and quality of light best suited for museum. (c)

The

glass

ceiling

through

which

the light is diffused from the

skylights above it, must be far enough below the latter for the light to spread regularly. A distance of from 1 to 10 feet will be enough; if it is greater, the light which filters through the panes tends to

lose some

of its infra-red rays and sheds an unpleasant greenish tint on the works exhibited - which should be prevented.

School of Architecture,C.O.E.T.,Akola

81

National Museum of Mankind

(d) The space inside, between the roof and the transparent ceiling, should be equally accessible, to facilitate security measures, maintenance and cleaning of this area, all of which are so essential to the smooth running of a museum. (e) The ceiling must also carry the apparatus required for the artificial lighting of the

room and its exhibits; it is preferable for this to duplicate

the effect of the daylight, by means of tubular fittings running

parallel

to

the

strips of glass.

Windows & Doors The windows, at whatever height they may be placed, must be a) of suitable size for lighting the room. b) strong and able to be securely closed. c) non-conductive of heat from outside. d) The glass should be chosen for its brightness, colourlessness and capacity to diffuse light to the best advantage. e) The Outside doors should be as few as possible and all outside doors should be strong. f) There should be no doors inside the museum except where a part

of

the

building

requires

to

be permanently cut off for

functional reasons. g) The doorways should be of uniform

height

throughout

School of Architecture,C.O.E.T.,Akola

82

National Museum of Mankind

the museum and that height should be such that the largest sized exhibits can be moved as easily as possible from room to room. Walls a) The treatment of the walls can do much to make the rooms pleasant, varied and serviceable and to set off the exhibits, especially in art galleries, where appearance is obviously of particular importance. b) The larger the room and the greater the wall space, the lighter should be the colours used on the walls. To avoid monotony, large surfaces may be treated with stucco-stippled or slightly pitted. c) A museum must use colours that absorb light for good visibility. d) Where the walls are excessively high in relation to the size of the objects displayed, they may be colour-washed only up to a certain height, leaving the rest white.

Floors The choice of flooring for a museum is a matter of considerable importance. The nature of the floor may have its influence both on the fatigue and concentration of visitors. (a) The colour and texture of the floor must be such as to set off the exhibits.

Generally speaking, the floor should be darker than the walls,

with a reflecting capacity of less than 30 per cent. (b) Two points should be borne in mind when selecting a type of flooring, are durability i.e. resistance to the wear and tear to which the floor of the School of Architecture,C.O.E.T.,Akola

83

National Museum of Mankind

average museum is exposed, with the resultant danger of creating dust which is harmful to the exhibits), and maintenance requirements (ease, efficiency, and cost of cleaning, and the time required for it). 11. Circulation The functional capacity of the chosen form of organisation is deduced from an examination of the internal system of access and the distribution of visitors. The question can be approached in terms of a general distribution along certain main directions of traffic flow and a more detailed breakdown within groups of rooms.

In museums a basic

distinction must be made between the circuit followed by the visitor, on the one .hand, and the paths taken by staff and transport on the other. The single storey display area offers the maximum possibilities, as far as adapting space and natural light in order to show exhibits to their best advantage is concerned. Differences of level can further enhance the advantages of this type of layout, which allows considerable flexibility and scope for extension, whether of

the museum as a whole or of individual

sections. The single-storey arrangement is ideally suited for small museums is likely to extend over a very large area. Centralized systems of Access : The main advantage of such systems are the possibilities of control and surveillance which they afford. In such systems the visitor can be systematically guided along a predetermined path a conducted four. The visitor may be conducted more or less noticeably, by means of different architectonic forms, which will lead him onn from start to finish, even though he may be able to cut short his visit at certain points. The arterial flow may be :

School of Architecture,C.O.E.T.,Akola

84

National Museum of Mankind

1. In a straight - or more of less straightline, as in the case of suites of rooms to be found in old museums, and also some new ones.

2. Twisting so as to follow the line of the atriums or meanders of the ground plan, on one or on several floors.

Museums

depending on daylight are built along these lines.

3. A

comb-type

layout

functions

according to the principle of a

Twisting circuit

central axis, with ancillary loops which

may

correspond

at

the

same

to

the

system

classification

of

the

time of

museum's

holdings.

4. A chain layout represents a loose sequence

of

self-contained

display

units/ each of which may be designed to blend with the contents, in respect of configuration, lighting, and so forth. The transitions from one unit to another can be so arranged as to enable short-cuts to be taken.

5. A star layout. Radiating out from its central points, it provides access to sections of more or less equal significance, which, have no throughflow of visitors and so can be isolated.

School of Architecture,C.O.E.T.,Akola

85

National Museum of Mankind

6. A fan type of layout offers the visitor a

broad

range

of

possibilities,

obliging him to make a rapid choice. In the case of large collections, this may

be

transformed

into

a

psychological disadvantage as the visitor might feel overtaxed.

7. A block arrangement leaves the choice of circuit free, according to where the point of access is situated. The distribution of visitors can be regulated as desired. Decentralized systems o£ access : Here, since there are two or more entrances and exists, the visitor is not required to follow a particular circuit.

He could be allowed to move about freely, and since it is not

always possible to see everything. In free-range system at a single visit, further visits will be required, enablingaa him to make further discoveries, the socio-psychological advantages of such an approach are nullified by organizational difficulties. However, it can be put into practice in the somewhat similar form of the exhibition street.

CONCEPT OF LIGHTING FOR MUSEUM : BINOCULAR VISUAL FIELD PROFILE

School of Architecture,C.O.E.T.,Akola

86

National Museum of Mankind

The binocular visual field (i.e., vision by both eyes) extends vertically

1300

and horizontally more than 1200 when both eyes are focused on a fixed object. Vision by one eye alone is called monocular vision. The sketch below shows the extent of binocular and monocular visual fields. FACE REFLECTANCE AND APPARENT BRIGHTNESS Brightness

is

a

sensation which can be expressed

as

bright,

brilliant, or light. apparent

or

The

perceived

brightness is modified by surroundings,

condition

of eye adaptation, and other factors.

Measured

brightness, or luminance (L), is the amount of light reflected

from

or

transmitted

through

an

object, expressed in footlamberts. The percentage of incident light which is reradiated from a surface is its reflectance (p). Shown below are rooms with low-and high-reflectance surfaces.

School of Architecture,C.O.E.T.,Akola

87

National Museum of Mankind

EXAMPLE REFLECTIVE SURFACES Matte reflective surfaces reradiate incident light in a diffuse pattern; specular or glossy surfaces reflect light like a mirror when angle of incidence (Li) equals angle of reflectance (Lr). Avoid specular finishes for surfaces surrounding reading tasks (e.g.,desk tops, partitions for task ambient lighting layouts in open plan offices). Example matte and glossy materials are listed below.

Matte (or diffuse) Brick, rough Concrete Flat paint, low gloss Limestone Plaster, white Plastics, low gloss (ABS, MF, PVC) Sandstone Wood, unfinished

Glossy (or specular) Aluminum, polished Enamel paint Glass Marble, polished Plastics, polished Stainless steel Terrazzo Tin, Wood, oiled

TRANSMITTANCE OF MATERIALS Transmittance (τ) is the percentage of incident light that is transmitted through a material.

Luminance (L) of a diffuse transmitting

material is the incident illumination level times the transmittance. L=EXτ where L = luminance (fL) School of Architecture,C.O.E.T.,Akola

88

National Museum of Mankind

E = illumination level or illuminance (fc) τ = transmittance (%) Typical transmittances are given below.

Material Transmittance Direct transmission: Clear glass or plastic 80.94 Transparent colored glass or plastic 3.5 blue 8.17 red 10.17 green 30.50 amber Spread transmission: Etched glass, toward source Etched glass, away from source Diffuse transmission : Alabaster Glass block Marble Plastics (acrylic, vinyl, fiber glass-reinforced plastic)

REFLECTION OF LIGHT SOURCES

82.88 63.78 20.50 40.75 5.40 30.65

Glossy surfaces can act like a mirror by reflecting light sources or bright objects into the view of observers.

Consequently, light sources

should be located away from mirror angle in concealment zone as shown below. The mirror angle is the angle equal to (and opposite) the viewing angle between line of sight and plane of surface under observation.

School of Architecture,C.O.E.T.,Akola

89

National Museum of Mankind

ACCENT LIGHT Accent or focal light is

used

to

emphasize

objects such as paintings, graphics, etc., or to draw attention to a part of the visual field. Most recessed adjustable

and

"eyeball"

fixtures have aiming angles of 0 to 35 0.

At aiming

angles >500, hot spots or streaks of light will occur on ceilings.

Damage

to

sensitive objects from light depends on the illumination level and duration of the exposure to light. UV filters can be used on glazing to mitigate the damage from daylight. To prevent specular reflections at the mirror angle, accent light should be positioned away from walls as suggested by the following formula. x = 0.6H-3 where x = distance from wall (ft) H = floor to ceiling height (ft) In a museum visual stimuli exert a deep influence on the over-all efficiency and general state. In terms of museum architecture, this means that the lighting of the exhibitions influences the visitor's readiness to react and may induce activity or fatigue.

The luminous interpretation must

therefore be chosen in terms of the contents of the collection and the task to be performed.

School of Architecture,C.O.E.T.,Akola

90

National Museum of Mankind

The level of illumination in the various parts of the museum could be as per the following table: The level of general lighting must be such as to avoid excessive contrasts. In the cases where there is a sharp increase or decrease in lighting, an intermediate adjustment or transition zone should be provided so as to enable the visitor to become accustomed to the new level of illumination as it were in two stages. Lighting from above If overhead lighting is chosen, the exhibition sector can cover only one floor. This ensures a free and steady supply of light, saving of wall-space, space

latitude

in

planning

inside, facilitation of security

measure and the possibility of regulating the amount of light giving good visibility with minimum reflection or distortion.

However, there is an

excess of radiating light, monotony and other disadvantages associated with skylight. Lateral Lighting : When chosen,

the

side-lighting depth

of

is the

building from back and front is limited. This kind of lighting has the advantages of simplicity of building

style,

construction

of

more than one floor, brings out - the luminous qualities of painting and sculpture and allows for relief by allowing for views outside, gardens or architecturally interesting courtyards. However one serious drawback is that the wall in which they are placed is rendered useless and wall

School of Architecture,C.O.E.T.,Akola

91

National Museum of Mankind

opposite practically useless because of interplay of reflections on smooth surfaces which impedes visibility. Artificial light : Artificial light can be used very effectively to supplement daylight, for example at dusk, but it must be installed according to its own laws. Parallel use of the two types of lighting must be organized in such a way as to avoid slipping uncomfortably from one to the other. The

exclusive use of

artificial

presents

light

great

advantage, it is possible to regulate to a large extent the intensity and the spectral

composition

of

the

light;

sources of light may be arranged flexibly and made to pinpoint the objects. 13. Climatic Control : Every museum has an obvious responsibility to make certain that the objects in its care will survive and will remain intact to communicate in the future. Deterioration is caused by mainly 2 factors : (a) the action of atmosphere (b) and the effect of light.

School of Architecture,C.O.E.T.,Akola

92

National Museum of Mankind

School of Architecture,C.O.E.T.,Akola

93

National Museum of Mankind

Temperature Humidity & Air Pollution :

School of Architecture,C.O.E.T.,Akola

94

National Museum of Mankind

 The greatest danger comes from excessive humidity, causing mould growth, metal corrosion and some chemical reaction in textiles and paper as well as extreme

dryness, often

the result of heating,

producing shrinkage and brittleness.  Building mass

can

provide a reservoir with considerable thermal

capacity which can reduce the temperature between day and night and between seasons and the lining of walls with timber or fabric or other moisture - absorbant material can stabilize relative humidity to a considerable degree. RH Level 65%

Acceptable

for

collections in

mixed

the humid

tropics. Too high, however to ensure stability of iron and

chloride-containing

bronzes,

air

circulation

very important. 50-55%

International require

exhibits international

agreements on RH levels & introduce a bias towards the medium levels 55-55% RH. 40-45% Ideal

for

metal

only

collections. Acceptance for museum

in

arid

zones

exhibiting local materials. Air Conditioning

School of Architecture,C.O.E.T.,Akola

95

National Museum of Mankind

This is very essential for the Indian climate and for the welfare of delicate objects.

It should be provided in exhibition galleries, study

collections, work rooms, and laboratories and auditorium. Possibilities of harm to museum materials are many. and humidity conditions,

Besides adverse temperature

common causes of deterioration

are

the

effects of light, dust, air pollution, and to some extent, impurities in the materials themselves. Adequate air conditions rewards or changes. Further, it keeps out dust that might otherwise cause damage and accelerate discolouration. It prevents substances from brittling, decaying and softening and lengthens the life of adhesives.

It protects against

damage due to sulphur-di-oxide, and minimizes tarnishing of silver and surface changes in iron, copper and other metals. 14. Flexibility, Extensibility : In

the

planning

of

each particular museum,

it

is essential to clarify at the very outset whether, and if so what, modifications are necessary and what limits can be drawn. The

properties

that

make it possible to modify the function of an existing space

to

meet

a

new

Extension

requirement are adaptability and extensibility - a building is considered (a)

adaptable if it is specially designed to allow its functions to be

modified with a minimum of technical

resources

and

organizational

work; (b) extensible if its design principle is such as to enable structural uniformity to be preserved as the building grows.

School of Architecture,C.O.E.T.,Akola

96

National Museum of Mankind

Open Air Display : Display outdoors does not differ in its essentials from that inside building except that there is a varying but known light source, the sky. Objects still require support, may need protection, ought to be made visible by being with in a controlled field of vision -and are seen in sequence. It is possible to provide such conditions as well as some control of the light source either by built from - walls, canopies, pedestals, platforms - or by the use of planting, of course, both. Activity Areas : These areas are designed to encourage creative action.

It is

here that a deliberate attempt is made to facilitate communications. The design criterion is the wide range of possibilities and easy adaptability. Daylight is desirable, less for aesthetic than for practical reasons; also access to a workshop. Education & Research : The areas set aside for education place

the emphasis is on

analysis and reasoning. The location of the education area in the over-all plan should be take account of the various groups of users : (a) Everyday visitors; easy access (lecture and reading rooms). (b)

Special visitors, such as school children, students and research

workers;

special classrooms should be provided where possible, with

easy -access from the official entrance. The lecture room is designed in the light of its special functional requirements, with stepped rows of seats, a projection booth, etc., daylight is desirable, in addition to essential lighting and ventilation installations.

School of Architecture,C.O.E.T.,Akola

97

National Museum of Mankind

The library also depends upon the nature of the museum for example the library is a history museum is likely to grow more rapidly than in an art museum. (a)

Library should be placed close to the entrance and administrative

offices. (b)

Ethnographic museums are obliged to keep a collection of recordings

of folk songs or music,

which they

can make available to students.

But even history, art and similar types of museums now feel called upon to include a music section. Class rooms and study rooms but should be fitted up with some decree of comfort, so that those who spend some time in the museum may find it an agreeable experience. The research premises and experimental laboratories are variously designed and equipped for each individual programme. Recreation The museum should cater for the visitors's needs, and extend him a invitation to linger and enjoy himself. Thus a blend of private and public should be offered, a place

which

enables

the

visitor to enter into contact with people and objects. In architectural terns, these functions may be performed by:

rest rooms for brief relaxation within the display area

refreshment areas (a cafeteria, restaurant, etc.), their location within the museum complex. Store room & reserve :

School of Architecture,C.O.E.T.,Akola

98

National Museum of Mankind

In

a museum

it

is

neither possible nor desirable to put the

entire collection on public exhibition; on the other hand, specialists in a particular subject must always have access even to what is not displayed. (a)

The store rooms need not be on the same level as the exhibition

rooms. They may be in basements, in separate rooms or the floor above museum offices. (b) They should be dry, safe, easy to inspect, and adequately lit with as much are as for display rooms. Offices, laboratories and workshops : The space set aside for the offices of the management and administration will vary according to the size of the museum, the extent of its

cultural activities and the size of the staff. Large museums which

have an independent administration or are controlled by a board of governors or trustees, will need a room for board meetings, a small waiting room and an office for the chairman. The laboratories and workshops is also proportional to the size of the museum,

with provisions for restoration of the works of art and

other possessions. It is extremely useful for even a small museum to have a photographic laboratory for records and studies, which are a daily necessity. This may be situated

either

among

the offices or in the

service section.

Museum Security : Protection from fire, theft and environmental damage is an integral part of the museum's design, This can be done by :

School of Architecture,C.O.E.T.,Akola

99

National Museum of Mankind

(a)

There should be nearly fire and police stations and the general

organization of exterior space should permit easy access for emergency service vehicles. (b) A survey should be made to deny penetration through roofs, sewers, abandoned pipe lines, subway tunnels and walls of adjacent buildings. (c) Another consideration is that of flooding both internal through sewer pipes and natural and structures should be designed for vibration due to earthquakes, traffic etc. (d) Exterior structures such as fences, gates doors and walls should deny easy accessibility. (e)

The building should be floodlighted with no areas that can't be

monitored as dark corners, riches etc. There should be no trees and shrubs in immediate contact with the building. (f) Doors for public entry and exits should be minimum.

Requirement for national Museum of Mankind, Pune 1. Administrative area 2. Library 3. Publication house

School of Architecture,C.O.E.T.,Akola

100

National Museum of Mankind

4. Engineering section 5. Canteen 6. Museum Galleries a) Human Evolution b) Evolution of material culture c) Food d) Traffic and Transportation e) Religion Practice and cosmology f) Music and dance g) Art and craft h) Costume and Dresses. 7. Temporary Exhibition area 8. Outdoor exhibition a) Tribal habitat b) Costal village c) Desert village d) Himalayan village e) Mythological trail 9. Parking, landscape and Garden with drinking water facility and adequate toilet facility with one care taker room. 10.Store rooms for paintings, models etc.

CONCLUSION In -the previous chapters we have tried to understand what the institution called 'The Museum' is all about, in terms -of what is and what it stands for. This has been done in various ways, depending on what School of Architecture,C.O.E.T.,Akola

101

National Museum of Mankind

aspect is being examined, by examining what it is today and why and how it came to be the way it is. The development of museums as we can realise is closely, linked to our history and to the outlooks, attitudes and priorities of the society.

In its own ways the Museum has always been

trying to understand what is expected of it and has been accordingly redifining it aims to meet new challenges and fulfill its obligations.

The

modern museum is very different from its predecessors and its function has changed entirely. It shares very little with the original functions of the first public museums. Not only has the form of the museum changed but also its content. The material exhibited has been intensively expanded and diversified. Within the society the modern museum fulfills an active and varied cultural role

educational departments, orientation galleries,

slide presentations, catalogues, posters and other museum publications. The modern museum is characterised used by more flexibility in its planning, in keeping with the dynamic nature of the modern society. It is therefore obvious that if the MUSEUM continues to utilise as much of energies as it has been, realizing what is required of it and is equally open about adapting itself to this new requirement it will continue to be an indespensible organ of society.

BIBLIOGRAPHY 1. MICHAEL BRAWNE. The New Museum. The Architectural Press, London, 1965: p. 5

2. PETER DAVEY. The Architectural Review.

The Architectural Press,

London, Oct. 1987; p. 27 School of Architecture,C.O.E.T.,Akola

102

National Museum of Mankind

3. JOHN,M.A. THOMPSON. Manual of Curatorship. Butter worths, 1978;p. 7 4. JOSEP MONTAIMER and JORDI OLIVERAS.

The Museum of Last

Generation. Academy Editions, London, 1986; p.7.

5. YUDHISTHIR RAJ.Mimar-museums in the developing world,1990;p. 18 6. Museums - The Right Place for conservation, Bernard M. Feilden and Giovanni Museum, UNESCO Sept. 1982; p.27

7. Museum - House of Muses; Marg special issue, Sept. 1971, p. 5. 8. Montainer and Oliveras op. cit. p. 9 9. Museum - Factors affecting Museum design; UNESCO journal, Oct. 1967. p 25-32.

10.BRUNO MOLAJOLI. Museum Architecture. Naples, 1967, p. 28. 11.Museum Architecture, Museum Association of India, New Delhi, 1971, p. 34-52.

12.Museum Architecture op. cit. p- 67-73. 13.BRAWNE, New Museum. The Architectural Press, London, 1967. p.8 14.BRAWNE op. cit. p. 11-13. 15.BRUNO MOLAJOLI. op. cit. p. 56-58. 16.Museum - Museum Architecture - UNESCO publication,Jun,1977.p.73-89. 17.ERNST NEUFERT. Architects Data. Collins, London, 1980. p. 359. 18.Museum II op. cit. p. 92-96. 19.BRAWNE. op. cit. 234-235. 20. Museum 71 op. cit. p. 127-133.

School of Architecture,C.O.E.T.,Akola

103