Prachi Di's Thesis Report

A Report on
Impressions of a forgotten city

case of Champaner-Pavagadh,Gujrat
For the partial fulllment of the course of Bachelor Degree ofArchitecture
Under the guidance of Prof. Arup Sarkar
Submitted by : Prachi Rampuria Registration No. 130204012 Dated: 25th June, 2009
Department of Architecture, Town and Regional Planning Bengal Engineering and Science University Shibpur, Howrah- 711 103
1 . INTRODUCTION
CONTENTS
ACKNOWLEDGEMENT 1 1. 1.2 1.3 1.4 2 2.1 2.2 2.3 2.4 2.5 INTRODUCTION Relevance Aims and Objectives Scope and Limitation Methodology STUDY Comparative case studies of Archaeologiacal park around the world Comparative analysis of exhibition spaces Museums and its relation with human emotions Museums and gallery lighting Evolution of design guidelines
1 2 2 3 4 5 6 6 8 18 19 20
3 3.1 3.2 3.3
DESIGN IMPLEMENTATION Site Selection Site analysis Site morphology
22 22 23 26
4 4.1 4.2
AREA STATEMENT Space programming Flow chart
34 34 37
5 5.1 5.2 5.3
DESIGN PROPOSAL Design concept Evolution of zoning The proposal
38 38 41 43
6 6.1 6.2 6.3
ANNEXURES List of vegetation List of references & further reading Structural analysis
48 48 50 51
ACKNOWLEDGEMENTS
One thing about thesis is that you never know when you are going to face a hard rock. However disciplined you are there are bound to be problems unforeseen. It may include a sudden computer crash due to virus attack, to losing documents and les when they are the most required. And then you keep losing all the patience, enthusiasm to work, desire to continue and the worst the WILL to work. Therefore, after you come out of it, which is when and why you have to write this page as you have every reason to be thankful about them all the direction, the strength , the fun of it, - from all the sources perceived and comprehensible. Establishing the context, I, therefore take this opportunity with great pleasure to thank my thesis guide Prof. Arup Sarkar, rst for giving me the orientation of this research, and trusting me with the task, then for providing me with the so-sought- after direction of the study. One of the greatest helps I have received is from Ar. Judith Vogel, and Joseph Bhai. My project would have been impossible without the co-operation of Soham,Ankita, Srinita, Gargi, Risha, Kabir, Nitin Uncle and Dipavali. I am especially thankful to Dr B.V. Doshi, Ar.Rajeev Kathpalia, Ar. Khushnu Panthaki Hoof, Ar. Karan Grover, Prof. Amita Sinha (Lecturer,Department of Landscape,University ofIllinoise,USA), Ar. Soenke Hoof. From the department of Architecture Town and Regional Planning, I thank Prof. Aditya Bandopadhya, Head of Department, Prof. Swati Saha, our thesis coordinator and Ar. monisha Rakhit for their kind co-operation in all aspects. I did not want to just thank my parents as I cannot really comprehend the extent of their unconditional love and support, but still I thought of mentioning them. After all, the very basic parameters required for this kind of work hardship and commitment, - I owe to them for yelling into my years since childhood. Last but not the least I would like to thank the administration of Bengal Engineering and Science University, who has so thoughtfully subscribed to all the journals and books- without which this would not have been possible. Prachi Rampuria 24th June, 2009
Impressions of a forgotten city - case of Champaner-Pavagadh, Gujrat
01
INTRODUCTION
1.1 Relevance, 1.2 Aims and Objectives, 1.3 Scope and Limitations, 1.4 Methodology
Champaner-Pavagadh, 47 kilometres northeast of Vadodara in Gujrat, is a dramatic and magnicient site with many layers in history accumulated over 1,200 years in its cultural landscape. The site is immense, spreding over six kilometres, and covers the partially buried fteenth-century Islamic capital city of Champaner and the sacred hill,Pavagadh, a regional pilgrim center to the Hindus and Jains. Small communities live amidst land and on plateaus of Pavagadh hill, catering to the heavy pilgrim trafc.It is therefore a livingv heritage site and is Government of Indias ofcial nomination for World Heritage Status in 2004.
1 . INTRODUCTION
1.1 RELEVANCE
Archaeological Park at Champaner-Pavagadh, Gujrat An Archaelogical park is an area ditinguished by its heritage resources, which is an interpretative educational and recreational resource for the public (and where recreation is incorporated in so far as it doesnot compromise heritage).
Declared as a world heritage site in 2004 by UNESCO
Attracts overs 2million tourists annually

Acccumulates over 1200 years of history
only 1% of people visiting are aware of its signicance
Tourism accounts for a of 2 billion in Kerala and 3.5 billion in Rajasthan
How can the potential of Champaner be tapped to justify its status?
Has more than 200 heritage monuments spread over 6 acres Archaeological park
A place of such richness awareness in people about it = nil
1 . INTRODUCTION
1.2 AIMS AND OBJECTIVES

Proposal aims at having 5 major sections: Museum Galleries (main component) Promenade and Baazars Research Block Wings Accomodation Wings for scholars Convention Centre Therefore the aims of the project can be summarised as: Generation of awareness around the world. Champaner to become the next tourist hub and research centre. To make pilgrimage and tourism a seamless extension of one another. Provide a platform for cultural exchange. To create a dialogue between the usual landscape and archaeology of the site surroundings. To create a showcase of various forgotten art, crafts and tradition inherent to the place. Hence the objective of the project would be: To offer the visitor an in-depth archaeological and historical introduction to the Champaner-Pavagadh Archaeological Park by means of exhibition and simulation augmented by visual, textual and audio information, learning centre and research facilities, coupled with an enjoyable unique experience. The emphasis would be on the role of Modern Architecture to enhance the experience of the archaeological resources of Champaner and Pavagadh - towards abetter understanding of our heritage and sustainable development of the place.
1 . INTRODUCTION
1.3 SCOPE AND LIMITATIONS

The scope of the project may be summarized as under: To develop and generate a landmark which will serve as the learning centre for common people, a shrine for tourists a market for craftsmen and folk artists. To provide an international platform for conventions and seminars and to revive the dying cultural heritage of Champaner. To provide required space to artists and folk artists for the improvement and research on culture and techniques. To provide a space where people can enjoy cultural performances in the backdrop of nature which can also be usable otherwise. To design a unique landmark architecture in Champaner, open ing to the world. To develop a contemporary design vocabulary while still respecting the heritage value of the place. The scope of the proposal comprises of: Case studies to guide in designing the various activities and functions. Site analysis and study of the historic layers and morphology of the built form within the site with the objective of concluding an appropriate vocabulary of the architectural intervention. Detailed Space Programming. Concept and detailed design to fulll the project requirements and aims.
Due to the constraints of the academic structure, certain self employed limitations have been introduced in this thesis project. The limitations include: Aspects dealing with economical and nancial analysis. Mechanical engineering details such as acoustics and HVAC detailing. Electric engineering details. Some structural engineering details.
1 . INTRODUCTION
1.4 METHODOLOGY
Genesis of architecture and aspirations are irrestibly interlinked with culture of the place, as it is culture coupled together to an extent with locational determinants( climate, topography etc.), which dictates the architecture of the place in which lies its genesis. The aim is to understand these determinants in totality and keeping in mind the above I have detailed out the methodology for this research work. Understanding the lace in terms of its culture, climate, traditions etc. The genesis of traditional architecture of the mughal and the Rajput and the Prehistoric times. Champaner - Understanding of the place Their denitaion through the proposed needs and demands, (case studies) Functional characteristics in terms of space requirements, services and planning criteria Site Location and Analysis Formulation of requirements and the design criteria. Detailed desiging of various zones
02
THE STUDY
2.1 Comparative studies on the Archaeological parks around the world, 2.2 Comparative analysis of Exhibition spaces , 2.3 Museum and its relations with human emotions, 2.4 Museum and gallery lighting, 2.5 Evolution of design guidelines
2 . THE STUDY
2.1 ARCHAEOLOGICAL PARK
2 . THE STUDY
2.1 ARCHAEOLOGICAL PARK
A comparative analysis of some of cthe renowned archaeological parks around the globe is documented and analysed, based on certain parameters pertaining to both SITE LEVEL and BUILDING LEVEL. The comparative of the study done is to understand the nature of the parks, facilities provided for the tourists and the underlying concepts of modern interventions made within the park.
2 . THE STUDY
JA AWAHAR KA ALA KENDR RA
LOCA ATION ARCH HITECT Ja aipur, India Ch harles Correa
2.2 EXHIBITION SPACES

SANSKAR S KE ENDRA
Ahmedabad, A In ndia Le Corbusier Post P Modernism m (a abstracting tra aditional)
A comparative analysis of some key features (Site level) of various exhibition spaces are tabulated below
ost Modernism m in heritage context. Po (S Surrounding & building part of each other r.)
STYLE E/ THEM ME
Symbolic entrance gate
Concept - endless growth
Central void
View of museum block
ACCE ESS AND ENTR RY CLIMA ATIC RESPO ONSE/ SITE PLAN NNING
M Monumental, gr rand
ObscureO grad dually exposing
Co onc thaept is that t of a conte emporary building ba ased on the archaic notion of o the cosmos, the na avagraha man ndala, with on ne of the squar res mo oved aside to o provide entry y point and re ecxall the ge estures that created the orig ginal plan of the t city of Ja aipur. Blank external facades f with sparse s openin ngs to ave from dust, loo, direct gla are into intern nal spaces sa Bu uilding oriente ed to scoop winds and usage e of self sh haded open an nd semi-open court in hierarchy are ba asic climatic re esponses adap pted in design n.
Museum M and auditorium plac ced separately to work as in ndependent id dentities. The c concept of the museum is tha at of in nfinite growth. . Representing g the museum as a the body of knowledge k whi ich is endless. Pedestrian an nd vehicular access a are segregated. Features like co ourtyard, roof f gardens, gre een walls, ponds or o water bodie es make the b building climat tic effective. Museum M block oriented to ca atch south bree eze.
LAND DSCAPE SPAC CE DIVIS SION*
Int tegrated into the complex SP PACE/ ZO ONE 1. .Exhibition spa aces 2. .Educational wing w 3. . Admin. 4. . Storage 5. . Reception an nd public amen nities 6. . Accomodatio on zone % AREA 0% 40 8% % 5% % 12 2% 20 0% 10 0%
Raised R on pilot tis, it invites the e surrounding landscape ar reas in nside the build ding. SPACE/ S % AREA A ZONE Z 1.Galleries 2. 2 Educational wing w 3. 3 Admin. 4. 4 Storage 5. 5 Reception and public ame enities % 60% 12% % 8% % 15% 5%
2 . THE STUDY

PINAKOT THEK ( Refer Annexure2) A ISLAMIC ART TS MUSEUM M**
D Doha, Qatar, UAE 1.Rasem Badra 1 an 2 Charles Cor 2. rrea Post Modernism P m (abstracting traditional)
G GUGGENHEIM M MUSEUM
1. .New York, US SA 2. . Bilbao, Spain n 1. . Frank Lloyd Wright W 2. . Frank Gehry y 1. .Modernism (ic conic) 2. .Deconstructivi ism (iconic) LOCATION L ARCHITECT A Munich, Ge ermany Stephen Braunfels Modernism in heritage co ontext. (Surroundin ng & building part of each other. .)
Interior views
STYLE/ S THEME T
Entry view
Museum - Badran
Grand entrance
Museum - Correa
Museum - Correa
1. .Defined 2. . Iconic, magne etic, abstract. Bo oth are centra ally placed on site. Iconic buildings in contrast with the su urroundings self s important t individuality in both. W Water is used extensively e to ac ccentuate grandness at Bilb bao SP PACE/ % AREA ZONE .Galleries 1. 2. .Research Wi ing 3. .Educational wing w 4. . Admin. 5. . Storage 6. . Reception an nd pu ublic amenities 63% 5% % 6% % 5% % 18 8% 3% %
ACCESS A AND ENTRY E CLIMATIC C RESPONSE/ R SITE S PLANNING P LANDSCAPE L SPACE S DIVISION* D
Monumenta al, grand
Grand - gradu G ually exposing g, similar t Taj Mahal at to a Agra, India. Use of courtya U ards and wate er body t create micro to oclimate. The adjacent a C Corniche (huge e lake) is draw wn into t complex in the n both Mughal style, Geometric, M G be ecomes integral part of o site. S SPACE/ % AREA Z ZONE 1.Galleries 1 2 Research Wing 2. W 3 Educational wing 3. 4 Admin. 4. 5 Storage 5. 6 Reception a 6. and public a amenities 45% 12% 10% 5% 23% 5%
Remarkable integration into a chitectural and d historic greater arc context - in ndependent ch haracter within an ensemble. n an integra al aspect Minimal not to the comp plex. SPACE/ % AREA ZONE s 1.Galleries 2.Research Wing nal wing 3.Education 4. Admin. 5. Storage on and 6. Receptio public ame enities 58% 7% 8% 5% 19% 3%
** Museum of Islamic Arts was a competition design. Rasem Badrans entry was chosen by the client and is now under construction while Charles Correas entry was unanimously chosen by the jury for the rst prize.
2. THE STU UDY

TATE GAL LLERY
LOCATION L ARCHITECT A Liverpool, UK U Micheal Wilford W & Assoc ciates Modernism (Adaptive Re euse)
2.2 EXHIBI ITION SPACES

CLORE GAL LLERY
Liverpool, UK K Micheal Wilfo ord & Associa ates Traditional (A Adaptive Reuse)
K KIMBELL ART MUSEUM

P Philadelphia L Louis I. Kahn C Contrasting textures. Mass and a void r relationship is exploited.
STYLE/ S THEME T
PLAN OF MUSEUM KED ON EXISTIN NG WORK
PLAN OF MUSEUM WORKED ON EXISTING
ENTRY VIEW V
ACCESS A AND ENTRY E CLIMATIC C RESPONSE/ R SITE S PLANNING P LANDSCAPE L
ng context Defined within the existin
Defined withi in the existing context
D Defined, regul lar geometric, , simple.
Remarkable integration into a chitectural and d historic greater arc context - in ndependent ch haracter within an ensemble. Green area as function as sculpture gardens - large glass facades help connect out tdoor with indoor. SPACE/ % AREA ZONE s 1.Galleries 2.Research Wing 3.Education nal wing 4. Admin. 5. Storage 6. Receptio on and public amenities 54% 7% 12% 5% 19% 3%
Enlarge upon n or explore th he context of existing his storic buildings.
R Rigid grid followed multip ple e experiences designed. Vaul lted r roofs energy y efficient. Bui ilding o oriented to ma aximize use of f d daylight. L Landscaped co ourts provide visual r relief. S SPACE/ Z ZONE 1 1.Galleries 2 2.Research W Wing 3 3.Educational w wing 4 4. Admin. 5 5. Storage 6 6. Reception a and public a amenities % AREA 65% 5% 6% 5% 16% 3%
SPACE S DIVISION* D
Landscape integrated within by high itional glass atriums within a tradi load bearing g brick enclosure. SPACE/ % AREA A ZONE 1.Galleries 2.Research Wing 3.Educational wing 4. Admin. 5. Storage 6. Reception and public amenities 52% 12% 6% 5% 20% 5%
* Space divisi ion has been a approximately y calculated on o the basis of the total supe er built up are ea of the muse eum determine ed through drawings.
Impression ns of a forgo otton city case of Ch hampaner - Pavagadh, , Gujrat
2 . THE STUDY
VICTORIA ( Refer Annexure4)
LOCATION ARCHITECT Kolkata, India William Emerson Traditional - Victorian style

NGMA (Cowasji Jahangir hall)
Mumbai, India British architect Wittet Modernism (Adaptive Reuse)
INDIAN MUSEUM
Kolkata, India Traditional Colonial Style
STYLE/ THEME
Exterior view
ACCESS AND ENTRY Defined unfolds the visual axis to the main building
Gallery space
Defined within the existing context
View of courtyard
Monumental but cluttered.
Gateway - framed view

CLIMATIC RESPONSE/ SITE PLANNING LANDSCAPE SPACE DIVISION* Building centrally placed. The Background foreground principle is exploited to maximum. Integral part of design building occupies just 6%of total plot area. SPACE/ % AREA ZONE 1.Galleries 2.Research Wing 3.Educational wing 4. Admin. 5. Storage 6. Reception and public amenities 45% 20% 10% 7% 19% 3%
Gallery space
Enlarge upon or explore the context of historic buildings.
View of courtyard
Oriented around a large courtyard As an answer to the warm humid climate of Kolkata. Landscaped courts provide visual relief also create microclimate. SPACE/ % AREA ZONE 1.Galleries 2.Research Wing 3.Educational wing 4. Admin. 5. Storage 6. Reception and public amenities 72% 0% 1% 5% 21% 1%
Minimal not an integral aspect to the complex. SPACE/ % AREA ZONE 1.Galleries 2.Research Wing 3.Educational wing 4. Admin. 5. Storage 6. Reception and public amenities 62% 4% 4% 5% 20% 5%
11
2 . THE STUDY

JAWAHAR KALA KENDRA SANSKAR KENDRA
A comparative analysis of key features (Building level) of various exhibition spaces are tabulated below
EXHIBITION and ANCILLARY SPACES
Collection include paintings, sculpture, arts and crafts, drawings, photography, prints and illustrated books, film, media. Storage level is attached with each gallery with a separate back entrance. Interconnected galleries ease the storage distribution. Activity zone well defined and seamlessly meanders into the next adjacent space. Building facades and courtyards of varying heights, size and colour keep unfolding as one travels layering of spaces.
Form of galleries based on a rigid cubic formwork helping to modulate the space additively giving rise to primary form. Galleries exhibit paintings, sculptures, arts and crafts. Galleries are categorized according to nature of exhibits. The gallery spaces are rectilinear. Interconnected galleries ensure free flowing movement and minimum circulation. There is maximum usage of existing space. Storage level is completely segregate on ground level, with a separate entrance, storage below galleries are linked via vertical circulation. Each activity zone is well defined in single larger space
1.LIGHTING
Combination of natural (through courtyard) and artificial lighting used, modulation of light gives direction Well defined loops giving freedom of choice. Service and visitors circulation segregated. The exhibition spaces amorphously spaced within a rigid planform of 9 squares. Height varies from 4-7 m for exhibition spaces.
Combination of natural lighting (through skylight) and artificial lighting used All routes branching from the entrance courtyard also accessible directly to the upper level via ramp from outside landscaped areas. Galleries carved out from a grid of 49mX49m, each module being 7mX7m Length ranges from 30-50m. Height is 6 m for galleries.
2.CIRCULATION 3. SHAPE/FORM
12
2. THE STU UDY

PINAKO OTHEK

KIMBELL L ART MUSEU UM
GROU UND FLR. VIEW OF CO OMPLEX
Entrance atriu um TYPIC CAL PLAN
GALLERY and d ANCILLARY SP PACES
The galleries and rectangu ular/square in form interco onnected with flexible partition wall ls. Collections inc clude graphics s, architecture and design, modern m art, film. Theatre galle ery provided underneath u the e grand stairca ase.
SE ECTION
The museum galleries g are designed d with h simple rectilinear ge eometric forms s. Vaulted roof fs adopted - energy e efficien nt. Water gives visual relief and a increases monumentalit ty. Intermediate courtyards br reak monotony y.
ROOF R DETAIL
EL LAVATIONS
DIFFU USED NATURAL L LIGHTING THROUGH REFLE ECTOR SYLIGHT TS MAJOR IN NNOVATION
1.LIGHTING
A central l rotunda (100 0m dia, 30m high), h works as s a panora amic viewing towert brings light to the galleries. Combines top, side and ar rtificial light. Centraliz zed circulation n in contrast with the closed d cubic imp pression from outside o the inn ner composition develops a surprising de egree of bility and trans sparency- view w open from permeab all sides from the rotun nda. Rectangu ular regular sh haped gallerie es (18 - 25 m wide), Le ength ranges from f 10-45m. HT. =9m
ffused natural lighting is ma aximized into the t interiors Use of Dif As shown in pictures above.
N 2.CIRCULATION
irculation - all routes bring viewer v back to o the water Looped ci body and d punched cour rtyards in betw ween gallerie es Rectangular regular sha aped galleries (18m wide) Length ran nges from 40m m. height rang ges from 7m
M 3. SHAPE/FORM
2 . THE STUDY

MUSEUM M OF ISLAM MIC ARTS - BADRAN
View of complex
A comparative analysis of key features (Building level) of various exhibition spaces are tabulated below
MUSEUM M OF ISLAMI IC ARTS - CO ORREA
View of complex
The museum galleries are designed with simple rectilinear geometric forms and a in betwe een to ease the e visitor rest areas mental fatig gue. Water and courtyard giv ves visual relief, break k monotony an nd increases monumentality. The mythical courtyard is revealed o the visitor en nhancing the gradually to experience and pleasure The museum galleries g are designed d with h simple rectilinear ge eometric forms s and visitor re est areas in between to ease e the menta al fatigue. Water and courtyard c give es visual relief, break monotony and increases monumentality. r grad dually to The mythical courtyard is revealed the visitor enhancing the ex xperience and d pleasure
Galleries offering alternative and exible movement for the visitors
Galleries oriented around a mythical courtyard to which a visitors return each time
1.LIGHTING Use of Diffused natura al lighting is maximized into the interiors through sk kylights. Centraliz zed circulation n a grand pla aza overlooking the Cornic che serves as the t nucleus. on is internal and a separate. Storage level circulatio Square shaped s galleri ies (rotated on ne above another in i plan form fo or dynamism) 25 m wide, HT. =7m ffused natural lighting is ma aximized into the t interiors Use of Dif through sk kylights. Looped ci irculation - all routes bring viewer v back to o the mythical garden g placed d centrally. Rectangular /square re egular shaped d galleries (18m wide) nges from 20 - 40m. height t ranges from 7 - 9m Length ran
N 2.CIRCULATION M 3. SHAPE/FORM
14
2. THE STU UDY

GUGGENHEIM MUS SEUM NEW W YORK GUGGEN NHEIM MUSE EUM BILBA AO
MAIN ENTRY Y
VIEW W OF COMPLEX X
Galleries ac ccessible form a ramped atrium no separate cubi icles for ey shown alon ng walls down exhibits the the atrium. eas are distinc ct and Storage are separate at semi basement level. n of concrete and a frame Combination structure use ed to span the atrium.
SE ECTION
The museum galleries g are of o organic for rms, asymmetrical, iconic some also of regula ar geometry. ecture more prominent p Self entity in itself archite than exhibits. Gallery part titions are undulating in heig ght and amorphous g giving a high degree d of dyn namism and distraction.
AMOR RPHOUS SHAP PED GALLERIES THE BUILDIN NGS ITSELF F TRANSFORM MS INTO A PIEC CE OF ART.
EL LAVATIONS
1.LIGHTING
Diffused d natural light floods inside into the interiors t through glass top of atrium Centraliz zed ramped ci irculation throu ugh atrium people start their journ ney from the top t floor. The inver rted cylindrica al conical atriu um serves as the galle ery space.
Use of Dif ffused natural lighting is ma aximized into the t interiors through sk kylights. Artific cial lighting is used also with hin. Centralize ed ramped cir rculation through atrium pe eople start their journ ney from the to op floor. Stora age level circu ulation is internal and discrete. Organic amorphous a sha aped galleries s , some galler ries are of rectilinear r shape also. H Height and dim mensions are extremely e variable.
N 2.CIRCULATION M 3. SHAPE/FORM
2. THE STU UDY

TATE GA ALLERY - LIV VERPOOL
UPPE ER FLOO OR PLAN
CLORE GALLERY G - LI IVERPOOL
UPPER FLOOR
GROUN ND FLOOR PLAN
GROUND FLOOR PLAN
The gallerie es are classifie ed as past, present and future following a al order. chronologica Gallery organization rein nvestigates Khanian notions of sense of o scale and r Kha ans here place, and reworking institutional constants the e school, ge green wh hich in Tate street, villag terms becom me the gallery y, the experiential l route, and th he informal sculpture ga arden. eum has gallery spaces of The art muse different cha aracter on different floors, at entry leve el an orthogon nally gridded and strongly y articulated suite s of galleries not t intended to be b subdivided d, and above is i a top lit wa are house space capable of adaptio on or division to suit large e works and ch hanging exhibition.
The museum galleries g are designed d with h simple rectilinear ge eometric forms s adopted from the existing struc cture. Ground floor r dedicated to o educational, research and administ trative facilitie es, gallery beg gin from the upper floor
LIGHTING DETAIL US SED TO ALLOW W DIFFUSED NATURAL
1.LIGHTING
System similar s to Chlo ore gallery has been followed in the Tate Gallery. G Looped c circulation thro ough interconn nected galleries. Storage leve el circulation is s internal and discrete. The galle ery size has be een guided by y the already existing structure. s Gallery ht. = 7.6m m
Unique sy ystem of skylig ghts was devise ed to get diffu used natural lig ght within the g galleries (refe er museum and d lighting pg 33) as s shown in the figure above. . Simple cir rculation core accessed from m the entrance e foyer (double he eight). The galler ry size has be een guided by the already existing e structure. Gallery ht. = 7.6m
2.CIRCULATION N
3. SHAPE/FORM M
2. THE STU UDY

VICTOR RIA MEMORI IAL, KOLKATA
VIEW DOME D
NGMA, MUMBAI M
The gallerie es are classifie ed as past, present and future following a chronologica al order. Gallery organization rein nvestigates o scale and Khanian notions of sense of r Kha ans here place, and reworking institutional constants the e school, street, villag ge green wh hich in Tate terms becom me the gallery y, the experiential l route, and th he informal sculpture ga arden. eum has gallery spaces of The art muse different cha aracter on different floors, at entry leve el an orthogon nally gridded and strongly y articulated suite s of galleries not t intended to be b subdivided d, and above is i a top lit wa are house space capable of adaptio on or division to suit large e works and ch hanging exhibition.
V VIEW OF COMP PLEX
INTERIOR OF GALLERY

-
The museum galleries g are designed d with h simple rectilinear ge eometric forms s adopted from the existing struc cture. Ground floor r dedicated to o educational, research and administ trative facilitie es, gallery beg gin from the upper floor
GRAND ATRIUM M STAIRCA ASE
1.LIGHTING
System similar s to Chlo ore gallery has been followed in the Tate Gallery. G Looped c circulation thro ough interconn nected galleries. Storage leve el circulation is s internal and discrete. The galle ery size has be een guided by y the already existing structure. s Gallery ht. = 7.6m m
Unique sy ystem of skylig ghts was devise ed to get diffu used natural lig ght within the g galleries (refe er museum and d lighting pg 22) as s shown in the figure above. . Simple cir rculation core accessed from m the entrance e foyer (double he eight). The galler ry size has be een guided by the already existing e structure. Gallery ht. = 7.6m
N 2.CIRCULATION
M 3. SHAPE/FORM
2 . THE STUDY
2.3 MUSEUM AND HUMAN EMOTIONS

Relation with human emotions: The tour of a museum is a journey for the moving person which has to be made into an enriching experience. In order to enrich it, the design should be such that can efciently arouse the required human senses and feelings/emotions necessary to make the journey fullling, such as: Curiosity the urge to see whats more in store next. Hence the element of dynamism is of great importance and the geometry should be such as to impart this quality. E.g. Indian museum, Doha Ease where the person can feel that he will be able to nd his way on his own without having to ask for directions. Hence readable layout is necessary. E.g. Doha museum of Islamic arts Relief so that a person tired of browsing/walking may feel relieved to nd open space to assimilate all the knowl edge/learning. E.g. Indian museum court
Museum of Islamic Arts - Correa
Guggenham Museum - Gehry
Concentration there should not be too many distracting elements within the galleries, so that the person can give his 100% concentration on the objects showcased. E.g. Cima art gallery, Pinakothek de modern, Munich. Awe the museum should be such that its overall form and statue becomes a symbol of the place. Comfort the galleries whose sole purposes to impart learn ing should be of human scale so that knowledge can be gathered without any inhibitions, because true knowledge cannot be assimilated where there is awe/fear. Surprise - Museum would always be full of surprises. Noth ing static. So the museum has as many moods as there are moments in time and never as long as the museum remains as a building will there be a single day like the other. E.g. Kimbell art museum Fulllment/satisfaction such that when a person completes his journey he can feel enriched within and feels that the time he spent on the museum was worthy of it. The fundamental issue is to place and illuminate objects in a meaningful sequence so that they can communicate with the moving observer. Hence, OBJECT, ROUTE, LIGHT becomes the basic elements of design/zoning.
Jawahar Kala Kendra - Correa
Sanskar Kendra - Le Corbusier
18
2 . THE STUDY
2.4 MUSEUM AND GALLERY LIGHTING

Introduction Lighting is one of the most important aspects in museum design. There are many forms of lights which can be manipulated and used for the purpose. For many artists, art and light are synonymous. For instance, Rembrandts paintings are famous for their luminosity. In short, lighting is critical when coupled with ne art and even a slight difference in direction or type (uorescent, incandescent, halogen, natural, etc.) can make all the difference. Like anything else, art lighting is a compromise and requires some expert advice. NATURAL LIGHTING: Its hard to control direct natural light in general terms. It causes a big problem for art, particularly, paintings and works on paper. The infrared and ultraviolet (UV) rays of natural sunlight can damage works of art. UV rays are so harmful that it can, over time, fade works on paper especially pastels, prints, photographs, and watercolours. Also, textiles will fade in sunlight in a matter of only a few short months.But natural light is also essential for human comfort hence ways are needed to be devised to diffuse the natural light before entering into the galleries. ARTIFICIAL LIGHTING It can be broadly classied into 3 kinds: Incandescent lighting: It has its good and bad points. They bring out the warm colours within the colour spectrum such as the red, brown, orange, and yellow tones. But if you have a seascape composed with blues and greens (i.e., the cool colours), then an incandescent light wont bring out all of those cool colours. The blues, greens, and violets within your works of art will be attened out by incandescent lights. So, these lights are better. Fluorescent lighting: Fluorescent lights arent the easy answer either. Museums and galleries dont use the uorescent bulbs as a common practice because they give off a high amount of UV rays which are harmful. In addition, uorescent lights do not emit light across the entire spectrum of colors and this is problematic. Halogen lighting: Because of the strong white light that it emits, halogens are among the best lighting solutions if installed properly. A low watt halogen light may prove to be a very good lighting solution, the subtleties come through with a halogen light which has been recently introduced which redirects damaging UV and infrared rays. Once again, the use of a halogen light at low wattage may prove best for most works of art. In short, museum curators, dont keep works on display for long periods of time since all light) is damaging to works of art and antiques and as a result will devalue your pieces over time. Thus, direct lighting systems are never recommended on artwork, antiques. 19
Museum of Modren Art, Japan - Kisho Kurokawa
Kimbell Art Museum, Philadelphia - L.I.K
2 . THE STUDY
2.5 DESIGN GUIDELINES
Objectives: To form conclusions to be used as guidelines for the proposal
20
2 . THE STUDY
2.5 DESIGN GUIDELINES

Based on primary and the secondary sources of information and their consequent analysis, certain design guidelines have been evolved, which are as follows: Site level 1. To consider the local climate aid environmental factors while xing the orientation of the development. 2. Provide a well dened entry, meet security demand effectively. 3. To ensure easy and uninterrupted accessibility within the site, considering all types of movement and visibility. 4. To segregate vehicular and pedestrian circulation and minimize vehicular trafc. 5. To create unidirectional circulation loops to ensure security and functional movements. 6. To use landscaping, considering the climatic and environmental factors, to dene positive spaces 7. Complex should be iconic in stature. Building level General guidelines 1. To create unidirectional and sequential pedestrian circulation loops to maximise natural surveillance and develop effective interactive and functional spaces to cater the different requirements. 2. To harmonize the built forms with the strong contextual background. 3. Segregate between public, semi - private and private spaces. 4. Segregate indoor and outdoor spaces providing transition zone. 5. Design an ambience arousing the human senses. 6. Provide adequate public amenities (tlt./drinking water) at intervals according to the byelaws. Gallery and service spaces guidelines 1. Provide adequate space for storage and curatorial practices. 2. Provide inlet of diffused natural light into the galleries. 3. Keep provision for rest areas between the galleries for the visitors. 4. Provide adequate space for ancillary facilities like the theatre gallery, educational/research facilities. 5. Minimizes the inlet of dust particles, smoke or any other foreign particles which may prove to be harmful to the exhibits. 6. Provide adequate provisions for surveillance of the exhibits. 7. Encourage visual transparency within the gallery levels. 8. Provide ample space for loading unloading, crating uncrating etc. 10. Provide adequate common amenities for the staff.
21
03
DESIGN IMPLEMENTATION
3.1 Site Slection, 3.2 Site Analysis, 3.3 Site Morphology
3. DESIGN IMPLEMENTATION
3.1 SITE SELECTION

Site and its regional context: The need was to select a site in a manner that it utilises the natural potential of the place and ensures minimum risk to the heritage sites and monuments around. The site should not have remains or buried structures in that area. Keeping the above in mind the site is selected by ASI at a strategic position such that it is also: Clearly visible as a landmark as one enters\exits from the archaeological park using the access highway Central to the historic cores and can be viewed from all heights within archaeological park. Presence of talaos around (Kasbin and Jhorvan) inuence microclimate - an essence of an oasis in the semi - arid region. Presence of reserve forest around nurtures wildlife, and the Pavagadh hills in the background with ruins and remains of settlements sticking out at various parts form the backdrop.
22
3.2 SITE ANALYSIS

Site and its immediate context:
1.
Royal enclosure walls - towards NE
Ariel Map showing Access road and adjacent developments Access: An 18m wide metalled road proposed to be extended to a 24m wide road runs parallel to the northern boundary of the site. The site is at the entrance of the Champaner-Pavagadh Park. All Infrastructure lines run along the main road spine. Adjacent Developments: render the site at convinent reach for the tourists
2.
Parking - towards east
3.
Lush terrain - towards Machi
Ariel Map showing Topography and Views from the site Topography: The surrounding topography is hilly. The site essentially at with natural depressions forming natural lakes. The slope of the site is towards these depressions. The surrounding topography ensures breathtaking views around the site Therefore: The design of the site should be one that compliments the natural terrain. Vegetation and wildlife to be integrated into design. Impressions of a forgotten city - case of Champaner-Pavagadh, Gujrat 23
4.
Towards the hill - looking SW
3.2 SITE ANALYSIS

Site and its landscape studies:
Edge of Jhorvan
Ariel map showing hydrology and vegetation Soil: The top soil (thickness 1.2m) is alluvial consisting mainly of loam, sand and kewal (hard stiff clay). The pH from 6.36 to 7.67 (slightly acidic). Moisture retention is in the range of 42% to 53%. Thereafter, layers of igneous rhyolite rock is found which extends down to the strata where solid rock starts. Therefore: design to reduce settlement potential. Edge of Kasbin Hydrology: The site has natural depressions due to which the storm water streams running through the site form 3 lakes. The condition of the soil is alluvial. Therefore: Utilize the natural drainage channels and slopes. Consider techniques for rainwater harvestation and reuse for suitable purposes as done by the catchments and conveyance system in olden times in the region. Vegetation: Mainly 3 kinds of vegetation found and around the site-grasslands, shrubs, and forests. Therefore: Preserve the vegetation that ourishes on and around the site. Make use of the natural vegetation and do not introduce aliens form of vegetation. Wildlife to be automatically be invited on the site when vegetation is allowed to grow near the site.
Raised edge of site
24
3.2 SITE ANALYSIS

Site and its climatic studies: Climate: The area experiences semi arid climate owing to its distance from sea. Summers are hot and winters cold. Monsoons last 4 months and relates to the south west monsoon winds. May is the hottest month and January the coldest. Predominant wind direction is South West & South East and North East in winters. Presence of large waterbodies inuence the microclimate around the site. Therefore: the design to take advantage of the wind directions. It should restrict absorption of radiation during the summers, and block the chilly winds in winters. Solar radiation may be utilized to generate energy. It should use the natural landscape to enhance the microclimate of the site.
Buildingtyperecommendation OrientationLongaxisEW,compactcourtyardplanning Openspaceforbreezeinflow,butprotectionfromthe Spacings severecold/hotwindsthroughlandscapeand microclimate/compactlayout Insulation,timelag,reductioninabsorptionofdirect Wallsandroof radiationshouldbeensuredduetohotsummersdouble wall,heavywallsetc. Sizetodependonthemediumofventilationandlightto Openings beprovidedforthespace Excludedirectsunlightthroughoverhanging Protectionofopenings systems/louversetc. Innorthandsouthwallsonwindwardside,couldbethere Positionofopenings ininternalwallsalso Rainwatertobepreventedfromenteringinexhibitonand Rainprotection galleryspacescontainingartifacts/weatherableitems Shouldfollowthenaturalslopeofterraintobecollected Drainage storedandreuseditforsuitablepurposes Parameters Layout
Diagram illustrating optimum orientation
25
3.3 SITE MORPHOLOGY
The hill of Pavagadh rises to height of about 800 metres. Its high escarpment on the West and South makes it safeand unapproachable, while its North-Eastern sude has gentle slopes connecting various plateaus. This natural feature has led to the settlements in this area. Its two main plateaus, one on the top, known as Mauliya and other almost in the middle of the hill, known as Machi, have been urban settlements. It is from these points that one has been able to trace the later developments.
Map showing Historic Layers and evolution of the region 26 Impressions of a forgotten city - case of Champaner-Pavagadh, Gujrat
3.3 SITE MORPHOLOGY

Various conceptual studies undertaken in order to understand the place, its genius loci with the objective of developing more clarity and a deriving the essences which would allow the gradual sequential development of my concept proposal. EXCERCISE 1 Objective: to establish the fabric of my concept by summarising the rst images that one gets of champaner - its essence. Conclusion: thus streets, nodes, chowks, hierarchy of streets and open spaces were the crux to champaners genius loci.
Settlement pattern of Sultanate Phase: Jahapana Killa
27
3.3 SITE MORPHOLOGY

INFERENCES BASED ON EXCERCISE 1 Scale and density: Overall fabric is scattered implying that the setllement was divided into zones for separate castes. The irregular nature nature of the movement pattern suggests organic growth of the settlement maintaining the major spines. The fabric is not too dense. The house tyoe is courtyard type sharing back to back walls. Structure of spaces: It seems the streets have been carved out of a solid rock. Their labyrinthic character shows a lack of order but a close inspection with respect to the social norms ahows an inherent order which gives it its present form. There is a heirarchy in the open system of spaces. Jalaashay system: The people used an elaborate system of catchment and conveyance systems, i.e. caught stored and diverted for human use. They achieved this by a range of water structures ranging from taloas to kunds, vavs and kuas. Organization of streets: Irregular axial lines suggest that they have been a result of accretion over time. It is this complexity that adds richness to the organization. Though this complexity might be confusing to a stranger moving in a system and they might get lost but once when lost they tend to become more aware and involved with the spaces hence have a greater experience. Orientation of the street: Is predominantly north south direction as response to the climate. They also take advantage of the venturi effect.
Map showing overall fabric skin and imagery Map showing overall fabric, skin and imagery 28 Impressions of a forgotten city - case of Champaner-Pavagadh, Gujrat
3.3 SITE MORPHOLOGY
EXCERCISE 2 Objective: detail analysis of the character of street and its working Conclusion: Option as how could this street structure work for the museum block as route and what would be the various layers of the spaces.
29
3.3 SITE MORPHOLOGY
EXCERCISE 3 Objective: to study in detail the nature of built form, its basic element being courtyard and streets. Conclusion: the effect of courtyards in everyday life, the multiple role of the anti grid street order and that the incorporation of such streets as a main element of my concept.
EXCERCISE 4 Objective: to study the nature and use of collonades Conclusion: to provide a variety of collonaded spaces as transitional spaces at various junctures of proposal using appropriate contemporary vocabulary
30
3.3 SITE MORPHOLOGY
EXCERCISE 5 Objective: to identify elements of the various eras of Champaner which may be manupilated and used for the desired effect of establishing notions and associations for the visitors Conclusion: the darwazas, fortication walls, typology of arches, and collonades courts, kunds, stepwells, courtyards were found to be some such elements
EXCERCISE 6 Objective: to understand the traditional way of building, spanning spaces, and materials used and to interpret some elements in a contemporary architectural language.
Conclusion: contemporary alternatives drawn for the same i.e. usage of locally available stone with modern materials like steel, glass, plastic and the collonade was taken up and 2 options were developed.
31
3.3 SITE MORPHOLOGY
EXCERCISE 7 Objective: to study the scale of spaces and how the massing helped in balancing the various scales to form a harmonious whole in the traditional settlements of Champaner. Conclusion: the various heights which correspond to the scales and give a perception to the visitor with their attributes are concluded.
EXCERCISE 8 Objective: detail analysis of the character of urban sihouette and 3D massing Conclusion: principles of massing and its effect on a eyes became more clear.
32
3.3 SITE MORPHOLOGY
Kaleidoscope of images of Champaner - Pavagadh
33
04
AREA STATEMENT
4.1 Space programming - Site level and Building level, 4.2 Flowchart
4. AREA STATEMENT
4.1 SPACE PROGRAMMING
TOTAL SITE AREA - 21 acres (87,618 sq.m. approx.) GROUND COVERAGE - 40% (35,050 sq.m. approx) MAXIMUM PERMISSIBLE F.S.I(Floor space index) - 1.8 MAXIMUM PERMISSIBLE B.U.A.(Built up area) - 63,090 sq.m. FRONT OPEN SPACE - 7.5 m REAR AND BACK OPEN SPACE - 3 m
BROADAREAPROGRAM20295sq.m. Area Function (sq.m.) MuseumandEducationfacility 13065 2665 Researchfacilities 1000 Craftsdemonstrationzone 1356.5 Accomodationfacilities 360 Receptionfacility 245 Administrationfacility 1603.6 Parking 20295
Pie chart for Broad Area Program
Pie chart for Reception Zone
Pie chart for Administration Zone
34
4. AREA STATEMENT
35
4. AREA STATEMENT
36
4. AREA STATEMENT
4.2 FLOWCHART
Loading & unloading
Service area Entrance
Research lounge
Accomodation lounge
Security guard
Parking
Scholars accomodation
Lounge
Loading & unloading
Dining
Information desk
Registration lab
Food court
Museum lobby
Ofce
Artefacts lab Permanent exhibition Conservation and restoration lab Film viewing Phtographic lab Learning centre Documentation lab Public lecture
Collection storage
Excavation equipment storage
37
05
DESIGN PROPOSAL
5.1 Design concept, 5.2 Evolution of zoning, 5.3 The proposal
5. DESIGN PROPOSAL
5.1 DESIGN CONCEPT

Concept - Ruined city in time wrap Some of the aspects of the concept are illustrated below: 1. The objective is to offer an understanding of Champaner through the park being as living event such that those experiencing the spaces would be able to comprehend them within the culture that produced and contributed to their making. 2. Emphasise the cultural, environmental and historic values emerging from the context and these should be expresssed in architectural form.
Immagery of Amman fort
3. The proposal to be viewed as a social - educational and cultural event for people/tourists. Comparative study on the nature of streets of the settlements of Champaner
Street strewn with activities
The diagram above shos metamorphosis of a rectilinear spine into an organic one and how its character changes with transformation of geometry. The metamorphosis enhances the aspects like curiosity, unpredictability, elements of surprise, variety within this spatial spectrum. Hence providing multiple dynamic experiences which are loose meandering and unique in nature. One is free to choose apace and time. In it a space of very small spaces cramped tiny, noisy and full of vitality. Yet there are corners to hide or go in seclusion, where ther would be discourses or dialogue and even larger open areas for catering to larger groups.
Different planes
38
5.1 DESIGN CONCEPT

Disparate visual and physical axis
From theses studies nal principles that would govern my design were concluded which are illustrated alongside
Sequential unfolding of spaces
Conditioning of the mind through movement
Choices of movement path for personal and intuitive experience
Kinesthetics as the organisation and proportional tool
39
5. DESIGN PROPOSAL
5.1 DESIGN CONCEPT
EXCERCISE 1 Objective: to establish the relationship of form with the surroundiong terrain and therefore what should be the nature of built form and hence the architectural styles which would be incorporated. Conclusion: corresponding to the concept the built for should have an unnished look hence dynamic - just like ruins
EXCERCISE 2 Objective: to use accentuate the natural potential of site - role of water Conclusion: according to the natural slope of the land the existing water bodies onsite were connected in a mannar that they aslo serve as a physical divider between the various components of the ruined city like the museum, promenade, research and accomodation zones.
40
5. DESIGN PROPOSAL
5.2 EVOLUTION OF ZONING
ZONING STAGE 1 The basic activity zones were identied and crudely placed onsite on based suitable locations and circulation.
ZONING STAGE 2 Following the natural slope of land and with the objective off accentuating and integrating onsite and adjacent natural features the lakes were connected to form a canal which would act as a physical barrier and ecological device bteween the various zones of the ruined city. It would also serve as rainwater drainage channels harvesting rain water. A green belt was left alongside taking into consideration the approximate positions of the existing trees. After this the various activity zones were modied and replaced from stage1. and the main circulation spines were identied.
41
5. DESIGN PROPOSAL
5.2 EVOLUTION OF ZONING
ZONING STAGE 3 Continuing from stage 2 circulation spines were detailed and public and semi public spaces were placed to allow minimum conict. Yellow: public spaces Orange: semi public spaces Key for the alongside zoning plan: 1. Reception 2. Pre historic era gallery 3. Rajput era gallery 4. Champaner era gallery 5. Educational facility zone 6. Temporary exhibition spaces 7. Diorama and crafts zone 8. Promanade 9. Research zone 10. Accomodation zone
ZONING STAGE 4 - CONCEPT PLAN Continuing from zoning stage 3 I started putting the various requirements according to the zoning adhering to the main circulation spines as reected in the zoning stages to scale.
42
5. DESIGN PROPOSAL
5.3 THE PROPOSAL
The alongside images show the initial design scheme, which after improvisation culminated to the nal concept design proposal as shown below.
Final concept proposal Ruined city ina time wrap Object, Route, Light being its 3 main components.
43
5. DESIGN PROPOSAL Promenade Zone The promenade is conceptulised around the bazaar street which also serves as the service street in off hours. Gradual unfolding of spaces nally leading the visitor to the revolution of the vaast Jhorvan talao with hills in the background and ruins sticking out from them has been the focus during the design process. Museum Zone There are two ways seeing ruined building. First is to see the fragments as pieces of a zigsaw, as clues to a reconstruction and the second is to as picturesque. Ignoring the intensions of the original builder one enjoys the romantic effect of the damage done by time- crumbling stone, ivy, mysterios dark spacesand dramatic contrast of light and shade. In th museum zone the characteristics of both the view points have been incorporated through its spatial qualitie keeping the whole fabric an amalgamation of past era and the present modern times. To combat museum fatigue the visitors needed to be given a variety of experiences, surprises at every node plausable junctures which arouse notions and associations given them an essence of the past through the plurality of spaces interms of the sequence in which they are revealed and concealed Vehicular entrance and parking Zone
5.3 THE PROPOSAL
44
5. DESIGN PROPOSAL
5.3 THE PROPOSAL
Research wing Located onthe extreme corner of the site for privacy and overlooking the forest. The design of the zone based on interconnected, interactive spaces at various levels enhancing the work environment and learning spaces.
Scholars accomodation Zone Organised along a street with the aim of giving a village likae ambience for the residents scholars archaeologistas, conseravationists and researchers. Its placed in between the research and the educational facility zone such that both facilities are equally accessible by them
Educational facility Zone Organised around interconnected amorphously placed courts catering to activitie like, seminars, lectures and conferences. Pedestrian entry zone
45
06
ANNEXURE
6.1 List of vegetation, 6.2 List of references and further reading, 6.3 Structural analysis
6. ANNEXURE
6.1 LIST OF VEGETATION

Medium ller trees Alanthus excelsa Tree of heaven / Maharukh Lofty, quick, growing, deciduous tree. Good soil binder, good tree shelter, handsome foliage, showy ower. Cassia simmea Siamese trees / Kassod Quick growing evergreen trees. Flowers are deep yellow. These are planted specially in parks. Chorisia speciosa The Mexican Silk Cotton tree Quick growing medium size deciduous tree. Trees are leaess but covered with yellow owers. Planted in groups. Choridia myxa Indian cherry bhokar Hardy small sized tree with evergreen dense foliage. Provides good shade. Alstonia scholaris Devils tree / Satwin Medium to large sized evergreen tree, columnar crown. Planted in groups. Provides good shade. Bauhenia venegate Orchid tree /Kachner Small to medium sized deciduous tree. Flowers are of various colours varying from pink to mauve
48
6. ANNEXURE
6.1 LIST OF VEGETATION

Shade trees Azadriachta indica Neem tree / Mangosa tree Sub - deciduous tree with long, straight trunk. Has small - stared, fragrant owers. Excellent shade tree. Bombax malabaricum Indian Silk Cotton tree Large, straightly, upright, deciduous tee with straight cylindrical stem. Colourful owers with long eshy petals. Suitable for planting along highways. Ficus bengalerisis Banyan / Barged Evergreen long - lived tree with aerial roots and buttress. Planted near villages or parks. Ficus religiosa Bodhi tree / Pipal Large sub -deciduous tree with rounded or at topped. Good trees for plantation on highways. Gmelina arborea Chandan tree Deciduous tree with dense foliage. Very good shade tree for roads and gardens. Magnifera indica Mango tree / Aam Evergreen tree with dense rounded,conical or columnar crown. Flowers are yellowish green. Tamarindus indica Tamarind / Imli Slow growing, deciduous almost columnar shape. Grown along roads, parks, gardens, etc.
49
6. ANNEXURE
6.2 LIST OF REFERENCES
1. Kagal, Carmen (Ed.) Vistara: The architecture of India, 1986 2. Herdeg Clause, Formal structures in Indian architecture, Ithaca, 1997 3. B.V. Doshi, Lecture series 1, 3, 1993 4. Huntington Susan L. & Huntington John C., Art of ancient India, 1996 5. Brown Percy, Indian architecture, (Buddhist and Hindu), 1983 6. Michell George, Life in ancient India, Thaes and Hudson, 1994 7. Tadgell Christopher, History of Architecture, India, Penguin books, 1990 8. Ambalal Amit, Rajasthani paintings: Nathdwara, Mapin publications, 1987 9. Ecole de Beaux Art, Architecture in India, Electa Moniteur, Paris, 1986 10. De Koning, Krijan, Inside Outside, Rotterdam publishers, 2001 11. Meininger, Irmgard, City palace of Udaipur, D.K. Printworld, 2001 12. Stierlin Henry, Hindu India: From Khajuraho to the Temple town of Madurai, Benedict Taschen Verlag GmbH, 1998 13. Lane Smith Ron, Temple cave design, Vastu shilpa Foundation, 1996 14. Doshi B.V. (Dr.), Universe of an Indian Sthapati, VSF, 1992 15. Doshi B.V. (Dr.), From Chandigarh to Sangath, VSF , 1997 16. Pandya Yatin, Concepts of space in Traditional India Architecture, 1994 17. Mehta R. N. (Prof.), Champaner - A medieval capital , Heritage Trust, 1986 18. Modi S, Impressions of a forgotten city , Heritage Trust, 2004 19. Jain Kulbhushan ,Thematic Space In Indian Architecture, India Research Press, 1999 20. Bhatia Gautam , Silent Spaces and Other stories of Architecture, A Penguin Book, 1994 21. Blatter,E,W.S. Millard, Some beautiful Indian Trees, 1954 22. Department of Landscape Architecture, University of Illinois Urbana-Champaign,&Baroda Trust,2001 23. Modi. S ,Water Intelligent City: Champaner-Pavagadh, 2002
6. ANNEXURE
6.3 STRUCTURAL ANALYSIS
51

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A Report on

Impressions of a forgotten city

For the partial fulllment of the course of Bachelor Degree ofArchitecture

Under the guidance of Prof. Arup Sarkar

3 3.1 3.2 3.3

DESIGN IMPLEMENTATION Site Selection Site analysis Site morphology

AREA STATEMENT Space programming Flow chart

5 5.1 5.2 5.3

DESIGN PROPOSAL Design concept Evolution of zoning The proposal

6 6.1 6.2 6.3

Impressions of a forgotten city - case of Champaner-Pavagadh, Gujrat

Declared as a world heritage site in 2004 by UNESCO

Attracts overs 2million tourists annually

Tourism accounts for a of 2 billion in Kerala and 3.5 billion in Rajasthan

How can the potential of Champaner be tapped to justify its status?

A place of such richness awareness in people about it = nil

Impressions of a forgotten city - case of Champaner-Pavagadh, Gujrat

1.2 AIMS AND OBJECTIVES

Impressions of a forgotten city - case of Champaner-Pavagadh, Gujrat

1.3 SCOPE AND LIMITATIONS

Impressions of a forgotten city - case of Champaner-Pavagadh, Gujrat

Impressions of a forgotten city - case of Champaner-Pavagadh, Gujrat

2.1 ARCHAEOLOGICAL PARK

Impressions of a forgotten city - case of Champaner-Pavagadh, Gujrat

2.1 ARCHAEOLOGICAL PARK

Impressions of a forgotten city - case of Champaner-Pavagadh, Gujrat

2.2 EXHIBITION SPACES

Symbolic entrance gate

Concept - endless growth

View of museum block

ObscureO grad dually exposing

LAND DSCAPE SPAC CE DIVIS SION*

Impressions of a forgotten city - case of Champaner-Pavagadh, Gujrat

2.2 EXHIBITION SPACES

Monumenta al, grand

Impressions of a forgotten city - case of Champaner-Pavagadh, Gujrat

2. THE STU UDY

2.2 EXHIBI ITION SPACES

K KIMBELL ART MUSEUM

PLAN OF MUSEUM KED ON EXISTIN NG WORK

PLAN OF MUSEUM WORKED ON EXISTING

ACCESS A AND ENTRY E CLIMATIC C RESPONSE/ R SITE S PLANNING P LANDSCAPE L

ng context Defined within the existin

Defined withi in the existing context

D Defined, regul lar geometric, , simple.

Enlarge upon n or explore th he context of existing his storic buildings.

Impression ns of a forgo otton city case of Ch hampaner - Pavagadh, , Gujrat

2.2 EXHIBITION SPACES

Gateway - framed view

Impressions of a forgotten city - case of Champaner-Pavagadh, Gujrat

2.2 EXHIBITION SPACES

EXHIBITION and ANCILLARY SPACES

Impressions of a forgotten city - case of Champaner-Pavagadh, Gujrat

2. THE STU UDY

2.2 EXHIBI ITION SPACES

GROU UND FLR. VIEW OF CO OMPLEX

Entrance atriu um TYPIC CAL PLAN

GALLERY and d ANCILLARY SP PACES

Impression ns of a forgo otton city case of Ch hampaner - Pavagadh, , Gujrat

2.2 EXHIBITION SPACES

GALLERY and d ANCILLARY SP PACES

Galleries offering alternative and exible movement for the visitors

Impressions of a forgotten city - case of Champaner-Pavagadh, Gujrat

2. THE STU UDY

Prachi Di's Thesis Report

Prachi Di's Thesis Report