CONTEMPORARY ART MUSEUM. Dilshad Samina Soha. Seminar ll

Transcription

1 CONTEMPORARY ART MUSEUM Agrgon, Sher E Bngl Ngr, Dhk By Dilshd Smin Soh Seminr ll Submitted in prtil fulfillment of the requirements for the degree of Bchelor of Architecture Deprtment of Arch itecture BRAC University August 201 3

2 Dilshd 2 ABSTRACT Contemporry rt seems to exist in zone of freedom. lt keeps distnce from the rules nd conventionsof the ordinry functionl chrcter of everydy life. Quieter contempltion nd intellectul ply exist together in tht zonend offences ginst systems of belief. This disserttion pper is descriptive rticle discussing the vrious spects nd considertions explored during the thesis project design of the Contemporry Art Museum in Dhk, Bngldesh. The following will ttempt to describe in detil the vrious relevnt fctors which were required to understnd nd consider during the design exercise. ln ddition, this museum is designed in such wy tht serves s brething spce for the city nd responds to the socil, environmentl, economic nd rtistic hunger of the humn mind. The specil qulity of the museum is the hierrchy of spces which would ssists s cnvs for representing people's emotions nd life.

3 Dilshd 3 ACKNOWLEDGEMENTS First of ll thnks to Almighty Allh, without who's mercy completion of this disserttion would hve been impossible. I would like to thnk my Prof. Fud H. Mllik nd Zinb F. Ali. I show my full grtitude to my instructors A.F. MhmudunNobi,lmonChowdhuree, NndiniAwl, Shkil Ahmed Shimul nd RubiySultnfor guiding & helping me through the project & this report. I would lso like to cknowledge my prents, who kept wke with me lmost every singling night with their endless pryersnd keeping up with my demnds nd temperments. I vlue the guidnce of my well-wishers nd pprecite the encourgement of my der friends, siblings nd university mms, who constntly kept me in their pryers.

4 Dilshd 4 TABLE OF CONTENTS 01. INTRODUCTION OF THE PROJECT 1.1 lntroduction 1.2 Project Brief 1.3 Project bckground 1.4 Rtionle of the project 1.5 Aims nd objectives of the project 1.6 Functions & Progrms required for the project 1.7 Resons for choosing the site 02. SITE APPRAISAL 2.1 The Site 2.2 Site & Surroundings 2.3 Environmentl considertions 2.4 SWOT Anlysis 03. LITERATURE STUDY 3.1 Museum 3.2 Roots of Museum nd Glleries 3.3 Beginning of Public Museum 3.4 Lighting nd Spce qulity of Museum 3.5 Disply nd storge requirement 3.6 lmportnce within country 3.7 Art Glleries nd Museum in Dhk 3.8 The Role of the Art Museum 3.9 Modem technology s thret of replcing museums 04. CASE STUDIES 4.1 Cse Study 01: The Kimbell Art Museum 4.2 Cse Study 02: Heigh Museum of Art 4.3 Rosenthl Center for Contemporry rt 4.4 Jinn contemporry rt museum proposls

5 Dilshd PROGRAM DEVELOPMENT 5.1 Proposed Progrm 5.2 Developed Progrm 5.3 Fr clcultion 5.4 Conceptul Lyout 06. CONCEPTUAL STAGE AND DESIGN DEVELOPMENT 6.1 Conceptul stge 6.2 Study & Approch from the site 6.3 1"t phse 6.4 2"d phse- Form derivtion 6.5 3'd phse- Circultion 6.6 4th phse- Gllery 6.7 sth phse- Lndscpe 07. FINAL DESIGN 7.1 Designed site nd mster pln 7.2 Floor plns 7.3 Elevtions 7.4 Sections 7.5 Three dimensionl perspective views of spce 7.6 Model of the project CONCLUSION REFERENCE

6 Dilshd 6 CHAPTER O, INTRODUCTION OF THE PROJECT 1.1 INTRODUCTION Contemporry rtis rt produced in this present period of time. lt is of the post 1$0- modemist period. lt includes nd develops from postmodern rt, which itself is successor to Modem rt. lt seems to exist in zone of freedom, keeping distnce from the ordinry functionl chrcter of everydy life nd from its rules nd conventions. Quieter contempltion nd intellectul ply exist together in tht zone nd offences ginst systems of belief. Since the erly prt of the 20th century, common concern ws wht cretes rt. ln the contemporry period (1950 to now), the concept of vnt-grde hs come to define wht rt is. After tht Contemporry rt is noticed of by glleries, museums, nd collectors. Museums re n excellenl plce to lern bout rt s it reltes to history. The rt in museums represents the evolution of our understnding of society. These innovtive works re symbols of how humns hve lerned to perceive their world. lt enhnces our understnding of vrious cultures. Beliefs nd trditions re hnded down through genertions through the rt of individul cultures. Medievl nd Renissnce rtists sought to crete imges tht could show people the glory of God or the sints - tht would tech people something bout the divine. With rt, there is nothing like seeing the rel thing. Strting from the cve pinting of pre-historic rt to now--dys contemporry rt depicts lmost the sme reltionship with the humn mind. There were pprecitions s well s criticisms for it. But it ws the desire of good rtworks tht pushed the society to show cretivity in more innovtive wy. The disply of these cretive works ws limited t time in compre of tody's world. Now more nd more people cn wtch exhibitions due to the blessing of modern technology. Since 1990s, when the flourishing in museum building strted, the public hs greeted opening of new museums with enormous excitements. The typicl definition of museum hs chnged over time. Museum or exhibition plces re no longer only the houses of exhibit things. lt offers people different interctive wys of knowing rt nd provides fcilities such s thetre spce, exhibition hub, rchives, rtist's studio etc. long with resturnt, shops.

7 Dilshd 7 Every country of the world hs their individul identity. They re lwys busy to exhibit them. Art museum expresses the history & evolution of country, ll spects of humn living in tht prticulr society, including its diversity, linege, rce, etc. lt gives n ide of the "ideology" or ntionl chrcter of the people. lt lso showcses the cretive chievements, technicl development, innovtion, ppliction, etc. By dding the public fcilities, n Art museum cn serve s public gthering spce nd hold country's cretivity in front of the world. 1.2 PROJECT BRIEF Nme of the project: Contemporry Art Museum Proiect type: Culturt GIient: Ministry of Culturt Affirs, Govt. of Bngtdesh Loction: Agrgon, Sher-e-Bnglngr, Dhk, Bngldesh Site re: sq. ft. 1.3 PROJECT BACKGROUND Agrgon is one of the prts of the mster pln for Sher-E-Bngl ngr, done by rchitect L. l. Khn. The lnd ws llocted for different sectors like ssembly, secretrit, hospitl, housing nd civic sectors. The chosen site is government lnd, which ws chosen for crft museum, but lter got cncelled. Fr hed ministry of culturl ffirs, Govt. of Bngldesh, proposed the lnd dedicted to contemporry rt museum. Though some prt of the lnd hs given to other, br-rt still the left over re cn contribute lot for the people.

8 Dilshd RATIONALE OF THE PROJECT Nowdys rt is diverse tpestry of rich, colorful pieces tht reflect the vibrnt culture of n re. lt hs covered centuries, nd encompsses woodwork, terrcott, pintings, scroll pintings, textiles, rchitecture nd sculpture. But we re going to lose these for lck of proper nd sufficient public plce. Our society is becoming introvert for limited spce of shring ides nd views. ln the long run, it my ffect our country's prosperity. Art is something tht hs potentil to mke peoples mind free. This project would be such pltform where people would shre their ides nd will certinly help to mke the citizens think for the society in broder perspective. There re lot of people in Bngldesh, who re involved in cretive works. So this project cn contribute gret significnce loclly nd ntionlly, nd cn ply s good urbn center for the city. 1.5 AIMS AND OBJECTIVES OF THE PROJECT The ims of this project re. To preserve nd exhibits contemporry rts To promote the knowledge; enjoyment nd cultivtion of the contemporry rts To show the Sttement of Progress & Progression- cretive chievements, technicl development, innovtion, ppliction, etc. To communicte nd shre the ides nd emotions of rtists nd viewers. To encourge the enggement of foreign rtists.

9 Dilshd FUNCTIONS & PROGRAMS REQUIRED FOR THE PROJECT Administrtion Permnent gllery Temporry gllery Multipurpose hll Seminr room. Librry Open exhibition re Cfeteri Art workshop studio for rtists Souvenir shop Service nd fcilities Prking 1.7 REASONS FOR CHOOSING THE SITE Architecf Louis I Khn developed the mster pln for Sher-E-Bngl ngr in 1962, when he designed the Ntionl Assembly Building for Dhk city. lmportnt structures like ntionl ssembly, ntionl librry exist here. Agrgon re hs not fully developed yet. There re spces with diverse urbn development opportunities. Wide rods & dedicted public plces surround the site. lt hs n pproximtely centrl loction. lt hs technologicl importnce lso. Computer city, rdio sttion & Science museum is very close to the site. The site is ttrctive to diverse group of ge. Also known plce for tourists & foreigners, s the Chin-Bngldesh Friendship Convention Center is nerby. According to the considertion, the chosen site cn be perfect plce in Dhk city to hve public fcility or gthering spce, like contemporry rt museum.

10 Dilshd 10 CHAPTER 02 SITE APPRAISAL 2.f THE SITE Loction of the site: Agrgon, Sher-e-Bnglngr, Dhk, Bngldesh Site re: sq. ft Altitude:9m from se level l-titude: 23"46' N Longitude: 90"22' E j =f=2#\\ Fig01: Loction mp Soure: Dhk City Mp Fig02: Stellite imge of ff,e sfe Source: Wkimpi

11 Dilshd SITE & SURROUNDINGS Existing site The site is in Agrgon, which is prt of the mster pln of Sher-E-Bngl ngr. Shere-e- Bngl Ngr is the hert of Dhk. All govemment office nd Prlimentry office situted in this re. lt is divided into six sectors. The loction of the chosen site is tthe civic 4g E EE@3. frffi,rc Fig03: Mderpln of Sher-e- Bnglngr Source: Rjuk, Dhk, Bngldesh

12 Dilshd Existing lnd use The site is government lnd. lt is locted on secondry rod opposite of lslmic Foundtion nd is surrounded by Pssport office, LGED office, Technicl Eduction Bord, Probin Hitoishi Kendr nd Geritric Hospitl lnstitute nd stff qurter, DESCO nd Sheree-Bngl Ngr government stff qurter. Currently the site is occupied by illegl built slum, te stlls, temporry Bus stnd nd portion of it is used by the police. Mximum lnd re is now mrshy low lying vcnt lnd. Fig04: Pnormic view of site FigOS: Existing site ndition

13 Dilshd Adjcent lnd use According to the Khn's pln, the site is locted in mixed use re. Dedicted public spces, institutions & fcilities surround the site. To the north nd south, lnd is used for housing sector. To west nd est is used for civic sector. The site is surrounded mostly by schools, offices, conference hll nd museum. All govemment office nd Prlimentry office lso situted in this re. A. ASSEMBLY SECTOR I B. SECRETARIATE SECTOR C. HOSPITAL SECTOR D. HOUSING SECTOR F. CrVtC SECTOR (EXTENSTON) Fig06: Mster pln of Sher-e- Bnglngr Source.' Archociety

14 Dilshd 14 & \ GOVT. OFFICES & INSTITUTIONS ORGANIZATIONS! conurrrcral! eoucmonal I *='oncrau Gow. HousrNG I o.o ATRPoRT I *or=* B.DY J Fig07: Zoning mp of djcent lnd use Rod network nd circultion The site is very permeble. Access from nylrrhere to the site is very esy. lt sits on the joining rod of Mirpur nd Begum Rokey Shrni. lt is the comer plot of two rods on Syed Mehbub Hossin Shrni. IK MIAN AVENUE Fig08: Rod netwotu nd circultion mp

15 Dilshd Trfric nlysis The rod djcent to the site is not cunently overloded by trfflc. Every kind of vehicle hs ccessibility to the site. lrcxshnw MovEMENT I** Mo'EMENT ].o."r*,an MovEMENT Fig09: Trfftc nlysis mp Site surrounding Build structures nd their distnce buildings hve impct on the site. from the site is necessry to ddress becuse the nerby Figl0: Site sunounding 1. IDB Bhbn 2. Shomj Sheb Bhbn 3 Forest Deprtment 4 Locl Government Engineering Deprtment 5 Pssport Office 6 Sher-e-bnglngr 7 Ntionl Prde Ground 8 Housing 9. Ntionl Librry nd Archive 10. Plli Krm Shhyk Foundtion 11. lslmic Foundtion 12. Ntionl lnstitute of Locl Government 13. Science Museum

16 Dilshd ENVIRONMENTAL CONSIDERATION Topogrphy The topogrphy of the site is flt lnd with There hs no gret vrition in the elevtion. smll nd shllow nturl wter body in it Hbittion To the north it is still undeveloped. To the west the settlement is forml offices nd ntionl rchive. There is height vritions from twenty storied to two storied Climtic considertion The site receives constnt southem breeze s the building height of the southern site is not more thn two storied. West side is blocked with buildings, don't need ny shding. lt lso receives mple mount of north light. Figl1: Site dimte mp

17 Dilshd SWOT ANALYSIS Strength Agrgon is rpidly developing re nd hsn't fully developed yet. So the site hs the potentil of becoming good urbn public plce. The plce cn be the center of cretive work of the country. Centrl loction of the city nd esily ccessible. Wide rods. ls locted in long the secondry rod. So no rush of trffic & less trffic congestion. Technologiclly rich site. The science museum, computer city, rdio sttion in round. Attrcls tourists & foreigners. ls locted in lsh of green. lnvites diverse ge group. Exhibitions, cujturl progrms sturte the public life t different times of the yer. lmportnt public spces re nerby. The west side is mostly filled with building structure which provides sufficient shed. Figl 2: Centrl loction of the site gives positive pint for becoming good public spe Source: Google

18 Dilshd Wekness. Lots of unused spces surrounding the sile.. Negtive spce creted by unused spces.. At night the re becomes insecure.. The site nd surrounding is not properly tken cre by the uthority.. Two sides of the site fce high rise buildings, which blocks view Opportunity. The other public buildings round would mke positive force for the site.. Lots ofopen spces round.. Cn be vibrnt & useful public hub & civic spce Thrct. lf not hndled properly, the re might hve bd effect on the community, s possibilities re huge.. Unplnned development my spoil the mster pln of Sher -E-Bnglngr done by rchitect Louis Khn.

19 Dilshd 19 GHAPTER 03 LITERATURE STUDY 3.1 MUSEUM Defining Museum A museum is building or institution which houses collection of rtifcts. Museums collect nd cre for objects of scientific, rtistic, culturl, or historicl importnce nd mke them vilble for public viewing through exhibits tht my be permnent or temporry. Most lrge museums re locted in mjor cities throughout the world nd more locl ones exist in smller cities, towns nd even the countryside. Erly museums begn s the privte collections of welthy individuls, fmilies or institutions of rt nd rre or curious nturl objects nd rtifcts. The museums of ncient times, such s the museum of Alexndri, would be equivlent to modem grdute institute. The modem mening of the word cn be trced to the Museum of Pergmon in Antoli, which ws one of the erliest to hve displyed rtworks. Nevertheless, museums to this dy contribute new knowledge to their fields nd continue to build collections tht re useful for both reserch nd disply Art Museum An rt museum or rt gllery is building or spce for the exhibition of rt, usully visul rt. Museums cn be public or privte. lt depends on the ownership of collection of the museum. Pintings re the most commonly displyed rt objects. Besides it cn lso preserves sculpture, photogrphs, illustrtion, illustrtion rt nd the objects from the pplied rts. Although primrily concemed of the rt museum isto provide spce to show works of visul rt, but sometimes it cn host other rtistic ctivities, such s music concert or poetry reding.

20 Dilshd ROOTS OF MUSEUM AND GALLERIES From the history, the Greeks nd Romns re the first who strted to keep records of the collections of precious objects. The term "Museum" ws first used during this Renissnce period. When enthusism for the products of clssicl ntiquity nd sense of history first developed, rt collection begn with ltlin Renissnce. ln 16th century first forml setting of disply ws done by Brmnte in Vticn. The displying method ws completely different t tht time. All the rt works were jumbled together in the wlls, ceilings. Their purpose ws to delight. Viewers hd to find wht object ttrct them nd mke their own connection with tht object. 3.3 BEGINNING OF PUBLIC MUSEUM Tower of London, the university museum t Bsel nd Ashmolen t Oxford University ws the first museum in 1683, fter the exhibition of Uffizi in The museums of tht time were supported by public revenues such s British Museum of ln 19th century, drmtic rise of museum ws noticed. ln tht time museum ws designed s piece of ceremonil rchitecture. There the ide of the scred ws trnslted into seculr or ntionl or civic term. Museums of this century were supported by limited udience who were educted nd refined. Now there is much broder udience. 1dh century MUSEUMS for Welthy, privte individuls 17n to 1dn \ / \ / \ MUSEUMS for limited udience ) 1dh century \,/ MUSEUMS for llto collect, store, conserve, reserch & Fig13: Development of Museum

21 Dilshd LIGHTING & SPACE QUALIW OF MUSEUMS Museums rnk mong the most demnding nd excting of ll lighting pplictions. Visitors come from fr nd wide to see the exhibits, which must be displyed in the best possible light, literlly s well s figurtively. This mens they must not only be esy to see, interpret, understnd nd pprecite-ll the wy down to the smllest detil-but lso look s ttrctive s their rtists nd cretors intended. The long-term dmge tht light cn inflict on rtwork nd rtifcts complictes mtters even further-s does the fct tht these objects come in vriety of shpes, sizes, colors nd textures, ll of which cn impct the lighting eqution. Figl4: Spce qulity of museum Soure; Google Lighting in museums nd rt glleries plys key role in visito/s bility to perceive nd enjoy both the rtifcts in museum nd the building in totl. ln order to develop successful lighting scheme, museum lighting designer must stisfy mny conflicting design requirements. Their primry concern is effectively illuminting rtwork, but they cn be constrined by energy conservtion stndrds which require light levels below 15 foot cndles in some exhibit spces. As n dditionl concem, they must consider the visul comfort of visitors. lt is this lst criterion tht this report explores.

22 Dilshd 22 Fig15: Lighting Qulity nd Spce orgniztion in museums Soure: Google A lck of considertion for the visul comfort of visitors on designer's prt cn potentilly hndicp n individul's bility to view displys. Drmtic vritions in light levels from exhibit to exhibit, orfrom exteriorto interior, cn ffect visito/s bilityto pprecite rtwork becuse the humn eye requires severl minutes to djust to lrge chnges in light levels. Shrply contrsting light levels between bright entry nd drk gllery cn be very disturbing, nd potentilly even pinful. 3.5 DISPLAY AND STORAGE REQUIREMENT Museum types Disply (% ground floor re) Storge (% ground floor re) Ntionl Locl uthority lndependent All museums

23 Dilshd IMPORTANCE OF ART MUSEUM WITHIN A COUNTRY Museum showcses the history & evolution of culture or country, ll spects of humn living in tht prticulr society, including its diversity, linege, rce, etc. lt gives n ide of the "ideology" or ntionl chrcter of the people, the unity s well s the diversity. lt lso showcses the cretive chievements, technicl development, innovtion, ppliction, etc. So it is Sttement of Progress & Progression. Museum is more bout "fcts" & rtifds - wht ctully occurred s reveled through the selection of displys. Art museum is representtion of the Perspective of the times & the rtists. lt shows how contemporry rtists lnterpreted & chose to Represent Relity through their eyes & vision. lt my or my not be "fctul" but it does reflect the times - how much freedom & ptronge rtists received, intemtionl exchnge or influence, & so on. Some works cn lso symbolic & my hve encoded or deeper mening thn wht is pprent. Art museum is symbol or representtion of the country's heritge, humn inheritnce & progress, window to the distnt pst. 3.7 ART GALLERIES AND MUSEUMS IN DHAKA Ntionl Art Gllery t Shilpkl Acdemy Bngldesh College of Arts nd Crfts Gontemporry Arts Ensemble, Sju Art Gllery L Glerie Jirj Art Gllery Hque Art nd Crfts Yert Gllery Shilpngn Bngldesh Folk rt Gllery Glry Segun Bgich, Dhk. Kzi Nzrul lslm Avenue, Dhk. 48/1, Commercil Building, South Avenue, Gulshn. F 28 DMC Mrket, Gulshn, Dhk. 54 Kml Atturk Avenue, Gulshn,Dhk. 12 Shhbg Shopping Complex, Dhk, F 36, North DMC Mrket, Gulshn, F 3TNorth DMC Mrket, Gulshn, Dhk, House 15, Rod 4 Dhnmondi, Dhk. Pnm Ngr, Sonrgon. 21,765 Stmsjid Rod, Dhnmondi, Dhk.

24 Dilshd 24 From the list, it is seen tht there re lot of glleries t Gulsn re, nd few glleries t Dhnmondi nd ner old Dhk. But other res of Dhk nd t its center, there is no glleries. Besides ll glleries exhibits recent works of rtists s temporry exhibition, but there is no contemporry rt museum which cn expressed the current ctivities of the world. 3.8 THE ROLE OF THE ART MUSEUM The Role of the Art museum from tody,s perspective The ide of the museum hs chnged with time. lt is now more interctive nd more open. The museum hs to be welcoming nd needs to communicte to the widest possible udience. lt should hve n ll-embrcing imge. lt should not house only rt or sculpture, but lso should house people, their emotions nd feelings. Tody's museum represents how society sees itself. lt is the symbol of commercil nd culturl chievement of country. lt is plce for visitor's ttrctions, which might help in globl tourism. Nowdys museum is plce of multifunction, which hs to combine trditionl roles of interpreting nd conserving wide rnge of rtifcts, lrge scle retil re, nd new technology. lt cts like n rt mrket where rtists re being promoted. Exhibits re not displyed in sttic form. A huge number of people will be welcomed by temporry glleries in the museum. Lrge scle instlltion projects, video nd performnce mke the whole museum livelier prticiptory nd interctive. People who will be coming here will be wishing to shop, relx nd hve seminr. lt is flexible, spces hs multiple function.

25 Dilshd The Role of the Art Gllery in the Digitl Age The rt gllery used to be the plce where rt ws hung nd dmired. ln tody's world of flicker, Fcebook, nd instnt photo shring technology, imges tody re more esily ccessible nd reproducible thn ever before. lf the rt gllery used to be the plce where rt ws contined nd contextulized, then the question rise bout the role of the rt gllery in tody's world. ln history, before the invention of reproductive technologies such s the cmer, clssicl rtists creted works of rt in time period. Now those imges re freely cptured nd distributed ll over the world. Technology hs been ble to decontextulize rt, removing it from glleries nd museums nd repositioning it in plces where it ws never intended to be seen. The pinting on the wll hs been replced by the cmer through which ny picture cn be reproduced nd mking it vilble in ny size, nywhere, for ny purposes. Art hs spilled over onto the digitl world. Surfing the intemet, one cn look through thousnds of photogrphs nd pintings instntly vi google imges or photo shring. So internet hs become the new free nd democrtic rt gllery. Though rt glleries still exist, they're becoming more museum-like thn before; the rt gllery is becoming spce where originl rtworks re relied, but it's no longer the only spce where rt cn be enjoyed. 3.9 MODERN TECHNOLOGIES AS A THREAT OF REPLACING MUSEUMS ln tody's society, modern technology is upgrding constntly every dy, nd the dvnced electronics grdully replce mny res of our rel lives. More nd more people cn wtch exhibitions through television or internet t home due to modern technology. So thret cn be rised tht museums nd rt glleries will be disppered soon. But it should not be done becuse exhibition on internet or television will never be ble to give the sme s n rt museum.

26 Dilshd 26 Viewing exhibitions t home is not s well s enjoying the views in the museums. Advnced technology cn't provide the relistic feeling to udiences. Though people who wtch exhibitions on TV or internet t home, sve the time nd money on the rod, which is gret dvntge, but in ccordnce with recent reserch, experts suggest the lifestyle of individuls in modern society is unhelthy becuse they lck physicl exercise nd fce-tofce communiction. Museums cn promote the development of tourism. Mny tourists prefer to visit museum to relize locl culture s well s to enjoy rtworks from msters. Along with it, the importnce of museums nd rt glleries is plin in terms of eduction nd culture. First of ll, uthentic exhibits cnnot be completely displyed only by imges nd videos. lt is like trvelling to plce is much better thn viewing the lndscpe of tht plce on W or photos, so the best method to lem one thing is to experience it. Moreover, museums nd rt glleries preserve some culturl heritges for which these buildings will not dispper unless people bndon their cullure.

27 Dilshd 27 CHAPTER 04 CASE STUDY 4.1 THE KIMBELL ART MUSEUM Project Brief Architect Loction Dte Building Type Construction System Climte Context Style Notes Louis l. Khn Fort Worth, Texs 1967 to 1972 rt museum reinforced concrete temperte urbn prk setting Modern vulted ceilings with integrted dy lighting Fig16: Kmbell ft museum Souroe.' G re tb u i ldi ngs Fig17: Kmbell rt museum Souroe: Google

28 Dilshd 28 4.'l.2 P roiect descri ptio n The Kimbell Art Museum ws designed by renowned rchitect Louis l. Khn. lt is recognized s one of the most significnt works of rchitecture of recent times. The building is especilly fmous for the silvery nturl light spreding cross from its vulted gllery ceilings. lt is smll building with excellent rt collection, trveling rt exhibitions, eductionl progrms nd n extensive reserch librry. ln 1990, the museum got Twenty-five YerAwrd from Americn lnstitute of Architects Architecturl fetures Vult The esthetics of the Kimbell Art Museum is derived from the more clssiclly oriented sensibility of its rchitect Louis l. Khn. The museum is composed of 16 prllel vults. Ech re 100 feet (30.6 m) long, 20 feet (6 m) high nd 20 teel (6 m) wide (intemt mesurements). lntervening low chnnels seprte the vults. The vults re grouped into three wings. The north nd south wings ech hve six vults, with the western one open s portico. The centrl spce hs four vults, with the western one open s n entry porch fcing courtyrd prtilly enclosed by the two outside wings. Figl8: Vult of Kmbell rt museum Source: Google

29 Dilshd Function rngement, skylight nd tmosphere Wilh one exception, the rt glleries re locted on the upper floor of the museum to llow ccess to nturl light. SeMce, curtoril spces nd n ddilionl gllery re locted t the ground floor. Ech interior vult hs slot long its pex to llow nturl light into the glleries. Air ducts nd other mechnicl semces re locted in the flt chnnels between the vults. Reflectors spred sunlight cross the gllery ceilings. Khn showed tht the curved ceiling shells re supported only t their corners by llowing thin strip of outside light to enter long the tops of the long gllery wlls nd thicker rc of light to enter t the end of ech gllery. In res without rt, such s the lobby, cfeteri nd librry, the entire reflector is perforted, mking it possible for people stnding beneth to glimpse pssing clouds. ln the gllery spces, the centrl prt of the refleclor, which is direcfly beneth the sun, is solid, while the reminder is perforted. The concrete surfces of the ceiling were given high finish to further ssist the reflection of the light. The ends of the vults re mde of concrete block. They re fced with trvertine inside nd out. Steel hndrils were "blsted" with ground pecn shells to crete mtte surfce te)ilure. The museum hs three glss-wlled cour$rds tht bring nturl light to the gllery spces. One of them penetrtes the gllery floor to bring nturl light to the conservtion studio on the ground floor. () (c) () ligl9: interior spce with dytight; (b) exteior wll detil; (c) erteior prci sp@; (d) clevge qpoe between two msses Soure; Gretbuildings

30 Dilshd Lndscping The ide ws tht, open porches flnking the entrnce would crete good trnsition from the lwn nd courtyrd to the glleries inside. The min pst lwn edged by pools with running wter, the visitor enters courtyrd through grove of Yopon holly trees. The sound of footsteps on the grvel wlkwy echoes from the wlls on either side of the courtyrd nd is mgnified under the curved ceiling of the entry porch. After tht subtle preprtion, the visitor enters the hushed museum with silvery light spred cross its ceiling. FigZO: Vult of Knbell ft mu*um Soure.'Google Findings The repetition of vult like form hs mde il rigid yet rictr simplicity. The shell t the portico is supported only t its four comers, minimizing obstruction t floor level. The covered exterior nd beutifully rticulted concrete structurl frme with infill pneled wlls of trvertine gives dull shine look. Its clssic sense of timelessness is conveyed by the respect for mterils nd detils. A diflused niurl light enters into the interior spce through continuous interior suspended screen nd reflected downwrd off the curve of the vult.

31 Dilshd HEIGH MUSEUM OF ART Proiect Brief Architect Loction Dte Building Type construction system Style Notes Richrd Meier Atlnt, Georgi 1983 rt museum concrete frme, enmeled steel cldding Modern curved fcde to sunny trium ) EE. ' tl Fig21: Heigh Museum of Art Soure: Gredbuildings

32 Dilshd Prciect description nd fi ndings A clssicl four squre prt is mnipulted to crete sptil disinctions worthy of the museums importnt plcement nd public function within the culturl scope of Atlnt. One of the qudrnts is crved out to crete the monumentl nd orienting trium spce whose edge-defining circultion rmps py respect to the swirling Guggenheim. Richrd Meie/s chrcteristiclly white building houses n uditorium, ground level court, cfe, museum shop, nrembers lounge, required stfi support spces, nd vried disply spces feturing pinting, sculpture, nd fumiture. Nturl light is prevlent nd djustue to meet specifii exhibit needs. The structure consists of steel columns nd frme nd concrete slbs. The grnite plinth cts s horizontl dtum for the rmps nd, in elevtion, s n nchor for the white porcelin-enmeled steel pnels cldding the glleries below. Light, whether direcl or filtered, dmitted through skylights, ribbon glzing, clerestory strips, or miniml perfortions in the pnelwll, is consistent preoccuption throughout: prt from its functionl sped, it is symbol of the museum's role s plce of esthetic illumintion nd enlightened culturl vlues. The primry intention of the rchiteclure is to encourge the discovery of these vlues, nd to foster contempltive pprecition of the museum's collection through its own sptil experience. v"- lig22: Edge4efining circultion zrmps of the nrcd oienting trium spce of Heigh Museum of Art Souroe: Grctbuildings

33 Dilshd 33 Fig23: lnteior spe of Heigh Museum of Att Soure: Grcdbuildings Fig24: Exteior spe- of Heigh Mu*um of Art Soure; Grctbuildings

34 Dilshd ROSENTHAL CENTER FOR CONTEMPORARY ART Project Brief Archltec,t Zh Hdid Loction Cincinnti, USA Ilte 2001 to Building Type rt museum Building footprlnt 11,000 sqfi Totl re 80,000 sqfr Floorc 7 Style Modem Mteril Concrete, steel, glss Mior design fetures Urbn Crpet, Jigsw Puzzle, SkirVstlpture L. Fig25: Ro*nthl center for ntemponry rt Soure: Google

35 Dilshd Architecturl fetures Building is snrcothly blended with urbn conte{. Lighting sources hve been distributed properly by one mjor souroe nd other supporting sources. Glleries with dffierent height re coommodted. The building seems s if floting. Fig26: Rosenfhl enter for ntempnry rt Soure: Ggle Findings The museum gets positive impct of sunounding for locting in comer plot. Situted on busy rod, but perfectly performs it's fundions. Mjor light source is from the top of circultion wy. O(hers re from the side of the building. Simple wys hve used to mke n experientil spce. Stir plys drm nther thn boring stright verticl ccess. Gllery spce rtio is 2Oo/o ol totl re.

36 Dilshd JINAN CONTEMPORARY ART MUSEUM PROPOSALS Project Brief Architect United Design Group Loction Jinn, Chin Dte 2001 to 2003 Building Type rt museum Building footprint 11,000 sqft Totl re 80,000 sqft Floors 7 Style Modern Mteril Concrete, limestone Mjor design fetures Atrium, Hierrchicl circultion, Skin/Sculpture,,'.. -d> -t-l_ Fig27: Jinn contemporry rt museum Soure; Archdily Architectur! fetures nd findings

37 Dilshd 37 Hs reltionship with the existing buildings. Mintining the symmetry of the system. Atrium nd hierrchicl circultion inside the building. Ellipticl exhibition spce. Min four entrnces. Used externl membrne, double glzed skin, semitrnsprent finish to revel the interior complexity. Gllery spce rtio is 2lo/o ol totl re. J- Fig28: Jinn contemporry rt museum Soure.' Archdily

38 Dilshd 38 CHAPTER 05 PROGRAM DEVELOPi,IENT 5.1 PROPOSED PROGRAM Administrtion Permnent gllery Temporry gllery Multipurpose hll Seminr room Librry Cfeteri Art workshop studio for rtists Souvenir shop 5500 sqft sqft 34000sqft 4700 sqft 4350 sqft 5200 sqft 2400 sqft 9400 sqft 7000 sqft 400 sqft 5.2 DEVELOPED PROGRAM

39 Dilshd 39 Zone Functionl Adivity Quntity Are/spce (sqft) Administrtive Reception Lobby Office spce Toilets 1 50 women-3,men Curtor Curtor PA Complex Superintendent Conference Room 110 '1200 Stff Room Toilet women-1,men Totl 5500 Permnent Gllery spce Spce for exhibition Store/ Archive Workshop/ repir 2200 uniuconserution Totl Temporry Gllery spce Lobby spce 4000 gllery Store/ Archive 2000 Totl Multipurpose hll Lobby Toilets women-6,men Ticket Counter 1 100

40 Dilshd 40 Seting Store Projection room Totl 4700 Seminr Hll Lobby Toilets women-4,men Seting Chir Closet Totl 4350 Librry Lobby lnformtion center Toilets women-7,men Reding spce Store Stck re Librrins room Totl 6200 Cfe SeMce re Toilets women-7,men Store Eting spce Totl 2400

41 Dilshd 41 Art workshop Studio for rtist Totl progrm re= Circultion 30o/o = Totl built re= Pking for 100 crs

42 Dilshd FAR CALCULATION Site Are, A= sqft Rod width round the site = 100' (highest) & 60' (lowest) =30m&18m So, for ny eductionl or other public institute, FAR = 5.5 MGC = 50% ofa = sqfl Totl Built Are, TBA = FAR x Site Are = 5.5 x = sqft Totlfloors cn be built on the site (mximum) = TBtuMGC = 11 Setbck for the site: Front=1.5m=5' Bck=3m=10' Echside=3m=10' 5.4 CONCEPTUAL LAYOUT PUBLIC FACILITIES DMI FFI ENTRY EXIT \ \ DROP rnl\r\il\.rg \ OFF DEMINl\K ROOM. MAIN \ ) \ LIBRARY \ -/ ) LOBBY \ CAFE \ -/ LOBBY GALLE RY MUSEUM FACILITIES E,r\IUT,1IIEI\ I GALLERY STUDIO W()RKSHOP Fiq29: Conceptul lvout digrm of the functions

43 Dilshd 43 CHAPTER 06 CONCEPTUAL STAGE AND DESIGN DEVELOPMENT 6.1 CONCEPTUAL STAGE To design contemporry rt museum, the concept ws to crete hierrchy of spces. After studying numerous cse studies of rt museums nd contemporry rt chrcters, it ws clertht museum should hve flexible spces nd spces for multi-use. Becuse there is no boundry in height of contemporry rt. They cn be very high nd cn be different in sizes nd mterils. So spces of different dimensions re needed. lnstlltion projects needed open spces, semi-open spces, nd even closed re. For fulfilling the demnd of different mteril used in instlltion rts, lndscpe will be specilly designed to serves s pltform for them. The structure will be exposed. Column nd bem will be designed in such wy tht they re coming from the ground nd by holding ech other creting sculpture itself. So the building itself would be n exhibit object. A plz will be introduced to mke the re more vibrnt nd colorful. A-i^ Mulh' Arr l- I 6r-*- I i LP- I HIARARCHY OF GALLERY SPACE INTERLOCKING, SEPARATE GALTERY AS INDIVIDUAL MASS CONNECTING BY THE CIRCULATION OPEN, SEMI OPEN, CLOSED SPACE WINDOWVIEW, SPACE OF INSTALLATION -i qt, Fig30: Conceptul digrms

44 Dilshd STUDY & APPROACH FROM THE SITE Circultion nd zoning understnding From cse studies, circultion digrm is done to understnd the zoning. I found tht there re to seprte zone in sense of security. Museum functions need security, on the other hnd nd public functions need openness. So public functions - multipurpose hll, cf6, office, librry suit best t the ground becuse it will be esily ccessible from the rod. Museum functions will be plced on upper floor. Nturl light cn be used properly for the gllery. I i{ *- Etrh.,, I G;ft st',t I '--Gll<u, Fig31 : Circultion digrm ocr.. A '7rt Srrl la^;";"1 *, M*l#p,r"pole h^ll, Ditt h Edl''1 Top + I ll^{rrrrt c./i t/ra. I lrr,r^r, 6, c^,n.j " _l 1v,,-'tr. to otn.. C^f, sho?, Li'.n^1 - 'Ii-Po''y(*'th"it hrtnhop, 44ot2, PQnm4r.,'' I 6otl<'g / Cn tojlvq. (tl e"1 At Fig32: Zoning diem

45 Dilshd 45 PARASOLE ROOF GALLERY STUDIO WORKSHOP ADMIN CAFE/ LIBRARY M.HALL Fig33: Sectionl digrm A rised plz is introduced to welcome the city people from the rod, who serves s temporry gllery spce, goes directly to the museum tobby nd gives shed to the ground floor functions. At the top of the glleries, prsol roof is lso introduce for sun nd rin protection. 6.3 IST PHASE Entry/ Exit Three type of entry should be considered- Vehiculr entry, pedestrin entry nd service entry. The site is locted t the corner of min rod nd secondry rod. By emphsizing pedestrin entry more, min rod will be open for cycle, wlking people nd restricted for vehicles. The secondry rod will be used for vehiculr nd service entry.

46 Dilshd 46 SERYICE ENTRY 100,r,eHB PUBLTC &OFTACE Fig34: Entry exit!ehi PEDESTRTAN ENTRY Zoning The site will be divided into four prts. The north-est prt of the site hs offices. So it will be referred s silent zone nd office, librry, seminr will plce here. The south-est prt is connection of silent zone to rod. Cfe resturnts cn plce here to relx nd time pss. The south-est prt will be referred s moving zone becuse it is connected with two rods nd suitble for shops, seting, weighting type functions. The north-west prt hs connection with rod nd lso silent re, so suitble for multipurpose hll. Thus the zoning is done. But the problem is, distnce between cf6 nd multipurpose hll is too much. So the cf6 nd librry will exchnged their plces. - \ *'n"u" ortx6 't i::;,r"" A \ I Fig35: Zoning digrm

47 Dilshd Pln nd Model Fig36: Pln nd Conceptulmodel 6.4 2ND PHASE- FORM DERIVATION Fig37: Models for deciding form 6.5 3RD PHASE- CTRGULATION :. Fi I /hl (c) I -, I Fig38: () Ground floor, (b) Plz, (c) gllery

48 Dilshd TH PHASE- GALLERY - re,.l I. Lot"b /' "'t l -\\- I '-m:;' LL^ttu'2 \..J.--l fuq,/\ /\ Wovhg* \/,Q Wt et to r._ Gllery_Pinting nd sketch DRAWING, PAINTING SCULPTURE INSTALLETI ON PROJECTS ARCHITECT URE PHOTOGRA PHY, FILM WALL - EXHIBIT _-]_. FLEXIBLE, A ZONE OF FREEDOM ENOGH SPACE FOR ANYryPE AND SIZE OF ARTS SPACE FOR LARGE SCALE ART SPACE FOR ARTS MADE ON SPOT Fig39: Gllery spe FLEXIBLE WALL Gllery_Sculpture nd Pinting DISPLAY WALL I -e. Fig40: Gllery spce

49 Dilshd 49 CIRCULATION CLOSED GALLERY OPEN GALLERU Fig41: Gllery spoe Gllery_Photogrphy nd film Fig42: Video, Photogrphy, Sound

50 Dilshd sth PHASE- LANDSCAPE I SAND WATER PAVE GREEN STONE SEMI PAVE Fig43: Lndscpe.1,... \ _r,- + dt STONE GREEN PLAZA WATER

51 Dilshd 51 CHAPTER 07 FINAL DESIGN 7.1 DESIGNED SITE AND MASTER PLAN c." Fig44: Roof pln

52 Dilshd FLOOR PLANS )&ot}9 -r( I Fig45: Ground floor pln + Fig46: Plz levelpln Fig47: 2nd floor pln

53 Dilshd 53 Fig48: * floor pln Fig51: dh floor ptn ie ln floor (roofl TRoof pln with prsol roof Fig52: Roof pln

54 Dilshd ELEVATIONS l_ Fig53: West Hevtion Fig54: Soufh Elevtion 7.4 SECTIONS E,f Fig55: Section AA'./ Fig5e Seciion BB'

55 Dilshd THREE DIMENSIONAL PERSPECTIVE VIEWS OF SPACE H

56 Dilshd MODEL OF THE PROJECT Fig57: Site model EIi Fig58: nept models t I!. Fig59: Finlmodel

57 Dilshd 57 Hlr, ' Open instlltion sce,crrril rll Front view Outdoor spce t front Hierrdty of spe View from min rod '1 View from vehiculr entry North elevtion Roof Sfrrs between glleies rlll-! [l { i ; I *i '- i Fig60: Finl model

58 Dilshd 58 CONCLUSION The stted bove chpters include the process & journey of completion of the design of Contemporry rt museum. The min ide of this projecl ws to crete qulity spces which get ctive by the users. The min plz serves s brething plce to mke citizen relief. The whole site is n event pltform tht will dd new urbn chrcter by ccommodting dily gtherings, culturl-socil events which will be reflect on people's life.

59 Dilshd 59 REFERENCE Chir, Cllender, Time sver stndrds for building type, McGrw-Hill lnterntionl Edition, 3'd Edition Julin Stllbrss, Contemporry Art: A Very Short lntroduction, Oxford Lur Hourston, Museum Builders 2, \Mley Acdemy, Gret Britin Pickrd, The Architec{s' Hndbook, London, 2nd Edition www. gretbuildings.com