INTRODUCTION
PREAMBLE :
The instinct to collect and preserve artifacts has increased with the
evolution of the civilization and increasing curiosity. Cultural and
educational imperatives demand three-dimensional documentation -
display and so the museums are increasing in number. The role of
museums has become synonymous with that of the cultural centres,
where not only are design techniques being used to provoke greater
communication between viewer and exhibit, but space for lectures, audio-
visuals and get together are essential.
Previously the museum was only a collection of art objects, for
display, by the kings and the aristocracy. In Europe it was a
demonstration of power of the state anxious to educate and improve the
cultural standards of its citizens. They were the great pallazi, modelled on
the ideal of 'Napolean's Louvre'. It was a place where the inherited/looted
was put on display to a bourgeois avid for culture and prestige. They
flocked to use the artifacts, which were once the preserve of the
aristrocracy.
Even the museums built in the second half of the century echoed
the palazzo form. In the modern times, when the concept of rigid formality
has given place to a place of education through recreation, it has still
remained as a place set apart from the normal civic life. But the trend is
changing with museums like the VECHAAR UTENSILS MUSEUM" at
Ahmedabad. "THE CALICO MUSEUM OF TEXTILES' and "THE ART
AND CRAFTS MUSEUM" at Delhi which have all come up in contextual
settings. The idea being to present the collection in accordance to its true
and proper environment. Hence the "VECHAAR MUSEUM", where
traditional utensils are kept, are in a scaled down vernacular design and
structure; the "ARTS AND CRAFTS" MUSEUM, which is in a truly ethnic
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DESIGN IMPERATIVE :
Open surrounding spaces.
Ample storage area
Conservation workshops
Space for adaptability and expansion
Climatic and site conditions
Zones of physical and visual refreshment along the movement of
pedestrian.
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PROBLEM
National Museum of Mankind, Pune
It will represents “The story of man highlighting the sociological and
cultural evolution.
The institution will tell the story of human kind with particular
reference to India highlighting (a) Biological and (b) cultural evolution.
A distinguishing feature of the complex will be an extensive indoor
complex, to be set up in their natural setting.
There are many types of museums in our country. The oldest and
the best known are the art museum. There are also museums which deals
with natural history, archaeology, science, industry, costumes, handicrafts
etc. over the past two decades, there has developed all over the world on
awareness of the need to present the story of human evolution and
richness and variety of human culture. The older museums have been
reorganized to highlight aspects of human evolution and variation, the new
museums have been started to display the peoples culture and life styles,
new experiments have been conducted to make such museums a living
experience. These museums have become centres of education, research
and training in advanced techniques of dissemination of knowledge by
means of the indoor and outdoor complexes.
The National Museum of Mankind is an institution will be
dedicated to the presentation of human saga in the time and space. To
this end the museum will seek to portray human evolution and human
biological and cultural adaptation. The museum will attempt to present a
unified and integrated vision of human life, it will bring the objectives alive
by imaginatively recreating the environment in which they acquire
meaning and functions.
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OBJECTIVE :
The National Museum of Mankind of Pune has, as its main
objectives, to create an awareness amongst the people that they belong
to a whole evolution process of inter-action between nature and
various other ethnic factors that have inhabited India throughout this
phase. It is to make the people aware of the immense bio-cultural variety
that is present within them and which makes them distinct from all others
and that the process of national integration, aims at creating an
awareness of Natural and Cultural Identity.
FUNCTIONS :
1. To present an integrated story of the evolution of Man and Culture
with special reference to India and the richness and diversity of the
cultural patterns in the country. Highlight will be especially on the
Tribal culture - their settlement patterns, social customs, arts and
crafts and technology.
2. Salvaging and preservation of the fast vanishing aspects of our
culture and the documentation and systematic research of the same.
3. Will act as a major centre for research and training and enhance the
museum movement in Indian to present and preserve the variety of
cultural life.
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(e) To take steps lo salvage and preserve the fast vanishing aspects of the
Indian culture.
(f) To promote and conduct research in the related subjects and provide
funds and mate arrangements with other similar institutions for the
purpose of furtherance of the objectives of the Samiti.
(g) To act as a centre of research and training in museology of the
appropriate kind and generate, in the course of time, a new museum
movement in the different regions of India to present and preserve variety
of cultural life.
(h) To undertake all such activities as and when considered necessary for
the achievement of the said objectives.
Site Location :
The site of IGRMS is spread
over an area of 198 acres. It is
situated just at the outskirts of
Bhopal and is easily accessible
from the city through the lake view
drive on the northern side and
Bhadbhada road on the southern
side. The site id compromised of
rocky hilly terrain with gradual
slope merging into the Bhopal lake
on the northern side. The highest
point rises upto 605 mts. on the PREMPURA HILLOCK on the southern
side a large area of 650 acres has been allocated for wild life park.
There are rock shelters just west of the Regional College of
Education on the west slope and some cave paintings have been recently
discovered.
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Rainfall :
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Wind Direction :
Wind direction is westerly and north westerly. Average velocity
of wind varies from 4 Km. to 9 Km. per hour. Variation in speed and
direction of winds on the lower reaches of the site and is because of
higher reaches of its east and south.
BREEZE IN
WINTER
FROM
WIND IN WINTERS NORTH
WESTERLY
WESTERLY WIND
Wind in summer
from lake Wind in summer and spring
western winds
Vegetation :
Basically a scrub land with wild growth. There are few trees on the
western slope of PREMPURA HILLOCK. The ground is of hard soil mixed
with jutting boulders. The top soil is only 6".
Services :
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SECTION
The museum building
has been designed with
large open halls, flowing into
one another, uncluttered by
columns, under split and
sliced shell and domes,
permitting flexibility in
display and the use of
natural light and atmosphere. The museums lectures and programmes
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FRONT
ELEVATION OF
GUEST HOUSE CUM
HOSTEL
VIEW OF
BUILDING
INTRODUCTION
This housing cluster is made for staff of various departments. It is
divided in five categories. One is for Director's residence and another four
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Section ‘AA’
Type II :- This consist of one courtyard, one living cum dining area, two
bed rooms, one kitchen and toilet and bath. No of unit are 12 this cluster
is made for class three officers.
Type IV :- This block also have one big courtyard, three bedrooms, one
living cum dining area one kitchen and two toilets and one bathroom. One
bedroom have one toilet this room can used as Guest room. The no. of
unit is 4 this block is made for class II officers.
HOUSING CLUSTER
Type III :- Type III has no
courtyard. But in place of
courtyard it has terrace. It
has two bedrooms one living
cums dining, one kitchen,
toilet and bath. This is used
for II class officers.
Following are the sizes of Type II, III, IV
Bed room 3.6 M x 3.2 M Type II
Living room 3400 mm x 3000 mm 52.5 Sq.m.
Kitchen room 2400 mm x 2200 mm
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SIDE VIEW OF
HOUSING
CLUSTER
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BHARAT
BHAWAN
Looking Back :
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Bhopal the city of lakes known for its natural splendor and cultural
heritage is named after Raja BHOJ. The catchment area of the lake
created at Bhojpur was so vast that it included in folklore as "Taal-Mein
Taal, Bhopal Taal, Baaki Sab Talayya".
In Brief :
Location : Bhopal
Ownership : Department of culture, M.P.
Architect : Mr. Charles Correa
Site Area : 1200 sq. mts.
Project cost : 194.0 lakhs
Cost per sq.ft. : Rs. 130.00
Work began : 1980
Work completed : 1982
The Requirements :
In 1974 a building was proposed to house a museum for art and
culture with requirements as follows :-
Permanent museum
Art gallery
Library
Indoor & Outdoor auditoriums
Art workshop
Theatre workshop
Administrative areas.
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In 1978 the concept change from a museum for art and culture to a
place of MULTI ARTS COMPLEX providing interactive proximity to the
verbal, visual and performing arts. The requirements change to as follows:
Galleries
Permanent exhibition
Temporary exhibition
Graphic/ceramic/sculpture workshop
Music library
Indoor auditorium
Open air theatre
Green Room
Restaurant
Administration
The entrance is through an iron-gate 8 m wide and leads to a paved
approach towards the COURT OF FOUNTAIN.
Court of Fountain :
Courts form a major special element in the building. The MUGHALS
always planned their complexes around the courtyard. From the court of
the fountain one has a visual choice due to the level difference. This court
guides the visitor to TRIBAL FOLK ART GALLERY & ADMINISTRATION,
ANTARANG, BHAIRANG, & VAGARTH towards west and south. This is
the largest court in the 3 courts.
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Court of Antarang :
On one enters this court either from the circulation axis from the
court of fountain. The overbridge is the main gate for the entrance to
this court. The court leads to GRAPHIC AREA, PERMANENT GALLERY &
ANTARANG. The court performs as an extension and a out space,
passage, room for the visitor waiting to gain entry in the permanent
museum.
Roopankar - Tribal & Folk Art Gallery :
The gallery exhibits a
permanent museum of Tribal
& Folk Arts. There are three
levels in this museum and the
entrance and exit are in the
same level. Continuous low
ceiling has a clear height of 2.4 m. and makes the gallery even smaller
even though the area covered is a large one.
THE WAFFLE
SLAB ROOF with coffers
makes the otherwise
heavy roof seem light.
Large cut outs in
PYRAMIDICAL SHAPES
breaks the monotony and
natural light is taken from
them. Wooden FLEXIBLE
PARTITIONS sub divide the space and gives the sense of direction.
Cubical are placed in between areas to define the movement pattern.
Large pieces of art are place under the skylight and look dwarf even
though they are very huge.
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accomodate large paintings and sculptures. The column free space which
square in plan allows for maximum permutations and combinations and a
flexible use of space. The main considerations considered are as follows:
Column free space
Change, in level framing small spaces using structural columns
Artificial lighting.
Antarang :
Antarang with U
SHAPED flooring and seating
pattern with a capacity of 350
people is a delight in itself.
The seating is on the steps
created as a GHAT. This is
one of the most casual and
intimate space wearing
theatre in the entire country.
Bahirang :
The Bahirang is
the multifunctional and
multi dimensional
arena. The steps seating made out of natural slope resembles the
TERRAI farming. In the hilly tracks of the Himalayas.
The lake view to the west
gives another dimension to the
entire theatre. The minarets of
the mosque in the backdrop
reminds of the traditional past of
the city. A control room on the
upper most tier controls the
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lighting and audio needs of the theatre. The total seating capacity is
650 people. The steps seating form the QUADRIANGLE of a full circle.
The levels are done considering the site lines. Though the focal points is
the stage mind is always diverted to the surrounding areas even the
land scapping doesn’t prevented.
Air Circulation :
Air slits - 8640 mm long have been provided for ventilation of the
galleries and exhibition theatres just below the roof slab. 16 large and 25
small air slits have been provided in the entire complex for better air
circulation. During the summers galleries becomes very hot and stuffy.
Due to non compact spread horizontal, horizontal planning, air
conditioning is a must and proves to be very expensive
In large galleries like the modern art gallery section of
Roopankar. The deep spaces lacks clear ventilation.
Terrace gardens are always wet as water cannot seep through. The
flower beds are filled with black cotton soil upto 50-60 cm. above the
coba. R.C.C. nitches of the flower bed rests over a coba finish.
Landscaping prevents the HEAT BUILT UP inside the complex by two
ways and saves energy.
(a) Provides an insulative layer for solar heat gains.
(b) Enhances the ventilation through air slits by convection.
ANALYSIS
Plus Points :
(a) Material Economy. Extensive use of local material like BASODA
STONE & ALANGA for masonry and external wall. These have a low
rejection factor of 33%.
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Negative Points :
(a) Maintenance. High cost of maintenance of the terrace garden
is a lacking factor. 40% of the annual repair bill goes for this
purpose 40% is spent on water proofing of roof, skylights, on
walls, floors, stair and expansion joints.
(b) Restricted Future Expansion. With covering entire horizontal
space available if the- need arrive for expansion there is no space left
for this purpose. Existing exhibition area cannot be expanded due to
maximum horizontal coverage.
CONCLUSION :
In the previous chapters we have tried to understand what the
institution called 'The Museum' is all about, in terms of what is and what it
stands for. This has been done in various ways, depending on what
aspect is being examined, by examining what it is today and why and how
it came to be the way it is. The development of museums as we can
realise is closely, linked to our history and to the outlooks, attitudes and
priorities of the society. In its own ways the Museum has always been
trying to understand what is expected of it and has been accordingly
redefining it aims to meet new challenges and fulfill its obligations. The
modern museum is very different from its predecessors and its function
has changed entirely. It shares very little with the original functions of
the first public museums. Not only has the form of the museum changed
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but also its content. The material exhibited has been intensively expanded
and diversified. Within the society the modern museum fulfills an active
and varied cultural role educational departments, orientation galleries,
slide presentations, catalogues, posters and other museum publications.
The modern museum is characterised used by more flexibility in its
planning, in keeping with the dynamic nature of the modern society.
INTRODUCTION
The Regional
Museum of Natural History,
a Regional Centre of the
National Museum of Natural
History, New Delhi an
institution devoted to
promote non-formal
environmental education and
conservation awareness
among the public through
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THE MUSEUM
The entry area has a
Reception counter, where the visitor
will be able to get information and
orientation about the museum. A
family of wire-sculptured models of
Dinosaurs. Triceratops, welcomes
the visitors in the central courtyard of
the museum. Fossil excavation site showing exposed fossil fragments have
also been reproduced alongside of the models of dinosaurs giving a feel to the
visitors of how fossils are found in nature. There are special facilities
available with the museum to take care of the needs of disabled. All the
resources of the museum will be equally accessible to them.
EXHIBIT GALLERIES
There are two exhibition galleries 1)Nature’s Network 2)Discovery
Centre.
Exhibits are the primary learning resource in any museum. The
strength and potential of the regional museums for imparting non-formal
environmental education basically emanates from its well planned and
well executed exhibits.
The museum gallery dealing with themes of 'Biodiversity, 'Flora,
Fauna Geology of Central India', 'Rivers of Madhya Pradesh', 'Inter
relationship in Nature', 'Conservation for development' and 'Man and the
Environment.'
NATURE’S NETWORK
The tour to Gallery begins with a Fascinating Panorama of 7
different Natural Habits- here shown some of.
1) The major ecosystems of the world.
2) Biodiversity of the central India.
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of life. Thus, herbivore animals that feed on plants get their energy. This
is again transferred to carnivores, which feed on herbivores. All this is
depicted in the exhibits on food chain, several interconnected food chains
forming into food web and tropic levels of energy transfer in the form of a
food pyramid.
SCAVENGERS & DECOMPOSERS
When animals die they are fed upon by scavengers like eagles,
vultures, hyenas etc. The ultimate stage in the flow of energy in an
ecosystem is the decomposition of the plant and animal bodies by lower
forms of life like fungi and bacteria which split the dead organic matter into
their basic elements so as to return it to the nature for use by new life.
BIOGEOCHEMICAL CYCLES
Life activities are inter-related with a continuous cycling of raw
materials such as water, carbon, oxygen, nitrogen and mineral salts. This
relationship between the living and the non-living environment is depicted
through a series of biogeochemical cycles. The water cycle explains the
endless circulation of the earth's water consisting of evaporation from the
oceans, lakes and rivers and its redistribution to different parts of the
earth. The nitrogen cycle shows the pathways through which nitrogen, an
essential ingredient of living matter, is utilized and returned to the
atmosphere. Similarly mineral cycle is also presented in the exhibit.
Today more species of animals and plant varieties are facing
extinction because of man's thoughtless exploitation of nature for his own
selfish ends. His own survival depends on the conservation of nature and
natural resources. This is the message for you when you leave the gallery
after seeing the Indian cheetah, which is no longer seen in India and many
other which live a precarious existence and are on the urge of extinction.
It is you who will decide what will survive tomorrow.
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TEMPORARY EXHIBITION
A hall near the central courtyard provides the visitors with
exhibitions on various themes of contemporary interest. Since the exhibit
themes are temporary in nature, these will be changed in regular intervals.
MOBILE EXHIBITION
A mobile exhibition van with a intension to create environmental
awareness among the rural public with exhibitions on various themes will
be changed in regular intervals and visits the surrounding villages of
Bhopal.
EDUCATIONAL ACTIVITIES
A museum communicates to its visitors through exhibitions and
educational activities. The educational activities are aimed at stimulating
interest in natural history and creating an awareness among the public
about the importance of nature and the conservation of natural resources.
The proposed educational activities of the museum will include :
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CATEEN
Plan is in regular
square form. It is two strayed
building on ground floor there
is canteen made for visitors
and staff also and on first floor
there is guest house for V.I.P.
people. Canteen is connected
through a main building by a
ELEVATION OF CANTEEN BUILDING
covered passage. It has one
huge entrance lobby, one
sitting area. One kitchen
along with store office with
toilet facility is provided.
General ladies and gents
toilet are provided. It has
good natural ventilation.
Sitting area of canteen
There is small duct for
disposing the rain water aluminium glazing is provided in windows. One
common room is provided. Kitchen is provided with toilet facility for
workers. Area is big so circulation is good.
GUEST HOUSE
Guest house building is
made for all type of guests who
visit the museum. In guest house
building. There are four rooms
with attached toilet. Two dormitory
with attached toilet. One office for
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DESIGN CRITERIA
From the case study and observation I have arrived at points to be
considered while designing National Museum of Mankind many positive
and negative aspect come to view. After the case studies this helps to
make design better by deducting negative points.
Design Consideration
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Salient Features
1. Creation of courtyards landscape on site to encourage users to enjoy
natural element like light, greenery, water etc.
2. Creation of cafe intersection of landscape and museum bldg to give
healthy break between work time to relax and enjoy the surrounding for
visitors and staff also.
3. Creating landscaped courts terraces, pathways with natural stone.
Use of water as an important element, to give visual environment
relief planning recommended trees for foliage around the buildings.
Design concepts
Design based on two main parts
1) Indoor exhibition area.
2) Outdoor exhibition area.
In indoor exhibition area following galleries are include
1) Evolution of man with time.
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Reptiles
Birds
Mammals
1. Dryopithecus --- lived on threshold of forests and open areas and
livelihood from both.
2. Ramapithecus - truely man Existent in Asia and like Africa.
3. Anstralapithecus --- They lived in pleistocene about two million years
ago.
If is very close to modern man.
4. HOMO ERECTUS :- This man lived in Mid-pleistocene period about
million years ago.
It is believed that he could speak and some sort of language. No
Associated tools were found.
He used fire and implements of stones.
5. Homo – Neanderthalensis (1856) :-
They used to live in caves.
He was skilled tool maker and hunter.
He used fire, stone tools and weapons. He burrical the dead with formal
rights.
6. Cro-Magnon :- If was intelligent, progressive and was expert in making
tools and weapons. He was also an hunter and also an artist. He used
fine for cooking and they painted pictures of animals in their caves.
7. Homo Sapiens
8. Modern man : Mirror which is very much modern man i.e. we people.
The changes which have taken place during the evolution of
modern man were mainly mental rather, than physical. Intelligence
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Man came out from caves on open ground and started living in huts
invented fire started using it for cooking, warmth for driving a way the wild
animals.
Modern man
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4. Desert Village
This is represented by the typical dwelling type form Jaisalmer in
Rajasthan. A dwelling complex of Rajputs in this exhibition highlights the
process and degree of their adaptation with environment.
Various ethnographic objects displayed inside the dwellings
represent their lifeways and subsistence strategies.
5. Mythological Trail
This is new component of the museum exhibition which depicts
compositions as reflected in myths and legends in different media (terra-
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cotta, wood, stone, iron etc.) The exhibition helps to visualise the oral
traditions related to the tribal origin and its cognition. Crafts of various
artisan groups, incarnations of folk deities and traditional paintings form
the main attraction of the exhibition.
Tribe - Warli
Population - About 5 lakhs
Area - Thane district in Maharashtra, valsad district in Gujrat and
Dadar and Nagar Haveli.
The Warli women execute fine details of rituals, social ceremonies
and daily life in pictographs painted on inside and outside walls the place
is determined by tradition. "Many of the Warli paintings appear at the time
of marriages and at the celebration of the Gauri festival after the rains
when the Earth awakens to a new cycle of fertility" (popul Joyakar). The
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T
ribe - Toda
Population - About 12 hundred
Area - Nilgiri district, Tamilnadu.
Arsh the half barrel shaped dwelling ; of the todas are built on 'the
top and the slopes of hills, made with the bamboo, needs cane and grass.
In the front and back of house are walls made of wooden planks. Inside,
at one side, is a raised platform for sleeping and opposite to it another low
height platform for seating purpose. The rear corner Earmarked as
kitchen has a health and cooking parapherenalid.
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both the sexes, is attached to the side wall of kitchen. Meals are served
in the courtyard where towards its northern corner is a place of worship in
housed by the supreme deity in size plant within a circular enclosure of
woven bamboo-splits.
Bodo Kacharis engage themselves in religious activities, coincided
by events of agricultural cycle throught the year , some of their dieties
known as madai are benevolent , other matevolent, all requiring service
and offerings on fixed occasions.
Tribe - Kota
Population - 15 hundred
Area - Nilgiri district, Tamilnadu.
Kota is one of the three major tribal groups of Nilgiris. According to
a Kota legend, the Kota, the Toda and the Kurumba were real brothers
and that they were the earliest inhabitants of the Nilgiri hills. These three,
as the legend goes, were created from the three drops of the
Kambatrayan god's perspiration. Their separation took place when the
God once asked them what they wanted; one of them said, "Give me
talents of art', and he became a kotal who later proved to be an able
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blacksmith, murican, hunter, potter and rope umbrella maker; another said
'Give me buffaloes who can be my friend, Relative and Saviour and he
became a Toda dory man; Give the power of destroy those whom I do not
like said their third brother who became a Kurumba, possessing powers of
sorcery and black magic which the other two dreaded".
Although their Economic activities include black smithy pottery and
basketry which are traditional, and rearing of cattle and salaried
employment which are recent phenomenon, their economy revolves
chiefly around agriculture and every Kota house hold has a piece of land
on which they grow food grains like Ragi and wheat and potato for self
consumption as well as for the sale if. Production is in surplus.
Tribe Gadaba
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rectangular plan with four slopped house called “Mordien”. Such houses
consist of two to three adjacent room. The third type is a two-slopped
house called “Chhendidien”. with two rooms, with or without separate
cowshed. The third type is most frequent. In some villages, all the three
types are present together.
The Gadaba female clothes popularly known as Kerang are
manufactured by themselves from cotton-thread and vegetable fibre. The
fibre is carefully dried and dyed blue or reddish brown and then woven in
to a cloth on a kerang loom. Some Gadaba women wear immense ear-
rings made of long pieces of brass wire.
Tribe Saora
Population - 5 lakhs
Area - Ganjam dist. Orissa and Srikakulam district, Andhra
Pradesh.
The saora houses are rectangular in shape and built with high plinth
and verandah. The stone and mud wall houses with straw-thatched roof
are proportionately low. About three fourth of the Inside room is covered
with a high wooden platform where grainbins and other possessions are
stored. The hearth is located under this platform. from the roof hang a
number of objects, baskets, Gourels. Baskets containing the special
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clothes of the dead or tutelaries are hanged against the walls which are
decorated with icons in honour of the Gods and ancestors.
A hilly, forested tract in Orissa and Andhra Pradesh is Abode of
Saora tribe. The Saora continue to practice shifting and slash-and-burn
cultivation on terraces more for the reasons of coping up with their
surrounding environment than any backwardness. The crops taken are a
variety of millets and paddy, Each requiring a particular condition for
desired growth, so the fields are found situated on hill tops, slopes and in
valleys.
Tribe Agaria
Pop - About 20 thousand
Area - Balaghat, Bilaspur, Mandala district, Madhya Pradesh
Only a few agarias still follow their traditional occupation of iron-
smelting. Others make a few agricultural implements only. They get iron
are from the Maikal range selecting stories of a dark reddish colour only.
They mix are with charcoal in equal quantities in the furnace, the blast
being produced by a pair of foot-bellows and conveyed to the furnace
through bamboo tubes. It is kept up steadily for hrs, soon as the flow of
slag ceases, it is supposed that the process is over. The bellows are then
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removed breaking away the clay joints and deposited lump of molten iron
is picked, beaten for some time and when ready shaped in to various
kinds of objects.
Agaria's family God a Dulha Deo. In the forest tracts they also
worship Bura Deo, the chief God of the Gonds. The deity who presides
over their profession is Loha-sur the iron demon, who is supposed to live
in the smelting - kilns. They worship their smelting implements on the day
of Dashahra and during phagun.
Tribe Maria
Bastar, Chatisgarh.
Two Exhibit complexes related to Maria belief-system are presented
in the Exhibition.
(a) Maoli Mata cho Gudi is shrine of Maoli Mata replicated in same size
and form as one situated in Matnar village near Chitrakot water fall in
Bastar. It consist of two huts. The outer chip stone roofed hut is erected
on stone slabs as uprights supporting an intricate wooden frame-work of
roof. It is decorated with carved figure of the devotees themselves. It
enhouses “Bhairam” god is a vertical post. The inner mud-wall hut
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Tribe Tharu
Population - 35 thousand
Area - Nainital district, Uttar Pradesh
The house are rectangular in shape , the length being almost three
times the width. The two slope roof is either thatched with local grass or
tiled. The entrances are always from the front, sometimes two or three.
In front is a continuous streteh of courtyards. Towards the entrance, a
small rectangular raised body of clay is made on the ground which is the
seat of family deities. Towards the opposite side in the same courtyard is
a cattle-shed. Situated at sight angle to the main house is a small kitchen
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Tribe Rathva
Surrounded by a wattle fence the Rathva house face towards the
East. The house is rectangular structure. The roof is made of split -
bamboo covered with baked clay tiles or dried palm leaves. The walls are
made of split bamboo plastered with a mixture of cow dung, straw and
mud. A separate structure almost as large as the main house is built
parallel to the house wish no partition walls for cattle and goats.
The main wall of Varandah carries a sacred painting of pithora and
the side walls minor dieties. Well known for pithora ritual paintings in
bright colours against the white of houe walls matched only by colourful
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Kucheneme
1.Richman house
Tribe - Chakhesang Maga
Dist.- Phek, Nagaland
2. Morung ( Youth Dormitory )
Tribe - Konyak Naga
Area - Longmeang , Mon district, Nagaland
3. Tribe - Bhil
Pop - About 25 lakhs
Area - Thabua (M.P.)
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Tribe - Chowdhari.
Pop - About 3 lakhs
Area - Surat and Bharoach District Gujrat.
The principle deity of Chowdheri Mongra Deo, the crocodile god.
The wooden figures of crocodile are carved following an elaborate site and
installed at a fixed place annually and propitiated there by the entire
village on Shivratri.
Towards the outer periphery of fields, clay-domes called ghumat are
placed in rows along with terracotal offering. Each row or a cluster
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Tribe - Kamar
Pop = 17517 (18)
Raipur District
Tribe - Santhal
Area - Dumka, bust Tharkhad
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Mythological Trail
Following exhibits are included in exhibition
1. Creation mythology of Saora Tribe.
2. Mythology of rivers Narmada & Jrhala
3. The myth of creatia, among the santhal tribe
4. Bil myth of the restoration of laughter and festivity.
5. Lan Kapuri Hanuman
6. Kamdhenu
7. The details of Bastar
8. Significance of dokra bev & Rav dev in farming
9. The myth of buma dev.
10.The myth of the kingdom of Jalmata or Kaina people.
11. The shrine and Ritud of Jimidarin Mata
12.The myth and the Ritual of Kunwav da
13.The myth of Godders danteshwaria coming to bastar.
14.The myth & shrive of Mansa. The snak Goddess.
15.Myth of Genesis of patua painting.
16.Myth of ongu of santahas according to the patua artist.
17.Myth of the battle between Ganga & Durge as sun of by patua
painters.
18.The xlaga shrine.
Intro Mythological trail
Intent on Creation, Barg dev rubbed his hands to create a crow and
ordered him to look for the earth. The crow went first to the snake and then to
Kakramal, the crab who pressed Kichakmal's the Earth worm's neck so hard
that the latter spate out the earth, which was plastered on the web woven by
makramal, the spider over the aquatic surface. Creation proceeded apace -
Bara Dev's fallen hair turned in to trees which in turn produced the plough. As
the plough dug in to the earth the grain deity. Sprang forth. Ant hill served as
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the perfect model for making of the Lillar kothi - the ideal vessel for storing
grain for the entire world. flera on the Lillar kothi itself is depicted the
mythology.
Boat
Under the traditional
root, a Sarp Nauka has
been kept and brought
from pathnam chitta district
of Kerala. This boat has
won hearts hundreds or
village residences,
securing for year the first
position in the boat race engineers on the occasion of oram festival in the
river pampa more than hundred people at a time soil the boat and hundred
such boats joints the boat race.
Bhunga
Since times immemorial different population groups have been
living intraditional circular huts known as Bhunga. A group amongst them
is of semi-no medic pestorals known as Rabaris. Different house patterns
although come to be adapted now.
Then are some villages thought rendered isolated due to marsh and
sandy regions in which people have still been living in Bhunga one such
village is Tunda Vori Vand situated 200 m way from the sea shore.
A feature or this villages been recreated in open air exhibition.
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Naluuketta
Traditional house
in Kerala have mostly
been built up of bricks by
cutting laforiitc with roof
on coconut leaves. None
in the village has
permission to construct
house higher then the
temple height. Only high custe people could use the roof tiles. All things
have now undergone change.
Only few houses that were made of wood to house the big joint
families (taravad) have been remaining Nairs on account of their important
contribution in a army and administration used to occupy a prominent
place in the villages. To construct a house without use of an iron nail has
been unique feature of Naluketta.
1. Naluketta : Keral
2. Arapura : Keral
3. Bhadrakali : Ambalam
Gudeesa
The fishermen build up their houses on the coastal rigions of the
bay of Bengal such as suit the heavy winds Gudessa a house with the wall
made up of mud and slanting conical roof laden with palm leaves resting
upon circular land base collected from Baravleera ( a caste of fishermen )
people pentkota district Vishakhapattam, Andhra Pradesh is an example of
such house types in the exhibition.
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aristocratic treasures were made public and also due to the formation of
the National Museum (New Delhi) in 1949.
TYPES OF MUSEUMS :
The origin of museums is found either in the royal treasures of
the middle ages or in small collections of curious. and specimens
originating between the 16th and 18th century. In a general way art
museums may be said to have sprung from these royal treasures of
princely collections while the science museums have inherited the small
collections of curious and specimens. The classification of museums into
categories, according to the terminology of the disciplines to which
the collections belonged, was started by scholars towards the late 18th
to early 19th century. On this basis it seems more justifiable to divide
museums into these three basic categories artistic or aesthetic, historical
and scientific.
Art Museum
Art museums are those whose collections are conceived and
displayed essentially for their aesthetic values, even if the objects they
enclose are not all works of art in the intention of their creator. The state
of preservation of the work, the quality of restoration, the environment it
is given, notably the background and lighting, assume special
importance.
Historical Museums :
All museums where collections are conceived and presented in
a historical perspective are classified as historical museums, their object
being essentially to document a chronological sequence or an
ensemble representative of a moment in an evolving pattern, the Musie
de I Historic de France created by kind Louis Phillipe at Versailles
displays with the aid of pictures the outstanding events and persons in
the country's history during more than a thousand years. Other kinds of
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1 Status :
There are basically two types of museums public museums and
private museums. The first kind of museums that is the public museums
is the most common kind of museum specially in Europe, and the
developed countries of Asia, Africa and the Americas. These kind of
museums are controlled directly of indirectly by the state through one
of its organs or agencies. The major Indian museums are either
managed directly by the central government or indirectly through a
board of members or trustees. The museums in the country have grown
either out of private collections of the individuals or the central
government itself have established the museums like the National
museum, New Delhi to house the collection of the archeological survey
of India and those donated by some state governments; those
administered as subordinate offices and those taken over by an act of the
Parliament. In addition to these museums there are state museums,
university museums, municipal museums, the site museums of the
Archeological survey of India and a few private museums.
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2 Finance
The financial resources and funds of a museum can be ranked
under four headings. Allocations and subsidies received from public
funds constitute the main element of the budget of public museums
regulated by statutes and often form a not inconsiderable part of that of
private museums. There is a tendency to believe that entrance fees to a
museum constitute an important source of income. They can however be
considered negligible for a number of reasons.
3 Personnel :
Museum personnel can be classified under three major headings -
scientific, technical and service.
The scientific personnel which is a term applied to the directors
curators (keepers, assistants) specialists in education, conservation and
restoration have had university training adapted to the museum's needs
and if possible a complementary professional training in museology,
teaching conservation and restoration.
Technical Staff - this category includes museograpers, draughtment,
documentalists, libraries security specialists, and restorers. It is required
that they have sufficient qualification in their particular crafts for example
museographers should have received special training in techniques of
presentation, cataloging etc. Service perssonnel include attendants,
maintenance workers and secretaries.
4. Collection :
Even though museums today have involved themselves in a diverse
range of activities 'Collection' can be identified as the oene activity
necessary for sustainance of the institutions called 'museum'.
Museum collections can be examined under their three basic aspects.
There concern programme, acquisition and management. The programme
is very essential, it has to be established scientifically and has to be in
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accordance with the needs of the community and the aims of the
museums. The programme determines the type of objects that ought to
be acquired to serve the objectives set by the museum both for
exhibition and for research. The programme is indespensable if the
museum is to function smoothly and expand its energies and finances to
some reasonable purpose. Acquisition itself depends above all on the
available means expeditions and gifts and legacies, it can be made in two
ways directly and indirectly. Direct acquisition is essentially the collection
of object fom the field by means of excavation, ethnographic or natural
science expeditions. The objects or specimens recovered- are
scientifically documented and immediately available for research,
education or exhibition. Indirect acquisition are brought about with the
aid of one or more intermediatries, collectors and art and antique dealers.
The management of collections begins in the course of field
exhibitions (summary identification) or with their entrance into the
museum.
5 Storage :
After a museum has acquired an object the problem of its storage
becomes important. The need for storage arises under two main
circumstances the first when he object is to be stored till it has been
studied and documented, the more common case however to when a
museum cannot display its entire collection and has to keep a large part
of it in a way that they are not harmed and also so that they can be
accessible to research scholars. In most modern museums basements are
used for storage and this is found to be functional provided due care is
taken against seepage and other such problems. However moving of
heavy objects can still be a problem and this creates a feeling that
storage and study are being 'tucked away' from main public areas even
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6 Exhibition :
Exhibition techniques have evolved considerably in the last 100
years. Under the influence of technical progress, static exhibitions of
the past tied to monumental architecture has yielded place to much
more varied display arrangements. To take only a few example in the field
of modern art light and sound complete the object, in scientific and
technical museums animated models which can be manipulated by the
visitor are being encouraged. Of late, research and literature on display
techniques have appeared and since the 1960's private firms specialising
in museography have appeared. Also research on the museum public had
led to the constant adaptation of display to meet the needs of the visitor.
7 Conservation and Restoration :
The conservation or preservation of objects which a museum has so
that they can be passed on to the future generations is an important
responsibility of the museums. Therefore, it is very necessary for
museums to have adequate conservation facilities both in terms of
laboratory infrastructure and trained personnel. The pattern of the
conservation department has to be in keeping with the range of its
collections and special care has to be taken in case of museums with
large varieties.
8 Research
Museums are now facilitating research and studies by scholars and
giving the researchers as much importance as to the public, which visits
its exhibitions. For obvious reasons of conservation and management, a
museum cannot lend its collections out for people to consult as a library
does. Keeping with the importance of this discipline every museum is
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made to try and achieve the most harmonious balance between the
architectural environment and the needs and tendencies of the users. The
starting point could be an analysis of the circle of people participating in
the museum event along the following lines :
statistics on demographic characteristics, origin, occupation, education
and ecological data.
the catchment area, as a museum caters for widely scattered groups of
people besides the local users.
the sociological development, as a museum will not have the same
features in an industrial society as in an agricultural society.
a distinction between the actual and potential visitors, and the circle of
people who are likely to be involved in the museum activity.
1. Publicity :-
Today's museum help in the search for values and therefore stands
open and inviting to the visitor. This could be achieved by adaptation of
existing buildings, a transparent display case architecture or semantically
symbolic forms.
2. Information :
Nowadays the unprepared visitor, who may be from any social
group or strata expects to be offered information which he can avail at any
time. In architectural terms this may mean providing special rooms or
additional space for information purposes.
3. Exhibit :
Another innovation in the design and running of contemporary
museums in the broadening range of themes a museum can handle,
going far beyond the plastic arts to include the decorative arts,
architecture industry, science, technology, cars, ships, planes,
photography film, anthropology, archaeology etc.
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5. Design Programme :
As mentioned earlier the architectural organisation of a museum is
determined by the functions it is expected to perform i.e. exhibition,
collection, storage, restoration, education, research along with provision
for leisure activities also. Museums space can be broadly classified into
the following categories, according to the usage of these areas.
1. Public
2. Semi-Public
3. Semi-Internal
4. Internal.
1. Public : The totally public areas of a museum are for the under
mentioned :
(a) Entrance and reception
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7. Entrance :
The entrance into museum is specially significant since it plays an
important part in providing a bridge between the public and the collection
and thus should be designed as an independent but closely integrated
architectural element.
Though many outside doors may be found necessary for the various
museum services, there should however be only one public entrance,
placed quite separately from the rest, for security reasons.
This should lead into a vestibule where essential services like-sale of
tickets, information service, sale of catalogues, books etc. will be
located.
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8. Area Usage :
A museum has, a very clear organisation of served and servant
spaces. The primary areas are those directly devoted to communication
display galleries, lecture rooms, class rooms, libraries, book and pest
card counters-and these are served by spaces-work-shops,
laboratories, storage rooms, offices, mechanical plant rooms-which
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make the functioning of the primal spaces possible. The first group is the
zone to which the public has immediate access, the second is a private
zone of internal housekeeping. Before considering the planning of the
museum it is essential to determine the size and location of the various
services.
Generally an area, which may be as much as 50 per cent of the
total space available is set aside for these functions. However, the
relative sizes vary with the nature of the museum.
There is third zone of ancillary spaces restaurants, washrooms,
coat rooms, club rooms, which are of this group will depend on the
number of visitors expected during peak hours.
9. Space Planning :
The most essential aim of a museum is the exhibition and display of
a vast variety of objects and exhibits, and good museum planning greatly
influences the viewing sequence and subsequent popularity of its
possessions. The fundamental approach in order to facilitate a
visitor's understanding of the museum spaces is that towards open
architecture, that is the visitor should be able to have an overall view of
the sapce he moves in, or he should be able to find his bearings, at any
moment, to see where he is, in relation to a known point in the museum
building. Some of the elements which impose visual order and
orientation have been analysed by Kevin Lynch in 'The Image of the City'.
He has listed those which are important within an urban framework as
paths, edges, districts, nodes and landmarks. Each has a
recognisable architectural equivalent relevant to orientation within a
museum and to it's total image.
Paths are of course, the routes of movement and in a museum usually
the spaces left between the exhibits. These can be controlled and
challenlled by screens or rigidly defined by walls, cubicles, etc.
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Edges are linear elements which are not paths be a long glasswall, a
change in level etc. Each edge defines, separates, yet makes the whole
coherent.
Districts are sections which can be distinguished and grasped mentally.
Such a pause provides a pause between sections of a museum and
makes each one a recognisable and easily memorable division.
Nodes are focal points from which, and to which paths converge because
at these points there is a concentration of activity. These need not be
central and each district can have its own node. Nodes can be created
by having dominant enclosed volumes of service elements or storage
areas with open or partially screened areas.
Landmarks are points of reference which provide a clue of the position to
a visitor, like courtyards etc.
Arrangement :
The more specific apportionment of the spaces within a museum
are closely bound with it's purpose end the nature, quality and principal
components of it's collections. Each type of museum has different
architectural requirements. A brief classification of these is as follows;
Exhibition Gallery * * * *
Library * *
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Auditorium *
Educational activities *
Books counter * * *
Information counter * *
Administration office * * *
Study collection * * *
Storage & Studio * *
Workshop
Research laboratory
Mechanical
Meeting room
Cafeteria
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Systems of Arrangement :
The spatial arrangements in a museum is directed by the direction-
finding point of view and in accordance with different internal schemes of
display. According to the former the following arrangements can be
recognized :
Symmetry is an effective answer- to the factor or order, but
symmetrical spaces demand a hierarchical organization of the
collection, which is not justifiable
The fan shape, symbolize the freedom of choice but should be used
with a restraint to avoid the confusion of being offered too much to the
visitor.
The rectangle is the most easily perceived, with it's simple and
unambigous lines.
The circle and the curve have no fixed axis, and it is difficult to
perceive them steadily.
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The colour of the walls and the kind of flooring can be varied for
similar reasons.
Monotony also results when a number of rooms follow one another
in a straight line.
10. Construction & Equipment :
The following requirements are important for design of museum
(a) The building must be protected from vibration, damp rising from the
ground, and the danger of fire spreading from neighbouring premises.
(b) In the exhibition rooms and in all public parts of the building, floors
and their supporting walls should be designed to carry a weight of at
least half a ton per square yard, with a very wide margin of safety.
(c) The materials chosen should aim at reducing the noise to a maximum.
(d) The room should be protected from extremes of temperature and
humidity.
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(d) The space inside, between the roof and the transparent ceiling, should
be equally accessible, to facilitate security measures, maintenance and
cleaning of this area, all of which are so essential to the smooth running of
a museum.
(e) The ceiling must also carry the apparatus required for the artificial
lighting of the room and its exhibits; it is preferable for this to duplicate
the effect of the daylight,
by means of tubular fittings
running parallel to the
strips of glass.
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the museum and that height should be such that the largest sized
exhibits can be moved as easily as possible from room to room.
Walls
a) The treatment of the walls can do much to make the rooms pleasant,
varied and serviceable and to set off the exhibits, especially in art
galleries, where appearance is obviously of particular importance.
b) The larger the room and the greater the wall space, the lighter should
be the colours used on the walls. To avoid monotony, large surfaces
may be treated with stucco-stippled or slightly pitted.
c) A museum must use colours that absorb light for good visibility.
d) Where the walls are excessively high in relation to the size of the
objects displayed, they may be colour-washed only up to a certain
height, leaving the rest white.
Floors
The choice of flooring for a museum is a matter of considerable
importance. The nature of the floor may have its influence both on the
fatigue and concentration of visitors.
(a) The colour and texture of the floor must be such as to set off the
exhibits. Generally speaking, the floor should be darker than the walls,
with a reflecting capacity of less than 30 per cent.
(b) Two points should be borne in mind when selecting a type of flooring,
are durability i.e. resistance to the wear and tear to which the floor of the
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11. Circulation
The functional capacity of the chosen form of organisation is
deduced from an examination of the internal system of access and
the distribution of visitors. The question can be approached in terms of a
general distribution along certain main directions of traffic flow and a more
detailed breakdown within groups of rooms. In museums a basic
distinction must be made between the circuit followed by the visitor, on the
one .hand, and the paths taken by staff and transport on the other.
The single storey display area offers the maximum possibilities, as
far as adapting space and natural light in order to show exhibits to their
best advantage is concerned. Differences of level can further enhance the
advantages of this type of layout, which allows considerable flexibility and
scope for extension, whether of the museum as a whole or of individual
sections. The single-storey arrangement is ideally suited for small
museums is likely to extend over a very large area.
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The
binocular visual
field (i.e., vision
by both eyes)
extends
vertically 1300
and horizontally
more than 1200
when both eyes
are focused on
a fixed object. Vision by one eye alone is called monocular vision. The
sketch below shows the extent of binocular and monocular visual fields.
FACE REFLECTANCE AND APPARENT BRIGHTNESS
Brightness is a
sensation which can be
expressed as bright,
brilliant, or light. The
apparent or perceived
brightness is modified by
surroundings, condition
of eye adaptation, and
other factors. Measured
brightness, or luminance
(L), is the amount of light
reflected from or
transmitted through an
object, expressed in footlamberts. The percentage of incident light which
is reradiated from a surface is its reflectance (p). Shown below are rooms
with low-and high-reflectance surfaces.
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TRANSMITTANCE OF MATERIALS
Transmittance (τ) is the percentage of incident light that is
transmitted through a material. Luminance (L) of a diffuse transmitting
material is the incident illumination level times the transmittance.
L=EXτ
where L = luminance (fL)
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Material Transmittance
Direct transmission: REFLECTION OF LIGHT
Clear glass or plastic 80.94 SOURCES
Transparent colored glass
or plastic 3.5
blue 8.17
red 10.17
green 30.50
amber
Spread transmission:
Etched glass, toward 82.88
source 63.78
Etched glass, away from
source
Diffuse transmission : 20.50
Alabaster 40.75
Glass block 5.40
Marble 30.65
Plastics (acrylic, vinyl, fiber
glass-reinforced plastic)
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ACCENT LIGHT
Accent or focal light
is used to emphasize
objects such as paintings,
graphics, etc., or to draw
attention to a part of the
visual field. Most recessed
adjustable and "eyeball"
fixtures have aiming angles
of 0 to 35 0. At aiming
angles >500, hot spots or
streaks of light will occur on
ceilings. Damage to
sensitive objects from light
depends on the illumination level and duration of the exposure to light.
UV filters can be used on glazing to mitigate the damage from daylight.
To prevent specular reflections at the mirror angle, accent light
should be positioned away from walls as suggested by the following
formula.
x = 0.6H-3
where x = distance from wall (ft)
H = floor to ceiling height (ft)
In a museum visual stimuli exert a deep influence on the over-all
efficiency and general state. In terms of museum architecture, this means
that the lighting of the exhibitions influences the visitor's readiness to react
and may induce activity or fatigue. The luminous interpretation must
therefore be chosen in terms of the contents of the collection and the task
to be performed.
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Air Conditioning
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This is very essential for the Indian climate and for the welfare of
delicate objects. It should be provided in exhibition galleries, study
collections, work rooms, and laboratories and auditorium. Possibilities of
harm to museum materials are many. Besides adverse temperature
and humidity conditions, common causes of deterioration are the
effects of light, dust, air pollution, and to some extent, impurities in
the materials themselves. Adequate air conditions rewards or changes.
Further, it keeps out dust that might otherwise cause damage and
accelerate discolouration. It prevents substances from brittling, decaying
and softening and lengthens the life of adhesives. It protects against
damage due to sulphur-di-oxide, and minimizes tarnishing of silver and
surface changes in iron, copper and other metals.
14. Flexibility, Extensibility :
In the planning of
each particular museum, it
is essential to clarify at the
very outset whether, and if
so what, modifications are
necessary and what limits
can be drawn.
The properties that
make it possible to modify
the function of an existing
space to meet a new Extension
requirement are adaptability and extensibility - a building is considered
(a) adaptable if it is specially designed to allow its functions to be
modified with a minimum of technical resources and organizational
work; (b) extensible if its design principle is such as to enable structural
uniformity to be preserved as the building grows.
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The library also depends upon the nature of the museum for
example the library is a history museum is likely to grow more rapidly than
in an art museum.
(a) Library should be placed close to the entrance and administrative
offices.
(b) Ethnographic museums are obliged to keep a collection of recordings
of folk songs or music, which they can make available to students.
But even history, art and similar types of museums now feel called upon to
include a music section.
Class rooms and study rooms but should be fitted up with some
decree of comfort, so that those who spend some time in the museum
may find it an agreeable experience.
The research premises and experimental laboratories are variously
designed and equipped for each individual programme.
Recreation
The museum should
cater for the visitors's needs,
and extend him a invitation
to linger and enjoy himself.
Thus a blend of private and
public should be offered, a
place which enables the
visitor to enter into contact
with people and objects. In architectural terns, these functions may be
performed by: rest rooms for brief relaxation within the display area
refreshment areas (a cafeteria, restaurant, etc.), their location within the
museum complex.
Store room & reserve :
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Museum Security :
Protection from fire, theft and environmental damage is an integral
part of the museum's design, This can be done by :
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(a) There should be nearly fire and police stations and the general
organization of exterior space should permit easy access for emergency
service vehicles.
(b) A survey should be made to deny penetration through roofs, sewers,
abandoned pipe lines, subway tunnels and walls of adjacent buildings.
(c) Another consideration is that of flooding both internal through
sewer pipes and natural and structures should be designed for vibration
due to earthquakes, traffic etc.
(d) Exterior structures such as fences, gates doors and walls should deny
easy accessibility.
(e) The building should be floodlighted with no areas that can't be
monitored as dark corners, riches etc. There should be no trees and
shrubs in immediate contact with the building.
(f) Doors for public entry and exits should be minimum.
4. Engineering section
5. Canteen
6. Museum Galleries
a) Human Evolution
b) Evolution of material culture
c) Food
d) Traffic and Transportation
e) Religion Practice and cosmology
f) Music and dance
g) Art and craft
h) Costume and Dresses.
7. Temporary Exhibition area
8. Outdoor exhibition
a) Tribal habitat
b) Costal village
c) Desert village
d) Himalayan village
e) Mythological trail
9. Parking, landscape and Garden with drinking water facility and
adequate toilet facility with one care taker room.
10.Store rooms for paintings, models etc.
CONCLUSION
In -the previous chapters we have tried to understand what the
institution called 'The Museum' is all about, in terms -of what is and what
it stands for. This has been done in various ways, depending on what
aspect is being examined, by examining what it is today and why and how
it came to be the way it is. The development of museums as we can
realise is closely, linked to our history and to the outlooks, attitudes and
priorities of the society. In its own ways the Museum has always been
trying to understand what is expected of it and has been accordingly
redifining it aims to meet new challenges and fulfill its obligations. The
modern museum is very different from its predecessors and its function
has changed entirely. It shares very little with the original functions of
the first public museums. Not only has the form of the museum changed
but also its content. The material exhibited has been intensively expanded
and diversified. Within the society the modern museum fulfills an active
and varied cultural role educational departments, orientation galleries,
slide presentations, catalogues, posters and other museum publications.
The modern museum is characterised used by more flexibility in its
planning, in keeping with the dynamic nature of the modern society.
It is therefore obvious that if the MUSEUM continues to utilise as
much of energies as it has been, realizing what is required of it and is
equally open about adapting itself to this new requirement it will continue
to be an indespensible organ of society.
BIBLIOGRAPHY
1. MICHAEL BRAWNE. The New Museum. The Architectural Press, London,
1965: p. 5
2. PETER DAVEY. The Architectural Review. The Architectural Press,
London, Oct. 1987; p. 27