List of Figures

Figure 1 lighting on artefacts ................................................................................................................. 12

Figure 2 suggested floor plan for small museum.................................................................................. 13
Figure 3 .................................................................................................................................................... 14
Figure 4 space arrangements ................................................................................................................. 16
Figure 5 Heights of the exhibits recept to eye level .............................................................................. 17
Figure 6: Difficulties encountered in viewing details ........................................................................... 17
Figure 7 Space arrangement .................................................................................................................. 18
Figure 8 Arrangements of spaces .......................................................................................................... 19
Figure 9 Painting store with sliding steel mesh frames ...................................................................... 19
Figure 10 Viewing range of pictures ..................................................................................................... 20
Figure 11 Site plan .................................................................................................................................. 22
Figure 12 Floor plan ............................................................................................................................... 23
Figure 13 sections .................................................................................................................................... 24
Figure 14 Interior view ........................................................................................................................... 24
Figure 15 Floor plan ............................................................................................................................... 25
Figure 16 Roof plan ................................................................................................................................ 26
Figure 17 Floor plan ............................................................................................................................... 26
Figure 18 Section ..................................................................................................................................... 27
Figure 19 Section ..................................................................................................................................... 28
Figure 20 Interior views ......................................................................................................................... 28
Figure 21 Ground floor .......................................................................................................................... 31
Figure 22 First floor ................................................................................................................................ 31
Figure 23 Section ..................................................................................................................................... 32
Figure 24 Interior views ......................................................................................................................... 33
Figure 25 Floor plans .............................................................................................................................. 35
Figure 26 Views ....................................................................................................................................... 36
Figure 27 Location of site ....................................................................................................................... 39
Figure 28 Zones Of Amravati ................................................................................................................ 39
Figure 29 Road services .......................................................................................................................... 40
Figure 30 Site section .............................................................................................................................. 40
Figure 31 Site of the project ................................................................................................................... 41
Figure 32 Road network ......................................................................................................................... 41
Figure 33 Average temperature ............................................................................................................. 42
Figure 34 Precipition Days ..................................................................................................................... 43
Figure 35 Speed of the Wind .................................................................................................................. 43
Figure 36 Wind blows ............................................................................................................................. 44
Figure 37 Site analysis ............................................................................................................................ 45
Figure 38 Administration ....................................................................................................................... 49

MALLA HARIVENKATA GURU SAI KUMAR, 1216514213 1

Figure 39 Retail store.............................................................................................................................. 50
Figure 40 Open air Theatre.................................................................................................................... 50
Figure 41 Food Court ............................................................................................................................. 50
Figure 42 Galleries .................................................................................................................................. 51
Figure 43 Site zoning .............................................................................................................................. 51
Figure 44 Site plan .................................................................................................................................. 52
Figure 45 Floor plan 1 ............................................................................................................................ 53
Figure 46 Floor plan 2 ............................................................................................................................ 54
Figure 47 Roof Plan ................................................................................................................................ 54
Figure 48 View of structural lighting .................................................................................................... 55
Figure 49 The pathways are designed to captivate curiosity .............................................................. 55
Figure 50 To attracting art to upside down curving wall .................................................................... 55
Figure 51 View of transition spaces ....................................................................................................... 56
Figure 52 Building level Zoning............................................................................................................. 56
Figure 53 View of Gathering Places ...................................................................................................... 56

2
List of tables
Table 1:Suitable basic statement for a museum ................................................................................... 15
Table 2 Analysis (macro level) ............................................................................................................... 45
Table 3 Analysis (micro level) ................................................................................................................ 46
Table 4 Area statement ........................................................................................................................... 47

3
ACKNOWLEDGEMENT

4
 ABSTRACT

TABLE OF CONTENTS

1. INTRODUCTION
2. LITERATURE STUDY
3. DESKTOP STUDY
4. CASE-STUDIES
5. SITE STUDY/ SITE ANALYSIS
6. CONCEPTUAL SCHEMES & SKETCHES

5
Chapter 1: INTRODUCTION

6
INTRODUCTION

A museum is an institution that cares for a collection of artifacts and other objects of artistic, cultural,
historical, or scientific importance.

-Many public museums make these items available for public viewing through exhibits that may be
permanent or temporary.

IMPORTANCE OF MUSEUM
The traditional role of museums is to collect objects and materials of cultural, religious and historical
importance, preserve them, research into them and present them to the public for the purpose of
education and enjoyment.

NEED OF STUDY
The project is designed in the city of Amravati, A.P
No state level museum is available in this city.
As Vijayawada is on the track of development, this city has to have all the amenities regarding all the
sectors to give comfortable living to the residents of Vijayawada.

AIM:
To Design a state museum which is to attract the user’s experience the typical life style of the Vijayawada,
Andhra Pradesh.

OBJECTIVES
 To design a building appropriate to accommodate the concepts of the museums.
 To exhibit the old Andhra art and crafts, textiles, traditions, historical elements.
 To increase the accessibility of the site for tourist.

7
  To create places of interest for all the people of through landscaping.

LIMITATION
 Based on the tourist influx with respect to yearly statics and user vs time.
 Functionality, circulation as per user density to the entities allocated.
 Comprises within selected site/land.


SCOPE OF THE PROJECT

To exhibit life style, historical elements, art and craft, religious activities and different
Cultural elements to promote their social and cultural activities among the tourist by
Exhibits and programs.

8
METHODOLOGY

Selection of topic

Problem identification

Aims and Objectives

Literature study Desktop study Case study

Rules and regulation planning approach

Oriented Oriented
Analysis & program
Data analysis Formulation

Site analysis/ study of local area

Climate analysis bye laws requirements

Site planning design concept

Design development/ concept development

Design proposal

9
 Drawing model

Report

Conclusion

CHAPTER 2:LITERATURE STUDY

10
WHAT IS MUSEUM?

A building in which objects of historical, scentific, artistic, or cultural interest are stored and exhibited.

FIVE FUNCTIONS OF THE MUSEUM

To collect, store, conserve, research and present

Galleries act as art markets, promote certain artists and anticipate fashions by organizing temporary
exhibitions.

It can also be a place to learn about the town, its history and places of interest.

DESIGN ISSUES AND CRITERIA

Space requirements are governed by the size of the collection, the method of display, the size of the
artefacts and the projected rate of growth of the collection.
High-capacity floor loading is an important consideration for locations of heavy items in exhibition and
storage areas.
An entrance at ground level is welcoming, particularly if combined with an open, diaphanous (rather
than a closed, bastion-like) appearance to the public; on the other hand, the ascent of a monumental
staircase makes entering the building a ceremony.

LIGHTING

Experience has forced us to recognize that-especially where running expenses have to be considered-
day-light is still the best means of lighting a museum, despite the variations and difficulties which
characterize it at different seasons and in different places.

11
Daylight may come from above or from the side.

In the latter case, one or more walls will be pierced by windows, the height and width of which must be
decided according to individual requirements.

Figure 1 lighting on artefacts

For the present purpose it may be assumed that the "small museum" will not consist of more than 10 -12
medium-sized exhibition rooms (16 X24 sq ft) in addition to its other services.

UTILIZATION AND DIVISION OF SPACE

A museum may do well to adopt an intermediate system with a succession of average-sized rooms (for
the display of permanent collections whose contents will not change, such as those received through
bequests, donations, etc.) and one or more large rooms which can be variously divided up when required
by movable partitions or light structures.

ARRANGEMENT

A suitable room might measure about 16 by 23 ft, with wall accommodation to a height of about 14 ft. In
the case of furniture, or of examples of decorative art (metal, glass, ceramics, textiles, etc.) to be
displayed in showcases, the ceiling need not be as high.

This type of museum needs laboratories for the preparation and upkeep of certain exhibits (stuffing,
drying, disinfecting, etc.).

12
MUSEUM SERVICES

Before considering the planning of the museum it is essential to determine the size and location of the
various services.

The functioning of the museum in its relationship with the public (offices, rooms for meetings and
lectures, library, documentation service) on the same floor as the exhibition rooms, end which services
and technical plant (heating and electrical apparatus, storerooms, workshops, garage, etc.) can be housed
in the basement or, if possible, in special outlying buildings to be built as annexes, at a convenient
distance from the main building.

Figure 2 suggested floor plan for small museum

ENTRANCE

Many outside doors may be found necessary for the various museum services (but these should be as few
as possible, to facilitate supervision and security measures), there must be only one public entrance,
placed quite separately from the others.

13
EXHIBITION ROOMS-SHAPE AND REQUIREMENTS

A Museum in which all the rooms are the rooms are the same size becomes very monotonous. By
varying their dimensions and the relation between height and width-and also by using different colors for
the walls and different kinds of flooring-we provide a spontaneous and unconscious stimulus to
attention.( Figure 3)

Figure 4
PLANNING THE MUSEUM

A good museum includes these basic functions: (1) curatorial, (2) display, (3) display preparation, (4)
education. In order to realize both objectives and functions, certain facilities and spaces are essential.

14
 Table 1:Suitable basic statement for a museum
SPACE ORGANIZATION DIAGRAM.

15
 Expansio Expansio
n n

Reserve Display
collection
room
storage

Mech Works Workro Office Sale Lobby

hop om counter

Expans Lecture Wash &

ion room clock
NOTE: Connecting lines indicate circulation rooms

Wall or partition required

to separate staff from
public area Kitche Chair
nettee storag
ee e

Figure 5 space arrangements

GALLERY DESIGN

If a man, is about 5 ft 91/4 in tall, and his eye level is 5 ft 43/4 in; the average woman is about 5 ft 31/4
in tall, and her eye level is 4 ft 11 3/4 in.

The mean adult eye-level height is about 5 ft. 21/4 in. With little eye movement, people usually see and
recognize with ease things that are within an approximately elliptical cone of vision, with the apex of the
cone at the eye-level height.

16
 MEASUREMENTS OF ADULT AND SIX YEARS OLD VISITORS IN RELATION TO CASES

Figure 6 Heights of the exhibits recept to eye level

The adult museum visitor observes an area only a little over 1 ft. Above his own eye level to 3 ft. Below
it at an average viewing distance of 2448 in.

Figure 7: Difficulties encountered in viewing details

It will be noted that the display area is only about 40 percent of the area of the building.

Future expansion of the existing collection storage room can take place as the collections grow, while the
existing display room also can be increased in size as required.

17
 Figure 8 Space arrangement

POSSIBLE GALLERY ARRANGEMENTS.

Visitors will find the room more attractive and can progress easily with the line of the case.

Often the arrangements can be staggered which produces a certain mystery and a desire on the part of the
visitor to peek around corners to see what is next.

18
 Figure 9 ARRANGEMENTS OF SPACES

The normal human angle of vision starts 27* up from eye level. For a standing viewer, this means that
well-lit pictures should be hung 10m away with the top not more than 4.90m above eye level and the
bottom about 70 cm.

Figure 10 Painting store with sliding steel mesh frames

19
Painting store with sliding steel mesh frames on which pictures can be hung as desired and available for
study.

Field of vision: heights/size and distance Exhibition room with

Slide lighting

Figure 11 Viewing range of pictures

In (fig 10) shows that the best hanging position for smaller pictures is with the point of emphasis (the
horizon in the picture) at eye level.

It is necessary to allow 3-5m² hanging surface per picture, 6-10m² ground surface per sculpture, and 1 m²
cabinet space per 400 coins.

20
CHAPTER 3 DESKTOP STUDY

21
KIMBELL ART MUSEUM

 Architects : Louis Kahn

 Location : Fort Worth, Texas, United States
 Architect : Louis Kahn
 References : Kimbell Art Museum, Patricia Cummings, Michael Brawne
 Project Year : 1972

 Located in Fort Worth, Texas, the Kimbell Art Museum by Louis Kahn has become a mecca
for all who are interested in museum architecture.
 The element of natural light is the main focus of the design, and creates elegant spaces that are
perfectly suited for the art that it houses.
 The distinct form of the Kimbell Museum's cycloid barrel vaults are rimmed with narrow
Plexiglas’s skylights, providing room for natural light to penetrate into the spaces.
 Three 100-foot bays that are each fronted by a barrel-vaulted portico comprise the main facade
to the west, where the central entrance is marked by it's glazing and recession from the rest of
the façade
 Kay Kimbell and his wife Velma Fuller set up the Kimbell Art Foundation in 1935 as an
established art institute. Upon his death in 1964, they had collected one of the best selections of
old masters, and so the estate was bequeathed to the foundation with the intentions of building a
first class museum.

Figure 12 SITE PLAN

22
 The building is punctuated by three courtyards, allowing for more light, air flow and
relationships between interior and exterior spaces.
 Architect Renzo Piano has been hired to design an add-on structure to the existing museum, with
the intentions of providing extra gallery spaces that will be used for classrooms and studios.
 . With the new proposed deadline, the new building and garage act as a block against entering
this way, and it will direct visitors to the intentional entrance.
 The new project is not attached to the Kahn building, but it respects its scale, plan and
materiality while also exploring it's more open and transparent character.

Figure 13 FLOOR PLAN

23
A light is placed at the between of the Vaults and in between of two vaults they will be a service are in it.

Figure 14 sections

Figure 15 INTERIOR VIEW

24
THE GUGGENHEIM MUSEUM BILBAO / GEHRY PARTNERS

 Architects Gehry Partners

 Location Guggenheim Museum Bilbao, Abandoibarra Hiribidea,
2,48009 Bilbo, Bizkaia, Spain
 Project Year 1997

Set on the edge of the Nervión River in Bilbao, Spain, the Guggenheim Museum is a fusion of complex,
swirling forms and captivating materiality that responds to an intricate program and an industrial urban
context

The Guggenheim at Bilbao became a popular tourist attraction, drawing visitors from around the world.

The riverside site is on the northern edge of the city center. A road and railway line is to the south, the
river to the north, and the concrete structure of the Salve Bridge to the east.

The building alludes landscapes, such as the narrow passageway to the main entrance hall reminiscent of
a gorge or the curved walkway and water features in response to the Nervión River.

Although the metallic form of the exterior looks almost floral from above, from the ground the building
more closely resembles a boat, evoking the past industrial life of the port of Bilbao.

FIRST FLOOR PLAN GROUND FLOOR PLAN

Figure 16 FLOOR PLAN

25
Figure 17 ROOF PLAN

Figure 18 FLOOR PLAN

26
Constructed of titanium, limestone, and glass, the seemingly random curves of the exterior are designed
to catch the light and react to the sun and the weather.

Fixing clips make a shallow central dent in each of the .38mm titanium tiles, making the surface appear
to ripple in the changing light and giving an extraordinary iridescence to the overall composition.

The large, light-filled atrium serves as the organizing center of the museum, distributing 11,000 square
meters of exhibition space over nineteen galleries.

Ten of these galleries follow a classic orthogonal plan that can be identified from the exterior by a
limestone finish.

The remaining nine galleries are identified from the outside by swirling organic forms clad in titanium.
The largest gallery is 30 meters wide and 130 meters long and houses a permanent installation called
“The Matter of Time” by Richard Serra.

Figure 19 SECTION

27
 Figure 20 SECTION

Figure 21 INTERIOR VIEWS

In (fig 19) it is the interior views of the museum which is having a different spaces of galleries
and the image showing the scale of the project.

28
CHAPTER 4 CASE STUDY

29
BIHAR MUSEUM AT PATNA

 Architects Opolis Architects

 Location Patna, East Indian state of Bihar.
 Project Year 2015

Bihar museum is a modern state of the art museum located in patna.

The children’s museum, the main entrance area, and an orientation theatre were the only parts opened to
the public.

More than 100 artefacts were transferred here.

The museum was planned to bring the region’s thousands year history into focus, inspiring local
residents and visitors from across the globe to explore bihar rich heritage, historic sites and cultural
attractions.

A 25,000 square meters museum and marketplace concept was to be developed, with G+1 structure and
with a very small portion being G+4.

Japan’s Maki & associates along with Mumbai’s Opolis Architect was to develop the architectural
design of the Bihar museum.

The proposal included four core exhibition galleries, educational, lobby, administrative and permanent
gallery.

The artefacts from ancient India era to 1764 are keep in Bihar museum and those of post 1764 period are
kept at Patna museum.

Where the galleries include the orientation gallery, the children gallery, the regional gallery, the
contemporary gallery, the historical art galleries, the bihari diaspora gallery and the visible storage
gallery.

The exhibits on different subjects are displayed in separate galleries. Each gallery is huge and many
artifacts on displays including ones dating back to the 4th century.

30
The gallery gives an overview of the museum and a theatre is located at the end of the gallery.

Figure 22 GROUND FLOOR

Figure 23 FIRST FLOOR

The architects brought the Japanese concept of Oku to engage with the multiple layers of space. Oku
creates a sense of anticipation and contemplation as visitors proceed from once spaces to the next.

Where roof of suspended ceiling with attached lights.

The museum as expanse- A museum that reflects the many layers of Bihar’s history.

The museum as journey- A museum that reflects the memories and epic scope of the bihar region.

31
Museum as learing landscape- a museum that reflects Bihar’s educational needs.

Museum as symbol- A museum that reflects both indian’s past and future

The building was spread out and the surrounding landscape integrated harmoniously.

Building on the idea of a journey through the “cloisters” of Bihar’s memories, a variety of space open up
to you,

- Large and intimate

- Open and sheltered
- Indoor and outdoor.

Figure 24 SECTION

From this “macro-experience” the architecture allows you to get into the “micro-level” which allows a
concentration into the exhibits.

32
Figure 25 INTERIOR VIEWS

33
NATIONAL MUSEUM AT DELHI

 Architects Gwyer Committee

 Location Maulana Azad Road, New Delhi.
 Project Year 1949

 The blue-print of the NATIONAL MUSEUM had been prepared by the Gwyer Committee set
up by the Government of Indian in 1946.
 The museum has around 200,000 works of art, both of Indian and foreign origin, covering over
5,000 years.
 It also houses the national museum institute of history of arts, conservation and museology on
the first floor which was established in 1989, and runs masters and doctoral level courses in
history of arts, conservation and museology.
 The roots of the national museum begin with an exhibitions of Indian art and artefacts at the
Royal Academy in London in the winter of 1947-48.

The Indian exhibition was shown at the Rashtrapati Bhawan in 1949, and was so successful that it led to
the decision to form a permanent national museum.

Artificial lighting is done with day lights exhibits kept to minimum. Natural lighting is only used in
center circulation court. Well played with focused lights with the use of concave and convex lenses
different places.

In jewwllery sections the gallery was desk and recessed pockets were made with minimal lighting.

 The whole structure is based around the central rotunda which lits up the entire corridor.
 Where the building is made using high strength R.C.C and Red sandstone.
 Temporary structures are provided around the building.
 Floor to Floor height is approximately 4m.

34
 Figure 26 FLOOR PLANS

If u look at the building the built form seems to be MERGED with the surroundings.

First planned museum at the national level.

Basic plan of the museum is Fan shape with a Circular Courtyard in between surrounded by a Covered
Verandah.

35
DEMERITS:

Proper parking facility was not their for visitor, Archaeological survey of India building was
used for parking.

Only front façade was articulated, near façade was only plastered.

Placement of toilet was not proper, entry was from the landing of staircase.

Fire exits were hidden and in case of emergency it is difficult to come out of the place.

VIEWS

Figure 27 VIEWS

36
CHAPTER 5 SITE STUDY/SITE ANALYSIS

37
INTRODUCTION

Amravati is the capital city of the Indian state of Andhra Pradesh the planned city is located on the
southern banks of the Krishna River in Guntur District, within in the Andhra Pradesh Capital.

SITE ASSESSMENT:

Site Assessment is done at three levels.

1. Site Selection
2. Site Analysis
3. Site Development & Layout.

CRITERIA FOR THE SITE SELECTION

Location:

Located at Uddandarayanpalem, Amravati, Andhra Pradesh, 522237.

SITE

Total area of site is 8.2 Acres.

Access to the Site:

Railway station:

However Vijayawada Jun. Rail Way Station is major railway station 13 KM near to
Uddandarayunipalem

Road:

Mangalagiri is 13 km from Uddandarayunipalem. Road connectivity is there from Mangalagiri to

Uddandarayunipalem.

38
 Figure 28 Location of site

Figure 29 Zones Of Amravati

39
MAIN LAND USE:

The entire area is divide into “Action Area” along with a CBD area.

SERVICES:

Figure 30 ROAD SERVICES

Figure 31 SITE SECTION

40
SOIL AND VEGETATION:

SOIL: The soil is black Cotton soil and the site is almost flat.

Figure 32 Site of the project

ACCESS ROADS:

Accessibility: Site can be accessed from three sides.

Figure 33 Road network

SITE DEVELOPMENT AND LAYOUT

Site development can be carried out on the basics of best practices followed in each of the areas:

Land use and existing features.

41
Utility or site infrastructure. External lightings

SWOT ANALYSIS:

Strength: Weakness:

1 Transit points new development Site and it Takes More Time 2

Less noise to Development.

Opportunity: Threats:

Educational zone
Nearby village.
Development of Surrounding
Opportunity to design More Competition

CLIMATE OF AMARAVATHI:

WIND FLOW: North-East Direction to South-West Direction.

AVERAGE TEMPERATURES AND PRECIPITION

Figure 34 Average temperature

42
The “mean daily maximum” (solid red line) shows the maximum temperature of an average day of every
month for amaravathi. ”mean daily minimum” (solid blue line) shows the average minimum
temperature.

CLOUDY, SUNNY, AND PRECIPITION DAYS

Figure 35 Precipition Days

Days with less than 20% cloud cover are considered as sunny, with 20-80% cloud cover as partly cloudy
and with more than 80% as overcast.

WIND SPEED

Figure 36 Speed of the Wind

43
It shows how many days within one month can be expected to reach certain wind speed. Monsoons
create steady strong winds on the TIBETAN PLATEAU from Dec to April, but claim winds from June
to October.

WIND ROSE

Figure 37 Wind blows

It shows how many hours per year the wind blows from the indicated direction. EX: SW: wind is
blowing from south-west (SW) to north-east (NE).

BASIC INFORMATION

LATITUDE: +20.95(20*57’00”N)
LONGITUDE: +77.76(77*45’36”E)
TIME ZONE: UTC+5:30 hours
LOCAL TIME: 23:38:28
COUNTRY: INDIA
CONTINENT: ASIA

44
SUB REGION: Southern Asia
DISTANCE: ~130 Km (from your IP)
ALTITUDE: ~330 m
SITE ANALYSIS

Figure 38 SITE ANALYSIS

MACRO LEVEL ANALYSIS

Table 2 ANALYSIS (MACRO LEVEL)

45
MICRO LEVEL ANALYSYS

No of Floors G+2 G+3 G+1

Max activities Exhibition area Exhibition area Exhibition area
Galleries Galleries Galleries
Library Library Library
Auditorium Auditorium Auditorium
Outdoor Exhibition Cafeteria Cafeteria
Spaces

Circulation Directed in a director Well-defined Well-defined

Barrier free aspects Barrier free aspects Well-defined Well-defined

are taken.
Building materials Red and yellow Limestone Concrete and wooden
sandstone texture

Lighting In exhibition spaces Natural light Artificial lighting

only artificial factors

Table 3 ANALYSIS (MICRO LEVEL)

AREA ANALYSIS

Activity Analysis

Indoor areas Outdoor areas

Exhibition spaces Open Air Theatre

Library Outdoor Interactive Spaces

Research Centre Seating & other street Furniture’s

Administration block Pedestrian movement Spaces

Auditorium Parking
Water Bodies

INFERENCE DERIVED FROM COMPARISONS

1. TWO entries from the site is preferred

2. A well-defined circulation pattern is required to make the visitor’s experiences memorable.
3. Building materials used should be climate responsive.

46
4. If natural lights is utilized in the gallery proper angle should be maintained and generally
diffused light is preferred to avoid glare.
5. Barrier free aspects should be considered wherever required and an entrance ramp is mandatory.

Table 4 AREA STATEMENT

47
CHAPTER 6 CONCEPT

48
INTRODUCTION

A museum complex in the city will not only acquire and preserve famous art inherited from the past but
also provide a platform which will promote social interaction and exchange of new ideas.

Thus this projects aims to create a platform for social and cultural living in symbiosis with a place that is
visited by people of common interests.

The idea to create a symbiosis of an institutional, recreation and a congregation spaces.

By the different spaces people will experience the design, and the place will catch the people’s interest.

PROBLEM IDENTIFICATION

Faced by the visitors:

They can’t find specific information and tend to get lost.

Even after spending a long time miss out the key lesson from the main exhibits.

Leave too soon as they get bored midway, as the spatial arrangements fails to captivate curiosity.

Tend to get tired due to lack of resting places.

Building Zoning Level

Where in the museum they talk about the admin spaces. Which are manager’s officers, common
washrooms, meeting hall, staff rooms etc..

Figure 39 Administration

49
 Figure 40 Retail store

Figure 41 Open air Theatre

Figure 42 Food Court

50
 Figure 43 Galleries
SITE LEVEL ZONING

Figure 44 SITE ZONING

51
FORM EVOLUTION

Art Craft Textile

Where the ART form indicates the loopy pattern and CRAFT form indicates the symmetric of the
object and TEXTILE form indicates the flow of the object/fabric.

Art : Symmetrical and loopy pattern

Geometric Craft: Sculpture of repetitive pattern

Organic Textile: Wrap of Fabric

Figure 45 SITE PLAN

52
Site Area : 8.2 Acres

Building materials :

1 GRP panels
2 Canopy roof

Floor plans

Art Gallery
Crafts Gallery
Administration
Figure 46 FLOOR PLAN 1

Textile
Retail shop

53
 Figure 47 FLOOR PLAN 2

Canopy Roof
Figure 48 ROOF PLAN

CONCEPTUAL IDEAS

54
 Figure 49 View of structural lighting

Figure 50 The pathways are designed to captivate curiosity

Figure 51 To attracting art to upside down curving wall

55
 Figure 52 View of transition spaces

Figure 53 Building Level Zoning

Figure 54 View of gathering places

56
57