Bollywood Museum

Chitkara School of Planning and Architecture
AR-522
Architectural Design Thesis Project-IX
Bollywood Museum, Mumbai
Submitted by:
Meenakshi Goyal
7051515920
Semester X
B.ARCH
Architectural Design IX(Thesis Project)2011-2012 Bollywood Museum 2
RECOMMENDATION
We hereby certify that the Thesis Design Project entitled Bollywood Museum in Mumbai,
prepared by Meenakshi Goyal under our guidance, be accepted as a requirement for the partial
fulfillment of the Degree of Bachelor of Architecture.
Dated: 01 May 2012
S.K. Midha Sunanda Kapoor
(Thesis Co-ordinator )
Surjit S Bais I J S Bakshi
(Principal) (Director)
External Examiner External Examiner

Acknowledgement
I am deeply indebted to my thesis guide Ar. Gurkanwal S. Boparai for showing faith and confidence in
me for taking up such a project for my thesis. He has always been instrumental in moulding my
thoughts, perceptions and interpretations right through this thesis programme.
I am really grateful for his kind and able guidance and valuable suggestions without which my work
would not have come up the level, presented.
I am also thankful to Ar. Sunanda Kapoor, my thesis co-ordinator and principal Proff. S.S. Bais for their
guidance and moral support.
I also extend my sincere thanks to Ar. S.K. Midha for his support throughout.
Not to forget my friends. And above all.. my family whose whole hearted co-operation and hand was on
my head.
Contents: page no.
1. Synopsis
1.1. Introduction to project 8
1.2. The intent: Bollywood 10
1.3. Project Briefs 11

1.3.1. The Site 11
1.3.2. Validity of project 13
1.4. The Project 14
1.5. Scope and project objectives 15
1.6. Methodology 16
2. Case study
2.1. Purpose of case study: 20
2.2 Live case study 21
2.2.1. Akshardham, Delhi 22
2.2.2. Kingdom of Dreams, Gurgaon 29
2.2.3. National Science Centre, Delhi 33
2.3. Literature Study 41
2.3.1. Museum of Moving Images, New York 42

2.3.2. National Media Museum, Bradfore, England 50
2.4 Analysis and inferences 53

3. Library Study
3.1. Museum-An introduction 56

3.1.1. What museums must do 58
3.1.2. Role of museum 59
3.2. Design of museum 60

3.2.1. Layout of exhibition spaces 60
3.2.2. Circulation 61
3.2.3. Modes of display 64
3.2.4. Lighting design 65
3.3 Office Areas 68
3.4 Auditorium/Screening halls 69
3.5 Restaurants and kitchen 75
4. Site Analysis
4.1. About Mumbai 78

4.1.1. The climate of Mumbai 78
4.1.2. Inferencesfor design 79
4.2 The site: Location 80
4.3. Apparoach and Surroundings 81
4.4. On site 82
4.4.1. Gulshan Mahal 83

4.4.2. Office Buildings and Library 84
4.5. Analysis 85
5. Programme Formulation and Area Analysis
5.1. Programme Formulation 87
5.2. Area Analysis 89
Bibliography
Chapter -1
Synopsis
1.1 Introduction to the project: Bollywood Museum
The Government of India has envisaged to establish a National Museum of Indian

Cinema in Films Division Complex, Mumbai- first ever of its kind in Asian Region with a view to
give impetus to the movement of showcasing the history of Indian Cinema and its global impact.
The main objective of the proposed Museum are to:
To encapsulate the socio-cultural history of India as revealed through the evolution of
cinema;
To develop as a research center focusing on the effect of cinema on society;
To exhibit the work of the noted directors, producers, Institutions etc. for the benefit of
visitors/film enthusiasts;
To arrange seminars, workshops for film makers & film students;
To generate interest in the future generation in the field of film movement;
The Museum of Moving Images will not only provide a store house of information to the laymen
but it will also help film makers, film students, enthusiasts and critics to know and evaluate the
development of cinema as a medium of artistic expression not only in the country but also in all
parts of the world.
The Major Exhibits in the Museum
Artefacts, equipments like Cameras, Editing, & Recording Machines, Projectors etc., Costumes,
Photographs and other material are proposed to be kept in the Museum. The properties,
dresses, sets, tapes, vintage equipment, posters, copies of important films, prints, promotional
leaflets, developing equipment books, biographies, sound tracks, trailers, transparencies,
Cinema magazines, statistics covering film distribution etc. to be displayed in a systematic
arrangement depicting the history in a chronological manner, will be procured through donations
and also by purchase. There will also be a Museum shop which will sell the copies/photographs
etc. of the vintage items, books and booklets on the work of noted film makers and mementoes.
Some of the Resources for display in the Museum are contemplated to be consisting of :
a) Artefacts Costumes, Wardrobes, Draperies, Jewellery, and other propos and drum
dance sets and Make up kits like cloth banners, holdings , three dimension
Cut outs and lighting display mechanisms, specially prepared miniature
models of Cinema Theatres from the early tent cinemas specially
associated with landmark films made in the country like Sant Tukaram,
Sikander, Chandralekha, Awara, Mother India, Pather Panchali, Mughale-e-
Azam, Sholay, Dilwale Dulhaniya Le Jayenge etc;
b) Equipment Cameras, Sound recording, Editing, Laboratory and Projection equipments

used from the beginning of Cinema, Cameras from manual (hand cranked to
motorized ones for various gauges and electronic used for silent and sync
shooting, sound recording and reproduction equipments from wire
recordings, Gramophone disc recording to optical (variable density, variable
area) to magnetic and stereo(Dolby, DTC) and the related equipments like
microphones etc., Editing gadgets from simple magnifying glass to viewer to
pedaled moviola, and multiple edged prism viewed Steenbeck and the
electronic editing Avid systems.
c) Films, Copies of all classics of Indian and world cinema in permanent collection
Tapes, preferably in film format and with English subtitles. Disc records, Audio
CD,s/DVDs tapes, CDs/DVDs of film songs and interviews with film personalities.
d) Manuscripts Original hand written shooting scripts with Directors notes and sketches,
& Paper Personal diaries of film people, producer, Star, Director, Technicians,
print Studios, Distributors, Exhibitors Agreements and Contracts.
material
Paper print material like Books, Journals, Film Magazines, Directories,
Yearbooks, Film Festival Catalogues, Souvenirs and other publications. Still
Photographs, Working stills, Slides, Transparencies Publicity folders.
Wall Posters of different sizes. Song Booklets, Screenplays and Shooting

Scripts; Dialogue & Continuity Sheets, Silent Film Music scores, Film can
labels, Set design sheets, Art Directors drawings, News paper
Advertisements and clipping, Film Reviews and comments, Censor records,
Postage stamps on film personalities brought out in India and abroad,
Theatre programme notes, Cinema Tickets etc.
Source: NATIONAL MUSEUM OF INDIAN CINEMA

Ministry of Information & Broadcasting
Government of India
Films Division Complex
24-Dr. G. Deshmukh Marg, Mumbai-400 026.
Email : admin@filmsdivision.org / website : www.filmsdivision.org
1.2 The intent: Bollywood
Bollywood is used informally to refer to the film industry in India. It was coined as a shortened
form of 'Bombay' plus 'Hollywood'. Bombay's name has since changed to Mumbai, but the name
'Bollywood' is here to stayas is the industry: 'The film industry in Bombay. . . is the biggest in
the world. It makes almost double the number of movies and sells a billion more tickets each
year than Hollywood' (Boyk 2004).
Producing nearly 1000 films, selling 3.1 billion cinema tickets and grossing close to ten billion
dollars a year, Bollywood exerts an extreme stronghold on the Indian culture and influences
daily the approximate 15 million people who go to see Bollywood films.
Bollywood and its influence on people
Bollywood has always had immense influence on the people across the country, the actors set
trends and the fans follow them madly. This is often a product of the love that followers have for
Bollywood. People worship actors and feel a deep connection with their charisma. Bollywood
and fashion have always had a very intimate relationship with each other. Cinema takes the
audiences into a dream world and they try to imitate the actors by emulating them.
Film allows us the opportunity to escape for a few hours into lives that are not our ownlives
that may be, in fact, quite different from our own.
The influences of Bollywood are ubiquitous; they can be seen in everything from haute couture
fashion to music, often blurring the line between high and low art.
However, Bollywood films may appeal to young Indians on a deeper level. The actors who star
in them are true role models, because the films mirror issues that are specific to them:
'Increasingly these films are about the schizophrenic worlds that contemporary young Indians
live in, the worlds of airplanes, blended cultures and the east-west embrace' (Melwani 2005).
Thus, young people recognize and respond to this. They, too, want to be strong and
independent.
People idolize their stars

and are crazy for them
Influence of
Bollywood on people
1.3 Project Briefs:
1.3.1 The Site:
The site chosen for the museum is located in the premises of National Film division of
India office on Pedder Road in South Mumbai
Location:
Proposed site for Bollywood Museum
Bollywood Museum is proposed in south Mumbai, in the premises of film division building
situated on Pedder road.
Jaslok Hospital
Film Divison
Office premises
Pedder Road
Antilla
Site for Bollywood

Museum
1.3.2. Validity of site
Mumbai and Bollywood
Mumbai is home to the world's largest film industry namely Bollywood. Bollywood churns up
more films annually as compared to Hollywood and other film industries in the world. No
wonder, the popularity of this film industry is on rise not just in India but also abroad. Tourists
are especially eager to take in the song and dance sequence that is unique to Indian cinema.
Taking in view the popularity of this evergreen industry, Bollywood (Film City) in Mumbai was
developed to cater to the needs of Hindi cinema. Fortunate tourists are also able to round up
their trip to Mumbai in a true Bollwood style at the film city.
1.4 The Project:
An overview of the spaces to be provided
Introduction to film making

Fashion hall: exhibition of costumes and props
History gallery: A tribute to Dadasaheb Phalke
Gallery showing lives of the bollywood actors and actresses
Museum of Equipments
Clips from movies, showing the changes in movies
Music and dance gallery
Theme restaurant and kitchen
Souvenier shops
Other ancillary spaces
"The project has begun, but we are still working on its content," Suresh Menon, Deputy Director
General, Films Division told Guardian20. NMIC is being constructed within the premises of the
Films Division Complex on Peddar Road in Mumbai and will be an interactive space. One floor
will display artefacts representing the history of Indian cinema, while another section will be a
constantly changing space portraying the evolution of cinema. Two theatres within the museum
will screen films in different Indian languages. Menon says, "The museum will be a platform for
displaying and studying Indian cinema and therefore, will not focus only on Bollywood films. It
will also screen short films, documentaries, etc. Films reflect culture and the museum will be a
research lab for the younger generation to experience the works of doyens like Satyajit Ray,
Adoor Gopalakrishnan, etc.
Source :
http://www.sunday-guardian.com/masala-art/india-will-get-its-first-film-museum
1.5 Scope and project objectives:
1.5.1. Objectives of the project
To achieve a relationship between the visitor and the bollywood world
The built form, as well as the interior and exterior spaces will be designed in order to connect
the visitor to the world of Indian Cinema
Circulation
It would be designed to prevent physical fatigue, and maintain the visual interest of the visitor
for the exhibits. The design will facilitate the functional connectivity of various spaces. Proper
segregation of vehicular and pedestrian traffic will be taken care of.
Innovative display technique
Innovative display and lighting systems to be used to create an interest of the visitor for the
exhibit
Informal atmosphere
To attract visitors and to stimulate their instincts of play and exploration, thereby catalysing the
learning processes and the leisure, various entertainment spaces will be provided.
Landscape design
The landscape design will enhance the environment of the theme and functionality and cater to
the circulation needs of outdoor spaces
1.5.2. Limitations:
Time factors may be the major constraints imposed on this study, so extent of detailing
shall depend on the duration available
Non availability of prototype case study
No laid down norms exist for a project of this type
Structural design calculations will not be carried out in detail
Economic consideration will not be considered
Study of building technologies will be qualitative
1.6 Methodology
Nature of study Purpose of study Source

Understanding the to understand the elements that the Data collection and
project, its scope and project would comply of and accordingly analysis
limitations defining the project in terms of its aims
and objectives, scope and limitations
Site study To study the feasibility of site and Internet study and
relation of the project to the data available in
location books
Study of site features
Climatic Data
Library study Anthropometric data to know the Standards and
spatial requirements of various books
components available in the
Standards and data pertaining to library on film
museums, auditoriums, studios, making and
etc. museums
Study of film making. Information
available on
net
Case studies Understand functions and short Visual survey

Case studies for comings of projects, buildings supplemented
functional Research Study inter-relationship of spaces with sketches
Sri Krishna circulation and modes of display in and
Museum, galleries photographs
Kurukshetra Study architectural character Available data
National Science Study various materials used for from journals
Centre, Delhi construction and services, etc. and internet
Film city, Noida
Case studies for
aesthetic research
Akshardham,
Delhi
Kingdom of
Dreams,
Gurgaon
Literature study To explore the constituents in the Information available
Contextual designing of museums on internet and library
studies Defining the context of project
Museums in
general
Design
parameters
Film making
Framing of design Preparing a detailed area From the combined
requirements, guidelines statement data collected from
and evolution of design Framing requirements and various studies
concept and final design formulating the design concept
proposal considering the above studies
Chapter -2
Case studies
Live case study
Kingdom of dreams, Gurgaon
Akshardham, Delhi
National Science Centre, Delhi
Literature case study
Museum of moving images, New York
National Media Museum, England
2.1 Purpose of case study
The main purpose of carrying out the case studies:
To study the general architecture, display technique and flow pattern of a museum
(functional purpose)
To study the architectural styles using different materials to create the theme (aesthetic
purpose)
Hence various museums having different subjects of display were studied. Their general
fields of study included
Flow technique
Connectivity of various spaces
Display method of items and their information
Relationship of the museum with its architectural design
Case studies
For functional research

Museum of moving images, New York
National Media Museum, Bradford, England
For aesthetic research
Akshardahm, Delhi (the exhibits)

Kingdom of Dreams
2.2 Live Case Studies
Akshardham, Delhi
Kingdom of Dreams, Gurgaon
National Science Museum, Delhi
2.2.1 Akshardham Delhi- A spiritual theme park
Intent of study: Campus planning and different modes of exhibition
Location- NH-24. Noida Mor, Delhi.
Area- 17 acres
Swaminarayan Akshardham in New Delhi epitomises 10,000 years of Indian culture in all its
breathtaking grandeur, beauty, wisdom and bliss. It brilliantly showcases the essence of Indias
ancient architecture, traditions and timeless spiritual messages. The Akshardham experience is
an enlightening journey through Indias glorious art, values and contributions for the progress,
happiness and harmony of mankind.
Apparoach to the temple:
Akshardham is located on the Delhi-Noida highway. Earlier it was apparoached from the road
only but in recent years a metro station has been built near the temple to facilitate the visitors.
Akshardham Metro station
Parking for cars and buses
Food court and

Souvenier Garden
shop
Main temple
Exhibition area
Campus planning
The campus is well planned along with a sprawling landscape merging with the theme of the
campus design based on symbolic principles of planning.
Exhibition area:
The campus has three distinct exhibition areas exhibiting the lives of Lord Swaminarayan and
the culture of India.
To line up
Musical Sahajanand Darshan

fountain
(Hall of Values)
Food court
Neelkanth Darshan
Sanskruti Vihar (cinema Hall)
(Boat Ride)
Hall of Values
Also known as Sahajanand Pradarshan, the Hall of Values features life-
like robotics and dioramas which display incidents from Swaminarayan's life, portraying
his message about the importance of peace, harmony, humility, service to others and
devotion to God. The Sahajanand Pradarshan is set in 18th century India and displays of
15 dioramas through robotics, fiber optics, light and sound effects, dialogues, and music.
The hall features the world's smallest animatronic robot in the form of Ghanshyam
Maharaj, the child form of Swaminarayan.

A series of rooms showing lives of

Swaminarayan Bhagwan in
chronological order
The halls were acoustically treated with gypsum boards to prevent the mixing of audios from
two different rooms since the cycle moved with different audiences in different halls.
The story was timelines in the halls
Each hall had an emergency exit.
Theatre
Named Neelkanth Kalyan Yatra, the theatre houses Delhi's first and only large format screen,
measuring 85-foot (26 m) by 65-foot (20 m). The theatre shows a film specially commissioned
for the complex, Neelkanth Yatra, to recount a seven-year pilgrimage made by Swaminarayan
made during his teenage years throughout India. Mystic India, an international version of the
film called, was released in 2005 at IMAX theatres and giant screen cinemas worldwide.
The IMAX theatre of Akshardham

mandir with the large screen with a
seating capacity of 600.
The picture format used for this movie is 70mm wide film on which each picture is eight to ten
times bigger than the normal 35mm film, which means a clearer and much larger projection on a
screen between 65 and 100 ft high. This is a difficult medium to handle because the clarity and
depth of the film makes it more challenging for the cameraman to get the right frame. Thus, very
few stories have been filmed in large format because of this difficulty.
The hall had provisions for physically handicapped in form of ramps and designated seats for
handicapped
Boat ride
Named Sanskruti Vihar, this ride takes visitors on a journey through 10,000 years of Indian
history in approximately 12 minutes. Visitors sit in specially designed peacock shaped boats
that make their way around an artificial river, passing through a model of Takshashila, the
world's first university, chemistry laboratories, ancient hospitals, and bazaars, finally ending with
a message expressing hope for the future of India.
The exhibit
Entry/Exit
The artificial
river
Inference:
Medium of presentation: use of technology and the mode of presentation in a

chronological order makes the exhibition more informative and interesting.
This makes it an effective mode of presentation for learning that is the major motive of
the exhibition.
Other facilities:
Premvati Ahargruh
The Premati Ahargruh or the Premvati Food Court is a vegetarian restaurant modeled on
the Ajanta and Ellora caves in Maharashtra, India and an Ayurvedic bazaar. The restaurant
caters a variety of traditional dishes.
Souvenier shop- Akshar Haat
The complex has a souvnier shop selling books, clothes, ayurvedic items, etc.
Landscape
The complex exhibits the importance of landscape design in the grandeur of the campus
design. The gardens are based on the spiritual theme and form an important part on the
planning of the complex
Bharat Upvan
Yogihriday Kamal
Image: overlooking the main

temple from the food court plaza
showing the lotus shaped sunken
Design for accessibility:
The campus has been design taking into considerations special provisions for the physically
handicapped providing ramps for every level change.
It serves as a suitable example for campus planning with a grandeur in design.

2.2.2 Kingdom of Dreams, Gurgaon
Area: 6 acres
Location:Sector 29, Gurgaon inNCR Delhi, near the Leisure Valley Park.
Intent of study: Representation of theme in the design and relation of architectural

character of building to its use.
Kingdom of dream is Indias first live entertainment and leisure destination point which is located
at the apex of the golden triangle of Jaipur, Agra and Delhi. This kingdom is spread across 6
acres and run by Great India Nautanki Company, a Joint venture between Wizcraft and Apra
group. It is a place where the festival that is India is celebrated in the grand and glamorous
style. It is a grand palace of gargantuan proportions with lavish interiors. The Kingdom offers
authentic cuisine, live entertainment in the form of Musicals, Dramas, Mythological Shows,
Street Dances, Mock Indian Wedding, Indias art, crafts and much more all with modern
technology. Kingdom of dreams includes Nautanki Mahal, Showshaa Theatre, Culture Gully,
Idea Buzz Lounge and a Theme Restaurant which offers 350 exotic food preparations by
certified chefs from across 14 states. But the main attraction and jewel of Kingdom of dreams is
Nautanki Mahal, which is built like a palace and is Indias first 850 seat auditorium.
Campus planning:
Showshaa
Entry theatre
Parking
Culture
gully
Nautanki
mahal
Entry
Parking Black light

theatre
Nautanki Mahal
Indias first dynamic state of the art 4D theatre designed and conceptualised to offer breath-
taking & magical experiences.
Number of seats: 848
Designed like a palace with a grand entrance.
Architectural character:
The building has a complete Indian
Palace look which gives it the
grandeur.
The large projection screens on the

facade makes it more interesting
The outer wall of the theatre is

carved with designs of some
geometric filigree and some
Khajurahi ideas
Seating design of the auditorium
Screens on 3 sides
The stage has two parts that can dip down to the basement and also rise up to 2m so that
elephants and trucks can amazingly show on stage. The stage can have 16 flying acts of people
or objects at a same time.
Culture gully
A kaleidoscope of Indias unique cultural diversity
A vibrant space that offers a unique Indian experience

14 State Pavilions
Themed Restaurants
Street Bars
Live Arts & Crafts Village
The India Tea House & Library

Coffee Shop
Ethnic Jewelry Store
Indian Home Dcor Store
Mystic Center
The interiors of the boulevard are

completely theme based.
Plan of the culture gully
Culture Gully, one of the core attractions of Kingdom of Dreams, is an elaborate boulevard of
culture, arts & crafts and cuisine under Indias first ever skydRome. Spread over 100,000
square feet, this magical avenue offers an exciting experience of a busy Indian street
showcasing India as a delightful destination to savour the best of local cuisines, sample many of
Indias renowned handicrafts and enjoy live performances by traditional artists. The Culture
Gully presents a magnificent Indian carnival showcasing 14 states of India in all its splendor on
a single street enveloped under a breathtaking skydRome.
The theme has been majorly achieved through the creative design in the interiors. The building
plan is linear divided into subsections.
Showshaa theatre
An amphitheatre of seating capacity of 350 for theatre shows and cultural ceremonies like
weddings.
IIFA Buzz Cafe
This cafe is a part of culture gully and is been made on the bollywood theme.
Accessibility:
The building is designed for handicap access with special provisions for them including a lift for
the physically handicapped.
Landscape design:
Due to the space constraints on site, no special landscape design has been made.
2.2.3 National Sciene Centre, Pragati Maidan, Delhi
Architect: Achyut Kanvinde
Site Area: 7000sq.m
Built up area: 14,000 sq. m
Display: -
Our Science and technology herit
Information revolution
Human biology
Pre historic life
Fun science
Emerging technologies
Intent of study: the built up form of museum and the different exhibition techniques.
The National Science Centre is located on the Bhairon Marg in Pragati Maidan area of New
Delhi. Designed especially for kids, the National Science Centre has a large collection of
working science models to educate children about the scientific facts. The National Science
Centre of Delhi is one of the largest science centers in India. The strategic location coupled with
interesting play of form has made the center an important landmark in the city.
The inspiration of a crystal seems to have taken over in creating this prismatic structure. Since
museums essentially are centers of learning, it is imperative that the visitors sustain interest
while going through the exhibit area. Efforts have been made in designing the building to
generate excitement and interest through the organization of spaces so that receptivity of mind
on the part of the visitor is sustained while going around the building. The building is a
cascading form, with indoor and outdoor spaces at all levels tending to create suspense as one
moves through the well-articulated space.
Site:
A building of national significance, the National Science Center, New Delhi, was assigned rather
a small wedge-shaped site measuring 7000 sqm. The building had to house the museum,
including the exhibition area, an auditorium, the conference rooms and the cafeteria within
14,000sqm in addition it required workshops, preparation rooms, depositories for exhibits and
services such as a power generator, mechanical area, etc. working with such a large
requirement list on a tight site resulted in the building emerging as a multilevel complex. The
nallah bordering the site along Bhairon road has occasionally caused problems in basement
due to overflowing.
Building:
A six-storey structure situated on a site that forms part of the Trade Fair complex. The building
comprises an auditorium, conference rooms, lecture hall, library, training centre, exhibition
areas, and a cafeteria, totaling 14,000 square metres of built up area. An entrance concourse
on the first floor leads to the multi-level display; and terraces provide additional outdoor
exhibition areas. The building is finished with aggregate plaster using local Delhi blue quartzite
stone chips with bands in Dhopur stone chips, and polished Kota stone with Jaisalmer stone
(ochre) bands are used for the flooring.
Planning of building:
Museum is normally a very boring word and a sleepy place, but this museum has redefined this
definition. It has something or other, for every age group, interesting, informative, which is fun to
learn and understand.
The floors in the building are designed so as to provide total freedom in designing the circulation
of the various exhibits inside. These circulations are defined by constructing partitions which
also act as the backdrop of display units.
Museum organisation:
It is divided into four major activity zones:-

1. Public Spaces: exhibition halls, reception halls, cafeteria, toilets.
2. Semi-public spaces: activity areas including computer education, observatory, seminar hall,
auditorium and library.
3. Administration
4. Service areas: exhibit design laboratories, workshops, storage, A.C. plant and generator
room.
The administration block has separate entry gates and staircases. While the upper floors are
designed for exhibition areas, the ground floor has been allocated to the auditorium, foyer and
the cafeteria. A sprawling basement houses the depository, workshops, and art studios
producing fascinating castings. Some of
Circulation:
There is a forced system of circulation. A channelled route is followed. Visitors do not have the
choice of selecting a particular gallery. A visitor upon entering the first floor is taken to the 3rd
floor via escalator. Then he is supposed to do a half circuit of the 3rd floor galleries, take the
stairs to the 4th floor, do a complete loop of the 4th floor galleries and then come down to other
half of the 3rd floor. From here one finds his way to galleries bellow. The access to the fun
science and information revolution is only through third floor heritage gallery. Within the
galleries entry/exit points are not suitably located to form a complete round of the gallery. This
necessitates double back of some movement parts or altogether omission of some display
areas. Provisions for the circulation of the disabled are given through a ramp to reach the lift
core, which in turn connects every story.
Various floors:
Basement: Consists of storage area, depository area, exhibit development labs, mechanical
workshops, services, etc. The exhibit development lab becomes the mechanical workshop with
sections for carpentry, metal works, welding, electric workshop and also an art section.
Ground Floor: some of the exhibition sections form an abrupt change of topic from their
neighboring sections. There is no defined circulation system. The lighting arrangements often
cause glare and reflections. Some exhibits require more height.
First Floor: The main entrance is through the first floor which has reception and an escalator. It
also contains post and telegraph section, railway station, early printing, energy ball, oral
communication, Indian independence, etc.
Second Floor: It houses the school science centre.
Third Floor: It has the heritage and the dinosaur gallery.
Fourth Floor: It consists of the human biology gallery.
Fifth Floor: It has the observatory and the radio station.
Landscaping: It has been done all around the building. A small retaining wall has been built to
control the dampness at the ground floor level. A small water body under the entrance staircase
is also there. Flower beds and pots and trees give a lush green impact to the whole site.
Building form:
The building has a cascading form with multiple terraces. Outside the main entrance is a double
height space containing the office, cloak room etc. the visitor firstly enters the multilevel space
with reception on one hand and a huge multilevel energy conversion exhibit on the other hand.
One can turn to the computer display, go down to the temporary exhibitions or go up to the
heritage zone. One can use escalator or steps.
Steps are not continuous but are broken with displays at various levels. The exhibits are varied
and interactive. They include wall display and working models. Hereafter, the circulation is fixed
as explained earlier. The info evolution sec ion is the best section as it provides complete
experience. There are mock up settings of various places like post office, railway station,
printing press etc.. Sounds play an important part in enhancing the overall experience. The
effect is strengthened by dim lights and the absence of windows. While one walks, one sees
several terraces but these are not accessible. The exhibits are too many to see in one go and
there is very little space provided to sit and relax.
Galleries:
Science and technology

It majorly depicts history of our rich heritage, from Harappan culture to
marvels of architecture, from Jantar Mantar to Taj Mahal, discovery of
shunya. Many of things which we never know, that they were a part of
Indian heritage.
Information revolution
The story of revolution of information and technology depicted beautifully,
with different models, machinery.
Human biology
This gallery shows the anatomical, physiological, biochemical, structural,
functional and systemic aspects of human body. We pedal a cycle, and
a skeleton behind the glass wall on the similar cycle will depict how our
different joints are coordinating and moving when we pedal. How spinal
cord coordinates when we get a shock, and we do get a mild shock there,
when we keep our palms on that exhibit.
Pre historic life
This is a newly constructed gallery which shows the prehistoric life. The
effect is similar to a ghost house, dim lights, electro-pneumatically
animated specimens, moving heads of dinosaurs, background voices,
give u a different experience altogether.
Fun science
This was the best gallery for my kids. The mirror maze, rolling balls, all
the experiments which can be explained by science, were created in
such an interesting way, that they looked like magic. It was based on
method of Keep It Simple, Make it Fun. A new facility, 3D Theatre has
been added in this gallery.
Emerging technologies
This section focuses on the revolutionary changes, in different fields;
Space, Information and Communication, medical, agriculture etc.

Lighting:
Though skylights have been provided at certain places, the museum almost completely relies
on artificial lighting. Natural light has been used in lobby, reception, cafeteria and library by
providing windows.
Vertical openings in the form of windows with fixed and open able glass (with clear glazing or
tinted glazing) have been given inside the galleries where direct light is not an issue of worry.
Near the terraces and entry exit points of galleries, vertical openings are given.
All sections of exhibit areas utilize lighting from fluorescent or incandescent sources. Moveable
track lights have been provided which can be moved and focused as per the requirement of the
exhibits. These lights move along the tracks and provide a very flexible lighting arrangement
giving the museum authorities the freedom to change the setup of the exhibits as and when
required.
Also it gives the provision of adding new exhibits and displays without the worry of lighting
arrangements. The lighting in some of the display areas is not consistent with the requirement
of the exhibits.
The skylights have been taken through fibre glass sheets but these are mostly covered with
dust and leaves as these require regular cleaning and maintenance, hence making the
illumination level decrease in that particular area.
The most common luminaries used are the florescent tubes or compact fluorescent lamps which
are most economical in todays time, however their initial cost is much more than that of
incandescent lamps which also produce more heat which is harmful to some of the exhibits.
2.3 Literature case studies
Museum of Moving Images, New York

2.3.1 Museum of moving images, New York
Architects: Leeser Architecture

Location: 35 Avenue at 37 Street, Astoria, New York, USA
New York Founder and Principal: Thomas Leeser
Design Team: Simon Arnold, Kate Burke, Sofia Castricone, Henry Grosman, Joseph
Haberl
Project Area: 50,000sqf
Project Year: 2008-2011
Intent of study: Design of museum as an interactive space, use of new technologies in

the design
The semi-transparent storefront entrance,

with its triangular motif and oversize pink-
edged lettering, is the first screen that
visitors encounter.
The Museum of the Moving Image was renovated with a 264-seat theater, 68-seat screen
room, Video Screening Amphitheater and gallery for changing exhibitions. The complete
redesign of the ground floor plus construction of a three-story addition and Courtyard Garden,
doubled the size of the existing building, enabling growth and innovation in the Museums
uniquely comprehensive presentation of screen culture in all its forms (film, television, and
digital media) and welcoming visitors into an experience in which architecture is seamlessly
fused with the moving image.
A relocated and redesigned entrance on 35 Avenue presented visitors with a portal of mir- rored
and transparent glass with the words Museum of the Moving Image in letters three and a half
feet tall. With its teasing play of light merging direct vision and reflection within a single plane
the entrance is itself the first screen that visitors encounter at the Museum.
As visitors move into the new lobby, across a polyester floor in a cool light blue, they pass along
a 50-foot-long wall coated with screen paint, used as the surface for a seamless panorama of
projected video, with works selected on a changing basis by the curatorial team. Lending a
sense of dynamism to the visitors progression through the lobby, the projection wall is canted at
an 83-degree angle. Toward the far end of the lobby, a new caf is located opposite a gathering
space carved out beneath a sloping ceiling, whose angle follows the underside of the main
theater.
Behind the grand stair, the secondary screening room beckons

through a pink vestibule. At left, a 15 m-long wall projection transforms
a tilted wall into a screen.
Section perspective inside the

new addition. Counter-clockwise
from lower left: Theatre,
lobby/caf, exhibition space,
amphitheater, flexible exhibition
space, archive. Above: The
ground-floor lobby, a seamless
bluish-white space that prepares
ones senses for full immersion.
Blue light emanates from the
tunnel entrances to the theater,
defining the sloping ceiling.
Visitors may turn to the right from the lobby and step up through either of two tunnels in Yves
Klein blue into the new 264-seat theater: a space designed as a capsule for the imaginary
voyage of movie going. The ceiling and walls are a woven felt surface of sensuous, vibrant Yves
Klein blue, which slips under the stadium-rake seating to give the audience a sensation of
floating. This wraparound surface is made of 1,136 triangular panels, fitted together with open
joints with the lighting integrated within. Outfitted with an ample screen of classic proportions
and projection equipment for formats from 16mm to 70mm and highdefinition digital 3-D, the
theater will provide an unsurpassed filmgoing experience. A stage accommodates the
Museums ongoing series of discussions and other live events, while a miniorchestra pit
provides space for musical accompaniment of silent films.
The 264-seat theater is a luminous cocoon

whose walls and ceiling are wrapped in blue felt.
On the left side of the lobby, across from the entrance to the theater, stands the grand staircase. At the
first landing, the staircase widens into a 1,700 sqf Video Screening Amphitheater. The seats are an
abstract landscape of built-in benches, while the wall above the staircase serves as the screen for
changing exhibitions of moving-image works. Passing up the staircase to the second floor, visitors will
find a small exhibition gallery, a secondary entrance to the main theater and an entrance to one of the two
floors of the 15,000 sqf core exhibition Behind the Screen, which has been completely refurbished with
new monitors, computers, interactive software and lighting.
At the top of the grand staircase, the new gallery for changing exhibitions on the third floor provides the
Museum with its first completely flexible space for presenting cutting edge new projects. With 4,100 sqf of
unencumbered space, the gallery is designed to allow the Museum to present exhibition materials of
every variety, from screen culture artifacts to digital media installations.
The Video Screening Amphitheater is an

informal viewing space with built-in
benches and ramp
The 68-seat screening room, with exposed

loudspeakers and perforated grey
acoustical surface, accessed through a
pink corridor.
Incorporated into the Education Center, but regularly used for public programs, is the new 68-
seat film and digital Celeste and Armand Bartos Screening Room. Equal in excellence to the
264-seat main theater but presenting a striking design contrast, this secondary screening room
has a hot pink entrance and features exposed loudspeakers and a grey, perforated acoustical
wall surface, making it more of an exposed machine for the moving image. The space is ideal
for more intimate screenings and presentations, as well as classroom and symposium use.
The new Ann and Andrew Tisch Education Center occupies the entire west side of the ground
floor in both the addition and the existing building, as well as spaces on the third floor and the
lower level. Enabling the Museum to accommodate twice as many school groups as in the past,
to serve 60,000 students a year, the Education Center provides a dedicated group entry, the
William Fox Amphitheater for student orientation, a flexible Digital Learning Suite with specially
designed mobile computer workstations (divisible into two discrete media labs, or able to
function as an open auditorium for up to 100 students), and the Nam June Paik Experimental
Production Studio where students can record their own hightech video works, finish them in a
postproduction bay and distribute them to a world-wide audience via the Internet.
To control light levels and define

classroom areas in the education center
with its separate student entrythe
architects installed a sinuous ceiling-
mounted track, along which runs a curtain
designed by textile-artist Cindy Sirko
The new on site space for collection storage, located on the third floor, serves an international
community of researchers and scholars, offering unprecedented access to much of the
Museums unparalleled collection of more than 130,000 objects. The Courtyard Garden, 10,370
sqf, incorporates the dedicated entrance for school groups. During summer months, it will
provide space for an outdoor caf, and a large temporary screen may be installed for open air
movie showings.
The new rear faade of the Museum is comprised of a surfacepattern of triangles like those in
the main theater, but made in this case out of 1,067 thin aluminum panels, which are mounted
on the support structure with open joints, so that every joint is a rain grate. Light blue in color,
the panels look razorsharp but create the impression of a super light floating skin dematerialized
against the sky: another visual reference in the architecture to the infinite thinness of the moving
image. In their pattern, the panels also bring to mind the lines of wireframe computer drawings.
Because the triangular panels must fit together precisely to form the skin, the entire rear faade,
which is approximately 200 feet long, is built to a tolerance of 3/16 of an inch.
2.3.2 National Media Museum, Bradford, England
Intent of study: Arrangement of different exhibition areas in a building
The National Media Museum is situated in the heart of Bradford, UNESCO City of Film.
About the museum
The Museum is home to over 3.5 million items of historical significance. It includes
National Photography, National Cinematography, National Television and National New
Media Collections.
Insight: Collections & Research Centre is where much of the Collection is held, to be explored
and enjoyed by everybody.
Traditional and interactive galleries located across eight floors of the Museum investigate and
celebrate film, photography, television, animation and new media.
Two gallery spaces display a changing programme of exhibitions which are inspired by
Collection.
The touring exhibitions programme enables to share our exhibitions and the National
Collections with audiences across the UK and abroad.
The Museum is the home of the BBC in Bradford. Visitors can watch presenters and
researchers collating news stories and broadcasting online and on-air in this real, working
exhibit.
The UK's first IMAX theatre opened right here in Bradford. It continues to offer an exciting
programme of 3D and blockbuster films for that essential, all-embracing viewing experience.
The Museum houses two other cinemas which can accommodate a wide range of film formats.
Pictureville and Cubby Broccoli cinemas host an impressive film programme, from cult classics
to contemporary art house cinema.
Pictureville cinema boasts the only permanent, regularly programmed Cinerama installation in
Europe, a magnet for enthusiasts worldwide.
The Museum organises three major film festivals every year: Bradford International Film
Festival, Bradford Animation Festival and Fantastic Films Weekend.
A comprehensive programme of cultural and educational events and activities bring the
Museum's subject matter to life for families, schools and adults alike.
Pictureville Bar and Intermission Caf serve up a mouth-watering selection of food and drink,
while the Museum Shop stocks a wide range of media-related resources, gifts and souvenirs.
Planning of Museum:The museum is a single building seven storey high with different
functions on different floors.
Seventh floor has the conference rooms

and the resources room or the library
The Magic Factory uses

hands-on exhibits to
demonstrate the
scientific principles of
This floor houses the animation light and colour,
gallery and help develop
your understanding
of the science behind
photography, film and
television.
This floor houses the exhibition

space dedicated to television.
The first and second floors

houses the temporaru galleries
Games lounge traces the

evolution of gaming and serves
as a gaming hub
Cafeteria
The Kodak Gallery takes the visitor on a journey through the history of
popular photography, from the world's first photographs to the digital
snapshots of today. Most of the items on display in the gallery are taken
from collection of 35,000 objects and images donated by Kodak Ltd.
2.4 Analysis and inferences:
Akshardham, Delhi
Intent of study: Campus planning and different modes of exhibition
Kingdom of Dreams, Gurgaon

Intent of Study: Representation of theme in the design and relation of architectural character of
building to its use.

Intent of Study: the built up form of museum and the different exhibition techniques.
Museum of Moving Images, New York
Intent of study: Design of museum as an interactive space, use of new technologies in
the design

Intent of study: Arrangement of different exhibition areas in a building
Inferences
Enterance
Enterance shall be welcoming and give the visitor an idea about the theme of the museum
Temporary displays
Display of the month or a similar item at the entrance foyer adds to the interest. A similar
approach can be used to notify the visitor what to expect inside the museum.
Circulation in the museum

Interest of the visitor should be created by creating both in planning the entire museum, and
inside individual gallery. This can be done by avoiding circulation patterns in which the visitor
notices the entire line of display as at one glance (which kills the interest of moving forward and
exploring).
A definite circulation pattern ensures that a visitor visits displays in the sequence that the
designer wants them to be visited.
The circulation shall either be such that one has to visit all galleries, or every gallery shall be
entirely independent from others.
Interaction with the exhibits
Visitors are more attracted to areas where there is an activity to do. This also makes easier to
teach or explain something.
Children have a greater attraction towards areas where there are activities to do, rather than
areas where there is too much to see or read.
Use of models- animatronics
Actual scale models and human figures better convey the message, than images or scaled
models.
Ancillary spaces: relief areas
If it is a big museum, some respite is needed. Visitors need a space to sit in between or
maybe a cafeteria should have been provided.
Lighting:
Almost total reliance on artificial lighting and no access to outdoors leads to a claustrophobic
environment. One can actually see people trying to look outside with their noses pressed to the
windows.
Chapter-3
Library Study
3.1 Museum- An introduction
A museum is an institution which collects, documents, preserves, exhibits and interprets

material evidence and information for the public benefit.
Aim of design:
The principal activity of a museum is PRESENTATION i.e. exhibition to display the objects
belonging to its collection. The aim is to provoke and facilitate direct contact between the
individual and the object.
The visual and tactile experiences are intended to sharpen the encounter between the object
and the observer, whether the individual be a child, member of a social group or an adult alone,
whether the object be-a work of art, a specimen belonging to natural sciences or a technological
innovation.
The museum's basic function is to be a source of inspiration. A museum should be able to

give the visitor a lasting impression, some experience which could introduce a new element into
his life.
The museum not only serves as a platform for exhibition or display of mere artefacts, but also
stands as a landmark of long term personal growth. A museum can do much to stimulate a
student's lifelong interest in a subject.
It also provides a scope for interaction between the viewer and the object; the student and the
teacher; which leads to retention and inter-analysis of another wise academic topic.
Museums have existed as early as 3rd century BC to serve the scholars then. The 19th
century witnessed the development of national galleries in the western countries. That was the
era that saw a rise in the Public Museums.
Designing a Wonderful Experience

When its a great experience, going to a museum can teach us, delight us and inspire us;
however, a lot of effort goes into a museum exhibit design. As architects, we can learn a lot by
understanding the ingredients that make such designs so successful.
A museum is constantly looking for different ways to attract visitors, but what happens once
they get there? Often they suffer from three main problems they cant find a specific piece of
information, they must leave too soon because they are bored or they stay a long time but miss
key lessons from the main exhibits.
Obviously, visitor accessibility and attention are paramount, but thats not all it takes to design
for a great museum experience.
Access for people with disabilities
The building should accommodate the needs of people with any kind of disabilitv.
Entrance: Ideally the building should be accessible to all through the main entrance. Where
there are conservation constraints with an historic building, changing the main point of entry for
everyone can avoid the need for harmful alterations. Otherwise a separate route for wheelchair
users and others may be necessary.
WCs for disabled users at all levels.
Staff needs: Access is required for staff with disabilities to all offices and stores, with accessible
toilet facilities on the office level. This would open up these areas to disabled students,
researchers and colleagues from elsewhere wishing to study items in store.
3.1.1 What Museums Must Do
The following are 10 factors for successful museum exhibit design:

1. Motivate Visitors:
Target an audience the general public and/or specific communities
2. Focus Content:
Filter content so visitors are not bombarded with information overload
3. Immersion:
Engage visitors within a story
4. Modularity:
Present smaller themes instead of one larger complex topic
5. Skimmability:
Information should be easy to take in because visitors are often standing and/or have
different levels of education
6. Patterns:
Incorporate traffic/circulation patterns, exhibit sequence patterns and pre-existing
framework patterns (architectural elements)
7. Capture Curiosity:
Use storytelling techniques to engage visitors
8. Interaction:
Give visitors a fun experience by tapping into their emotion
9. Integrate Technology:
Technology should enhance visitors experience, not detract from it
10. Layer Content:
Present information in a hierarchical manner
3.1.2 Role of museum:
Up to the middle of the 20th century a museum was a place of learning, in which notions of
cultural dominance were reinforced visually through an imposing and often severe approach in
the design of the building. The museum now has to represent a much more welcoming, all-
embracing image, as it can no longer afford to present a single establishment view of society
and must reflect a diversity of cultures and expectations. The most important task of the
contemporary museum is to communicate to the widest possible audience the breadth of
collections and accessibility of learning facilities.
Museums today are complex buildings housing different activities for people with diverse
interests, containing collections and accommodating general and specialist staff dedicated to
providing a service to the public as well as caring for their collections.
They have to be designed for both client and local community, and to connect people of all
types with museum objects.
3.2 DESIGN OF MUSEUM
Design of exhibition spaces:
A very important aspect of museum design; the visitors need a clear idea of the layout of the
exhibition rooms.
3.2.1.Layout of exhibition spaces:
The spatial character

The spatial characters of a gallery must provide a spontaneous and unconscious stimulates to the
attention of the visitor. A fundamental approach in order to facilitate the understanding of museum
spaces is towards open architecture. The visitor should be able to have an overall view of the spaces he
moves in or he should be able to locate himself in relation to some known points in the complex.
Besides, there are some general tendencies in human behaviour that should be considered while
designing:
People enjoy surprises and visual excitement
Change in scale, lighting and layout makes the journey short.
People are curious in nature and crowd and queues attract them.
Viewing:
Exhibition is the first and the foremost a method of seeing things. Viewing is a complicated
business because there is too much to view. We are conditioned to concentrate on what
interests us, ignoring everything else. Human observations are highly sensitive.
3.2.2.Circulation:
Circulation pattern is a major attribute of any planned development. An object cannot be

comprehended entirety at one instant or from any point of observation. It is judged through a
flow of impressions. When in motion, one sees a series of images blending into an expanding
visual realization of objects, spaces and sense.
Further, circulation can be divided into three main groups.
1. Public Circulation - both for visitors and students
2. Goods and exhibits circulation
3. Administrative Circulation
Ideally the visitor entering the museum should sense the disposition of public services and
exhibits with a minimum of help from signs and plans.
Reception facilities should be visible from the entrance lobby, and then the architecture itself
should lead the way.
Non exhibition areas such as auditorium, shop, restaurant, meeting and orientation rooms
should be conveniently close to the entrance. Since they may be used at hours when galleries
are closed, these areas should be close to the entrance for reasons of visitors orientation and
accessibility, and convenience of evening openings.
The circulation pattern in a museum converses with the visitor at two levels:
1. MICRO LEVEL
2. MACRO LEVEL
MICRO LEVEL (circulation within a gallery)

It is of two types:
1. Controlled circulation
2. Uncontrolled circulation
Controlled circulation:
When the exhibits have a story to tell in a definite sequence, the only way to ensure that
everybody sees everything is through controlled circulation.
People are not offered choice of route. It requires careful planning.
Absolute controlled circulation must not last more than a maximum of 100 yards and there
should be loosening of the layout to avoid the feeling of unbearable constriction.
All displays that are part of a related sequence should be arranged together and down the
same side of the gallery.
Each display is passed by every visitor, so ADEQUATE SPACE
for stopping and looking must be provided around special displays likely to draw large crowds.
Uncontrolled circulation:
where the public is allowed free choice of things to see
may lead to confusion and the viewer misses out on many exhibits
However, in children's fun galleries, where an informal and playful
layout is required, such circulation is suitable.
A good design for circulation gives the visitors freedom at the same
time directing their movement.
MACRO LEVEL (circulation between galleries)
Also known as EN-SUITE system, it offers a sequence of galleries one after the other.
Advantage: It offers simpler circulation in a lesser space.
Disadvantage: Forces the visitor to pass through several galleries to arrive at a specific gallery.
If one gallery is closed, the flow of circulation is disturbed.
Division of exhibition spaces:
Design of galleries:
3.2.3 Modes of display:
The dissemination of knowledge in a museum can be carried out through a number of mass
communications. Display is a graphic in 3-dimensions. The arrangement of objects in space,
sculptured by light is the strength of displays.
The major models of display in a science museum are:
Panels/screens
Movies
Models
Unconventional models
Display cases
Panels/Screens
Mainly used for display of 2-d exhibits. The interactive communication may be hard to achieve
by this mode, which is often overlooked by the visitors in their quest for more existing and
interactive modes of communication.
Movies
Audio Visual mode of presentation is always an easier way of conveying the message. A visitor
does not have to read or concentrate to understand. Even a passer-by can grasp information
from a running video on a screen.
Models:
Owing to their communicative and comprehensive nature, all types of visitors conveniently
acknowledge models. Models must be designed to be aesthetically stimulating so as to attract
the attention of the visitor. These can be widely used to demonstrat e the various phases of
science in interesting manners, which should be particularly inviting to the young and the
inquisitive minds.
Through every exhibit explanation may not be comprehensible to all ages or society groups, this
type of mode is vastly effective in generating response by catalyzing the receptivity of the
visitors mind due to its dynamic character. Such models, however, require very specific
conditions of environment as well as technical arrangement for proper control. Therefore they
are not very flexible and are used for permanent exhibitions only.
Display cases:
These are in a scene miniaturized and protected rooms, containing al elements of gallery walls,
screen, flooring ceiling, pedestals and services within the confined format of partly or entirely
glass enclosed box.
Cases mediate on scale between a small exhibit and bigger spaces of gallery.
There are three aspects to the protection, which in showcases give:
1. Theft is made difficult as it requires forcibly entry.
2. Dust and insects excluded or their effect minimized.
3. Local climatic conditions can be created and monitored much more readily than within
gallery.
A museum or gallery display is composed of permanent and temporary exhibits in varying
proportions. Temporary exhibitions can amplify and extend permanent exhibitions, and provide
an opportunity to display material normally kept in storage.
3.2.4.Lighting design:
Usually display lighting should aim to present the exhibits accurately in terms of the whole
object and its details, while making the display attractive. This generally requires a combination
of ambient and accent lighting. Lamps achieving good colour rendering must be used.
The light level needs to be sufficient to provide a balance between the lighting of the object on
display and the whole visual field. Exhibits should be brightest to ensure optimum visibility of the
display.
Display lighting:
At least three independent lighting systems will be required:
(1) working lights for use during installation, cleaning, maintenance, dismantling, and security
patrols outside opening hours
(2) emergency lighting for visitor safety
(3) display lighting
Glass frames and cabinets can act as

total or partial mirrors obscuring the object within.
To avoid reflected glare any bright source must be
excluded from the area seen by reflection in the
exhibit -this area is often described as the 'offending
zone'.
Natural Lighting
Natural light is an important

element for any design. Natural
light can play an interesting role in
the interiors
3.3 Office areas
Reception/Front Of House
The reception area of the building should have a sensitive relationship with the landscape.
Some contemporary designs have used sophisticated glass facades and bright lighting in the
entrance foyer, allowing the interior to spill out onto the street and creating a more inviting
access for the public. Other structures are more sculptural, with large open plans and
interesting uses of natural lighting.
Office- Desk areas
Office shall be a part of the administrative area of the building.

3.4 Auditorium/screening halls
Auditorium spaces are designed to accommodate large audiences.
As such, they tend to have wide spans and are multiple-stories high in order to
accommodate seating, sightline, and acoustical requirements.
Raised stage/dais floors and special lighting equipment are often required as well.
Shapes for Auditoriums
END STAGE - rectangular shape with acting area in one of the rectangle sides with all the
seats facing the stage area
End stage
Courtyard theatre
COURTYARD THEATRE- it is a rectangular plan as well as the end stage but with additional
galleries along the sides and back of the seating area. This format gives a deeper sense of
enclosure.
HORSESHOE SHAPE- This layout gives the same sense of enclosure as the courtyard but the
side galleries are rounded. The side galleries in this format have a better viewing angle to the
stage than the side galleries of the courtyard format
Horse-shoe shaped
Fan shaped
FAN SHAPE- The fan shape could have range of angles between 90 and 180. This format
has some characteristics of the end stage. As the angle increase, the stage extends into the
audience and it takes on some of the characteristics of the theatre in the round seating area as
in the case of horseshoe.
THEATRE IN THE ARENA: This format could be applied on circular plan or rectangular one.
This arrangement suits a particular style of performance.
Theatre in the arena
Design of Auditorium Seat
The area per seat varies between 0.38m2 and 1.05m2
Row to-Row Spacing Different types of Support Systems
Row format
Seats could be arranged conventionally in stepped rows or they could be offset or staggered by
a distance equal to half the seat spacing.
Spectator clocks between the heads of spectators in the next row and over the head of
spectators in the rows after.
Seating format
Two main types of seating arrangements are known, the traditional type and the continental
type. The term continental seating is generally used to describe seating where each row
extends virtually the fully width of the auditorium without any intercepting gangways, i.e. rows in
which there are more than twenty-two seats.
Sightlines
Horizontal:
vertical:
Proportions of auditorium
Good view without head movement, but slight eye movement of about 300
Good view with slight head movement and slight eye movement approximately 600
Maximum perception angle without head movement is about 1100 i.e., in this field
everything which takes place between the corners of the eyes is perceived.
Control room
A projection room is not required for 8mm film but is required for 16mm, 35mm and 70 mm
film. The controller:
Controls the film timing, focusing and direction.
Regulates the volume and tone of sound reproduction.
Adjusts the masking
Plays music from the records or tapes during the intervals
Controls house lights and screen curtains
Repairs, replaces and rewinds the films
Takes charge of all equipment.

The minimum sizes of control room
Minimum equipment- 3.9*4m
With effects lantern and spotlight- 3.9* 7.5m
Acoustics
Quality acoustical characteristics are important in Auditorium spaces so that
performances and presentations can be clearly heard and understood.
Materials used:
vinyl wall covering and fabric covered acoustical wall panels for the interior wall finish in
the auditorium;
vinyl wall covering for the stage area;
vinyl wall coverings for 1/3 of the front of the orchestra (audience) sidewalls and fabric
covered acoustical panels for 2/3 of the back of the orchestra (audience) sidewalls;
fabric covered acoustical panels for rear walls;
and a plaster and plywood combinationbecause of their reverberation
characteristicsfor the ceiling.
Lighting system
Dramatic lighting systems used in auditorium include front lighting, foot lighting, spot
lights, follow spot lights, beam lights, and flood lights, and a projection room/booth with
manual and programmable lighting controls, and space for the spot light operator space.
Lighting systems should be flexible to accommodate various performance venues (e.g.,
lectures, plays, musical performances, etc.) in the Auditorium.
Fire protection
Preventing fires occurring
Non-combustibility of materials including finishes and seating
Protection of electrical circuits
Care with lighting, and
Separation of hazardous processes such as scene-painting.
Detecting them early when they do occur
Smoke and heat detectors backstage, in auditorium and all voids Alarms connected to the
automatic detector system and central indicator panel, and possibly direct link to local fire
station.
These should be visual (flashing light) in auditorium and not audible.
Preventing them spreading
Enclosing walls and floors to be fire-resistant
Self-closing firedoors to openings
Either a safety curtain to the stage area or special on-stage precautions.
Facilitating extinguishing
Hose-reels
Portable extinguishers
Automatic sprinkler systems backstage.
Design for physically challenged
Regulations require a minimum of six places for wheelchair users, or 1/100th of the audience
capacity, whichever is the greater
Public facilities (as per NBC)

Design guidelines
Stage visibility is a very sensitive aspect. Each one of the design factors has strong
impact on it.
The vertical viewing angles are affected by the rows format, the rows geometry and
audience to stage relationship.
The horizontal viewing angles are affected by the stage format and the rows geometry.
The viewing distance is affected by the basic plan format and the relationship between the
seating are and the stage.
The plan form does not have a direct impact on the vertical viewing angle. It has effect on
other physical parameters like number of rows, distance of first row from focal point, etc. These
parameters could affect the vertical viewing angles.
With the exception of the central stage, audience to stage relationship does not affect the
horizontal viewing angles.
Straight rows give better horizontal viewing angles than the curved rows.
The rows' geometry (curved or straight) has strong impact on the horizontal viewing
angles and has a very small impact on the vertical viewing angles.
The seating format (staggered or non-staggered) has strong impact on the vertical
viewing angles and it has no effect on the horizontal viewing angles.
Audience to stage relationship affects stage visibility. Central stage has the worst
average and standard deviation while the end stage gives the best average and
standard deviation.
Curved rows give a better stage visibility than the straight.
Basic plan format has a great impact on the stage visibility and the viewing distance.
3.5 Restaurants and Kitchens:

Restaurants serve as good entertainment space and is an important source of income
generation in these type of complexes.
Layout of a restaurant:
Anthropometric dimensions for layout and furniture sizes:
The layout and relationship

between different areas is
dependent on the type of facility.
Design of Kitchen:
The kitchen is designed as per the cuisine to be served in the restaurant area.
Area requirements
An alternative method is to calculate areas as follows (including food store, cold room, wash-up,
chef's office):
main restaurant kitchen area- 1.4m2 x no. of covers
banquet kitchen and service area-.2m2 x no. of covers
coffee shop kitchen separate independent -0.3m2 x no. of covers
coffee shop- 0.45m2 x no. of covers
Chapter-4
Site-Analysis
4.1 About Mumbai
Mumbai is the capital of the Indian state of Maharashtra. It is the most populous city in India,
and the fourth most populous city in the world, with a total metropolitan area population of
approximately 20.5 million. Along with the neighbouring urban areas, including the cities of Navi
Mumbai and Thane, it is one of the most populous urban regions in the world. Mumbai lies on
the west coast of India and has a deep natural harbour. As of 2009, Mumbai was named
an Alpha world city. Mumbai is also the richest city in India, and has the highest GDP of any city
in South, West or Central Asia.
4.1.1 The climate of Mumbai
The climate in Mumbai is predominantly warm and humid. Although temperatures are not very
high in summer, conditions are uncomfortable due to the high humidity. May is the hottest
month with the monthly average daily maximum temperature reaching as high as 32 C,
coupled with a humidity of about 60% during daytime. At nights, wind or fan induced ventilation
can provide comfort. In March, only ventilation cooling is needed. The months of January,
February, November and December are mostly comfortable.
Climatic chart for Mumbai
4.1.2 Inferences for design:
OBJECTIVES PHYSICAL MANIFESTATION

1)Resist heat gain
Decrease exposed surface area Orientation and shape of
building
Increase thermal resistance Roof insulation and wall
insulation.
Reflective surface of roof.
Increase buffer spaces Balconies and verandahs
Increase shading Walls, glass surfaces protected by
overhangs, fins and trees
Increase surface reflectivity Pale colour, glazed china
mosaic tiles, etc.
2)Promote heat loss
Ventilation of appliances Provide windows/ exhausts
Increase air exchange rate (Ventilation throughout the
day)
Ventilated roof construction. Courtyards, wind towers and
arrangement of openings
Decrease humidity levels Dehumidifiers/ desiccant
cooling
4.2 The Site: location
Location:
The site is located on Pedder road,
South Mumbai in premises of Film
division office premises.
4.3 Apparoach and Surroundings
A view of the Peddar road
The main apparoach to the site is from the Peddar road.
Surroundings:
The Peddar road is a major arterial road of the city which has many landmarks.
The site is surrounded by commercial and residential areas.
View of Antilla from the gate of

the site
Jaslok hospital, on Peddar Road

4.4 On Site
The site has four major constructed buildings
The Gulshan Mahal an old movie set

Office buildings- there are two office buildings on the site for Film Division of India
Library building- the library building is in a dilapidated condition and not usually used
Film division
office
Site for
museum
Film division
office
Library
Gulshan Mahal
4.4.1 Gulshan Mahal
The Gulshan Mahal is a construction of over a century old, renovated with perfection. It is
proving to be a super hit among the mumbai entertainment industry. Being lent out for shooting,
this oldest and bigger vintage building attracting movie makers like a magnet.
Restoration work going on in Gulshan

Mahal. This will serve as a part of
museum.
4.4.2 The office buildings and the library
The library
The library building in the premises.
It is more of a temporary structure

having no heritage value and is in a
dilapidated condition
The construction site
The office buildings:
The site has two 10 storey office buildings.

4.5 Site Analysis
Strength:
The site is located on a major artery of the road hereby attracting many visitors.
The presence of an old shooting set (Gulshan Mahal) on site will make it more interesting.
Weaknesses:
The presence of the existing buildings increases the constraints for design .
Location of residential sector around deceases the opportunity of amphitheatre design as it may
cause noise pollution around.
Threats:
This type of building on the busy Peddar road may increase the traffic problems around.
Chapter-5
Programme formulation
and area analysis
5.1 Programme formulation
After studying the standards and analysis from the case studies done, following areas have
been identified, and formulated as spatial requirement for the project.
The areas in the Bollywood museum shall be divided under the following subheads
Entrance lobby:
Reception desk
Ticket counter and checking area
Security check
Public amenities (Toilets)
Museum exhibits
Permanent display
Temporary display
Storage areas
Curators area
Maintainence workshop
Types of galleries:
Costumes/ props used by the actors/actresses in the movies
Equipments used in production
Gallery of photographs
Old cinema tickets and old movie posters
Screening areas exhibiting clips from movies
A chronological sequence exhibiting different eras of Bollywood
Open air theatre
For performances, functions and gatherings.
A drive in theatre for screening of movies.
Administration
Reception
Waiting area
Staff toilet
Directors office with a toilet
Registrars office with a toilet
Accounts
Conference room
Cashier
Maintainence incharge
Pantry
Restaurant
Seating area
Kitchen
Store
Toilets
Staff changing and toilets
Service areas
Electrical room
AC plant room
5.2 Area analysis:
Since exact areas were not available during the case studies, the area analysis has
been formulated taking into the considerations the standards studied and the museums
visited.
Area type Area required(m2)
Administration
Reception 15
Waiting area 25
Directors office 25
Registrars office 25
Conference room 50
Staff toilets 30
Accounts 30
Maintainence-incharge 20
Pantry 10
Total 230
Museum Exhibition
Entry lobby 200
Ticket sale 10X2
Toilets 25X4
Exhibition galleries(permanent) 25X10
Exhibition halls 600X4
Temporary display 200X4
Storage 50
Workshop 50
Total 4050
Screening halls
Entrance foyer and ticketing 150
Seating 120+3x50
Toilets 50
Total 700
Restaurants
Restaurant for 100 200
Cafeteria for 50 75
Total 275
Service areas
Staff changing and toilets 50
Service rooms 100
Maintaince workshop 50
Total 200
Total 5455
Circulation 30%
Grand total 7100(APPROX.)
BUILT UP AREA =7100sq.mt. (Approx.)

This may change with the design process.
Landscape features:
Open air theatre (for 300)
Gardens, etc.
Bibliography:
The Architects Handbook
Akshardham brochure
Swaminarayan Akshardham- making and experience
Time saver standards for building types- JosephDe Chiara& John Callender
A+D Nov-Dec 1995
www.akshardham.com
http://www.nationalmediamuseum.org.uk/
http://www.bigmoviezone.com/txshows/theaters/index.html?uniq=829
http://www.kingdomofdreams.in
http://www.nscdelhi.org/gallery-listing.php
http://www.archinomy.com/case-studies/1901/achyut-kanvinde
http://archnet.org/library/sites/one-site.jsp?site_id=9738
http://www.domusweb.it/en/architecture/museum-of-the-moving-image-/
http://www.architectmagazine.com/cultural-projects/museum-of-the-moving-image.aspx
http://www.archdaily.com/104505/museum-of-the-moving-image-leeser-architecture/

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Chitkara School of Planning and Architecture

Architectural Design Thesis Project-IX

Bollywood Museum, Mumbai

Dated: 01 May 2012

S.K. Midha Sunanda Kapoor

Surjit S Bais I J S Bakshi

External Examiner External Examiner

Contents: page no.

1.1. Introduction to project 8

1.2. The intent: Bollywood 10

1.3. Project Briefs 11

1.4. The Project 14

1.5. Scope and project objectives 15

2.1. Purpose of case study: 20

2.2 Live case study 21

2.2.1. Akshardham, Delhi 22

2.2.2. Kingdom of Dreams, Gurgaon 29

2.2.3. National Science Centre, Delhi 33

2.3. Literature Study 41

2.3.1. Museum of Moving Images, New York 42

2.3.2. National Media Museum, Bradfore, England 50

2.4 Analysis and inferences 53

3.1. Museum-An introduction 56

3.2. Design of museum 60

3.3 Office Areas 68

3.4 Auditorium/Screening halls 69

3.5 Restaurants and kitchen 75

4.1. About Mumbai 78

4.2 The site: Location 80

4.3. Apparoach and Surroundings 81

4.4.1. Gulshan Mahal 83

5. Programme Formulation and Area Analysis

5.1. Programme Formulation 87

5.2. Area Analysis 89

1.1 Introduction to the project: Bollywood Museum

The Government of India has envisaged to establish a National Museum of Indian

The Major Exhibits in the Museum

Azam, Sholay, Dilwale Dulhaniya Le Jayenge etc;

b) Equipment Cameras, Sound recording, Editing, Laboratory and Projection equipments

Wall Posters of different sizes. Song Booklets, Screenplays and Shooting

Source: NATIONAL MUSEUM OF INDIAN CINEMA

1.2 The intent: Bollywood

Bollywood and its influence on people

People idolize their stars

1.3 Project Briefs:

1.3.1 The Site:

Proposed site for Bollywood Museum

Site for Bollywood

1.3.2. Validity of site

Mumbai and Bollywood

1.4 The Project:

An overview of the spaces to be provided

Introduction to film making

1.5 Scope and project objectives:

1.5.1. Objectives of the project

To achieve a relationship between the visitor and the bollywood world

Innovative display technique

Nature of study Purpose of study Source

Case studies Understand functions and short Visual survey

2.1 Purpose of case study

The main purpose of carrying out the case studies:

For functional research

National Science Centre, Delhi