Thesis Report The Triangle at Mall Road

“DEPARTMENT OF ARCHITECTURE”
COLLEGE OF ART AND DESIGN

UNIVERSITY OF THE PUNJAB
THE TRIANGLE
INTERACTION BETWEEN THREE CHARACTERS
Submitted By:
Syed Ali Zeeshan Rizvi
Arch-06-22
Internal Advisor
Dr. Mehmood Hussain
Thesis coordinator
Mr. Tariq Khalidi

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DEDICATION
I dedicate my thesis to my parents, who have always been my

strongest support.
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ACKNOWLEDGMENTS
First of all I am very thankful to Almighty Allah for giving me strength

throughout my life and academic period, for facing difficulties and
hardships, and granting me the success every time.
I am also grateful to my kind teachers especially to my internal advisor, Dr.

Mehmood Hussain for guiding me throughout my thesis and always giving
me the right direction, whenever I was stuck.
My special thanks to all my friends and colleagues who have been my

strong support all the time.
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ABSTRACT
“The Triangle” here stands for the interaction/connection between three characters.
The three characters on the start of Mall Road are Lahore Museum, National College of
Arts and Punjab University old campus. The Mall Road has many historical and other
important Buildings and Places, which has a great potential to invite public/visitors to
that area. But there is lack of welcoming and inviting spaces. Same is happening in the
selected area, even there are not much visitors for Museum, there are no interaction
between two leading institute of arts in Pakistan.
So the project is to give a solution, a communal space/public place for that selected area
regarding above mentioned problems, and same could be done for the other areas on
Mall Road which have the much potential.
Through ages the centre of the communal activity was always a public square. Bringing
different type of people to a single place was the basic essence. At time the square was a
space for early walkers to meet, have a cup of tea and reading newspapers or sharing
thoughts, on other times, a shopping centre, a place for children to play, a platform for
jugglers to entertain, story tellers to tell tales, politicians to communicate with people or
people playing different games. This should be the perfect definition of a public space.
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CONTENTS
DEDICATION .................................................................................................................................................... 1
ACKNOWLEDGMENTS ..................................................................................................................................... 2
ABSTRACT ........................................................................................................................................................ 3
Introduction ..................................................................................................................................................... 7
1.1 THE THREE CHARACTERS (CLIENT’S BRIEF) ............................................................................................... 7
1.2 PROJECT OVERVIEW .................................................................................................................................. 8
Project ....................................................................................................................................................................... 8
Client ......................................................................................................................................................................... 8
Area ........................................................................................................................................................................... 8
Users ......................................................................................................................................................................... 8
1.3 CLIENT BRIEF ............................................................................................................................................. 8
1.4 PROJECT IMPORTANCE.............................................................................................................................. 8
1.5 AIMS and OBJECTIVES ............................................................................................................................... 8
1.6 SCOPE OF WORK ....................................................................................................................................... 9
1.7 METHODOLOGY ........................................................................................................................................ 9
Chapter 2 ....................................................................................................................................................... 10
Communal/Public Places ............................................................................................................................... 10
2.1 Community .............................................................................................................................................. 10
2.2 Communal space (Public Place)............................................................................................................... 10
2.3 Historic Evidences ................................................................................................................................... 11
2.3.2 Roman Forum (7th century BC)...................................................................................................................... 12
2.3.3 Masjid-e-Nabvi ............................................................................................................................................... 13
2.4 What Makes a Successful Public Space? ................................................................................................. 14
2.5 Why Public Spaces Fail? .......................................................................................................................... 15
2.6 Examples of Dead and Alive Public Spaces.............................................................................................. 16
Chapter 3 ....................................................................................................................................................... 17
Site ................................................................................................................................................................. 17
Glory of Lahore…..the Mall Road .................................................................................................................. 17
Comparison between Past and Present Base Map ....................................................................................... 29
Chapter 4 ....................................................................................................................................................... 34
Upcoming Projects in this Area ..................................................................................................................... 34
4.1 LRMT ................................................................................................................................................. 34
4.1.2 Construction ................................................................................................................................................... 34
4.1.3 Infrastructure ................................................................................................................................................. 35
Conclusion ............................................................................................................................................................... 35
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4.2 Lahore Museum Extension ................................................................................................................ 37

4.2.1 Lahore Museum ............................................................................................................................................. 37
4.2.2 The Lahore Museum Timeline ............................................................................................................... 37
4.2.3 Lahore Museum Artifacts Data .............................................................................................................. 38
4.2.4 Lahore Museum Visitors Data ............................................................................................................... 39
4.2.5 Lahore Museum Architectural Data ...................................................................................................... 41
Chapter 5 ....................................................................................................................................................... 43
Conception of Museums ............................................................................................................................... 43
5.1 Museum .................................................................................................................................................. 43
5.2 Types Of Museums .................................................................................................................................. 43
5.3 Conception Of Museums In The 21st Century ........................................................................................ 43
5.4 Examples Of Iconic Museums.................................................................................................................. 44
5.5 MUSEUM DESIGN GUIDELINES ............................................................................................................... 45
5.5.1 Museum Entrance .......................................................................................................................................... 45
5.5.2 Circulation Patterns in a Museum .................................................................................................................. 45
5.5.3 Exhibition spaces/display Galleries ................................................................................................................ 45
5.5.4 Inside a Museum ............................................................................................................................................ 46
5.5.5 Environmental Systems In Both Museums And Display Galleries .................................................................. 47
Chapter 6 ...................................................................................................................................................... 48
Site Analysis ................................................................................................................................................... 48
Selected Site .................................................................................................................................................. 61
Chapter 7 ....................................................................................................................................................... 62
Research Aspect ............................................................................................................................................ 62
Merging In The Environment ........................................................................................................................ 62
7.1 Merging In Visual Impact through Camouflage....................................................................................... 62
7.1.1 In Nature ................................................................................................................................................ 63
7.1.2 In Military .............................................................................................................................................. 64
7.1.3 Camouflage as Art ................................................................................................................................. 65
7.1.4 Camouflage in Architecture ................................................................................................................... 66
7.2 Merging In Circulation Through Morphing Architecture......................................................................... 67
7.2.1 Morphing........................................................................................................................................................ 67
7.2.2 Morphing Architecture ......................................................................................................................... 68
Chapter 8 ....................................................................................................................................................... 71
8.1 GREAT COURT AT THE BRITISH MUSEUM ............................................................................................... 71
8.1.1 Place Making: The Great Court ...................................................................................................................... 72
8.1.2 Transformation of the Great Court ................................................................................................................ 72
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8.1.3 Concept .......................................................................................................................................................... 73

8.1.4 Design approach and layout:.......................................................................................................................... 73
8.1.5 The design works at three different levels: .................................................................................................... 74
8.1.6 The three main aspects for the project .......................................................................................................... 74
8.1.7 Revising old spaces: the ford centre .............................................................................................................. 75
8.1.8 Creating new spaces....................................................................................................................................... 75
8.1.9 Main Points .................................................................................................................................................... 75
8.1.10 Conclusions which may help in our site ....................................................................................................... 78
8.2 Louvre Museum ...................................................................................................................................... 79
8.2.1 Introduction ................................................................................................................................................... 79
8.2.2 The Building.................................................................................................................................................... 79
8.2.3 Project definition............................................................................................................................................ 81
8.2.4 The architect had to face some key issues: .................................................................................................... 81
8.2.5 Architecture of Louvre Pyramid ..................................................................................................................... 81
8.2.6 Conclusions .................................................................................................................................................... 84
8.3 Olibia Social Centre ................................................................................................................................. 85
8.3.1 Description ..................................................................................................................................................... 85
8.3.2 Introduction ................................................................................................................................................... 85
8.3.3 Historical background .................................................................................................................................... 85
8.3.4 Objectives ....................................................................................................................................................... 86
8.3.5 Concept .......................................................................................................................................................... 86
8.3.6 Design ............................................................................................................................................................. 86
8.3.7 Project data .................................................................................................................................................... 88
Chapter 9 ....................................................................................................................................................... 91
Design Concept, Criteria and Architectural Program .................................................................................... 91
9.1 Design Concept ....................................................................................................................................... 91
9.2 Design Criteria ......................................................................................................................................... 91
9.3 Architectural Program ............................................................................................................................. 92
Relationship and Flow Chart for Museum and Galleries ............................................................................... 93
Possible Gallery Arrangements...................................................................................................................... 94
Site Utilization ............................................................................................................................................... 95
Appendices .................................................................................................................................................... 96
BIBLIOGRAPHY ............................................................................................................................................... 97
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Chapter 1
Introduction
1.1 THE THREE CHARACTERS (CLIENT’S BRIEF)

There are three characters. One of them is a visitor who comes to visit the Lahore
museum where as the other two are students each from NCA and from PUCAD. NCA is
adjacent to Lahore museum where as PUCAD is across the road.
All the three characters are regular visitors of the vicinity but, strangely enough, are
unable to freely interact with each other.
It is natural, due to the nature of their interest (which is art), that they shall have a
continuous and free interaction. The visitor shall know what is about to come out of the
two institutions. The students of the two institutions need an amateur exhibition space
where they can show off their talent and ideas and can get open and genuine feedback
from the visitors. The students of the two institutions can interact to produce more
intuitive and competitive art.
But this is what is not happening in this case. The museum visitors come and go without
knowing anything about NCA and/or PUCAD. The respective students of the two
institutions also do not interact freely and also do not have a convenient access to the
museum. The Mall Road itself is a very hard edge.
I am sure, you would agree, that the three characters shall have no constraints to meet
each other. Obviously, the art is not created in isolation. The artists want to be criticized
and appreciated. Art is flourished through interaction.
Not strangely enough, the constraints are due to the security and traffic arrangements.
So is there a way to solve these problems?
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1.2 PROJECT OVERVIEW

Project
To design an interactive/communal space in between Lahore Museum, PUCAD
and NCA, including the extension of Lahore Museum.
Client
Lahore Museum
Area
135349.12sqft, 3.75 acres
Users
 Visitors of Lahore Museum.
 Students from PUCAD & NCA.
 The professionals from different fields of Fine Arts.
1.3 CLIENT BRIEF

 Extension of museum
 Temporary Display Galleries
 Café
 Sports activities for students
 Amphitheatre
 Combine Parking for the area
1.4 PROJECT IMPORTANCE

The project has much importance regarding the nature of the activities performing in
the area, which are all, have the relation with “Art”. There are many differences and
barriers in them. Art can never grow in isolation. So, how can there be creativity grow in
such restricted space?
We should give an idea to break these barriers and take them together for more
competitive activities.
1.5 AIMS and OBJECTIVES

The aim is to design a place where artist or students from different school of thoughts
can exchange their knowledge, where there is a “sense of place” for them as well as the
visitor. Moreover, the environment is conducive for research and creativity. Further,
associating libraries which would store special material and data for record as well as
acting as a vital instrument in speeding up research is the main concern of this type of
interactive space.
The project aims to create a central communal space between the three institutions and
link them on different levels. It will remove the edges between the three entities and
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merge the external courtyards and gardens, while keeping the original institutional
activity separate from each other.
The project will treat the intermediate space as a space frame in the middle and plan it
in response to the three institutes.
 It will communicate through its existence, the sense of harmony and togetherness.
 It will become an exhibition space for modern art and will provide interaction of
students with the working artists.
 It will promote Art as an institute in Pakistan.
1.6 SCOPE OF WORK

 Studying the existing conditions.
 Study and understand the context so it could be used as a tool in design.
 Case studies in the light of research.
1.7 METHODOLOGY
 Detailed Survey of the site.
 Area documentation
 Case studies
 Interviews and discussions with the professionals.
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Chapter 2
Communal/Public Places
2.1 Community
"There can be no vulnerability without risk; there can be no community without
vulnerability; there can be no peace, and ultimately no life, without community."
M. Scott Peck
The word "community" is derived from the Old French communité which is derived from
the Latin communitas (cum, "with/together" + munus, "gift"), a broad term for fellowship
or organized society.
Traditionally a "community" has been defined as a group of interacting people living in a

common location. The word is often used to refer to a group that is organized around
common values and is attributed with social cohesion within a shared geographical
location, generally in social units larger than a household. The word can also refer to the
national community or global community.
In biological terms, a community is a group of interacting species sharing an

environment. In human communities, intent, belief, resources, preferences, needs, risks,
and a number of other conditions may be present and common, affecting the identity of
the participants and their degree of cohesiveness.
In sociology, the concept of community has led to significant debate, and sociologists are
yet to reach agreement on a definition of the term.
2.2 Communal space (Public Place)

"A Community organized about some centre for its own political and social welfare and
expression; to peer into its own mind and life, to discover its own social needs and then
to meet them, whether they concern the political field, the field of health, of recreation,
of education, or of industry; such community organization is necessary if democratic
society is to succeed and endure".
Clinton Child's
Communal space or community centers are public locations where members of a

community may gather for group activities, social support, public information, and other
purposes. They may sometimes be open for the whole community or for a specialized
group within the greater community.
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A public space is a social space such as a town square that is open and accessible to all,
regardless of gender, race, ethnicity, age or socio-economic level. One of the earliest
examples of public spaces is commons. For example, no fees or paid tickets are required
for entry, nor are the entrants discriminated based on background. Non-government-
owned malls are examples of 'private space' with the appearance of being 'public space'.
Successful urban areas contain a variety of public spaces, quality of life and economic
well being.
From the Greek agora to the contemporary mall, the form of public space is a direct
reflection of society’s public and private values. Throughout history, communities have
developed public spaces that support their needs – markets for commercial transits
actions, places for sacred celebrations, or sites for local rituals. Specific places acquire
meaning through their functions, further intensifying their role in people’s lives. The
river used for laundering clothes can be a place for exchanging information. The market
has historically played a role in communicating local news, providing a context for
political behavior. Public places are a source of social exchange and also often a rallying
place for demanding wider personal and political rights.
So the public space is a space where people can interact with each other.
An Illustration showing Interaction
“We shape our buildings, and thereafter our buildings shape us.”
Winston Churchill
2.3 Historic Evidences

There are much historic evidences of how early civilizations developed the sense
of an urban space. There were several communal spaces to shape their urban fabric and
the civilizations developed there. The concept of the community centre is based on my
belief that, in order for a sense of community to flourish, it is imperative that people
from different disciplines should meet and exchange ideas in a relaxed atmosphere,
much in the way the past civilizations used a common space, such as The Greek Agora,
The Roman Forum or The Muslim Madarassah.
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2.3.1 The Greek Agora (5th century BC)

A public plaza or town square
Agora was a centralized area

which served as a meeting ground
for various activities of the
citizens, a typical feature of their
life: an open space for their daily
religious, political, judicial, social,
and commercial activities. The
agora also served for theatrical
and gymnastic performances until
special buildings and spaces were
reserved for these purposes.
2.3.2 Roman Forum (7th century BC)

A centralized area around which the
ancient Roman civilization developed. The
presence of many of the central political,
religious and judicial buildings in Rome
indicates its importance. The oldest and
most important structures of the ancient
city were located in or near the Forum.
The Senate House, government offices,
Tribunals, religious monuments,
memorials and statues cluttered the area.
Over time the archaic Comitium would be
replaced by the larger Forum, moving
government to the Basilica Aemilia. The Forum would serve as the new city square
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where the people of Rome could gather for political, judicial and religious ritual in
greater number. The Forum became the economic hub of the city, as well as the center
of the Kingdom, Republic and Empire.
The ancient Greek plateia (πλατεία), a public plaza or town square, was the
model utilized as the basis to the
Roman forum. Its basilicas, although
originally designed as government
offices, were the bases of the first
elaborate Christian churches. The
architecture of the temples and
judicial buildings of the Roman forum
can be seen copied in many of
today's modern government
structures that are still arranged
around a central public space.
2.3.3 Masjid-e-Nabvi
A platform for Islamic communal activities.
For centuries mosques have been the centre of

ISLAMIC communal activities. The mosque
served as a nucleus surrounded by the shopping
streets and all the communal activities took
place in the immediate surroundings of the
mosque hence uniting the community at a single
place, to interact and socialize. The mosque was
the centre for social, cultural, political, religious
and educational as well as sports and war
trainings were also conducted here.
Rajistan square (8-13th Wazir Khan Mosque

century)
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2.4 What Makes a Successful Public Space?
The best civic places are the ones that people return to time and time again.
The best public spaces are vibrant and welcoming because they are well used. And this
vibrancy is created by people and communities. It is the use of public space, rather than
its owner ship, physical design or aesthetic appearance that makes a space public and
any space has the potential to play this role.
Successful public spaces have four key qualities:
1. Accessibility
2. Uses and Activities
3. Comfort
4. Sociability
 Accessibility
The accessibility of a space can be judged by its connections to its surroundings, both
visual and physical. A successful public space is easy to get to and get through; it is
visible both from a distance and up close. Accessible spaces have a high parking turnover
and, ideally, are convenient to public transit.
 Uses and Activities

Activities are the basic building blocks of a place. Having something to do offers people a
reason to come a place – and return. When there is nothing to do, a space will be empty
and boring. Diverse activities taking place in a space make it more interesting and invite
people from various areas of interest.
 Comfort
Whether a space is comfortable and present itself well – is the key to success. Comfort
includes perceptions about safety, cleanliness, and availability of places to sit – the
importance of giving people the choice to sit where they want is generally
underestimated.
 Sociability
Sociability is a difficult quality for a place to achieve, but once attained it becomes an
unmistakable feature. When people see friends, meet and greet their neighbors, and
feel comfortable interacting with strangers, they tend to feel a stronger sense of place
and attachment to their community – and to place that fosters these types of social
activities.
Designers and architects alone cannot create spaces that support sharing. Public space
works best when it is ‘co produced’ by the people who control or manage the space and
those who use it; only then it can fulfill its democratic promise. Public space is not
something that is simply created on the architect’s drawing board, but develops over
time as a result of the interaction of complex social relationships.
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2.5 Why Public Spaces Fail?
“It is difficult to design a space that will not attract people – what is remarkable is how
often this has been accomplished”
(Whyte, H. William, 1988)
Today, many public spaces seem to be internationally designed only to be looked at but
not touched. They are neat, clean, and empty. But when a public space is empty,
vandalized, or used chiefly by undesirables, this is generally an indication that something
is wrong with its design, or its management, or both.
 Lack of Places to Sit

Many public spaces don’t even provide a place to sit. So, in their protracted quest just to
be comfortable people are often forced to adapt to the situation in their own way. A lack
of good places to sit is an equally important issue. For example, a choice of seats in sun
or shade can make all the difference in a place’s success, depending on its climate and
location.
 Lack of Gathering Points
A public place where we don’t have any special point or a thing to see where people will
come to see and feel it, that place can never attract the public to itself. Or might be the
points of interest in that space is not demanding from the public also can be a cause of
failing a public space.
 Poor Entrances and Visually Inaccessible Space
If a space to be used, people need to see it and they need to able to get to it. A dark or
narrow entrance keeps people out instead of inviting them in. On the other hands, parks
with more inviting and open entrances typically have kiosks that sell coffee and
sandwiches, and the interior of the park is visible the street.
 Dysfunctional Features
Often features are designed simply to punctuate the space, and they don’t have any
proper function to use them, is a bad selection for a good public space, and if it done in a
public space, it will never achieve a good amount of users in it.
 Undemanding Path Ways
Paths that lead to nowhere are useless. A public space having such kind of path ways is
disliked by the public, public will not use them or use them in a wrong way.
 Inconveniently Located Transit Spots
Bus or other transit stops located in places where no one wants to use them are a good
recipe for failure. A transit stop located in a busy, active place can not only make that
place better but also increase transit use.
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2.6 Examples of Dead and Alive Public Spaces
A dead, unlively space in Bilbao Water and Fire Show on River of

Museum, Bilbao. Providence, Rhode Island, USA
creates reason to go to at night.
A dead, unlively space in Bilbao Museum,

Bilbao.
Dancing Fountains at the Mall of A neighborhood library in Atlanta Food Courts help draw people to
Dubai keeps the audience providing extra cirricularar activities a place and encourage
engaged. for its residents. interaction.
The Norwegian Opera House, Oslo provides different activities to keep the visitors engaged.
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Chapter 3
Site
Glory of Lahore…..the Mall Road
Roads have been a symbol of social, political and cultural aspects from ages. Tourists
that come to visit a city, can judge the history and its ancient culture from the ruins and
remaining of that region but for the current ways of life, living habits and culture they
don’t need to visit a historical building but the cities bazaar and streets gives that
information very well.
A Street is that place where every class of people comes. It’s a stage where everyday a
new performance is held and the individual and collective performances can be seen
through it. In this way the culture of that city is reflected.
Among them is a Lahore’s beautiful road…The Mall Road. In the beginning it was named
Lawrence Road. Until 1876, in the maps this road was named Lawrence Road. In 1851,
the need of construction of Mall road was felt because the cantonment area which was
previously in Anarkali was shifted to Mia Mir.
In the beginning, this road (Mall Road) Municipal Garden (now Nasir Bagh) started from
Istanbul chowk to Fortress Stadium. Punjab Public Library, Lahore Museum, NCA, Punjab
University, GC, and Town Hall were built after the cantonment shifted from Anarkali to
Mia Mir. Mall Road project was prepared by Civil Engineer Lt Col Nepear in 1851. Col
Nepear declared this a connecting road between Anarkali Cantonment and Mia Mir
Cantonment.
Mall Road is Lahore’s most beautiful Road. A number of roads intersect this road at
various sections. In the Istanbul Chowk, the Zamzama Gun is prominent element. On the
right hand we have NCA and Lahore Museum. On the left we have Punjab University, Old
Campus.
Next comes the Anarkali Chowk. Northern area of chowk is the Anarkali Bazar, which is
known as magical bazaar worldwide and is scattered upto circuliar road and Lahori Gate.
Next comes the YMCA Chowk. From here the Northern side has the bicycle market of
Neela Gumbad. Then comes the GPO, Regal, Chairing cross etc chowks.
In this way a series of chowks connects with some important places that reflect the
Cultural Identity and belonging of The Mall Road.
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In this map the RED colored line is showing the Mall Road.
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Buildings or monuments of historical and/or recreational significance on The Mall

include:
 Lahore Museum
 Tolinton Market
 Lahore Zoo
 National College of Arts
 Bagh-e-Jinnah also known as Lawrence Gardens
 Government College Lahore
 Kim's Gun or Zamzama Gun
 Punjab Assembly Building
 Sacred Heart Cathedral
 Punjab University (Old Campus)
 Lahore Stock Exchange
 St. Anthony's College
 Aitchison College
 Wapda House
 Aiwan-e-Iqbal
 Governor House
 Masonic Temple
 Anarkali Bazar
 Punjab Public Library
 Nasir Bagh
 Shah Din Manzil
CONCLUSION
From these important places on Mall Road, we have 5 places in a same area, and the
area is between Anarkali Chowk to Istanbul chowk. So I decided to create an urban
space in this area.
1. Lahore Museum
2. Punjab University (Old Campus)
3. National College of Arts
4. Tolinton Market
5. Kim's Gun or Zamzama Gun
There are also 3 other nodes on mall road which have the potential to find a better
public place on every node, these nodes are the very important according to their
nature of use for Lahore.
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Comparison between Past and Present Base Map
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Chapter 4
Upcoming Projects in this Area

Two major projects are coming in this area which has to build in near future.
 Lahore Rapid Mass Transit System's Green Line

 Lahore Museum Extension
Because of the act of these projects we have to consider them in our project so our
project can be more adjustable and suitable for this area.
For this purpose, firstly we will study these projects, so we can found that how will they
effect?
4.1 LRMT
The Lahore Metro or Lahore Rapid Mass Transit System (LRMTS) is a proposed rapid
transit system for Lahore, the second largest city of Pakistan. The system will consist of 4
operational lines, with construction beginning sometime in 2012. The Punjab Minister of
Transport stated that the government had proposed the fare between 10 PKR and 22
PKR. The Lahore Metro is expected to carry an average of 640,000 passengers a day
when the Green Line is finished.
4.1.2 Construction
Green Line
The Green Line is expected to cost $2.4 billion dollars US to construct and will extend
from Shahdara to Hamza Town. The total length of Green Line is expected to be 27 km,
with 11.6 km underground and 15.4 km overhead. There will be in total 12 underground
station and 10 overhead stations built. Construction will begin in 2012. In March 2007,
Punjab Government invited Dr E. Sreedharan who is the managing director of
successfully operating Delhi Metro Rail in Delhi, India. After studying the project details
Dr Sreedharan has declared Green Line Project as a viable one. He has inspected the first
priority line’s route from Shahdara to Hamza Town. In his view, the implementation of
the Green Line project (Phase I) would face no major technical difficulty because the soil
condition en route was good and roads were wide, having room for underground
construction without creating any serious inconvenience to the city.
Green Line Stations
Shahdara · Timber Market · Badshahi Masjid · Data Darbar · Jinnah Hall · Lake Road ·
CENTRAL · Regal Chowk · Fatima Jinnah · Qurtaba · Shahma Chowk · Ichra · Canal ·
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Garden Town · Kalma Chowk · Model Town North · Model Town South · Walton · Ghazi ·
Wapda · Nishter
Orange Line
The Orange Line is expected to cost $1.9 billion dollars US to construct and will extend
from Ali Town to Dera Gujran. The total length of Orange Line is expected to be 27 km,
with 7 km underground and 20 km overhead. There will be in total 6 underground
station and 20 overhead stations built.
Orange Line Stations
Ali Town · Niaz Baig · Canal View · Hanjarwal · Wahdat · Awan · Sabzazar · Shahnoor ·
Salahudin · Bund · Samanabad · Gulshan-e-Ravi · Chauborji · Lake Road · CENTRAL ·
Lakshami · Sultanpura · University · Baghbanpura · Shalimar Gardens · Mint · Mahmood ·
Islam Park · Salamalpura · Dera Gujran
Purple Line
The Purple Line is expected to be a total of 19 km and will extend from Bhaati Chowk to
Allama Iqbal International Airport.
Blue Line
The Blue Line is expected to be a total of 24 km and will extend from Chauburji to
College Road.
4.1.3 Infrastructure
The underground stations will be air-conditioned and have two entrance and exit gates.
The elevated stations will be designed like overhead bridges. The stations will be spaced
approximately 1km apart.
The station entrances will be integrated with bus stops located on the nearby roads. In
addition, tunnels or footbridges will be provided for pedestrians.
The platforms will each be 102m long to accommodate six-car trains. Initially the trains
will comprise only three to four cars. Each platform will have screen doors and there will
be escalators to improve passenger mobility within the station limits.
Rolling stock
The LMRTRP will have tracks of 1,435mm standard gauge. It will require a total of 54
trains (324 cars), which includes 46 regular trains, one operational reserve and seven
spare trains for maintenance reserve. The project will start operating with 26 trains in
phase 1, and 27 more will be added in phase 2.
Conclusion
Because green line is passing through our site in underground level, so the levels of
underground rail tunnels are mostly placed at 30' to 60' deep level, so there is no issue
with our project even if we give an underpass for Mall Road.
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4.2 Lahore Museum Extension

Lahore museum have proposed an extension for it because of lack of space for the
proper display of artifacts.
It is proposed on the site of an empty plot behind the Tollinton Market, which is
currently in use as a parking area for Museum and Punjab University's users.
This extension will be the part of our project.
For that purpose we have to study Lahore Museum first.
4.2.1 Lahore Museum

Lahore Museum building was especially designed for Museum purpose by Bhai Ram
Singh and foundation stone was laid by Prince Albert
victor (Grandson of British Queen Victoria) in 1890.
The Lahore Museum was formally opened for public
in 1894.
Some of the major collections of the Museum were

divided between Pakistan and India at the time of
partition of the sub-continent. Most of the
collections have been acquired either through
donations or acquisition on price thereafter the
partition.
4.2.2 The Lahore Museum Timeline
1855-District Museum
Housed in the historic Baradari of Wazir Khan, built
during the reign of the Mughal emperor Shah
Jahan.
1864-Industrial Art Exhibition

An industrial art exhibition of Punjab was held
in 1864 in a newly constructed building, today
more commonly known as the Tollinton
Market. After the conclusion of this exhibition,
the Museum was shifted from the Baradri to
Tollintion Market. For thirty Years (1864-1894)
the present Tollinton Market functioned as a
Museum.
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1890-Lahore Museum's Construction Began

BAHi Ram Singh with Rudyard Kipling designed
the Lahore Museum in front of the Baradari and
next to the Exhibition Hall. The Building was
particularly to be used as a museum with a
number of Galleries to display the objects they
possessed. The foundation stone was laid on
February 3rd, 1890, by Prince Albert Victor.
1894-The Official Opening of the Museum

The Lahore Museum was formally opened for public in 1894.
1928-Extension 1
Two galleries were added to the Lahore Museum
on the existing grid. It was meant to keep respect
for the existing elevation and the extension took
place behind the building rather than the front.
Offices and rooms were also created on the side
of the main entrance again in respect to the
original building.
1965-Extension 2
Few more galleries and offices were added at the back of the Museum following the
same colonial vocabulary of the original structure. However these new construction
broke the grid the building was originally following.
1967-Complete Renovation
4.2.3 Lahore Museum Artifacts Data
 Lahore Museum has almost 2 Lakh artifacts.

 60% of total artifacts are historical coins and 40% are other including sculptures,
paintings, arms etc.
 Only 20% artifacts on display
 80% are in store rooms because of lack of display galleries
 Lahore Museum needs a sufficient space to display those important artifacts
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4.2.4 Lahore Museum Visitors Data
Visitor Statement For Year 1993

Month Adults Children/Students Foreigners Total
January 16227 4439 300 20966
February 13802 5949 600 20351
March 16870 5042 750 22662
April 20867 5154 575 26596
May 13371 3127 375 16873
June 18780 4174 275 23229
July 23666 6177 200 30043
August 28726 6210 285 35221
September 15480 3607 275 19362
October 13197 4155 375 17727
November 18395 20329 600 39324
December 18130 7490 275 25895
Total 217511 75853 4885 298249

January 8770 4632 157 13559
February 11648 6930 244 18822
March 13038 7084 214 20336
April 14016 7695 247 21958
May 9955 4303 174 14432
June 11911 5047 177 17135
July 17397 8657 247 26301
August 21588 9229 331 31148
September 10467 5825 321 16613
October 16404 31051 344 47799
November 11324 5092 340 16756
December 15890 9925 489 26304
Total 162408 105470 3285 271163
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January 8153 3614 154 11921
February 9014 5300 169 14483
March 12666 7545 208 20419
April 12503 5763 243 18509
May 4715 2231 62 7008
June 12503 5655 88 18246
July 22920 10105 198 33223
August
September 14271 4797 140 19208
October 7899 5020 142 13061
November 12930 9041 190 22161
December 12810 8979 197 21986
Total 130384 68050 1791 200225
Change in Numbers of visitors
Year 1993 Total Visitors = 298249
As we can see the decline of visitors, there could be many reasons of this
decline like terrorism, the growing use of internet and other media, lack of
interest etc.
But after having a meeting with a public relation officer of Lahore Museum
it came to my knowledge that from previous 2 or 3 months the amount of
visitors especially foreigner visitors exceeding very impressively, which
should be very good for museum and Pakistan's tourism industry.
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4.2.5 Lahore Museum Architectural Data
Front elevation of Lahore Museum
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Chapter 5
Conception of Museums
5.1 Museum
A museum is a non-profit, permanent institution in the service of society and its
development, open to the public, which acquires, conserves, researches, communicates
and exhibits the tangible and intangible heritage of humanity and its environment for
the purposes of education, study and enjoyment.
5.2 Types Of Museums

The following lists the types of institutions that make up the museum field.
 Art Museums
 Botanical Gardens
 Children's Museums
 History Museums
 Historic Houses / Sites
 Historical Societies
 Living History Sites
 Military Museums / Battlefields
 Natural History Museums
 Science Museums / Centers
 Special Interest Museums
 University Museums
 Zoos
5.3 Conception Of Museums In The 21st Century

All people today—youth and adults— spend the majority of their lives learning outside
the walls of formal classrooms: in out-of-school programs, workplaces, internships, and
other informal learning experiences such as those offered by libraries and museums.
Museums have a unique role as the primary stewards of heritage. They are essential for
the continued growth of any individual. Without them, you're pretty much going to feel
stuck in a rut and bored out of your mind from the routines of the modern world.
The age of museums as a place of dusty objects is long gone.
There has been a change of trend in museums from ‘graveyards of artifacts’ to ‘visitor
attractions.’ Museums and libraries embody the ‘third place’ as gathering spaces for
social interaction and engagement. Neither work nor home, the third place is a neutral
community space, where people come together voluntarily and informally in ways that
level social inequities and promote community engagement and social connection. The
impact on the economy, and the tangible effect they have on the imagination and spirit
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of the people who visit them, is enormous. Museums and libraries have a responsibility
for ensuring that future generations have access to original materials. How to best cater
to the needs of people and to attract them to museums and libraries should be the
primary concern.
The context in which the public enjoys and makes use of museums – their collections,
knowledge and buildings has altered. Today people have different expectations,
preferences and needs. Whether a new museum building is a technological marvel of
billowing shiny metal skin and multimedia immersion or a rough-hewn retreat for
contemplative experiences, the goal for most museums is to get the visitors out of the
house, be with other people, and hopefully learn something. It is this desire for a
unique, social, meaningful experience that is driving museums to function less like
temples and more like agorae (a gathering place acting as a civic place).
The unavoidable pace of contemporary life demands that these new agorae allow
visitors to multi-task at a single location: relax, meet with friends, spend time with the
kids, get a bite to eat, and pick up a birthday present, in addition to the more purely
museum activities of viewing exhibitions. Lately, the iconic museum buildings have
become mega-income sources stimulating economic growth throughout the city.
Museums act as resuscitators. More and more cities are viewing museums as a way to
inject life into morbid downtowns and languishing regional centers. As magnets for both
tourists and local visitors, museums can enliven desolate precincts and provide a draw
for other cultural institutions.
We often compare museums to churches or mosques as they have a capacity to

transform us to another time or place. Like sacred spaces, museums provide settings for
contemplation, reflection and renewal of the human spirit. They also serve the curator’s
goal to preserve objects sacred to a culture.
5.4 Examples Of Iconic Museums
Guggenheim Museum, Bilbao Pompidou Centre, Paris by J.M. Tijbaou Cultural Centre
By Frank Gerry. Renzo Piano. By Renzo Piano.
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5.5 MUSEUM DESIGN GUIDELINES

There are several things which should be considered while designing a museum, such as
museum entrance, visitor circulation, gallery layouts, etc.
5.5.1 Museum Entrance

Museum visitors most often arrive as individuals and small groups, or as large groups
such as a bus of school children or tourists.
A single entrance and exit for all visitors is ideal. This allows the museums to provide
security efficiently. The clarity of this entrance is of the utmost concern. The entrance
should face the direction of approach. A separate entrance should be used for the
delivery, loading, unloading and storage of artifacts. All entrances should have vestibules
that are deep enough so that the exterior door will close before the next (interior) door
is encountered. This is to minimize dust and particulate air pollution (as well as out-door
temperature/humidity infiltration) from affecting the interior.
As the first interior experience of the museum, the lobby presents a significant moment
and hence should be designed as such that it entices the visitor and plays with his/her
imagination. It is desirable that the entrance and lobby have abundant natural light and
windows. The lobby should be inviting, day or night.
5.5.2 Circulation Patterns in a Museum

The circulation inside the museum will choreograph the entire visitor experience. This
experience should be welcoming, coherent, logical and clear. It should be reinforced by
well designed signage.
Museums want visitors to come back for repeat visits. The design for visitor circulation
should allow flexibility and choice so that the visitors can pace themselves, seek out the
familiar, and explore the new. The arrangement of spaces and the relationship of public
circulation to exhibition spaces should permit choice, but also minimize confusion.
The spaces immediately within the entrance include the information desk, lobby,
orientations areas and major public circulation. These spaces should facilitate visitors’
understanding of the building’s elements and how to easily seek them out. All public use
areas should be accessible or visible from the lobby.
5.5.3 Exhibition spaces/display Galleries

How the visitors circulate through a museum determines; what they will see, where they
will focus their attention, and ultimately, what they will learn and experience.
Exhibitions that require backtracking to see all of the exhibit displays are undesirable
because visitors do not want to waste their time and energy in going back and forth at
one place which is likely to hasten their fatigue. There is also a tendency for the visitors
to move along only one side a path through an exhibition. When exhibits or objects are
displayed as such that a person has to look both ways, there is a competition for the
viewer’s attention between the two side and one or both sides will have a lower rate of
attention and/or approach. The layout of exhibition spaces and the main circulation to
these should be flexible and provide opportunities for the visitor to select multiple
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routes tailored to the duration and intensity of his or her visit. The circulation loop in a
gallery should be such that all the objects are viewed in one go rather than repeatedly
going back and forth. By being so configured, the exhibition experience becomes an
active dimension of the whole museum experience, encouraging repeat visits.
Dead corners lead to wastage of space Angled Corners for better
utilization of space
Vista
Track Lighting
Above
Circulation Pattern inside a Museum and exhibition galleries
5.5.4 Inside a Museum

Gallery and exhibition spaces should be visually pure environments, without visual
clutter (thermostats, temperature/humidity recorders, fire extinguishers, etc.). A
minimum display wall height of 12 feet is required for most new art museum galleries;
however, those dedicated to contemporary art should have considerably higher ceilings,
20 feet being a reasonably flexible height. For moving collections and exhibition and
materials, doorways and openings should have a minimum of clearance. Typically this is
12 feet high by 8 feet wide.
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Mean Eye Height

30
40
0
4’ High
Flat Art
Anthropometric Data.
5.5.5 Environmental Systems In Both Museums And Display

Galleries
Any museum’s role is to preserve and protect its collection. An essential requirement for
preservation and conservation is the maintenance of an unusually stable interior
environment including maintaining an extremely constant temperature and relative
humidity (RH), year round, day and night. Hence, provision for an HVAC system has to be
given. Museum collections are generally more tolerant of temperature variations than of
RH variation. However, RH is extremely temperature sensitive, and therefore,
temperature must be held more constant than RH – so that the RH can be controlled
within a narrow (2 percent) range from the design set point. Lower temperatures are
better for collections conservation. Although people may be most comfortable in the
range of 72 to 76 degrees Fahrenheit, 68 to 70 degrees Fahrenheit is the range generally
recommended for exhibition spaces used by the public. A set point in the range of 60 to
68 degrees Fahrenheit is recommended for collections storage.
Generally, the museum profession recommends constant, year round RH (Relative

Humidity) levels of 50%. Constant RH is required is required because the materials of
which collections are made typically are very sensitive to slight changes in RH. In
unfavorable conditions, those works made of different materials will expand (each
material moving at a different rate), rub, acidify, etc., thereby causing deterioration.
This 50% plus minus 2% value should be maintained year round day and night.
Architecturally, to meet this criterion, the design must use other spaces like main pubic
circulation and lobby spaces as a buffer between collections.
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Chapter 6
Site Analysis
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Selected Site
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Chapter 7
Research Aspect
It was the need of the project to embed my design in the existing conditions such that
it would merge quiet impressively in the context. So the concept of merging in the
environment came into my mind.
Merging In The Environment
7.1 Merging In Visual Impact through Camouflage

Camouflage is a method of crypsis—avoidance of observation—that allows an otherwise
visible organism or object to remain indiscernible from the surrounding environment
through deception. Examples include a tiger's stripes, the battledress of a modern
soldier and a butterfly camouflaging itself as a leaf. The theory of camouflage covers the
various strategies which are used to achieve this effect.1
Image showing different kind of camouflages.
1
http://www.ninjainformationdatabase.com/camouflage.htm
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7.1.1 In Nature
Cryptic coloration is the most common form of camouflage, found to some extent in the
majority of species. The simplest way is for an animal to be of a color similar to its
surroundings. Examples include the "earth tones" of deer, squirrels, or moles (to match
trees or dirt), or the combination of blue skin and white underbelly of sharks via counter
shading (which makes them difficult to detect from both above and below). More
complex patterns can be seen in animals such as flounder, moths, and frogs, among
many others.
Showing a frog which have the colour on his skin almost same to its surrounding environment.
The type of camouflage a species will develop depends on several factors:
The environment in which it lives. This is usually the most important factor.
The physiology and behavior of an animal. Animals with fur need camouflage different
from those with feathers or scales. Likewise, animals that live in groups use different
camouflage techniques than those that are solitary.
If the animal is preyed upon then the behavior or characteristics of its predator can
influence how the camouflage develops. If the predator has achromatic vision, for
example, then the animal will not need to match the color of its surroundings.
Cryptic coloration can change as well. This can be due to just a changing of the seasons,
or it can be in response to more rapid environmental changes. For example, the Arctic
fox has a white coat in winter and a brown coat in summer. Mammals and birds require
a new fur coat and new set of feathers respectively, but some animals, such as
cuttlefish, have deeper-level pigment cells, called chromatophores, that they can
control. Other animals such as certain fish species or the nudibranch can actually change
their skin coloration by changing their diet. However, the most well-known creature that
changes color, the chameleon, usually does not do so for camouflage purposes, but
instead to express its mood.
In nature, there is a strong evolutionary pressure for animals to blend into their
environment or conceal their shape; for prey animals to avoid predators and for
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predators to be able to sneak up on prey. Natural camouflage is one method that

animals use to meet these. There are a number of methods of doing so. One is for the
animal to blend in with its surroundings, while another is for the animal to disguise itself
as something uninteresting or something dangerous.
7.1.2 In Military
Camouflage was not in wide use in early western civilization based warfare. 18th and
19th century armies tended to use bright colors and bold, impressive designs. These
were intended to daunt the enemy, attract recruits, foster unit cohesion, or allow easier
identification of units in the fog of war common to the battlefield before the invention
of smokeless gun powder. In 1857, the British in India were forced by casualties to dye
their white hot-weather uniforms to neutral tones, initially a muddy tan called khaki
(from the Urdu word for 'dust'). This was only a temporary measure. It was not until
after the Second Boer War that, in 1902, the "home service" (i.e. non-tropical) field
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uniforms of the entire British army was standardized using a darker shade of khaki serge.
Other armies, such as those of the United States, Russia, Italy, and Germany followed
suit either with khaki, grey, blue-grey or other colors more suitable for their
environments.
Camouflage netting, natural materials, disruptive color patterns, and paint with special
infrared, thermal, and radar qualities have also been used on military vehicles, ships,
aircraft, installations and buildings. A striking example of this is the dazzle camouflage
used on ships during WW I. Ghillie suits are worn by snipers and their spotters to take
camouflage to a higher level, combining not just colors, but twigs, leaves and other
foliage to break up the human silhouette and to replace the printed patterns of their
uniform with colors and materials from their immediate environment so as to remain
inconspicuous even while being directly observed through binoculars or from above by
aircraft.
7.1.3 Camouflage as Art

Some artists use the theory of camouflage as the technique of producing their art
pieces. Normally camouflage theory is used in the painting art on the live places to show
the invisibility of a person or an object with the context of its surroundings.
The concept behind using it, to convey the message that even you are in the
environment you can hide yourself for the viewers in running conditions.
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7.1.4 Camouflage in Architecture
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7.2 Merging In Circulation Through Morphing Architecture

7.2.1 Morphing
Morphing is a special affect in motion pictures and animations that changes (or morphs)
one image into another through a seamless transition. Most often it is used to depict
one person turning into another through technological means or as part of a fantasy or
surreal sequence. Traditionally such a depiction would be achieved through cross-fading
techniques on film. Since the early 1990s, this has been replaced by computer software
to create more realistic transitions.2
Three frames form a morph from George W. Bush to Arnold Schwarzenegger showing
the mid-point between the two extremes.
Three frames form a morph from Sohaib to Soban showing the mid-point between the
two extremes.
2
http://en.wikipedia.org/wiki/Morphing
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7.2.2 Morphing Architecture
Morphing Architecture is a project published into Jeong Der-Ho's book Responsive Volatility. It
was designed by a former Bartlett student, Armando Reyes Vazquez.
Morphing Architecture began as a one of the last design explorations while doing the
master in architectural design at the Bartlett School of Architecture, UCL, and London. At
this stage the project was called "Morphing Camden" cause it was site specific (Camden,
London) The main agenda of the project was to explore the performance of architecture
during adaptation and the "hybridization
phenomena", this due to the increasing
need of architecture to adapt to various
situations in the most effective way,
increasing the potential of the architectural
intervention as a catalyst enabling new ways
of adaptation and manipulation of the
space.3
In this image are shown two diagrams of

interaction vs. program for a specific
situation, defining multiple formal
configurations for hybrid activities.
Along the performance diagrams,

alternative diagrams were developed, in the
image above there is a mapping of the
3
http://thefunambulist.net/2010/12/15/students-morphing-architecture-by-armando-reyes-vazquez/
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circulation patterns followed by users through the first layout of the project.
Elements called "morphing ramps" were

developed in order to create a responsive
environment based on the requirements
of the programs, type of users, weather
conditions and time of day, these ramps
work as a pneumatic conveyor belt, there
were seven of this ramps attached to a
shell conceived as a conventional element
that would connect the responsive environment to an existing underground station. In
this image the ramps are responding to the following conditions: Summer, Sunday,
12:00, 25C, Hybrid program of public space + Retail.
This is an X-Ray view through the Camden

project, in here only three of the seven
morphing ramps, each one in a different
responsive stage, the one in the left
providing a contained private space in a
higher level and a public open space at the
lower level, the one in the middle in one of
the morphing stages deflating and inflating
certain elements to acquire the form in the
third ramp which is a single facade open in
two half levels.
A ghosted image of 2 hours of morphing

sequences where one can see the nonstop
change of the ramps.
For extra responsiveness, elements of

another scale were develop so the
adaptation of the whole thing could go from
the main programmatic activities to the
needs that were a consequence of these
ones, these elements follow the same
principles that the ramp and work as
pneumatic devices as well. They respond to
activities such as retail, shelter, food
bending or consumption + weather + user +
others.
Zoom of the XS responsive elements, main

pneumatic core, secondary light metal
structure plus anchorage elements and
inflating pipes.
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Shown in here one of the many possible

configuration inside the morphing ramps
with the XS ramps attached to it.
But Morphing Camden was just an excuse,

the same principals could be applied for a
number of different scenarios, if these
ramps were to be self supported by only
changing the specifications on the
secondary structure the possibilities are
endless, in a planet full of disasters, the red
cross could have one or many of these cost
efficient morphing architectures where
these could be used as endless shelters
(left) for people in need, medical stations or
storage (right).
There are many other scenarios in which

minor adaptations would allow this
morphing device to perform at full capacity
and enhance the program or the solutions
to a problem. Acting as the catalyst mention
before....anywhere or everywhere, this is
architecture as a chameleon blending into
our times.
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Chapter 8
8.1 GREAT COURT AT THE BRITISH MUSEUM
LONDON, UK, 1994-2000
A landmark in the history of British museum and one of the most significant projects of
Norman Foster, the great court has reclaimed London's most lost spaces and
transformed the visitor’s experience of the museum giving the city one of its most
remarkable public space.
The courtyard at the heart of the British Museum is the largest enclosed public space in
Europe. Its glazed canopy is a fusion of state-of-the-art engineering and economy of
form. A new kind of public space – a cultural plaza - the Great Court resonates beyond
the confines of the Museum to provide a new civic amenity for London.
A painting reflecting British museum's old look
The Great Court, after renovation
The great court in British museum was designed as an open space for public but later on
it was given to the library department.
Later when library department moved to the new wing, it was decided that the space
was given back to the public.
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8.1.1 Place Making: The Great Court

Beneath Its own glass sky the Great Court has created new ways of accessing and
enjoying the Museum's collections and has pioneered patterns of social use hitherto
unknown within this or any other museum. The Great Court is a new kind of civic space -
a cultural plaza - which people are invited to use and enjoy from early in the morning to
late at night In a crowded city and a busy Museum it is an oasis.
It followed that the Great Court offer an urban experience in microcosm. Unlike other
museums, where the first thing you see is the gift shop, as you enter the Great Court
from the south, the drum of The Reading Room sits before you In the courtyard like
rotunda surrounded by the hustle and bustle of the Museum. Great Court is more that a
restoration, it is creation of something powerful distinctively new. It mixes urban design
and architecture and confronts the language of classism with computer generated
computer design.
Foster allows both structures to coexist by turning the negative into positive space. The
Great Court appear to take its character form its surroundings but it is anything but
passive.
8.1.2 Transformation of the Great Court

The courtyard only existed in its original state for a brief period between 1847 and 1854.
According to Panizzi's assistant –who cannot be considered entirely Impartial – it was a
'dead loss: The courtyard was once symmetrical with a portico in the centre of each
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façade (only the south portico opened onto it, the others being 'blind'). But the south
portico was destroyed to extend the entrance hall in 1870. After the Library had opened.
Together will1 the destruction caused by the steady accretion of makeshift additions in
the courtyard over the years, the building suffered bomb damage during World War II. If
you are rebuilding architecture with such a complex history, what do you do? How much
do you restore? How far do you pretend that new work is In fact old? Smirke had
wanted an open courtyard, so in the interests of historical authenticity, do you demolish
the Reading Room? Or do you plough the courtyard up, and devote it to growing exotic
botanical specimens, as Smirke envisaged? Clearly not.
8.1.3 Concept
Foster and de Grey believed that, for the Great Court to read as a coherent space, would
be necessary to reconstruct the missing south portico. It is not an exact replica but a
new design that reflects contemporary realities.
8.1.4 Design approach and layout:

The Reading Room, encased in stone, girdled by sweeping twin staircases, stands at the
centre of the Great Court as monumental rotundas, connected only by the most
tentative of glass links to Smirk's Museum to allow access from the existing upper level
galleries. Everything else is kept low-key.
Access to the rest of Fosters work at the Museum -the lower-level lecture theatres, the
Locker rooms fir school parties – is from a pair of stairs sunk into unobtrusive openings
pressed against the south wall of the courtyard.
To the north, in what will be the Welcome Gallery, another pair of stairs led to the new
Sainsbury African Galleries.
As a visitor you we aware of the powerful presence of $w stone clad drum of the
Reading Room even before you reach it. In the entrance hall that Smirke built,
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daylight now filters gently in, urging, you on till you find yourself under the roof, with its
fascinating optically dynamic structure.
8.1.5 The design works at three different levels:

First, it addresses urban Issues. By sinking the galleries and lecture theatres beneath the
floor of the courtyard itself rose up to match the main Museum floor - Foster has freed
up space in the courtyard itself. Thus it has become a great urban space - not just the
heart of the Museum but related to the city beyond, part of a pedestrian route from
Bloomsbury to the Thames. Visitors can now enjoy a sequence of spaces riot so far
removed from Smirke's original intentions. They move from the forecourt that he
created facing Great Russell Street, through the triumphal colonnade at the front of the
Museum, through the richly painted entrance hall into a sudden explosion of light and
space beneath the billowing glass and steel roof. From there they may now continue,
circulating around the drum of the Reading Room and exiting the Museum on the other
side.
Secondly, Foster confronts the issue of how to deal with such an important monument
as the British Museum and the extent to which historical authenticity is possible. The
courtyard only existed in its original state for a brief period between 1847 and 1854.
According to Panizzi's assistant –who cannot be considered entirely Impartial – it was a
'dead loss: Another critic called it 'the finest mason's yard in Europe. The courtyard was
once symmetrical, with a portico in the centre of each façade (only the south portico
opened onto it, the others being 'blind‘.
The third key issue that Foster faced was what to do with the external, walls of the
Reading Room. The building originally had a brick skin, which by the time of the
competition had been pierced with modern rectangular window openings. Foster's
original plan was to place around the Reading Room a two-storey-high ellipse of
accommodation, which would have come to within 7 meters (22.75 feet) of the south
portico. This was modified to became an ovoid, tiered stack of accommodation, which
wraps around the e circular drum of the Reading Room to the north, accessed via a
symmetrical pair of staircases, culminating in a restaurant terrace, level with the
pediment of the north, portico. The drum at the Reading Room is faced with limestone,
matching the floor of the courtyard. This has the effect of turning the Great Court into a
formal, unified space.
8.1.6 The three main aspects for the project

 Revealing hidden spaces
 Revising old spaces
 Creating new spaces
The courtyard had been a lost space since 1857. The re-design of the Great Court meant
that this hidden space could be seen again.
The design of the Great Court was loosely based on Foster’s concept for the roof of the
Reichstag in Berlin, Germany. A key aspect of the design was that with every step in the
Great Court the vista changed and allowed the visitor a new view on their surroundings.
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Work on the Great Court's magnificent glass and steel roof began in September 1999.
The canopy was designed and installed by computer. It was constructed out of 3,312
panes of glass, no two of which are the same.
At two acres, the Great Court increased public space in the Museum by forty per cent,
allowing visitors to move freely around the main floor for the first time in 150 years.
8.1.7 Revising old spaces: the ford centre

Previously a storage room for Egyptian sculpture, the Ford Centre for Young Visitors
provides dedicated facilities and a range of tailor-made educational programs for the
hundreds of thousands of young people who visit every year.
At weekends and during school holidays these areas are used for family and community
events.
8.1.8 Creating new spaces

 Galleries
 Education Facilities
 Visitor Facilities
 Forecourt
8.1.9 Main Points

If the Museum can be thought of as a city, then the Great Court is its civic square. It is a
major new social space for Londoners and has already become a popular rendezvous for
those living and working in Bloomsbury.
The great court throughout history had gone under transformation, but the very
intervention by Sir Norman Foster, had completely changed the essence of the space.
This eclectic example of how two historic buildings are connected by a contemporary
design element to give a new space to the city and add meaning to the existing
construction.
An urban experience in microcosms; the light flooded the public space of great court
offer an architectural unlikely in London. There in an ease of understanding space and
the movement pattern by the user. People claim this place as their own.
The ovoid structure that wraps around the drum of the Reading Room creates
enclosures for much needed new accommodation, but its form has also been designed
to aid movement around the Court. It swells and recedes in relation to the perimeter of
the space, creating a dynamic Interplay between the two.
The great court can be easily called as a covered urban space, which marks the marriage
between the two eras in history architecture and construction technology. An alliance of
geometries with digital codes.
The layering of spaces both horizontally and vertically clearly delineates the various
layers of transformation the space had gone through. A new civic space beneath the
glass sky to the new urban generation.
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8.1.10 Conclusions which may help in our site

The Great court gives a combine sitting and open but covered space between the all
wings of British Museum.
It is a very good public place which can be used for the experiencing the museum's
artifacts, an enclosed piazza, a reading space, or just having a meeting with your friend
in a restaurant having such a nice environment.
Due to its café and restaurant facility visitors go there from the early in the morning to
the late at nights, which gives it a complete life for whole day.
It has also basements under the galleries and also under the court yard, which is a very
good thing that the area of courtyard is not in use of just a courtyard or just an enclosed
room for gallery or storage.
The monumental stairs (around the circular gallery in the courtyard) gives a very nice
and elegant look and also gives an informal sitting space, which kind of spaces are more
interesting and welcoming elements in any public place.
It gives a different and a visitor catching look to the British Museum by giving a unique
kind of roof.
It's good to have these kinds of roof applications for that country's environment, but if
we consider it for our country it is so difficult to maintain it, cause of air pollution factor.
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8.2 Louvre Museum

PARIS, FRANCE, 1983-1993.
8.2.1 Introduction
The Louvre Museum is one of the largest and arguably the world´s most famous art
museum. The building is a former royal palace. Louvre is situated in the center of Paris
between the river Seine and Rue de Rivoli.
8.2.2 The Building
The first royal "Castle of the Louvre" on this site was founded by Philippe II in 1190, as a
fortress to defend Paris on its west against Viking attacks. In the 14th century, Charles V
turned it into a palace, but Francois I and Henri II tore it down to build a real palace; the
foundations of the original fortress tower are under the Salle des Cariatides (Room of
the Caryatids) now.
The existing parts of the Chateau du Louvre were begun in 1546. Here the architect
Pierre Lescot introduced to Paris the new design vocabulary of the Renaissance, which
had been developed in the chateaux of the Loire. His new wing for the old castle defined
its status, as the first among the royal palaces. J. A. du Cerceau also worked on the
Louvre.
During his reign (1589 - 1610), King Henri IV added the Grande Galerie to the Louvre.
More than a quarter of a mile long and one hundred feet wide, this huge addition was
built along the bank of the Seine River and at the time was the longest edifice of its kind
in the world. Henri IV, a promoter of the arts by all classes of people, invited hundreds of
artists and craftsmen to live and work on the building's lower floors. This tradition
continued for another two hundred years until Napoleon ended it.
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Architect Claude Perrault's eastern wing (1665 - 1680), crowned by an uncompromising

Italian balustrade along its distinctly non-French flat roof, was a ground-breaking
departure in French architecture. His severe design was chosen over a competing design
provided by the great Bernini, who came to Paris for the purpose. Perrault had
translated the Roman architect Vitruvius into French. Now Perrault's rhythmical paired
columns form a shadowed colonnade with a central pedimented triumphal arch
entrance raised on a high, rather defensive basement, in a restrained classicizing
baroque manner that has provided models for grand edifices in Europe and America for
centuries. The Metropolitan Museum in New York, for one example, reflects Perrault's
Louvre design.
The Louvre was still being added to by Napoleon III. The new wing of 1852 - 1857, by
architects Visconti and Hector Lefuel, represents the Second Empire's version of Neo-
Baroque, restlessly charged with detail everywhere and laden with sculpture. Work
continued until 1876.
I. M. Pei's glass pyramid entrance, 1985 - 1989, providing a modern entrance to the
various museums, seems in retrospect to be the inevitable and perfect unobtrusive
solution to an impossible design problem. It was highly controversial when it was built.
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8.2.3 Project definition

Owner: Musée du Louvre (national project)
Building use: museum
Building type: new construction and renovation
Site area: 9 hectares
Floor area: 61,990 square meters (phase I),
55,000 square-meter demolition and
50,000 square-meter new construction (phase II)
Gallery space: 60,000 square meters (645,000 square feet)
Project cost: FF6, 900,000,000 (approximately US$1 billion)
Architect: I. M. Pei and Partners, Paris (now Pei Cobb Freed &
Partners)
Associate architect: Michel Macary, Georges Duval
Project delivery method: design-bid-build (multiple packages)
Design period: 1983 – 1988 (phase I), 1988 – 1993 (phase II)
Construction period: 1984 – 1989 (phase I), 1989 – 1993 (phase II)
The central courtyard is now occupied by the Louvre glass pyramid, completed in 1989.
The entrance of the galleries lies below the glass pyramid.
8.2.4 The architect had to face some key issues:

 Handling a public project,
 Working in a different cultural environment,
 Managing the different interests of the owner/user groups and the bureaucracy,
 Coping with a high degree of uncertainty and complexity,
 Coordinating the overlapping tenders and works.
8.2.5 Architecture of Louvre Pyramid
The Architect of Louvre Pyramid is the Chinese-American I.M Pei. His creation is already
world famous and would certainly become a part of the architecture history of Paris. Pei
is a Pritzker Prize winning architect and is known as the last master of high modernist
architecture.
The big pyramid in glass which rises in the middle of Cour Napoléon is surrounded by
three smaller pyramids. The area between them is accentuated of shallow triangle-
shaped basins in dark stone, which is lying a bit over the ground level. Fountains in the
basins perfect the composition.
It was drawn to make light to the museum entrance below and brighten up the ground
level and the stone front surrounds it. The realizing use of both material and colors allow
the sky and the water become a part of the composition.
The glass is a special design of Saint Gobain and was polished twice in France and Great
Britain. It is fixed by a construction in stainless steel. The result is light and glistening, a
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balance between reflection and transparency against the heavy stone front, which is
filled with the history of the centuries.
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8.2.6 Conclusions
 A big courtyard/urban open space
 Designed in a sense to create a public space
 Courtyard gives an interactive space to the visitors
 Glass pyramid is an iconic structure which is a magnet for catching the visitors
 In the basement of courtyard there are more galleries constructed, which is good
for not wasting the space in just one use as now they have galleries in basement
and courtyard on ground level
 The extension of the museum (underground galleries) gives more display area
without destroying the built environment
 Very good relation in indoor and outdoor environment with the help of glass
pyramid
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8.3 Olibia Social Centre

A social centre to act as a bridge between teachers and students.
8.3.1 Description
Client: Akdeniz University
Architect: Cengiz Bektas
Commission: 1998
Design: 1998
Construction: 1998
Occupation: September 1999
Site Area: 12,000 sq.m
Built Area: 3,641 sq.m
Cost: 728,000 USD
8.3.2 Introduction
The Olibia Social Centre was designed for the Akdeniz University (Mediterranean
University) in Antalya, Turkey. The purpose was to provide the campus community with
a complex where students could engage in social and cultural activities in an
interdisciplinary and intellectual atmosphere that would contribute to their personal
development and learning experience. The project comprises an auditorium complex; an
amphitheatre; rooms for student societies; a restaurant and various cafés; a book and
stationery shop and various other shops; an exhibition area; and a circulation area
articulated with public spaces, waterscape elements, plants and sculptures. One of the
tasks in designing the Centre was to solve the identity problems of buildings that existed
in different styles, and tie together the disparate parts of the university. The complex is
designed according to a basic module that gives flexibility in area divisions and
functional changes. The spaces of the project, created in an intimate human scale, flow
into each other in a perpetual series of perspectives. The area is well used by university
students and staff, as well as by members of the community.
8.3.3 Historical background

In 1997 the architect Cengiz Bektas was invited to give a presentation and a lecture at
the Mediterranean University about the old city of Antalya. The lecture helped raise
awareness among the university’s rectorship, professors and administrative staff that
the campus lacked identity in its buildings and spaces. In addition, it was perceived that
in this predominantly modern atmosphere there was a lack of communication between
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people, and little sense of ‘belonging’ – either to the campus or to others. The
relationship between teachers and students was considered sterile and formal.
8.3.4 Objectives
The general programme objectives can be summarized as follows:
 To create adequate places for the students to interact both with each other and
with the faculty, in a comfortable and informal atmosphere;
 To provide sufficient money-making activities to guarantee a reasonable profit
for the BOT firm;
 To keep construction costs low so as to benefit both the BOT firm and the
campus community, since any rise in construction costs would reflect on the
price of services offered in the centre.

8.3.5 Concept
The concept of the new centre was based on the architect’s belief that, in order for a
sense of community, people from different disciplines should meet and exchange ideas
in a relaxed atmosphere. Much in the way the past civilizations used a common space,
such as, the Greek Agora, the Roman Forum or the Oriental Bazaar. He also stressed the
importance of “incidental” and informal learning, noting the student learns more from
each other than from the classrooms.
Accordingly, the main objective was to create a new adequate place for students to
interact both with each other and with teaching staff in a comfortable and informal way.
8.3.6 Design
The complex is designed according to the layout of a traditional bazaar with a series of
buildings Arranged around a central axis formed by a pathway. This is divided centrally
by water channel which flows over gentle waterfalls from the highest point of the right
humidifying and cooling the surrounding spaces. In two places the pathway widens to
create outdoor focal points for the various functions. The space to the north contains a
large pool of still water surrounded by an auditorium complex and a restaurant. The
south, small pit of stepped seats can be used for individual reflection or for interaction
within small groups, overlooked by a clock tower. Around this space are arranged cafes,
book, stationary and various other shops. At the other stages along the central walkway
are rooms for the student’s club, an exhibition are and a sports club. Covering both sides
of the path, curving, linear pergolas balance and integrate indoor and outdoor spaces.
To the east an open air amphitheatre with seating for 1200 people is used for
performance in a wide range of social and cultural activities not just by the students but
also by residents of Antalya, helping to integrate the university campus into the
surrounding community.
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8.3.7 Project data

The site area of the Olbia Social Centre is 12,000 square metres. Most of the floor is at
ground level and covers an area of about 3,000 square metres; there are also some
mezzanine areas in the restaurant and cafés. The clock tower is about 12 metres high.
Total covered area is about 3,641 square metres. The complex is composed of detached
masses of different lengths, widths and heights, Olbia Social Centre, Antalya, Turkey all
of them designed on a basic repetitive module of 3.6 metres in both directions of the
plan. This allows for flexibility in the future division of the spaces according to changing
needs and functions. Some areas of the complex, however, are permanent and do not
allow for much flexibility, namely the open-air amphitheatre, the auditorium complex
and the toilets.
The complex as a whole is composed of different functions; these are aligned on one
main axis that widens in some parts to form main and subsidiary outdoor locations. The
functions are as follows:
 Open-air amphitheatre (seating 1,200)

 Two auditoriums, of different seating capacities (100–150), that can be also used
for film showings
 Self-service restaurant
 Book and stationery shop
 Fauna and flora museum (currently used as an exhibition hall for local
handicrafts)
 Internet café
 Various coffee shops
 Meeting rooms for various student societies (concerned with the environment,
culture, politics, etc.)
 Bank
 Travel agent
 Bar
 Clothing shop
 Public toilets
 Clock tower
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Open air theatre
Self service Restaurant
Coffe Shops
Exhibition Halls
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Conclusions
• Public interaction is the main idea.
• Designed in a sense to create a public space.
• Site location w.r.t. public accessibility.
• Combination of indoor and outdoor spaces.
• Interactive enviorment.
• Flexible space to catter different users i.e students & public.
• Main focus on interaction therefore, all the activities are revolved around a
publis space i.e. public street.
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Chapter 9
Design Concept, Criteria and Architectural Program

9.1 Design Concept
The open public place will be design on the study of site analysis, which will give
a better place to the tourists, a better environment to the students of the institutes
and a healthy learning environment to the museum's users.
The main concept of designing the building is the emergence of the both
research aspects (The Camouflage and Morphing in architecture).
With camouflage the building will show the impact of the built environment on
itself so it can be look like the part of this area. For this purpose the exterior
treatment of the building will be done by the basic material red bricks (used in
most of the buildings on mall road) which is also the local material for Lahore.
With Morphing the building will look like the combination of current international
architectural style and the traditional style of Lahore, for this purpose I will use the
research on the time line of architectural style (done by our senior Omer Gillani
Batch 2005) and then apply the local material on the building to merge that style
in this area, the new architectural style will tell the age of new addition after some
time but it will not look like an alien if we use the local finishing material on it.
The morphing will be use also in the master planning of the site and the building
to morph its new circulation with the existing circulation.
9.2 Design Criteria
The criteria is to use site analysis as the basics to make this project user and
environment friendly open public place, also an efficient and functional building
with in the conceptual measures of form. The building will go in the morphed form
between the current style our traditional style of architecture that will make an
iconic building which can give experience throughout the site that a user can
relate to it and can enjoy the visit with flexibility of not making it a bore space on
visiting several times.
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9.3 Architectural Program

Spaces for Attraction
 Amphitheatre for 250 persons @25sft/person

 Basket ball Court
Spaces for Interaction
 Cafe for 100 persons

Dinning (8sft/person) 800 sft
Circulation (30% of Dinning area) 240 sft
Kitchen (30% of Dinning) 240 sft
Storage (30% of kitchen) 72 sft
Wash rooms 300 sft
Total area 1652 sft
 Display Galleries for 100 students

Galleries for @150sft/student) 15,000 sft
30% circulation 4500 sft
Lobby/waiting 20% 3000 sft
Toilets 300 sft
Storage 400 sft
Total 23200 sft
 Sitting spaces
Masjid for 200 persons
 Praying area (8sft/person) 1600 sft

 Circulation, admin, toilets and hujra 1000 sft
Total area 2600 sft
Area for Museum Extension
 Galleries for museum displays 8@6000 sft 48000 sft

 Toilets 300 sft
 Entrance lobby 2000 sft
Total Area 50,300 sft
Admin area
 Director office
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 Accounts dept
 Management dept
 Maintenance dept
Total Area 1500 sft
Service area
 Kitchen storage, loading, unloading, garbage disposal

 Maintenance areas for galleries
 (Repairing, framing, painting, chemical treatment)
Total Area 3000 sft
Grand Total 82,252 sft
Relationship and Flow Chart for Museum and Galleries
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Possible Gallery Arrangements
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Site Utilization
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Appendices
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BIBLIOGRAPHY
Books
 AIJAZUDDIN, F.S. 2003. Lahore Recollected. Lahore: Sang-e- Meel Publishers.
 AIJAZUDDIN, F.S. 1991. Lahore [illustrated views of the 19th century]. Vanguard Books Ltd.
Lahore
 GOULDING, H.R. Old Lahore [Reminiscences of a Resident] Lahore: Universal Books
 LATIF, SYAD MUHAMMAD. 1892. Lahore [Its History, Architectural Remains and
Antiquities]. New imperial press, Lahore
 MUMTAZ, KAMIL KHAN. 1985. Architecture in Pakistan. Singapore: Concept Media Pvt.
Limited.
 VANDAL, PERVAIZ & VANDAL, SAJIDA. 2006. The Raj, Lahore, and Bhai Ram Singh. Lahore:
Research and Publication Center, National College of Arts.
 Lahore Glimpses of a Glorious Heritage by Nazir Ahmad Chaudhry
 LAHORE RECOLLECTED an album by F.S AIJAZUDDIN
 [Architecture Ebook] Norman Foster and the British Museum – Prestel
Thesis Reports
Lahore Museum, a Re-Working by Mohsun Riaz NCA-2010
Artisan's village and crafts museum at at qasr-e-fatima Karachi NCA-1991
Interactive learning center NCA-2007
Museum of contemporary terrorism NCA-2009
Punjab public library, Lahore NCA-1985
A sense of place in the public domain NCA-2007
Live Work Play at the Lahore Central Station by Ayisha Batool NCA-2009
Chronological juxtaposition: journey of architecture through the last century by Omer Gillani
PUCAD-2010
Social Regeneration of F-7 Markaz, Islamabad by Zain Zahid PUCAD 2010
Hunar Ki Nagri by Ayisha Bakhtawar PUCAD 2010
Internet Sources
 http://www.nwda.co.uk/pdf/071012-CreatingInspirationalSpacesFINAL.pdf
 http://consult.gov.je/portal/ipr/ipgp?pointId=1212502514826
 http://www.aam-us.org/aboutmuseums/whatis.cfm
 http://www.jsu.edu/psychology/docs/49.4.Bitgood.doc
 http://www.fosterandpartners.com/Projects/0793/Default.aspx
 http://www.pluspets.net/great-animal-camouflage/
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 http://thefunambulist.net/2010/12/15/students-morphing-architecture-by-armando-reyes-
vazquez/
 http://www.lahore360.com/index.php?id=13&m=45
 http://www.urbanpk.com/forums/index.php?/topic/8502-lahore-university-of-the-punjab-
allama-iqbal-old-campus/
 http://www.nca.edu.pk/intro.htm
 http://en.wikipedia.org/wiki/Camouflage
 http://www.ninjainformationdatabase.com/camouflage.htm
 http://www.thecoolhunter.net/architecture/The-Camouflage-House/
 http://mitpress.mit.edu/catalog/item/default.asp?tid=10778&ttype=2
 http://en.wikipedia.org/wiki/Morphing
 http://thefunambulist.net/2010/12/15/students-morphing-architecture-by-armando-reyes-
vazquez/
 http://boiteaoutils.blogspot.com/2008/08/morphing-architecture-armando-reyes.html
 http://cumincades.scix.net/data/works/att/35a6.content.pdf
 http://www.archinomy.com/case-studies/1976/the-great-court-british-museum-london
 http://www.architectureweek.com/2001/0214/design_1-2.html
 http://www.aviewoncities.com/london/britishmuseum.htm
 http://www.paris-france-vacation.com/louvre-museum.html
 http://www.paris-france-vacation.com/architect-louvre-pyramid.html
 http://www.discoverfrance.net/France/Paris/Museums-Paris/Louvre.shtml#
 http://www.france.com/docs/541.html
 http://www.fitzcarraldo.it/ricerca/pdf/musli_finalpublication.pdfDrawings
 http://www.fitzcarraldo.it/ricerca/pdf/musli_finalpublication.pdf
 http://www.louvre.fr/media/repository/ressources/sources/pdf/src_document_52741_v2_
m56577569831285499.pdf
 http://www.akdn.org/publications/akaa/2001_125.pdf
 http://www.google.com.pk/url?sa=t&rct=j&q=olbia%20social%20centre%20project&source
=web&cd=2&ved=0CB4QFjAB&url=http%3A%2F%2Farchnet.org%2Flibrary%2Fdownloader%
2Ffile%2F1171%2Ffile_body%2FFLS1060.pdf&ei=zf3CTpzbOMjBswatiq2KDA&usg=AFQjCNEgi
q2AFzktGcCXc_MUyA5T7gevuw
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“DEPARTMENT OF ARCHITECTURE”

COLLEGE OF ART AND DESIGN

INTERACTION BETWEEN THREE CHARACTERS

Syed Ali Zeeshan Rizvi

Dr. Mehmood Hussain

Mr. Tariq Khalidi

I dedicate my thesis to my parents, who have always been my

First of all I am very thankful to Almighty Allah for giving me strength

I am also grateful to my kind teachers especially to my internal advisor, Dr.

My special thanks to all my friends and colleagues who have been my

4.2 Lahore Museum Extension ................................................................................................................ 37

8.1.3 Concept .......................................................................................................................................................... 73

1.1 THE THREE CHARACTERS (CLIENT’S BRIEF)

So is there a way to solve these problems?

1.2 PROJECT OVERVIEW

1.3 CLIENT BRIEF

1.4 PROJECT IMPORTANCE

1.5 AIMS and OBJECTIVES

1.6 SCOPE OF WORK

Traditionally a "community" has been defined as a group of interacting people living in a

In biological terms, a community is a group of interacting species sharing an

2.2 Communal space (Public Place)

Communal space or community centers are public locations where members of a

An Illustration showing Interaction

2.3 Historic Evidences

2.3.1 The Greek Agora (5th century BC)

Agora was a centralized area

2.3.2 Roman Forum (7th century BC)

For centuries mosques have been the centre of

Rajistan square (8-13th Wazir Khan Mosque

2.4 What Makes a Successful Public Space?

Successful public spaces have four key qualities:

 Uses and Activities

2.5 Why Public Spaces Fail?

(Whyte, H. William, 1988)

 Lack of Places to Sit

2.6 Examples of Dead and Alive Public Spaces

A dead, unlively space in Bilbao Water and Fire Show on River of

A dead, unlively space in Bilbao Museum,

Buildings or monuments of historical and/or recreational significance on The Mall

Comparison between Past and Present Base Map

Upcoming Projects in this Area

 Lahore Rapid Mass Transit System's Green Line

Green Line Stations

Orange Line Stations

4.2 Lahore Museum Extension

This extension will be the part of our project.

For that purpose we have to study Lahore Museum first.

4.2.1 Lahore Museum

Some of the major collections of the Museum were

4.2.2 The Lahore Museum Timeline

1864-Industrial Art Exhibition

1890-Lahore Museum's Construction Began

1894-The Official Opening of the Museum

4.2.3 Lahore Museum Artifacts Data

 Lahore Museum has almost 2 Lakh artifacts.

4.2.4 Lahore Museum Visitors Data

Visitor Statement For Year 1993

Visitor Statement For Year 2003

Visitor Statement For Year 2011

Change in Numbers of visitors

Year 1993 Total Visitors = 298249

Year 2003 Total Visitors = 271163