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MUSEUM OF

KNOWLEDGE
A DEMOCRATIC SOCIAL SPHERE

1. INTRODUCTION.
2. AIMS AND OBJECTIVES.
3. SCOPE OF WORK.
4. LITERATURE STUDY.
5. SITE ANALYSIS.
6. CASE STUDY:
. INDIA HABITAT CENTRE, DELHI.
. JEWISH MUSEUM, GERMANY.
. CENTRE LE CORBUSIER,
SWITZERLAND.
. MUSEUM OF WESTERN ART, TOKYO.

SUBMITTED BY:
DIPALI.R.MAHESHWARI.
ROLL NO. 06. BARCH 10TH SEM.

1. INDIA HABITAT CENTRE, DELHI (JOSEPH ALLEN


STEIN)
ABOUT IHC
INTENT OF STUDY
Tostudytheinterrelationshipbetweeninstitutions
workingindiversehabitatrelatedfieldsbrought
togetherinanintegratedmanner.
Thecommonfacilitiesprovidedforinformation,
disseminationthetypes,theirsizesandlocation.
Tostudytheenvironmentcreatedinsidethecomplex
throughdifferentarchitecturalelements,faade
treatment,materials,landscapeandclimatetemperedcourtyards.
Tocriticallyanalyzetheofficesprovidedtovarious
institutions/individualfirms.
Finallytoanalyzethearchitecturalcharacter,
circulation-vehicular,andpedestrian,theservices
providedandtheparkingforvehicles.

Theindiahabitatcentre(ihc)islocatedalongthe
lodhiroadonthefringesoflutyensdelhidesigned
byarchitectjoseph allen stien.Spreadovernine
acresoflandihchasabuilt-upareaof
approximatelyonemillionsquarefeet.Thel
shapedsitehasfrontageonthethreesides.Itis
boundedbythemaxmullermargonwest,the
vardhmanmargonsouthandthelodhiroadonthe
north.Thefourthsideisflankedbybalbharthi
school.Thecomplexisaccessiblefromthree
sides,themajorpedestrianentrancebeingfrom
lodhiroadonthenorth.

ACCESS
Thecomplexhasanaccessfromthreesideshaving
thelodhiroadonthenorth,maxmullermarg
towardsthewestandvardhamanmargonthe
southernside.Thus,ithasthreemaingates,
referredtoasgateno.1,gateno.2andgateno.3.
Gateno.2,onthemaxmullermargistheone,
whichdirectlyleadstothedoublelevelbasement.
Theliftsthentaketotheupperlevelsformthispoint.
Theothertwogatesdirectthevehiclestothe
surfaceparkingthat
VARDHAMAN
hasbeenprovided.
ROAD
Thisparkingbasically
catersto
thepublicareaslike
theconferencehall
providedandthe
parkingforvehicles.

FACILITIES
Thei.H.C.Providesthefollowingfacilitiesforthe
useofmember:
40,000squaremetersofofficeaccommodation
forinstitutions.
Conferenceroomswithatotalcapacityof1000in
10locationsofdifferentconfigurationsranging
from30to450.
60guestroom,fivesuites,andfiveservice
apartments.
Conferenceroom,cafeteria,restaurantsand
privatedinningroomtohandleapproximately1500
personsatatime.
A700sqmexhibitionareawithbuiltinsystems
andstructuresformultimediaexhibitions.
A250seatamphitheatre.
Anauditoriumwith500capacity
Auniquelibrary/resourcecenterwithe-maillinks
toresourcescentersabroad.
Otherfacilitiesincludeanartgallery,executive
fitnesscenter,bank,travelagency,giftshop,dish
antennawithmulti-channelcabletvandpiped
music,corporatepostofficeandunderground
parking1000carsand2000two-wheelers.
With97,000m2ofbuiltuparea,habitatcentre
providesavarietyofrelatedactivitiesand
institutions,withadensityofapproximately1000person/acre(totalarea=9acres).25 percentofthe
totalareagoesintothelandscapedcourts.

GROUND FLOOR PLAN


LODHIROAD

INTERNAL VIEW IF IHC

THE SPATIAL ORGANISATION

Thehabitatcentreisorganizedasaseriesoffourto
sevenstoreyblocksaroundlinkedshaded
courtyards.Thebuiltformsaregroupedaround
climatetemperedcourts,shadedbyoverhead
sunscreensandareenlivenedbyverticalgardens.
Thecomplexhasaverywellplannedsegregationof
spaces.Allblocks/areas,whichareexpectedto
experiencealargeandregularinflowofpublichave
beenplacedveryclosetotheentrances;theoffice
areasbeinggiventheaccessfromtheinsideofthe
courtyards.Althoughthepublicandthesemi-public
areashavebeenplacedinseparatebuiltblocks,the
courtsandthelandscapeareasformaverygood
connectionbetweenthetwo.Thelandscapeformsa
veryintegralpartofthedesignandseemstobea
partofthebuiltscape.

THE PLANNING & IMPORTANT


FEATURES
Thecomplexisaccessedfromallsidesthe
majorpedestrianentrancebeingfromlodhiroad
onthenorth.Thedistributionofvariousfunctions
onthesiteissimple
Thetwoblocksonlodhiroadarehandedoverto
officesonthetopandreservedforpublicfacilities
onthegroundfloor.
Thethirdblockonthesouth,housescommon
facilitieslikeaconferencecenter,alarge
auditorium,libraryandaguesthouse.
Twobasementshousealltheparkingandservices
extendundertheentireblock.Restaurantsand
exhibitionspacesonthegroundflooropenoutinto
thecourts,withthecourtsalsobeingusedforthe
publicexhibitions.
SOUTHBLOCK
(AUDITORIUM,
LIBRARY,
CONFERENCE
CENTER)

NORTHBLOCK
(OFFICESONTOP
&PUBLIC
FACILITIESON
GROUNDFLOOR)

GREEN SPACES-PALM COURT


Thegroundwasperceivedasavehicle-free
environment,andafairlyelaboratesystem
workedouttodenyentrancetoallmotorized
trafficexceptforrepairandfire.Allcarsand
scootersaredirectedintotwolevelsof
basements.Theconferenceblockistheonlyone
thatallowsentrytovehicles.Buildingvolumesare
articulatedtoforminterconnectedinternal
courtyardsthatarethemajorpublicspaces.
Anotherfactorthatgovernsthedesignwasthe
efforttomodifytheclimateasmuchaspossible
bynon-mechanicalmeans.Thus,thetoptwo
floorshavebeenprojectedtwice.Thisresultsina
buildingshadowthatislargerthanitsfootprintit
alsocreatesaclassicalorderofthepediment.

BLOCKS OF IHC

SCREENING FOR SUN PROTECTION TO


PALM COURT

2. JEWISH MUSEUM, BERLIN GERMANY (DENIAL


LIBISKIND)
Location: Berlin,Germany.
Architect: DanielLibeskind
Project Year:1999
Area:15499.9sqmt

MASSING
Thereare10polygonswithdifferent
sizesunitetoformthezig-zagplanof
thebuilding.

Gardenof
exile

NATURAL LIGHT
Theinteriorlidbythelinearwindowsallow
visitorstoseetheglimpsesofthecity.The
voidslidbytheskylightsabovegivesenseof
hope.

SUBTRACTIVE
Separationofarectangleintodifferent
sizescreatevoidsthatdisturbthe
circulationbyallowingthevisitorsto
stopandreflect.

UNDERGROUND LEVEL PROGRAM

FIRST LEVEL PROGRAM

THIRD LEVEL PROGRAM

FIRST LEVEL PROGRAM

SECOND LEVEL PROGRAM

THE LIBESKIND BUILDING


Themodernarchitecturalelementsofthelibeskind
buildingcomprisethezincfaade,thegardenofexile,
thethreeaxesofthegerman-jewishexperience,and
thevoids.Togetherthesepiecesformavisualand
spatiallanguagerichwithhistoryandsymbolism.They
notonlyhousethemuseumwithitsexhibits,butthey
alsoprovidevisitorswiththeirownuniqueexperience
astheywalkthroughthespaces.

LINES WITHOUT ORDER? THE FAADE OF


THE NEW BUILDING
"Anirrationalandinvisiblematrix"(daniellibeskind,
1995)
Thefaadeofthelibeskindbuildingbarelyenables
conclusionstobedrawnastothebuilding'sinterior,
thedivisionofneitherlevelsnorroomsbeingapparent
totheobserver.Nevertheless,thepositioningofthe
windowsprimarilynarrowslitsfollowsaprecise
matrix.Duringthedesignprocess,thearchitectdaniel
libeskindplottedtheaddressesofprominentjewish
andgermancitizensonamapofpre-warberlinand
joinedthepointstoforman"irrationalandinvisible
matrix"onwhichhebasedthelanguageofform,the
geometryandshapeofthebuilding.
Thepositioningofwindowsinthenewbuildingwas
alsobasedonthisnetworkofconnections.
Thewholeofthenewbuildingiscoatedinzinc,a
materialthathasalongtraditioninberlin's
architecturalhistory.Overtheyears,theuntreated
alloyoftitaniumandzincwilloxidizeandchangecolor
throughexposuretolightandweather.

"BETWEEN THE LINES": THE GROUNDPLAN


"Theofficialnameoftheprojectis'jewishmuseum'buti
havenamedit'betweenthelines'becauseformeitis
abouttwolinesofthinking,organizationandrelationship.
Oneisastraightline,butbrokenintomanyfragments,
theotherisatortuousline,butcontinuingindefinitely."
(Daniellibeskind,1998)
Zig-zagbestdescribestheformofthejewishmuseum's
newbuilding.Thearchitectdaniellibeskind'sdesignis
basedontwolinearstructureswhich,combined,form
thebodyofthebuilding.
Thefirstlineisawindingonewithseveralkinkswhile
thesecondlinecutsthroughthewholebuilding.Atthe
intersectionsoftheselinesareemptyspaces"voids"
whichriseverticallyfromthegroundfloorofthebuilding
uptotheroof.Libeskindimaginesthecontinuationof
bothlinesthroughoutthecityofberlinandbeyond.

THE VOIDS
Avoid"isnotreallyamuseumspace."(Daniel
libeskind,1999)
Thevoidsrepresentthecentralstructural
elementofthenewbuildingandtheconnection
totheoldbuilding.Fromtheoldbuilding,a
staircaseleadsdowntothebasementthrougha
voidofbareconcretewhichjoinsthetwo
buildings.
Fivecavernousvoidsrunverticallythroughthe
newbuilding.Theyhavewallsofbareconcrete,
arenotheatedorair-conditionedandarelargely
withoutartificiallight,quiteseparatefromthe
restofthebuilding.Ontheupperlevelsofthe
exhibition,thevoidsareclearlyvisiblewithblack
exteriorwalls.Theisraeliartistmenashe
kadishman'ssteelsculpture"shalechet"(fallen
leaves)coverstheentirefloorofoneofthefive
voids.

PATHS OF GERMAN JEWS: THE UNDERGROUND


AXES
Anundergroundpassagewaylinkstheoldbuildingwiththe
libeskindbuildingwhichhasnoofficialentrance.Visitorswho
passthroughthegreatvoiddowntotheendofthestaircase
fromtheoldbuildingwillfindtherafaelrothlearningcenteron
theirright,whileaheadofthemliesapathsystemmadeupof
threeaxessymbolizingthreerealitiesinthehistoryofgerman
jews.
Thefirstandlongestoftheseaxesisthe"axisofcontinuity."It
connectstheoldbuildingwiththemainstaircase(sackler
staircase)whichleadsuptotheexhibitionlevels.Thearchitect
describestheaxisofcontinuityasthecontinuationofberlin's
history,theconnectingpathfromwhichtheotheraxesbranch
off.
The"axisofemigration"leadsoutsidetodaylightandthe
gardenofexile.Onthewaythere,thewallsareslightlyslanted
andcloseinthefurtheronegoes,whilethefloorisunevenand
ascendsgradually.Aheavydoormustbeopenedbeforethe
crucialstepintothegardencanbetaken.
The"axisoftheholocaust"isadeadend.Itbecomesever
narroweranddarkerandendsattheholocausttower.Theglass
casesonthewaydisplaydocumentsandpersonalpossessions
testifyingtotheprivateandpubliclifeoftheirownerswhowere
killed.
Allthreeoftheundergroundaxesintersect,symbolizingthe
connectionbetweenthethreerealitiesofjewishlifeingermany

CONCLUSION
Daniellibeskindsadditiontothejewish
museumberlinutilizessymbolismand
Metaphor,includingfragmentation,void,and
disorientation,inordertocreatea
Moresubstantialmuseumexperienceforthe
visitor.Ratherthanpresentinginformation
Asmuseumsoftendo,libeskindsjewish
museumberlinusestheseeffects
Tocommunicatetheaspectsofjewishhistory,
especiallytheholocaust,whichcannot
Beexpressedinonlywords.

EXIT IN CONFUSION: THE GARDEN


OF EXILE
Thegardenofexileattempts"tocompletely
disorientthevisitor.Itrepresentsa
shipwreckofhistory."(Daniellibeskind,
1999)
Thegardenofexileisreachedafterleaving
theaxes.Forty-nineconcretestelaeriseout
ofthesquareplot.Thewholegardenisona
12gradientanddisorientsvisitors,giving
themasenseofthetotalinstabilityandlack
oforientationexperiencedbythosedriven
outofgermany.Russianwillowoakgrowson
topofthepillarssymbolizinghope.

3. CENTRE LE CORBUSIER,SWITZERLAND (LE


CORBUSIER)
LOCATION
Undertheroof,thebodyofthemuseumisorganized
Thebuildingislocatedinasmallparknotfarfrom
LakeZurich,.Itisremarkablethattheorientationof
thebuildingissetdiagonally,unlikeallthe
buildingsintheareawhichareplacedparallelto
thedirectionofthelake.

incubicmodulesof2.26metersperside,
correspondingtothemeasurementsoftheModulor.
Itsarrangementreflectsthetheoryofinfinitegrowth
somethingthathadbeenproposedinmuseumsin
TokyoandChandigarh.

FACTS
Architect: LeCorbusier
Client: HeidiWeber
Area: 315.6sqm
Project Year: 1967

The museum clearly highlights two elements: the


coverandthebodyofthebuilding.
LeCorbusierdevisedcoveragepavilionoriginally
reinforcedconcretebutwaslaterconvincedrealizein
metal.Thismetalstructurecomposedofmetalplates,
5mmthick,wasdesignedonthebasisoftwo
squaresof12x12meterssquareandissupported
bypillarsof9metershigh,foundinthemiddleofthe Theroofwasprefabricatedinthesteelmanufactoryand
sidesofthebuildingleavingthecornersfree.
thereafter,inthebiggestpossibleunits,transportedto
thebuildingsite,whereitwasassembledonthe
ground.Thetwonallyweldedpansoftheroofwere
thenliftedtotheirnalheight(9m)byacraneandxed
TheLe CorbusierorHeidi Weber Museumin
onthepillars.Withtheframethuscompletedthe
Zurich,Switzerland,isthelatestworkofthe
constructionprocessbenefitedfromtheindependent
famousSwiss-Frencharchitect,andthatis
roofprotectionwhichwasatthattimealreadyinits
preciselydedicatedtohiswork,housingsomeof
properplace.Itconsistsofcubesof2.26x2.26m
hispaintingssculptures,furniture,documentsand
[edgedsteelpieces-3mmthick).whichwereare
modelsofsomeofhiswork.
assembledonthesite..
Thischaracteristicaswellastheformoftheroof,
foldedlikeanorigami,giveitalightanddynamic
character.

ThemuseumLeCorbusiermaterializesthe
spiritofhisarchitecturaltheories,establishing
adialoguebetweenartandarchitecture.

Walls.windows,openingsandfloors
werethenscrewedontothesteel
frame.Thewallsconsistofenamelled
panelsmeasuring1.13x2.26m.

Theplacingoftheseenamelpanelswas
plannedaccordingtoaparticularrhythmic
system.asystemwhichcouldbeadapted
foranyothercompositionpreferred.
Afterwards,theentirebuildingcomplex
wasplacedonaconcretegroundoor.
Insidethebuildingisorganizedontwolevelsanda
basement.Theprogram,inadditiontotheexhibition
rooms,includinganauditorium,adiningroomandterraces

Thebuildinghastwofloors-vesinglestoriedandonedouble-storedrooms.
Whenconstructingthebuildingcomplex.
morethan20,000bolts
wereused.

4. MUSEUM OF WESTERN ART,TOKYO (LE


CORBUSIER)
ThesiteislocatedinUenoPark,northoftheImperialPalacein
Tokyo,closingthecircleofbuildingsconsistingoftheNational
HistoryMuseum,theMuseumofFineArtsandtheMuseumof
Science.

FACTS
Number of Stories:3floorsaboveground,1basementfloor
and1penthousespace
Building Structure:Reinforcedconcrete(RC)construction
Design By:LeCorbusier
Completion:March1959
Site Area:1,587m2
Gross Floor Area:4,399m2
Exhibition Area:1,533m2

SITE PLAN.

CONCEPT

RAMP

Museumscontainsomethingjustasimportantas
paintingsandsculpture:architecture.
thearchitectlecorbusier,whowasbasedin
france,cameupwiththeideaofamuseumof
unlimitedgrowth-amuseumbuildingthatcould
beexpandedasitscollectiongrew.Tocreatehis
museumofunlimitedgrowth,lecorbusierutilizedthe
modulor-asystemofmeasurementsbasedonhesize
ofthehumanbody-andvariousother
conceptsthatweresuitedtothearchitectureof
anewera.

RampsareoftenincludedinthedesignsofLe
Corbusier,andthisonejoinsthenineteenth
centuryhalltothesecondfloor.Unlikestairs,the
rampbecomesthedeviceforhisPromenade
Architecturetoallowvisitorstoenjoyaslower
Transitionbetweenspaces.

SiteArea:1,587m2
GrossFloorArea:4,399
m2
ExhibitionArea:1,533m2

TOP LIGHTING
sidewindowinthetriangleshapeoftheroofinthe
nineteenth-centuryhall.Onacleardaysunlightfills
thehallwithnaturallight.

MEZZANINE FLOOR SPACES

BALCONIES
Inthesecondfloorexhibitionroomtherearetwo
balconiesoverlookingthenineteenth-centuryhall.
Fromthebalconyonecanlookdownonthehall
belowandseetheexhibitionroombehindthe
otherbalconyallowingonetofeelthecomplex
spatialcompositionofthisbuildingataglance.

Inthreelocationsinthesecondfloorexhibition
roomtherearethreeseparatemezzaninefloor
spaces.Goingupthrougheachofthenarrow
staircases,onefindsaspaceforthedisplayof
smallerexhibits.

VARIED CEILING HEIGHTS

FLOOR LIGHTING
Inthefloorofthenineteenth-centuryhall,floor
mountedlightswereinstalledtolighttheworks
frombelow.Theyarecurrentlynotinuse.

PROMENADE ARCHITECTURE SPACES


Thesecondfloorexhibitionroomfeaturesan
intriguingdesignbasedonhisPromenade
Architectureconceptwhereonturningacorner
oneispresentedwithasimilarview.Visitors
goingupthenineteenthcenturyhallrampare
greetedbythesuccessionofsimilarlydesigned
spaceafterexhibitionspacetostrollthrougha
quasidjvuspatialsynthesis.

Thesecondfloorexhibitionroomfeaturesboth
highandlowceilingsallowingonetoappreciate
thetransitionbetweenopenandcompressed
spaces.Thelowceilingheightissetat226cm
accordingtotheModulormeasurementsandthe
higherceilingheightdoublesthataswell.

ROOF GARDEN

RHYTHMIC LOUVERS

LeCorbusierthoughttheroofwasanimportant
partofabuildingtoo.Ontheroofhemadedifferent
shapesofhigh,sidewindowstoallownaturallight
toreachinside.Beforetherewerepottedplantsup
here.

DOWNSPOUTS

FREE STANDING COLUMNS

Thinconcretemullion-likenarrowverticallouvers
orslatsarefoundinsuchplaceslikearoundthe
cashierareaintherestaurantandoutsidethe
museumshopglass.Thevaryingrhythmic
arrangementstransformthelightingconditionsin
thecorrespondingareas.

Mostbuildingshavetheirverticaldownspoutsfor
rainwaterdrainageontheoutside.However,in
thisbuildingtheyareplacedinside.LeCorbusier
thoughtofmanydesignsandplacestoinclude
downspoutsthatarevisibleontheinsideoftheBuilding.

The6-bay-by-6-baystructureofthisbuildingis
supportedbyroundshapedcolumnslaidina7-by-7
squaregrid.Thecolumnsare60cmthickonthefirst
floorand55cmonthesecondtheywere
originally
53cmand43cmrespectively,reflectingtheModular
dimensions,butweresubsequentlythickenedto
providestrongerearthquakeresistancewiththe
firstfloorcolumnsmadethickertobearmore
structuralloads.Thecolumnsweremadeinpouredin-placereinforcedconcreteusingpinewoodforms
CLERESTORY GALLERY AS LIGHTING
imprintingbeautifulwoodgrainpatternsontheir
DEVICE
surfaces.
Theglasswalledcorridororclerestorygalleryabove
thelowceilingportioninthesecondfloorexhibition
roomwasdesignedtoallownaturallightfromtheroof
topassthroughintotheexhibitionroom.AlthoughLe
Corbusierhadplannedtolightthepaintingswiththis
clerestorynaturallight,currentlyflorescentbulbslight
upthegallery.

PILOTIS
FoundattheentrancetotheMuseum,thepilotis
designallowsthevisitorstoenjoythisspace
avoidingrainandstrongsunlight.Thisspacehas
beenusedtoexhibitstatues

FUNCTON

I.H.C

JEWISH
MUSEUM

CENTRE LE
CORBUSIER

MUSEUM OF
WESTERN
ART

AREA

9.6 ACRE/38,867
SQMT

15499.9 SQMT

315.6 SQMT

1,587 SQMT

TYPOLOGY

COURTYARD
PLANNING

COMPACT
PLANNING

COMPACT
PLANNING

COMPACT PLANNING COURTYARD PLANNING


PERMITS HIGHER
FLEXIBILITY IN SOLVING
LIGHTING AND
VENTILATION PROBLEM.

THE MAIN GATES


2 MAIN GATES FOR
ON 3 ROADS,TWO ENTRANCE FROM
FOR DELEGATES
SAME ROAD.
AND STAFF

ONE MAIN GATE


FROM ROAD SIDE.

ENTRANCES SHOULD BE
PROMINENT AND VISIBLE
WITH PROPER SIGNAGE.

THE REMARKABLE ZIG-ZAG IN FORM,


FEATURE OF IHC
GIVING EASY
IS ITS TRAFFICE
CIRCULATION.
FREE
ENVOIREMENT.

OPEN PLANING
GIVE FREE
MOVEMENT.

VERTICAL
CIRCULATION
THROUGH RAMPS.

PROPER CIRCULATION
PROVIDES FEASIBILITY IN
MOVEMENT AND GIVES
GUIDANCE TO THE
VISITORS.

SHADING DEVICE
REJECTS THE
UNWANTED
SOLAR ENERGY.

PLAY OF NATURAL
LIGHT BY GIVING
VOIDS.

OPEN PLANNING.

USE OF LIGHT WITH


A DRAMATIC
EFFECT.

SPACES SHOULD BE
FLEXIBLE TO MEET
DIFFERENT
REQUIREMENT.ON SITE
WASTE MANAGEMENT
FACILITY SHOULD BE
PROVIDED.

THE EXTERIOR
AND INTERIOR
COURT FACING
FAADE ARE
THOUGHTFULLY

THE PLANNING
AND EXTERIOR AR
THOUGHTFULLY
ARTICULATED.

ICONIC
STURCTURE WITH
ITS FLOATING
STEEL ROOF AND
COLOURED PANEL

USE OF FIVE POINT


OF NEW
ARCHITECTURE BY
LE CORBUSIER.

THE BUILDING SHOULD


COMPLIMENT THE AREA OF
THE CITY

APPROACH

CIRCULATION

POSITIVE
FEATURES

ARCHITECTURAL
CHARACTER

INFERENCES

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