[Company name]

PRE-
ARCHITECTURAL
DESIGN THESIS
LITERATURE STUDY AND DATA COLLECTION

POOJA S JABADE
VIII SEM “A” SEC
3PD18AT036
PDSSSA
 LITERATURE STUDY
1. what is a war museum?

• a war museum is a museum dedicated to helping people understand and appreciate the natural world
, the history of civilizations and the record of humanity’s artistic , scientific and technological
achievements.

2. why museums?

• A war museum is a building which represents the collection rather than a single phenomenon.

• The concept of museums in india may be traced back to the historic times , in which references to the
chitra kala ( picture gallery) do occur.

3. HISTORICAL USAGE:
• The oldest war memorial in the united kingdom is oxford university’s all souls college itself.
• It was founded in 1438 with the fellows should pray for those killed in the belong wars with France.
MODERN USAGE:

• Modern times the main intent of war memorials is not to glorify war , but to honor those who have
died.
• Sometimes,as in the case of the war genuflectional of willy brandt they may also serve as focal
points of increasing understanding between previous enemies.
• “It was after the great losses of the first world war that commemoration took center stage and most
communities erected a war memorial listing those men and women who had gone to war and not
returned”

• Since the beginning of the 20th century, a new generation of museums had emerged.

Many factors affected the establishment of museums at that time, started by the World Wars I, as a
result, new museums had been

4. PRESENT SCENARIO :

• After the Three Russian revolutions, new museums had been established to glorify these revolutions,
such as The Winter Palace at Petrograd (St. Petersburg), which contains some collection related to
the revolutions.
• The current definition , agreed in 2007 , states : “A museum is a non – profit , institution in
• The service of society and its development , open to the public , which acquires , conserves ,
researches , communicates and exhibites the tangible and intangible heritage of humanity and its
environment fot the purposes of education , study and enjoyment.

KARGIL WAR MEMORIAL. DRAS(J&K)

• IN HONOR OF OPERATION VIJAY'S HEROES. IN ALL 5279 SOLDIERS FROM THE INDIAN
ARMED FORCES WHO SACRIFICED THEIR LIVES IN THE WAR.

INDIAN WAR MEMORIAL MUSEUM

• The Indian war memorial museum is located in the Naubat khana of the red fort in Delhi,
northern India. it is built in 1919 as a tribute to commemorate the soldiers who had joined
the first world war in India or abroad on behalf of the British empire

IMPERIAL WAR MUSEUM (1ST WAR MUSEUM IN WORLD):

• established, especially in Germany to glorify the war men, the important characters of the country,
and of course the Nazis figures.
• the museum which was known in the beginning as the "asthetic society museum" subsequently came
to be known as the "imperial museum" later familiarized as the “Indian Museum".
• early museums began as the private collections of wealthy individuals, families or institutions of art
and rare or curious natural objects and artifacts.
 • over the last 10 years in the kyoto conference of the international council of museums which took
place in September the definition of the museums has been intensively debated.

5. future proposal :

A) scope of the project :

• enhancing the achievements of Indian armed forces.

• youth awareness about the Indian armed forces by which people can know their responsibility
towards the nation.
• to know their principles , ethics and work methodology.

b) base and it relation to the topic:

• To apply philosophy and planning elements and planning techniques of le corbusier in planning.
• le Corbusier has made use of his five principles of architectural design construction:
(a) the pillar,
(b) the roof garden,
(c) the functional independence of skeleton and wall
(d) the elongated window and
(e) the free facade.

Le Corbusier conceived the master plan of Chandigarh as analogous to human body, with a clearly defined
part.

• Head (The capitol complex)

• Heart (The city centre)
• Lungs (The leisure valley, innumerable open spaces and sector greens)
• Intellect (The cultural and educational institutions)
• Circulatory system (The network of roads, the 7Vs)
• Viscera (The industrial area)

Philosophy of Le Corbusier :
• No matter how open and green, cities should be frankly urban, urban surroundings are to be
definitely contrasting with rural surroundings.
• Densities are in themselves not a problem. Congestion and slum conditions in the cities are
due to excessive coverage, persistence of old street patterns and unrestricted land speculation
• Slums exist because of the failure to provide the proper surrounding for high density living.
• He protests against strict functionalism. “Human creations that survive are those which
produce emotions, and not those which are only useful”.

 Le Corbusier pioneered the residential architectural style known as Dom-Ino.

 The name, referring to the Latin domus, or house, and the board game dominoes, as the style of
pilotis' reflected the game tiles.
data collection
1.planning

one of the imperative decisions in planning the library building will be the relationship in space between
various operational areas and the priority of access routes between them. areas most used by the readers
should be located near the entrance and control points.

there is no set formula for the number of floors in a library but the library should not be more than 80 0"
deep so that no part is more than 80-0" deep from windows skylight over a central area with a great hall
below makes deeper built form possible. if all parts of the library are regularly used by the visitors are no
more than two flights of steps above or below the entrance passenger elevators can be provided especially
for heart patients

• space for reader-0.93-1.3 sq.m

• space for carrel user - 3.7 sq.m
• space for research worker - 3.25 sq.m
• distance between free standing cases-2-3m
• work space for s:taff members-11 sq.m

2.exhibition galleries:

people usually find long walks tiring and hence rest area be provided.

the rest area are not necessarily be sitting spaces could also include changes in the scale light and texture
space.

3.the circulation system can be broadly classified into two:

• controlled the exhibits are arranged in a definite sequence and it is made sur by virtue of the
geometry of the space everybody sees everything on display. absolute control however can be very
regiment and hence should not last for more than 90m.
• since each display will be passed by every visitor hence adequate buffer should be provided so that
the circulation doesn't gets disturbed
• uncontrolled spaces - here the visitors are offered a free choice to see the exhibits. however it leads
to a total confusion at times the circulation in a gallery should strike the right balance between
formal control and flexibility in movement.

4.flexibility:

• the modern tendency is to create large unbroken spaces, which can then be divided up by movable
partitions or lightweight structure to be grouped as required.
5.circulation:

• there is certain tendencies inhuman behavior which show is taken into account while designing a
gallery. people enjoy surprises and excitements.
• people usually find long walks tiring and hence rest areas be provided. the rest areas are not
necessarily sitting space could also include changes in the scale light and texture , space.

6.circulation system can be broadly classified into two:

• controlled-the exhibits are arranged in a definite sequence and it is made sure by virtue of the
geometry of the space everybody sees everything on display. absolute control however can be very
regiment and hence should not last for more than 100 yards.
7.storage area furniture:

• should be such that it accommodates the maximum number objects without effecting are arity and
free movement of people.
• shelving wooden shelves, aluminum and steel slotted sections can be used. open shelving is adopted
for then artifacts can be accommodated as books in the library. racked sliding trays-used for storing
small objects, which can be arranged on a shelf of a cabinet.
• shallow boxes-for miniature paintings after they been double mounted so that the
• paintings don't rub against each other. the boxes are then stored in a cabinet. sliding panels- an
efficient method for storage of poster, paintings. the frame of metal screens or heavy mesh screens is
set. they can be suspended from the ceiling by tracks or set wheels.
• racks with grooves - arms like guns and swords can be individually stored in
• specially designed racks having grooves.
• the library in this complex will house books, manuscripts, journals and periodicals. library would be
a specialized library for reference and a small loan section.
• the location of the library should be centralized such that it is easily approachable all parts of the
museums. the orientation should preferably allow for north lighting the

8.space requirements:

• the total space of the library should be divided into basic categories books , staff, reading rooms,
mechanical operations and other services.
• the reference library 10 m/1000 volumes is less space is needed for circulations
• carrels or cubicles are required for research 1.13-1.62 sqm , enclosed carrels 214ch additional 50%
space far calculation is also required.

9.permanent and temporary exhibitions:

• permanent exhibitions are primarily based on a museum's collection and are on view . temporary or
changing exhibitions deal with other topics related to a museum's mission and goals.
• they augment the permanent exhibitions and may include also from the core collection as well as
objects borrowed from other sources. some rare exhibitions are traveling exhibitions assembled and
circulated by a museum, a of museums, or a nonprofit organization. these exhibitions bring museum
collections to audience.
• they are also economical, because several museums can share the preparation costs. temporary
exhibitions may last from several months to a year depending on the subject matter, the goals of the
exhibition, and the museum's
10.Storage areas:

• Museum storage occupies a consideration proportion of the total floor area and its design must make
efficient use of the allocated space. some of this storage ought to be in the form of study collections
accessible to those interested. the ordered arrangement and proper labeling of objects is equally
important in both situations.
A. requirements for storage areas
• A controlled relative humidity, good lighting, good ventilation, accessibility, adequate security, good
preservation, safeguard against deterioration decay and damage and an ordered arrangement of the
study collection.
B. location of stores
• The storage areas should be treated one with the curatorial space comprising of the office
laboratories and storage for each department. this enables the curator to undertake search and prepare
exhibition and keep a watch on the collection. the location should he that it is accessible to the staff
easily.

11.Storage area furniture: (Racks and shelves)

• Shelving wooden shelves, aluminum and steel slotted sections can be used. open shelving is adopted
for then artifacts can be accommodated as books in the library.
• Racked sliding trays-used for storing small objects, which can be arranged on a shelf shallow boxes-
for miniature paintings after they been double mounted.
• paintings don't rub against each other. the boxes are then stored in a cabinet. sliding panels - an
efficient method for storage of poster, paintings. the frame of metal screens or heavy mesh screens is
set. they can be suspended from the ceiling by tracks or set wheels.
• racks with grooves - arms like guns and swords can be individually stored specially designed racks
having grooves.

12.space requirements

The total space of the library should be divided into 5 basic categories - books, readers, staff, reading rooms,
mechanical operations and other services

The reference library 10sqm/1000 volumes is less space is needed for circulation.

Carrels or cubicles are required for research scholars-open carvels 135-1.62 sq.m, enclosed carrels 2-3.6
inch each an additional 50% space for circulation is also required.

Indication of space standards:

Items in exhibitions (e.g. artifacts, graphics, props) must be visually accessible to people

.Mount small items (to center line) at no higher than 1015 mm (40 in.) above the floor Design simple
backdrops for items.

Construct the top of a case at a maximum of 915 mm (36 in.) above the finished floor for items that are
mounted flat on a pedestal or deck. For larger items, maintain the minimum case height possible.

Place small items in the front portion of a case, with larger items behind.

LIGHTING
The safety of visitors (particularly those with low vision and visual perceptual difficulties) must receive
equal consideration with conservation issues and exhibition design issues.

Light and color must combine to produce a clearly delineated circulation route into, through, and out of
every exhibition route.

1. external lighting: through glass tap, but heat may build up unless 'cool' light source is used; objects can
cast shadows when lit by slanting light and possible problems of glare

2.integral lighting: light box separated from case interior by diffusing glass louvres(with clear glass panel
excluding dust); fluorescent for even, well-distributed light, or tungsten, for highlighting, can be
accommodated

3.lighting from below as well as from upper light box to reduce effect of shadows and to light undersides of
obiects;

light source must be masked, usually by louvres

4.backlighting: fluorescent lubes behind diffusing material, usually opal perspex;

tubes must be evenly spaced, at some distance from diffuser; ideally fitted with dimmers to control
brightness

5.strip lights (fluorescent or tungsten) attached to shelf ends inside the case, illuminating both above and
below a shelf; can only be used for objects with no conservation risks

6.fluorescent lighting: behind case fascia panel (without diffusing panel separating light from case interior);
angles of vision must be calculated to avoid glare from light source

Contrast: keep general levels below 300 lux where there are mixed light-sensitive exhibits because of the
problems of adaptation as visitors move around.

Reflectance: ambient spaces can be illuminated up to 300 lux, but higher levels can introduce glare and
reflections. Glass frames and cabinets can act as total or partial mirrors obscuring the object within.

To avoid reflected glare any bright source must be excluded zone .

• There should be no direct Daylight falling on museum objects as this could cause damage.
• Therefore display rooms should be provided with flexible lighting systems:
• no permanently built-in lights, no fixed wall and ceiling lights.

Guidelines for lighting:

• 50-80 lx––
• Very sensitive display objects Sensitive display objects: Less sensitive display objects: UV radiation
must not be exceed 25 W/m².
• 100-150 lx 150-300 lx
• It must be possible to completely darken all display rooms. In public rooms where no items are
displayed, e.g. entrance area, café, library, a greater amount of daylight is desirable.
• The lighting calculations for museums are highly theoretical: the quality of lighting is decisive.
American tests can be more Informative.
Display Rooms:

The decisive factor in the layout of display rooms is the relationship between the collection and the way it is
to be displayed (display concept). There are the following basic types of layout → 0 6:

Open plan → 0: large and visually autonomous items on display,free circulation, function rooms in
basement.

Core and satellite rooms → 2: main room for orientation in the museum or the exhibition, side rooms for
autonomous displays(themes/collections)
Linear chaining → O: linear sequences of rooms, controlled circulation, clear orientation, separate entrance
and exit.

Labyrinth 0: free circulation, guided route and direction are variable, entrance and exit can be separate.

Complex: combined groups of rooms with typical features of complex organization of collection and display
concept.

Round tour (loop) → O: similar to linear chaining, controlled circulation leads back to entrance.
LIBRARY:

• The library in this complex will house books, manuscripts, journals and periodicals.
• The library would be a specialized library for reference and a small loan section.

a).Location:

The location of the library should be centralized such that it is easily approachable all parts of the museums. the
orientation should preferably allow for north lighting.
SHOPS :
1.Local construction materials of Chandigarh:

• A traditional Punjabi Kothi or haveli is a house built with a blend of Punjabi vernacular and colonial
design elements. The typical construction materials were bricks, lime, mud, Surkhi (powdered
broken brick) and timber. There was a central courtyard around which all the rooms were built.

2.Materials

-For the construction of buildings in the city, traditional building materials were used such as

1.Nanak Shahi Bricks:

 Nanak shahi bricks were decorative bricks used for structural walls during the Mughal era.
 Dimensions: 6.00 x 9.0 x 0.20 inches
 Weight : 0.30 lbs
 Nanak Shahi (from the times of Nanak) brick was most commonly used for its intrinsic advantages.
 It was a kind of brick tile of moderate dimensions used for reinforcing lime concretes in the
structural walls and other components, which were generally very thick.
 Nanak Shahi bricks were kind of brick tiles of moderate dimensions used for reinforcing lime
concretes in the structural walls and other components which were generally very thick.
 The brick-tile made mouldings, cornices, plasters, etc., easy to work into a variety of shapes. More
often than not, the structures, especially the Sikh temples (gurudwaras) were a combination of the
two systems, viz, trabeated or post-and-lintel, and acerated or based on arches.
 The surfaces were treated with lime or gypsum plaster which was moulded into cornices, pilasters,
and other structural as well as non-structural embellishments.

2.lime mortar:

 Lime mortar or torching is composed of lime and an aggregate such as sand, mixed with water.
 It can be utilized in masonry applications as a component of mortar or of the masonry unit. Exterior
(stucco) and interior plaster systems can also contain lime. Finally, decorative finishes can be created
with lime washes.
 Lime mortar today is primarily used in the conservation of buildings originally built using lime
mortar, but may be used as an alternative to ordinary port land cement.
 It is made principally of lime (hydraulic, or non hydraulic), water and an aggregate such as sand.
Portland cement has proven to be incompatible with lime mortar because it is harder, less flexible,
and impermeable.
 The mix is usually slightly less rich than that of the base coat, typically one part of lime putty to
three parts of coarse, sharp, well-graded sand, and normally without any hair. Again, it should not
exceed 15mm
 (5/8 inch) in thickness.

3.Surkhi:

 Surkhi is an artificial pozzolanic material made by powdering bricks or burnt clay balls.
 Surkhi is used for making waterproof cement mortars and concrete.
 They also make the concrete more resistant to alkalis and salt solutions.
  The addition of surkhi is accompanied by slight reduction in strength as it attains its full strength
after a long period of time. Higher shrinkage than ordinary concrete is another property of surkhi
concrete.

SIZE ANS SHAPE OF SURKHI BRICKS:

4.Mud floor:

Mud flooring is one of the types of flooring. When our ancestors shifted to building homes, they first
started off with building mud houses. Even when they started to build houses with bamboo strips, the
flooring type was still mud flooring.

Advantages of Mud Flooring

• It is easy to construct
• Its materials are available easily in the nearby place
• It is cheaper than most of the present flooring techniques prevalent
• It is available locally; avoiding the transportation cost
• Its construction is simple
• Its maintenance is easy and cheap
• It is hard and quite impervious
• It is a natural type of flooring and is thus eco-friendly

3.Climate of Chandigarh :

 Area: 114 km2

 Chandigarh has a humid subtropical climate.

 The city experiences the following seasons and the respective average temperatures:

• Spring: In the spring season (from February-end to early April), temperatures vary between (max)
13 to 20 °C and (min) 5° to 12 °C
• Autumn: In autumn (from September-end to mid-November), the temperature may rise to a
maximum of 30 °C Temperatures usually remain between 10 to 22 °C in autumn. The minimum
temperature is around 6 °C
• Summer: The temperature in summer (from mid-April to June-end) may rise to 43 °C in mid-June,
and generally vary between 38 and 42 °
• Monsoon: The maximum amount of rain received by the city of Chandigarh during the monsoon
season is 7.70 inches in a single day.
• Winter: Winters (November-end to February-end) are mild but can get chilly during peak winter
weeks. Average temperatures in the winter remain at (max) 5 to 14 °C and (min) −1 to 5 °C