CONTEMPORARY ART MUSEUM

Agargaon, Sher E Bangla Nagar, Dhaka

By
Dilshad Samina Soha
08308002

Seminar ll

Submitted in partial fulfillment of the requirements

for the degree of Bachelor of Architecture
Department of Arch itecture
BRAC University

August 201 3
 Dilshad 2

ABSTRACT

Contemporary art seems to exist in a zone of freedom. lt keeps distance from the rules and
conventionsof the ordinary functional character of everyday life. Quieter contemplation and
intellectual play exist together in that zoneand offences against systems of belief. This
dissertation paper is a descriptive article discussing the various aspects and considerations
explored during the thesis project design of the Contemporary Art Museum in Dhaka,
Bangladesh. The following will attempt to describe in detail the various relevant factors which
were required to understand and consider during the design exercise. ln addition, this
museum is designed in such a way that serves as a breathing space for the city and
responds to the social, environmental, economic and artistic hunger of the human mind. The
special quality of the museum is the hierarchy of spaces which would assists as a canvas for
representing people's emotions and life.
 Dilshad 3

ACKNOWLEDGEMENTS

First of all thanks to Almighty Allah, without who's mercy completion of this dissertation
would have been impossible. I would like to thank my Prof. Fuad H. Mallik and Zainab F. Ali.
I show my full gratitude to my instructors A.F. MahmudunNobi,lmonChowdhuree,
NandiniAwal, Shakil Ahmed Shimul and RubaiyaSultanafor guiding & helping me through the
project & this report. I would also like to acknowledge my parents, who kept awake with me
almost every singling night with their endless prayersand keeping up with my demands and
temperaments. I value the guidance of my well-wishers and appreciate the encouragement
of my dear friends, siblings and university mamas, who constantly kept me in their prayers.
 Dilshad 4

TABLE OF CONTENTS

01. INTRODUCTION OF THE PROJECT

1.1 lntroduction
1.2 Project Brief
1.3 Project background
1 .4 Rationale of the project
1 .5 Aims and objectives of the project
1 .6 Functions & Programs required for the project
1.7 Reasons for choosing the site

02. SITE APPRAISAL

2.1 The Site

2.2 Site & Surroundings
2.3 Environmental considerations
2.4 SWOT Analysis

03. LITERATURE STUDY

3.1 Museum
3.2 Roots of Museum and Galleries
3.3 Beginning of Public Museum
3.4 Lighting and Space quality of Museum
3.5 Display and storage requirement
3.6 lmportance within a country
3.7 Art Galleries and Museum in Dhaka
3.8 The Role of the Art Museum
3.9 Modem technology as a threat of replacing museums

04. CASE STUDIES

4.1 Case Study 01: The Kimbell Art Museum

4.2 Case Study 02: Heigh Museum of Art
4.3 Rosenthal Center for Contemporary art
4.4 Jinan contemporary art museum proposals
 Dilshad 5

05. PROGRAM DEVELOPMENT

5.1 Proposed Program

5.2 Developed Program
5.3 Far calculation
5.4 Conceptual Layout

06. CONCEPTUAL STAGE AND DESIGN DEVELOPMENT

6.1 Conceptual stage

6.2 Study & Approach from the site
6.3 1"t phase
6.4 2"d phase- Form derivation
6.5 3'd phase- Circulation
6.6 4th phase- Gallery
6.7 sth phase- Landscape

07. FINAL DESIGN

7.1 Designed site and master plan
7.2 Floor plans
7.3 Elevations
7.4 Sections
7.5 Three dimensional perspective views of space
7.6 Model of the project

CONCLUSION

REFERENCE
 Dilshad 6

CHAPTER O,|

INTRODUCTION OF THE PROJECT

1.1 INTRODUCTION

Contemporary artis art produced in this present period of time. lt is of the post 1$0-
modemist period. lt includes and develops from postmodern art, which itself is a successor
to Modem art. lt seems to exist in a zone of freedom, keeping distance from the ordinary
functional character of everyday life and from its rules and conventions. Quieter
contemplation and intellectual play exist together in that zone and offences against systems
of belief. Since the early part of the 20th century, a common concern was what creates art.
ln the contemporary period (1950 to now), the concept of avant-garde has come to define
what art is.

After that Contemporary art is noticed of by galleries, museums, and collectors. Museums
are an excellenl place to learn about art as it relates to history. The art in museums
represents the evolution of our understanding of society. These innovative works are
symbols of how humans have learned to perceive their world. lt enhances our understanding
of various cultures. Beliefs and traditions are handed down through generations through the
art of individual cultures. Medieval and Renaissance artists sought to create images that
could show people the glory of God or the saints - that would teach people something about
the divine. With art, there is nothing like seeing the real thing. Starting from the cave painting
of pre-historic art to now-a-days contemporary art depicts almost the same relationship with
the human mind. There were appreciations as well as criticisms for it. But it was the desire of
good artworks that pushed the society to show creativity in more innovative way.

The display of these creative works was limited at a time in compare of today's world. Now
more and more people can watch exhibitions due to the blessing of modern technology.
Since 1990s, when the flourishing in museum building started, the public has greeted
opening of new museums with enormous excitements. The typical definition of museum has
changed over time. Museum or exhibition places are no longer only the houses of exhibit
things. lt offers people different interactive ways of knowing art and provides facilities such
as theatre space, exhibition hub, archives, artist's studio etc. along with restaurant, shops.
 Dilshad 7

Every country of the world has their individual identity. They are always busy to exhibit them.
Art museum expresses the history & evolution of a country, all aspects of human living in
that particular society, including its diversity, lineage, race, etc. lt gives an idea of the
"ideology" or national character of the people. lt also showcases the creative achievements,
technical development, innovation, application, etc. By adding the public facilities, an Art
museum can serve as a public gathering space and hold country's creativity in front of the
world.

1.2 PROJECT BRIEF

1.2.1 Name of the project: Contemporary Art Museum

1 .2.2 Proiect type: Culturat

1.2.3 GIient: Ministry of Culturat Affairs, Govt. of Bangtadesh

1.2.4 Location: Agargaon, Sher-e-Banglanagar, Dhaka, Bangladesh

1.2.5 Site area: 309528 sq. ft.

1.3 PROJECT BACKGROUND

Agargaon is one of the parts of the master plan for Sher-E-Bangla nagar, done by architect
L. l. Kahn. The land was allocated for different sectors like assembly, secretariat, hospital,
housing and civic sectors. The chosen site is a government land, which was chosen for a
craft museum, but later got cancelled. Far ahead ministry of cultural affairs, Govt. of
Bangladesh, proposed the land dedicated to contemporary art museum. Though some part
of the land has given to other, br-rt still the left over area can contribute a lot for the people.
 Dilshad 8

1.4 RATIONALE OF THE PROJECT

Nowadays art is a diverse tapestry of rich, colorful pieces that reflect the vibrant culture of an
area. lt has covered centuries, and encompasses woodwork, terracotta, paintings, scroll
paintings, textiles, architecture and sculpture. But we are going to lose these for lack of
proper and sufficient public place. Our society is becoming introvert for limited space of
sharing ideas and views. ln the long run, it
may affect our country's prosperity. Art is
something that has potential to make peoples mind free. This project would be such a
platform where people would share their ideas and will certainly help to make the citizens
think for the society in a broader perspective. There are a lot of people in Bangladesh, who
are involved in creative works. So this project can contribute a great significance locally and
nationally, and can play as a good urban center for the city.

1.5 AIMS AND OBJECTIVES OF THE PROJECT

The aims of this project are.

a To preserve and exhibits contemporary arts

a To promote the knowledge; enjoyment and cultivation of the contemporary arts
a To show the Statement of Progress & Progression- creative achievements, technical
development, innovation, application, etc.
a To communicate and share the ideas and emotions of artists and viewers.
a To encourage the engagement of foreign artists.
 Dilshad 9

1.6 FUNCTIONS & PROGRAMS REQUIRED FOR THE PROJECT

Administration

Permanent gallery

Temporary gallery

Multipurpose hall

Seminar room

. Library

Open exhibition area

Cafeteria

Art workshop

studio for artists

Souvenir shop

Service and facilities

Parking

1.7 REASONS FOR CHOOSING THE SITE

Architecf Louis I Kahn developed the master plan for Sher-E-Bangla nagar in 1962, when he
designed the National Assembly Building for Dhaka city. lmportant structures like national
assembly, national library exist here. Agargaon area has not fully developed yet. There are
spaces with diverse urban development opportunities. Wide roads & dedicated public places
surround the site. lt has an approximately central location. lt has technological importance
also. Computer city, radio station & Science museum is very close to the site. The site is
attractive to a diverse group of age. Also a known place for tourists & foreigners, as the
China-Bangladesh Friendship Convention Center is nearby. According to the consideration,
the chosen site can be a perfect place in Dhaka city to have a public facility or gathering
space, like a contemporary art museum.
 Dilshad 10

CHAPTER 02

SITE APPRAISAL

2.f THE SITE

2.1.1 Location of the site: Agargaon, Sher-e-Banglanagar, Dhaka, Bangladesh

2.1.2 Site area: 309528 sq. ft.
2.1.3 Altitude:9m from sea level
2.1.4 l-atitude: 23"46' N

2.1.5 Longitude: 90"22' E

j =f=2#\\
Fig01: Location map
Soure: Dhaka City Map

Fig02: Satellite image of ff,e sfe

Source: Wkimapia
 Dilshad 11

2.2 SITE & SURROUNDINGS

2.2.1 Existing site

The site is in Agargaon, which is a part of the master plan of Sher-E-Bangla nagar. Shere-e-
Bangla Nagar is the heart of Dhaka. All govemment office and Parliamentary office situated
in this area. lt is divided into six sectors. The location of the chosen site is atthe civic sector.

a @rG

a4g

E EE@3

. frffi,rc

Fig03: Maderplan of Sher-e- Banglanagar

Source: Rajuk, Dhaka, Bangladesh
 Dilshad 12

2.2.2 Existing land use

The site is a government land. lt is located on a secondary road opposite of lslamic

Foundation and is surrounded by Passport office, LGED office, Technical Education Board,
Probin Hitoishi Kendra and Geriatric Hospital lnstitute and staff quarter, DESCO and Shere-
e-Bangla Nagar government staff quarter. Currently the site is occupied by illegal built slum,
tea stalls, temporary Bus stand and a portion of it is used by the police. Maximum land area
is now marshy low lying vacant land.

Fig04: Panoramic view of site

FigOS: Existing site andition

 Dilshad 13

2.2.3 Adjacent land use

According to the Kahn's plan, the site is located in a mixed use area. Dedicated public
spaces, institutions & facilities surround the site. To the north and south, land is used for
housing sector. To west and east is used for civic sector. The site is surrounded mostly by
schools, offices, conference hall and museum. All govemment office and Parliamentary
office also situated in this area.

A. ASSEMBLY SECTOR I

B. SECRETARIATE SECTOR
C. HOSPITAL SECTOR
D. HOUSING SECTOR

F. CrVtC SECTOR
(EXTENSTON)

Fig06: Master plan of Sher-e- Banglanagar

Source.' Archociety
 Dilshad 14

GOVT. OFFICES &

INSTITUTIONS ORGANIZATIONS

! conurrRCrAL

& ! eoucmoNAl
\
I *=a'oaNCrAU Gow. HousrNG

I o.o ATRPoRT

I *or=* B.DY

Fig07: Zoning map of adjacent land use

2.2.4 Road network and circulation

The site is very permeable. Access from anylrrhere to the site is very easy. lt sits on the
joining road of Mirpur and Begum Rokeya Sharani. lt is the comer plot of two roads on Syed
Mehbub Hossain Sharani.

IK MIAN AVENUE

Fig08: Road netwotu and circulation map

 Dilshad 15

2.2.5Trafric analysis

The road adjacent to the site is not cunently overloaded by trafflc. Every kind of vehicle has
accessibility to the site.

MovEMENT
lrcxsHnw
I** Mo'EMENT

].o."r*,AN MovEMENT

Fig09: Trafftc analysis map

2.2.6 Site surrounding

Build structures and their distance from the site is necessary to address because the nearby
buildings have impact on the site.

1. IDB Bhaban
2. Shomaj Sheba Bhaban
3 Forest Department
4 Local Government Engineering Department
5 Passport Office
6 Sher-e-banglanagar
7 National Parade Ground
8 Housing
9. National Library and Archive
10. Palli Karma Shahayak Foundation
11. lslamic Foundation
12. National lnstitute of Local Government
13. Science Museum
Figl0: Site sunounding
 Dilshad 16

2.3 ENVIRONMENTAL CONSIDERATION

2.3.1 Topography

The topography of the site is a flat land with a small and shallow natural water body in it.

There has no great variation in the elevation.

2.3.2 Habitation

To the north it is still undeveloped. To the west the settlement is formal offices and national
archive. There is height variations from twenty storied to two storied.

2.3.3 Climatic consideration

The site receives constant southem breeze as the building height of the southern site is not
more than two storied. West side is blocked with buildings, don't need any shading. lt also
receives ample amount of north light.

Figl1: Site dimate map

 Dilshad 17

2.4 SWOT ANALYSIS

2.4.1 Strength

Agargaon is a rapidly developing area and hasn't fully developed yet. So the site has
the potential of becoming a good urban public place.
a The place can be the center of creative work of the country.
a Central location of the city and easily accessible.
a Wide roads.
a ls located in along the secondary road. So no rush of traffic & less traffic congestion.
a Technologically rich site. The science museum, computer city, radio station in
around.
a Attracls tourists & foreigners.
a ls located in lash of green.
a lnvites a diverse age group.
a Exhibitions, cuJtural programs saturate the public life at different times of the year.
a lmportant public spaces are nearby.
a The west side is mostly filled with building structure which provides sufficient shed.

Figl 2: Central location of the site gives a positive pint for becoming a good public spae
Source: Google
 Dilshad 18

2.4.2 Weakness

. Lots of unused spaces surrounding the sile.

. Negative space created by unused spaces.
. At night the area becomes insecure.
. The site and surrounding is not properly taken care by the authority.
. Two sides of the site face high rise buildings, which blocks view.

2.4.3 Opportunity

. The other public buildings around would make a positive force for the site.
. Lots ofopen spaces around.
. Can be a vibrant & useful public hub & civic space.

2.4.4 Thrcat

. lf not handled properly, the area might have a bad effect on the community, as
possibilities are huge.
. Unplanned development may spoil the master plan of Sher -E-Banglanagar done by
architect Louis Kahn.
 Dilshad 19

GHAPTER 03

LITERATURE STUDY

3.1 MUSEUM

3.1.1 Defining Museum

A museum is a building or institution which houses a collection of artifacts. Museums collect

and care for objects of scientific, artistic, cultural, or historical importance and make them
available for public viewing through exhibits that may be permanent or temporary. Most large
museums are located in major cities throughout the world and more local ones exist in
smaller cities, towns and even the countryside. Early museums began as the private
collections of wealthy individuals, families or institutions of art and rare or curious natural
objects and artifacts. The museums of ancient times, such as the museum of Alexandria,
would be equivalent to a modem graduate institute. The modem meaning of the word can be
traced to the Museum of Pergamon in Anatolia, which was one of the earliest to have
displayed artworks. Nevertheless, museums to this day contribute new knowledge to their
fields and continue to build collections that are useful for both research and display.

3.1.2 Art Museum

An art museum or art gallery is a building or space for the exhibition of art, usually visual art.
Museums can be public or private. lt depends on the ownership of a collection of the
museum. Paintings are the most commonly displayed art objects. Besides it can also
preserves sculpture, photographs, illustration, illustration art and the objects from the applied
arts. Although primarily concemed of the art museum isto provide a space to show works of
visual art, but sometimes it can host other artistic activities, such as music concert or poetry
reading.
 Dilshad 20

3.2 ROOTS OF MUSEUM AND GALLERIES

From the history, the Greeks and Romans are the first who started to keep records of the
collections of precious objects. The term "Museum" was first used during this Renaissance
period. When enthusiasm for the products of classical antiquity and a sense of history first
developed, art collection began with ltalian Renaissance. ln 16th century first formal setting
of display was done by Bramante in Vatican. The displaying method was completely different
at that time. All the art works were jumbled together in the walls, ceilings. Their purpose was
to delight. Viewers had to find what object attract them and make their own connection with
that object.

3.3 BEGINNING OF PUBLIC MUSEUM

Tower of London, the university museum at Basel and Ashmolean at Oxford University was
the first museum in 1683, after the exhibition of Uffizi in 1591. The museums of that time
were supported by public revenues such as British Museum of 1753. ln 19th century, a

dramatic rise of museum was noticed. ln that time museum was designed as a piece of
ceremonial architecture. There the idea of the sacred was translated into secular or national
or civic term. Museums of this century were supported by a limited audience who were
educated and refined. Now there is a much broader audience.

1dh MUSEUMS 17n to 1dn 1dh MUSEUMS

MUSEUMS
century for century for allto
\ for \
Wealthy, \ collect, store,
/ private / a limited ,/ conserve,
audience
individuals research &
\ )

Fig13: Development of Museum

 Dilshad 21

3.4 LIGHTING & SPACE QUALIW OF MUSEUMS

Museums rank among the most demanding and exacting of all lighting applications. Visitors
come from far and wide to see the exhibits, which must be displayed in the best possible
light, literally as well as figuratively. This means they must not only be easy to see, interpret,
understand and appreciate-all the way down to the smallest detail-but also look as
attractive as their artists and creators intended. The long-term damage that light can inflict
on artwork and artifacts complicates matters even further-as does the fact that these
objects come in a variety of shapes, sizes, colors and textures, all of which can impact the
lighting equation.

Figl4: Space quality of museum

Soure; Google

Lighting in museums and art galleries plays a key role in a visito/s ability to perceive and
enjoy both the artifacts in a museum and the building in total. ln order to develop a
successful lighting scheme, a museum lighting designer must satisfy many conflicting design
requirements. Their primary concern is effectively illuminating artwork, but they can be
constrained by energy conservation standards which require light levels below 15 foot
candles in some exhibit spaces. As an additional concem, they must consider the visual
comfort of visitors. lt is this last criterion that this report explores.
 Dilshad 22

Fig15: Lighting Quality and Spce organization in museums

Soure: Google

A lack of consideration for the visual comfort of visitors on a designer's part can potentially
handicap an individual's ability to view displays. Dramatic variations in light levels from
exhibit to exhibit, orfrom exteriorto interior, can affect a visito/s abilityto appreciate artwork
because the human eye requires several minutes to adjust to large changes in light levels.
Sharply contrasting light levels between a bright entry and a dark gallery can be very
disturbing, and potentially even painful.

3.5 DISPLAY AND STORAGE REQUIREMENT

Museum types Display (% ground floor area) Storage (% ground floor area)

National 35 29

Local authority 57 25

lndependent 58 12

All museums 53. 19

 Dilshad 23

3.6 IMPORTANCE OF ART MUSEUM WITHIN A COUNTRY

Museum showcases the history & evolution of a culture or a country, all aspects of human
living in that particular society, including its diversity, lineage, race, etc. lt gives an idea of the
"ideology" or national character of the people, the unity as well as the diversity. lt also
showcases the creative achievements, technical development, innovation, application, etc.
So it is a Statement of Progress & Progression. Museum is more about "facts" & artifads -
what actually occurred as revealed through the selection of displays.

Art museum is a representation of the Perspective of the times & the artists. lt shows how
contemporary artists lnterpreted & chose to Represent Reality through their eyes & vision. lt
may or may not be "factual" but it does reflect the times - how much freedom & patronage
artists received, intemational exchange or influence, & so on. Some works can also symbolic
& may have encoded or deeper meaning than what is apparent. Art museum is a symbol or
representation of the country's heritage, human inheritance & progress, a window to the
distant past.

3.7 ART GALLERIES AND MUSEUMS IN DHAKA

National Art Gallery Segun Bagicha, Dhaka.

at Shilpakala Academy
Bangladesh College of Kazi Nazrul lslam Avenue, Dhaka.
Arts and Crafts
Gontemporary Arts Ensemble, 48/1, Commercial Building,
South Avenue, Gulshan.
Saju Art Gallery F 28 DMC Market, Gulshan, Dhaka.
La Galerie 54 Kamal Ataturk Avenue, Gulshan,Dhaka.
Jiraj Art Gallery 12 Shahbag Shopping Complex, Dhaka,
Haque Art and Crafts F 36, North DMC Market, Gulshan,
Yeart Gallery F 3TNorth DMC Market, Gulshan, Dhaka,
Shilpangan House 15, Road 4 Dhanmondi, Dhaka.
Bangladesh Folk art Gallery Panam Nagar, Sonargaon.
Galary 21,765 Satmasjid Road, Dhanmondi, Dhaka.
 Dilshad 24

From the list, it is seen that there are lot of galleries at Gulsan area, and few galleries at
Dhanmondi and near old Dhaka. But other areas of Dhaka and at its center, there is no
galleries. Besides all galleries exhibits recent works of artists as a temporary exhibition, but
there is no contemporary art museum which can expressed the current activities of the
world.

3.8 THE ROLE OF THE ART MUSEUM

3.8.1 The Role of the Art museum from today,s perspective

The idea of the museum has changed with time. lt is now more interactive and more open.
The museum has to be welcoming and needs to communicate to the widest possible
audience. lt should have an all-embracing image. lt should not house only art or sculpture,
but also should house people, their emotions and feelings.

Today's museum represents how a society sees itself. lt is the symbol of commercial and
cultural achievement of a country. lt is a place for visitor's attractions, which might help in
global tourism. Nowadays museum is a place of multifunction, which has to combine
traditional roles of interpreting and conserving a wide range of artifacts, large scale retail
area, and new technology. lt acts like an art market where artists are being promoted.
Exhibits are not displayed in static form. A huge number of people will be welcomed by
temporary galleries in the museum. Large scale installation projects, video and performance
make the whole museum livelier participatory and interactive. People who will be coming
here will be wishing to shop, relax and have a seminar. lt is flexible, spaces has multiple
function.
 Dilshad 25

3.8.2The Role of the Art Gallery in the Digital Age

The art gallery used to be the place where art was hung and admired. ln today's world of
flicker, Facebook, and instant photo sharing technology, images today are more easily
accessible and reproducible than ever before. lf the art gallery used to be the place where
art was contained and contextualized, then the question raise about the role of the art gallery
in today's world.

ln history, before the invention of reproductive technologies such as the camera, classical
artists created works of art in a time period. Now those images are freely captured and
distributed all over the world. Technology has been able to decontextualize art, removing it
from galleries and museums and repositioning it in places where it was never intended to be
seen. The painting on the wall has been replaced by the camera through which any picture
can be reproduced and making it available in any size, anywhere, for any purposes.

Art has spilled over onto the digital world. Surfing the intemet, one can look through
thousands of photographs and paintings instantly via google images or photo sharing. So
internet has become the new free and democratic art gallery. Though art galleries still exist,
they're becoming more museum-like than before; the art gallery is becoming a space where
original artworks are relied, but it's no longer the only space where art can be enjoyed.

3.9 MODERN TECHNOLOGIES AS A THREAT OF REPLACING MUSEUMS

ln today's society, modern technology is upgrading constantly every day, and the advanced
electronics gradually replace many areas of our real lives. More and more people can watch
exhibitions through television or internet at home due to modern technology. So a threat can
be raised that museums and art galleries will be disappeared soon. But it should not be done
because exhibition on internet or television will never be able to give the same as an art
museum.
 Dilshad 26

Viewing exhibitions at home is not as well as enjoying the views in the museums. Advanced
technology can't provide the realistic feeling to audiences. Though people who watch
exhibitions on TV or internet at home, save the time and money on the road, which is a great
advantage, but in accordance with recent research, experts suggest the lifestyle of
individuals in modern society is unhealthy because they lack physical exercise and face-to-
face communication.

Museums can promote the development of tourism. Many tourists prefer to visit a museum
to realize local culture as well as to enjoy artworks from masters. Along with it, the
importance of museums and art galleries is plain in terms of education and culture. First of
all, authentic exhibits cannot be completely displayed only by images and videos. lt is like
travelling to a place is much better than viewing the landscape of that place on W or photos,
so the best method to leam one thing is to experience it. Moreover, museums and art
galleries preserve some cultural heritages for which these buildings will not disappear unless
people abandon their cullure.
 Dilshad 27

CHAPTER 04

CASE STUDY

4.1 THE KIMBELL ART MUSEUM

4.1.1 Project Brief

Architect Louis l. Kahn

Location Fort Worth, Texas
Date 1967 to 1972
Building Type art museum
Construction System reinforced concrete
Climate temperate
Context urban park setting
Style Modern
Notes vaulted ceilings with integrated day lighting

Fig16: Kmbell aft museum

Souroe.' G re atb u i ldi ngs

Fig17: Kmbell art museum

Souroe: Google
 Dilshad 28

4.'l .2 P roiect descri ptio n

The Kimbell Art Museum was designed by renowned architect Louis l. Kahn. lt is recognized
as one of the most significant works of architecture of recent times. The building is especially
famous for the silvery natural light spreading across from its vaulted gallery ceilings. lt is a
small building with excellent art collection, traveling art exhibitions, educational programs
and an extensive research library. ln 1990, the museum got Twenty-five YearAward from
American lnstitute of Architects.

4.1 .3 Architectural features

Vault

The aesthetics of the Kimbell Art Museum is derived from the more classically oriented
sensibility of its architect Louis l. Kahn. The museum is composed of 16 parallel vaults. Each
are 100 feet (30.6 m) long, 20 feet (6 m) high and 20 teel (6 m) wide (intemat
measurements). lntervening low channels separate the vaults. The vaults are grouped into
three wings. The north and south wings each have six vaults, with the western one open as
a portico. The central space has four vaults, with the western one open as an entry porch
facing a courtyard partially enclosed by the two outside wings.

Figl8: Vault of Kmbell art museum

Source: Google
 Dilshad 29

4.1.4 Function arangement, skylight and atmosphere

Wilh one exception, the art galleries are located on the upper floor of the museum to allow
access to natural light. SeMce, curatorial spaces and an addilional gallery are located at the
ground floor. Each interior vault has a slot along its apex to allow natural light into the
galleries. Air ducts and other mechanical seMces are located in the flat channels between
the vaults.

Reflectors spread sunlight across the gallery ceilings. Kahn showed that the curved ceiling
shells are supported only at their corners by allowing a thin strip of outside light to enter
along the tops of the long gallery walls and a thicker arc of light to enter at the end of each
gallery. In areas without art, such as the lobby, cafeteria and library, the entire reflector is
perforated, making it possible for people standing beneath to glimpse passing clouds. ln the
gallery spaces, the central part of the refleclor, which is direcfly beneath the sun, is solid,
while the remainder is perforated. The concrete surfaces of the ceiling were given a high
finish to further assist the reflection of the light.

The ends of the vaults are made of concrete block. They are faced with travertine inside and
out. Steel handrails were "blasted" with ground pecan shells to create a matte surface
te)ilure. The museum has three glass-walled cour$ards that bring natural light to the gallery
spaces. One of them penetrates the gallery floor to bring natural light to the conservation
studio on the ground floor.

(a)

(c)

ligl9:(a) interior space with daytight; (b) exteior wall detail; (c) erteior prci spa@;
(d)
cleavage qpaoe between two masses
Soure; Greatbuildings
 Dilshad 30

4.1.5 Landscaping

The idea was that, open porches flanking the entrance would create a good transition from
the lawn and courtyard to the galleries inside. The main entran@ past a lawn edged by
pools with running water, the visitor enters a courtyard through a grove of Yaopon holly
trees. The sound of footsteps on the gravel walkway echoes from the walls on either side of
the courtyard and is magnified under the curved ceiling of the entry porch. After that subtle
preparation, the visitor enters the hushed museum with silvery light spread across its ceiling.

FigZO: Vault of Knbell aft mu*um

Soure.'Google

4.1.6 Findings

a The repetition of a vault like form has made il rigid yet rictr simplicity.
a The shell at the portico is supported only at its four comers, minimizing obstruction at
floor level.
The covered exterior and a beautifully articulated concrete structural frame with infill
paneled walls of travertine gives a dull shine look.
a Its classic sense of timelessness is conveyed by the respect for materials and details.
a A diflUsed naiural light enters into the interior space through continuous interior
suspended screen and reflected downward off the curve of the vault.
 Dilshad 31

4.2 HEIGH MUSEUM OF ART

4.2.1 Proiect Brief

Architect Richard Meier

Location Atlanta, Georgia
Date 1983
Building Type art museum
construction system concrete frame, enameled steel cladding
Style Modern
Notes curved facade to sunny atrium

)
EE.
'

tl

Fig21: Heigh Museum of Art

Soure: Gredbuildings
 Dilshad 32

4.2.2 Prciect description and fi ndings

A classical four square part is manipulated to create spatial disinctions worthy of the
museums important placement and public function within the cultural scope of Atlanta. One
of the quadrants is carved out to create the monumental and orienting atrium space whose
edge-defining circulation ramps pay respect to the swirling Guggenheim. Richard Meie/s
characteristically white building houses an auditorium, a ground level court, cafe, museum
shop, nrembers lounge, required stafi support spaces, and varied display spaces featuring
painting, sculpture, and fumiture. Natural light is prevalent and adjustaUe to meet specifii
exhibit needs.

The structure consists of steel columns and frame and concrete slabs. The granite plinth
acts as a horizontal datum for the ramps and, in elevation, as an anchor for the white
porcelain-enameled steel panels cladding the galleries below. Light, whether direcl or
filtered, admitted through skylights, ribbon glazing, clerestory strips, or minimal perforations
in the panelwall, is a consistent preoccupation throughout: apart from its functional asped, it
is a symbol of the museum's role as a place of aesthetic illumination and enlightened cultural
values. The primary intention of the architeclure is to encourage the discovery of these
values, and to foster a contemplative appreciation of the museum's collection through its
own spatial experience.

v"-

lig22: Edge4efining circulation zrmps of the anrcd oienting atrium space of Heigh
Museum of Art
Souroe: Grcatbuildings
 Dilshad 33

Fig23: lnteior spae of Heigh Museum of Att

Soure: Grcdbuildings

Fig24: Exteior spae- of Heigh Mu*um of Art

Soure; Grcatbuildings
 Dilshad 34

4.3 ROSENTHAL CENTER FOR CONTEMPORARY ART

4.3.1 Project Brief

Archltec,t Zaha Hadid

Location Cincinnati, USA
Ilate 2001 to 2@3
Building Type art museum
Building footprlnt 11,000 sqfi
Total are 80,000 sqfr
Floorc 7
Style Modem
Material Concrete, steel, glass
Maior design features Urban Carpet, Jigsaw Puzzle, SkirVsatlpture

L.

Fig25: Ro*nthal center for antemponry art

Soure: Google
 Dilshad 35

4.3.2 Architectural features

a Building is snrcothly blended with urban conte{.

a Lighting sources have been distributed properly by one major souroe and other
supporting sources.
a Galleries with dffierent height are acoommodated.
a The building seems as if floating.

Fig26: Rosenfhal enter for antempnry art

Soure: Gagle

4.3.3 Findings

a The museum gets positive impact of sunounding for locating in a comer plot.
a Situated on a busy road, but perfectly performs it's fundions.
a Major light source is from the top of circulation way. O(hers are from the side of the
building.
a Simple ways have used to make an experiential space.
a Stair plays a drama nather than a boring straight vertical access.
a Gallery space ratio is 2Oo/o ol total area.
 Dilshad 36

4.4 JINAN CONTEMPORARY ART MUSEUM PROPOSALS

4.4.1 Project Brief

Architect United Design Group

Location Jinan, China
Date 2001 to 2003
Building Type art museum
Building footprint 11,000 sqft
Total are 80,000 sqft
Floors 7
Style Modern
Material Concrete, limestone
Major design features Atrium, Hierarchical circulation, Skin/Sculpture

,,'.. -d>
-t-L_

Fig27: Jinan contemporary art museum

Soure; Archdaily

4.3.2 Architectura! features and findings

 Dilshad 37

Has relationship with the existing buildings.

Maintaining the symmetry of the system.
Atrium and hierarchical circulation inside the building.
Elliptical exhibition space.
Main four entrances.
Used external membrane, double glazed skin, semitransparent finish to reveal the
interior complexity.
Gallery space ratio is 2lo/o ol total area.

J-

Fig28: Jinan contemporary art museum

Soure.' Archdaily
 Dilshad 38

CHAPTER 05

PROGRAM DEVELOPi,IENT

5.1 PROPOSED PROGRAM

Administration 5500 sqft

Permanent gallery 61200 sqft

Temporary gallery 34000sqft

Multipurpose hall 4700 sqft

Seminar room 4350 sqft

Library 5200 sqft

Cafeteria 2400 sqft

Art workshop 9400 sqft

studio for artists 7000 sqft

Souvenir shop 400 sqft

5.2 DEVELOPED PROGRAM

 Dilshad 39

Zone Functional Adivity Quantity Area/space (sqft)

Administrative Reception 1 100

Lobby 1 400

Office space 18 2000

Toilets 1 50
women-3,men-5 250
Curator 1 200
Curator PA 1 100

Complex Superintendent 6 300

Conference Room 110 '1200

Staff Room 6 800

Toilet women-1,men-1 100

Total 5500

Permanent Gallery Space for exhibition 58000

space
Store/ Archive 1 000

Workshop/ repair 2200

uniUconseruation
Total 61200

Temporary Gallery Lobby space 4000

space
gallery 28000

Store/ Archive 2000

Total 34000

Multipurpose hall Lobby 1 1 000

Toilets women-6,men-8 300

Ticket Counter 1 100

 Dilshad 40

Seating 325 3000

Store 1 100

Projection room 1 200

Total 4700

Seminar Hall Lobby 1 300

Toilets women-4,men-6 300

Seating 300 3500

Chair Closet 1 250

Total 4350

Library Lobby 1 400

lnformation center 1 250

Toilets women-7,men-10 400

Reading space 66 3200

Store 1 250

Stack area 1 1200

Librarians room 2 500

Total 6200

Cafe SeMce area 1 800

Toilets women-7,men-8 400

Store 1 200

Eating space 1 1 000

Total 2400
 Dilshad 41

Art workshop

Studio for artist

Total program area= 135150

Circulation 30o/o = 40545

Total built area= 1702404

Paking for 100 cars

 Dilshad 42

5.3 FAR CALCULATION

Site Area, A= 309528 sqft

Road width around the site = 100' (highest) & 60' (lowest)
=30m&18m
So, for any educational or other public institute,
FAR = 5.5
MGC = 50% ofA = 154764 sqfl
Total Built Area, TBA = FAR x Site Area
= 5.5 x 309528
= 1702404 sqft
Totalfloors can be built on the site (maximum) = TBtuMGC
= 11

Setback for the site:

Front=1.5m=5'
Back=3m=10'
Eachside=3m=10'

5.4 CONCEPTUAL LAYOUT

a
ENTRY EXIT
\
a\
a\ DROP
OFF
rnl\r\il\.rg
DEMINl\K

\
ROOM
) .
a\ E,r\IUT,1IIEI\ I
MAIN GALLERY
DMI
FFI LOBBY
) LOBBY
a W( )RKSHOP
LIBRARY
PUBLIC
FACILITIES
\ -/
a \ GALLE RY
CAFE
STUDIO
\ -/
MUSEUM
FACILITIES

Fiq29: Conceptual lavout diagram of the functions

 Dilshad 43

CHAPTER 06

CONCEPTUAL STAGE AND DESIGN DEVELOPMENT

6.1 CONCEPTUAL STAGE

To design a contemporary art museum, the concept was to create a hierarchy of spaces.
After studying numerous case studies of art museums and contemporary art characters, it
was clearthat museum should have flexible spaces and spaces for multi-use. Because there
is no boundary in height of contemporary art. They can be very high and can be different in
sizes and materials. So spaces of different dimensions are needed. lnstallation projects
needed open spaces, semi-open spaces, and even closed area. For fulfilling the demand of
different material used in installation arts, landscape will be specially designed to serves as a
platform for them. The structure will be exposed. Column and beam will be designed in such
a way that they are coming from the ground and by holding each other creating a sculpture
itself. So the building itself would be an exhibit object. A plaza will be introduced to make the
area more vibrant and colorful.

Aa-i^ HIARARCHY OF GALLERY SPACE

Mulh'
Arr l- I
INTERLOCKING, SEPARATE
I 6r-*- i GALTERY AS INDIVIDUAL MASS
LP- I CONNECTING BY THE CIRCULATION
OPEN, SEMI OPEN, CLOSED SPACE
WINDOWVIEW, SPACE OF
INSTALLATION

-i qt,
Fig30: Conceptual diagrams
 Dilshad 44

6.2 STUDY & APPROACH FROM THE SITE

6.2.1 Circulation and zoning understanding

From case studies, a circulation diagram is done to understand the zoning. I found that there
are to separate zone in sense of security. Museum functions need security, on the other
hand and public functions need openness. So public functions - multipurpose hall, caf6,
office, library suit best at the ground because it will be easily accessible from the road.
Museum functions will be placed on upper floor. Natural light can be used properly for the
gallery.

I
i{ *-

Etrh.,, I

G;ft st',T I
'--Gall<u,

Fig31 : Circulation diagram

Ditat h Edl''1
ocr.. A lA^;";"1|*,
'7rt M*l#p,r"pole h^ll,
Srrl
1v,,-'atr. to otn..

'Ii-Po'a'y(*'th"it
C^f, sho?, Li'.n^1
_l -
Top hartnahop , 44ot2 , PQnm4r.,''
I 6otl<'g /
+
I ll^{rrrrt c./i t/rA. I

lrr,r^r,
|" 6, c^,n.j Can toJlVQ. At
(atl e"1

Fig32: Zoning diaEam

 Dilshad 45

PARASOLE ROOF

GALLERY
STUDIO
WORKSHOP

ADMIN CAFE/ LIBRARY

M.HALL

Fig33: Sectional diagram

A raised plaza is introduced to welcome the city people from the road, who serves as
temporary gallery space, goes directly to the museum tobby and gives shed to the ground
floor functions. At the top of the galleries, a parasol roof is also introduce for sun and rain
protection.

6.3 IST PHASE

6.3.1 Entry/ Exit

Three type of entry should be considered- Vehicular entry, pedestrian entry and service
entry. The site is located at the corner of main road and secondary road. By emphasizing
pedestrian entry more, main road will be open for cycle, walking people and restricted for
vehicles. The secondary road will be used for vehicular and service entry.
 Dilshad 46

,r-

SERYICE
ENTRY

,eHB

100
a PUBLTC &OFTACE

PEDESTRTAN
!EHI ENTRY
Fig34: Entry exit

6.3.2 Zoning

The site will be divided into four parts. The north-east part of the site has offices. So it will be
referred as silent zone and office, library, seminar will place here. The south-east part is
connection of silent zone to road. Cafe restaurants can place here to relax and time pass.
The south-east part will be referred as moving zone because it is connected with two roads
and suitable for shops, seating, weighting type functions. The north-west part has connection
with road and also silent area, so suitable for multipurpose hall. Thus the zoning is done. But
the problem is, distance between caf6 and multipurpose hall is too much. So the caf6 and
library will exchanged their places.

i::;,r"" \ I
-
aortx6
\
*'n"u"
't A

Fig35: Zoning diagram

 Dilshad 47

6.3.2 Plan and Model

Fig36: Plan and Conceptualmodel

6.4 2ND PHASE- FORM DERIVATION

Fig37: Models for deciding form

6.5 3RD PHASE- CTRGULATION

:. Fi

I
-, I

/hl
(c)

Fig38: (a) Ground floor, (b) Plaza, (c) gallery

 Dilshad 48

6.6 4TH PHASE- GALLERY

DRAWING,
re,.L I
PAINTING
SCULPTURE
I
Lot"b "'t
/'
.
-\\- INSTALLETI
- l ON
'-m:;' LL^ttu'2 PROJECTS
FLEXIBLE, A ZONE
OF FREEDOM
\..J.--l ARCHITECT ENOGH SPACE
fuq URE FOR ANYryPE

/\,/\
PHOTOGRA AND SIZE OF
PHY, FILM ARTS
Wovhg* ato r._ _-]_. SPACE FOR
\/ ,Q Wt et
LARGE SCALE
ART
SPACE FOR ARTS
MADE ON SPOT

6.6.1 Gallery_Painting and sketch

WALL - EXHIBIT

Fig39: Gallery spae FLEXIBLE WALL

6.6.2 Gallery_Sculpture and Painting

DISPLAY
WALL
I -e.

Fig40: Gallery space

 Dilshad 49

CIRCULATION

CLOSED
GALLERY
OPEN
GALLERU

Fig41: Gallery spaoe

6.6.3 Gallery_Photography and film

Fig42: Video, Photography, Sound

 Dilshad 50

6.7 sTH PHASE- LANDSCAPE

I
SAND

WATER

PAVE

STONE

GREEN

SEMI PAVE

... \ _r,-
.1, +
dt
Fig43: Landscape

STONE GREEN

PLAZA WATER
 Dilshad 51

CHAPTER 07

FINAL DESIGN

7.1 DESIGNED SITE AND MASTER PLAN

c."

Fig44: Roof plan

 Dilshad 52

7.2 FLOOR PLANS

)&ot}9

-r(
I

Fig45: Ground floor plan

+
Fig46: Plaza levelplan Fig47: 2nd floor plan
 Dilshad 53

Fig48: * floor plan

Fig51: dh floor ptan

iE

ln floor (roofl
TRoof plan with parasol roof

Fig52: Roof plan

 Dilshad 54

7.3 ELEVATIONS

l_

Fig53: West Hevation

Fig54: Soufh Elevation

7.4 SECTIONS

E,f

Fig55: Section AA'

./

Fig5e Seciion BB'

 Dilshad 55

7.5 THREE DIMENSIONAL PERSPECTIVE VIEWS OF SPACE

H
 Dilshad 56

7.6 MODEL OF THE PROJECT

Fig57: Site model

EIi

Fig58: anept models

t I

!.

Fig59: Finalmodel
 Dilshad 57

rril|
rll

Front view

Hierardty of spae
Outdoor space at front

View from main road

'1

North elevation Sfarrs between

galleies

rlll- !

[l *i '- i
{ i
; I

View from vehicular entry Roof

Hlr, '

Open installation sce,cr-

Fig60: Final model

 Dilshad 58

CONCLUSION

The stated above chapters include the process & journey of completion of the design of a
Contemporary art museum. The main idea of this projecl was to create quality spaces which
get active by the users. The main plaza serves as a breathing place to make citizen relief.
The whole site is an event platform that will add a new urban character by accommodating
daily gatherings, cultural-social events which will be reflect on people's life.
 Dilshad 59

REFERENCE

Chiara, Callender, Time saver standards for building type, McGraw-Hill lnternational Edition,
3'd Edition

Julian Stallabrass, Contemporary Art: A Very Short lntroduction, Oxford

Laura Hourston, Museum Builders 2, \Mley Academy, Great Britain

Pickard, The Architec{s' Handbook, London, 2nd Edition

www.archsociety.com

www.archspace.com

www.bdcnetwork.com

www.e-architect.co.uk

www.google.com

www. greatbuildings .com

www.wikimapia.org

www.wikipedia.com