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AGRA HERITAGE MUSEUM :
Weaving Heritage into the urban fabric
ARCHITECTURAL THESIS - 18
‘THESIS GUIDE : Ar. TANUJA KANVINDE, Ar. RAHUL SEN VERTIKA KAPOOR
THESIS RESEARCH GUIDE : Ar. RAHUL SEN FINAL YEAR I BARCH Uf \
COORDINATORS : Prof. JAVA KUMAR & Prof. ARUNA RAMANI GROVER SPA DELHI THESIS 2078 AGRA HERITAGE MUSEUM: Wong Heritage nt turban fat,
declaration
The thesis titled ‘Agra Heritage Museum’ has been carried out by the undersigned as a part of
the Bachelor's Program in the Department of Architecture, School of Planning and Architec-
ture, New Delhi -110002, India under the supervision of Ar. Tanuja Kanvinde (Design Guide)
and Ar. Rahul Sen (Research Guide).
thereby submit two copies of the report for internal and external evaluation respectively.
‘The undersigned hereby declares that this is her original work and has not been plagerized, in
part or full, From any source. Furthermore, this work has not been submitted for any degree in
this or any other university.
A/2628/2013
Fifth Year [Link]. Section-B
1g and Architecture, New Dethi nes 018 Jomemermeioininee sists i, TT)
certificate
We certify that the Thesis titled ‘Agra Heritage Museum : Weaving Heritage into the Urban
Fabric by Vertika Kapoor, roll no. A/2628/2013 was guided by us in January - May 2018 and
placed in Front of the Jury by the candidate on 24-25th May 2078. On successful completion
Of the report in all respects including the last chapter by the candidate and based on the
declaration by the candidate hereinabove, we forward the report to the Department to be
placed in the library of the School of Planning and Architecture, New Delhi.
On successful completion of the course by the candidate | hereby accept this completed report
on behalf of the Head of the Department to be placed in the library of the School of Planning
and Architecture, New Dethi.
Prof. Jaya Kumar
(Studio Director) THESIS 2078 AGRA HERITAGE MUSEUM: Wong Hetoge nto turban fatic,
acknowledgements
The successful completion of this thesis has been one of the most challenging academic
assignments faced by me which could not have been accomplished without the support,
patience and guidance of the following people.
| begin by thanking our thesis mentors, Ar. Tanuja Kanvinde & Ar. Rahul Sen for their guidance
throughout the thesis program. | am grateful to my Thesis technology guide, Ar. Uday Kapre
for his valuable suggestions and encouragement and Thesis coordinator, Prof. Jaya Kumar for
guiding me throughout the program.
Iam deeply indebted to my friend Mr. Amrit Tripathy who revived my Faith in the project when
Imost needed it.
1am grateful to my Thesis abstract guide, Sakshi Jain for helping me understand and streamline
my thoughts when I was struggling with the sea of information.
I would like to thank Ms. Shivani Shastri, Architect, Archohm Consultants(Noida) for devoting
me her precious time and for providing useful data related to the project.
I must record my gratitude to my parents whose constant support, patience and love were the
source of my strength.
| Found inspiration in trusted friends and mentors, but also in unexpected sources. Thank you
everyone, named and unnamed, for keeping me going! abstract Peet eT
Rew ee
Introduction
Se aeseeere ea get eae oc
Saleen yeas
SEE ees
‘Thesis Proposition
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Research Outcome(s)
oser cag sere ge ome em
SES eee Secon am nme
Inferences -Case Studies
Tye mseun mus be acta hab pomctng commutation.
“Aiseus prove be best pec fr eamng cartes ence thy domensate procs!
“Reto rmcmay lain te ngtonarce cl ane maaan cmpaio ence
ing Heritage into the Urban Fabric
'A/2013/2628 ‘VERTIKA KAPOOR]
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AGRA HERITAGE MUSEUM : Weaving Heritage into the Urban Fabric
Third Floor Plan 2DViews and Model Photographs
‘Ar. Tanuja Kanvinde ‘Ac Rant Sen
AGRA HERITAGE MUSEUM : Weaving Heritage into the Urban Fabric
Cea ese nes 018 Acanemcrmecrivingiet ses i, TTT) list of figures
Figure 1: Map of the city oF Agra,ca 1914. 24
(Source: [Link]) 24
Figure 2: aj Ganj Masterplan by Archohm Consultants.
(Sawee:theplani) 27
Figure 3:Jama Masjid. 32
(Sources wntimesmeccom) 22
Figure 4; Itmad-ud-daula garden tomb. 32
(Source: tourismafindiacam) 32
Figure 6: Fatehpur Sikri view from the pavilion.
(Source: tourimafindacam/agra) 32
Figure 5: Entrance to the Agra Fort. 32
(Source [Link]/rael-quide/agrortcglorioussymbotf pomerseslience-
andstrength-006292 32
Figure 7: Taj Mahal and the river Yamuna aerial view. 32
(Souee:insagramcanyindepecues) 32
Figure 8: Taj Mahal and the river Yamuna aerial view. 33,
(Sawee:Badwe 2012) 33
Figure 10: Perspective reconstruction of the scheme of riverfront Agra,
based on the Jaipur map as there, the gardens north ofthe fort are
shown slightly too Far north, so that they get out of step with the gar-
Snevenicimaeret
oe Gare,
Taratoe
pr ‘Gyarah Sidhi
ee “Mahtab Bagh (17)
a
S
'N ac
S i
maton
eet
set es
os 1 oo prem ey gr sng urd
tianscon i (EG cn errice meen vsningioms inset ss 201
21.3. MUGHAL GARDENS
Sarcere were very important part of amiccultrand were asvoctted othe Wamic conception ofthe ‘fern poredse
Three strands of early Islamic Gardens
1. Arabie- The garden seen as a pleasant alternative to the sandy desert and was usualy enclosed within the courtyard of a house.
2. Persian- The garden was regarded as a place for contemplation. itwas in Persia that the ‘char bagh'was developed, generally understood as @
‘walled garden with four sections divided by walkways and running water.
Flgure 14: Typesof amie Gardens
(asce ata
‘Types of Mughal Gardens:
1. In its ideal orm, the Mughal ‘char bagh’ consists oF a square, divided by cross axial paved walkways into four equal parts. The
cena ish charged symbolaly, ray be occpiel by s blcig pialyagerden pation Sut ase. tombertys pool The
‘walkways may cantata sunk chaanels, and) atthe points where they meet the garden wal, there may be eal or false gateways. The quadrants
may in turn be subdivided into Further squares. The whole composition is enclosed by a wal with towers at Rs corners.
2. The concept ofa garden aid out ona slope nto the landscape. The main buildings are arrayed on ascending teraces along a
Fee SHEL Ty s chanted snk ne paved walimay wfac colecs water om aspmy the iehiual erates may be pen econo
Four pat form, asin the mperal gardens oF Shaimor in Kashi
3. Ri {tis a variant of the char bagh invented by the Mughals for the specific conditions ofthe Indo-Gangetic plain. Here the main
‘ater source was usually 3 large slow-flowing river, from which the desired running water had to be raied Into the garden. The main bullaing
‘was set on an oblong terrace running along the riverfront. Usually the terrace had rooms below the main building opening onto the river, and
Stas leading down to a landing, Is two ends were accentuated by towers. The chahar bagh component lay on the downward side. In this way
the garden was turned toward the river, and the main pavilions enjoyed its cooling effect. The scheme presented a carefully composed front to
those who saw the garden from a boat or across the river, and from inside, the buildings provided a backdrop forthe garden. 21.4. THE HASHT BIHISHT OR EIGHT PARADISES PAVILION
The hasht bihisht design consists typically of a square or @ rectangle, with comers sometimes marked by towers but also
sometimes chanfered so as to form an irregular octagon. The hasht bihishtis divided by four intersecting lines into nine
parts, comprising a domed chamber in the centre, rectangular open Forehalls in the middle of the Four sides, and two-
storeyed, often vaulted, rooms at the comers.
Figure 18: The basichasht bihisht Figure 19: radially planned hasht bihisht Figure 20: Plan of the Humayun tomb at Delhi: four
design : plan of the pavilion of design: plan of Todar Mal's @aradari at ‘adialy planned hashe bihisht elements are combined
‘Shah Qulikhan at Narnaul Fatehpur Sik. Jinan overall hasht bihisht plan, THESIS 2078 AGRA HERITAGE MUSEUM: Wong Heritage nto the urbanfatic, eae
21.5. SIGNIFICANT ARCHITECTURAL FEATURES OF AGRA
WALLED FORTS MAUSOLEUMS AND TOMBS
Forts and walled cities with lofty Bastions and Gates have been ‘Mausoleums played a vital role in
‘symbol of power and reign throughout history, Agra holds two
brominent wallled palatal cities namely the Red Fort and Fatehpur
the islamic culture, and therefore
attention fo detallwas a crucial for
Sh hese stucres
& " 4, maveoleums
by Qandtombs
‘. 1D Vitessed
tee ven
COURTYARDS AND HAVELIS er! ct hve
s eeeePime
Figure 23: zonametricof the Ta) Mahal Figure 24: sh bi oer
Sheng the double dome construction, plan mth acer chamber
‘ar Reso) ferounaed by Sather
ce Pek |
‘COURTYARDS
Courtyards were a dominant
Feature n the traditional
Fesidenta religious
sentative archecture of
arid climate oF the ey.
HAVELIS
Havelisare usually identified
2 decorative entrance within
a high wall which may have
mate windows and Balconies
Sreokng re tect ate
Seip sone aatnat creat miasreabaataaiare §— RORPORMBMIAR I Pavan cantons tenets
{ears an remisraglomerton ot coryards ented by more ess
amore courtyards. inthe
Fragentary colonnades, of various groups of buidings, and oF isolated structures wrtyards 21.6. CRAFTSMENSHIP IN AGRA
LEATHER ARTICLES
Leather footwear of Agra is known internationally for superb
‘craftsmanship. Completely handmade shoes are a class apart.
Garments, purses, walets, belts are other products being made in the
city, well known For their craftsmanship and quality,
‘Agra is the largest footwear manufacturing centre in india catering
to roughly 65% of the demand in the country. The footwear
industry employs 25% of total population of Agra directly or
indirectly
Shoes are either completely handcrafted or produced with the help
‘oF highend machines. n either case, the production unit would have
mainly four departments in which a progressive route s Followed
scuteing
In this department, the top part ofthe shoe, called vamp’ or ‘upper’,
ismade.
*closing
Here the component pieces are sewn together by hight skilled
machinists so as to produce the completed upper.
‘tasting
The completed uppers take the shape of a Foot with the help of a
"ast. Lasts a plastic or wooden mould that simulates the shape of a
foot
“Finishing
Flour 26: Workers crafting leather shoes ina smal factory.
Ekrercaeweamreneneston ne) THESIS 2078 AGRA HERITAGE MUSEUM: Wong Heritage nto turban fatic,
STONE INLAY (also known as Pietra Dura)
‘Agra is famous For Parchinkari work wiich is very minute and precise
inlay work. The artisans work together as a cooperative, meaning each of
them remains an individual artist with complete creative Freedom, but all
profits are shared equally
Extreme skills required to first saw the stone, such as agate, jasper and
heliotrope, into thin pieces of various shapes and sizes, using bow saws
with abrasives.
‘Each shape is ground individually and must fit precisely without any
‘gaps. Once a perfect fit has been achieved, the marble plate, into which
the oramental pattern willbe integrated, is covered with a layer of
henna paint.
“The single pieces that make the inlay pattern are laid out on the marble
plate and their outlines scratched into the surface,
“The orange color serves as an
orientation when carving out the
individual grooves, into which the
semiprecious stone pieces willbe
glued
‘Not much has changed in the 363
years since the completion ofthe
Taj Mahal: the glve in use's stlla
paste made from sugar cane, bees
‘wax, honey, lemon juice, marble
dust and lentils grind stone
shard is used to smoothen the
surface ater the inlays have been
inserted.
‘The henna paint i also removed
during this smoothening process.
The inlay piece is now properly
Figure 6: Detalofthe pletraduraonthe integrated into the marble plate,
blatformof uppercenctophof Mumtaz ‘ng Nets final nish wg ayer
Figure 27: Inlay-workers ina marble cat shop. Manat
as imate Me Eanctte mate ete 286 8 sfiwar ZARIZARDOZI (Metal Embroidery)
Zarin Persian means gold, while dozi means embroider
zardosi can thus be interpreted as sewing with gold and silver
threads. Zrii woven into Fabrics, primarily made of silk, Felt or
velvet to create intricate patterns
Four types of zari are praduced in India, namely, real zari, semi real
zat, imitation zari and plastic za
*Real zariis made of silver and electroplated with gol.
*Semi real zarihas a composition of copper coated with siver and
gold electroplating
*imitation Zariis made of copper electroplated with silver.
*Plastic ari, is manufactured using metalic yarn Other materials
Used for making zari include cotton yarn, silkand art silk,
Real zaris used in costly product; however, its use i limited
‘compared to imitation and plastic.
“The process of zari zardosi begins with the craftsmen drawing
the basic layout of the design on a butter paper, which i ater
perforated using a needle
+He then marks the designs on the Fabric which s stretched on a
‘wooden frame called adda having Four wooden legs
Circulation and
Zoning
‘Th erulton nthe museum erates
Inchronologeal order 2 that he soe
‘costes an atehtectural and historical,
tour Thevistors route therefore a
dear thresdersanalloo. goes
tupfrom thelobby escalator othe
‘Soubleteigh galeses for the Beco
Delo; upward again ty escalator to
the Parthenon Gallery then back down
tothe Roman empire galeries and cut
toward the acropole Real.
‘The op lye the Parthenon Gallery,
whch mimes the dimensions of he
Parthenon ands rotated 23 degrees
From the resto the buling to align
swith the historic structure, cats
Derimeter wal alow seamess views
‘ofthe acropolis ang athens, and the
oncrate conte ofthe rom a0
the Parthenon fine preiey a itwas
[Link] orientedinthe orginal,
Ionurrent Natural Wht ram the
Parthenon Gals iteredhrough'ts Figure 67: Circulation of
‘lssflooted avium tothe floors below. Exhibion.
waralti
Figure 65: Section AA. Figure 6 section 88,
arrcmnae 200 (once Puig 207 THESIS 2078 AGRA HERITAGE MUSEUM: Wong Henitage nto turban fatic,
Materials
«The building was designed in relation tothe durability
and resistance to the passage of time.
*The materials were selected For their simplicity and
Sobriety. glass, concrete and marble.
none = The transparency of glass light Fiters gently through a
Mastereatte, “creen printing process
9) Rta the structure reinforced concrete.
“The marble floor is diferentiated according to areas
‘ofthe building: black For movement, ight beige For the
galeries.
Figure 70: Materials.
ining aedmerarertsy eatheensewenedintcnract bevwediibecorecrictomspais igekhisedtaphalal eng. Satea bis tera atc 2225. BIHAR MUSEUM, PATNA, BIHAR, INDIA
Introduction ——
LOCATION : Patna, Bihar, India
CLIENT : Department of Art, Culture
‘and Youth (DACY), Government of
Bihar.
ARCHITECT : Maki & Associates +
polis; Lord Cultural Resources
YEAR:2017
SIZE: 24,000 SQ.M.
Flure 73: Steplan and elevation, Bihar museum.
(ave cordnectcut
Located in Patna, the capital ity ofthe east Indian state of Bihar, the history museum is intended to
display the rich artifacts of the region.
situated on an extensive site of 5.6ha, the low-slung building contains 3 complex program while
/preserving prominent trees through an organization based on a campus with dispersed buildings. The
exhibition space, children’s museum, entry Foyer, and administrative center each have a distinct form,
connected in between via arcades and courtyards.
+A campus with interconnected landscape of builtup and open spaces with modest but dynamic
profile, in harmony with the land. The campus incorporates primarily Four zones ie, entrance,
education, exhibition and administration. Each wing has been given 2
within the complex.
Flgure 72: Views, har museum.
Barer acute es 18 Jcanemermeniiningiip is iaste , TTT)
3122, Layout
Figure 75:Ground Foor pln, ihar museum.
Sorts
‘allindependent and smaller-scaled wings are inked together via seven open-to sky courtyards, ensuring that all spaces are connected to the
surrounding landscape, while remaining sheltered and comfortable throughout the year. Each courtyard has @ unique theme, configuration and
spatial quality. 2.2.3. COMPARISON MATRIX
fropic NATIONAL GRAFTS MUSEUM, NEW DELHI, INDIA] HUMAYUN'S TOMB SITE MUSEUM, DELHI INDIA
inean con eer 9751990 pois present
ARCHITECT Charles Corres Vie Mueller Architects
Teno tae Recreational Recreational
[SITE AREA 76)000 59. (Grafs Museum) +20700050N. |=
(vitage copies)
[GROUND FLOOR AREA -
[GROUND COVERAGE - F
[TOTAL BUILT-UP AREA 0050m saissom
FAR. - F
[BUILDING HEIGHT a
RELEVANCE OF CASE STUDY yhange and craft promotion area, | ‘The nature of expression issimiar as ies Moahal
rehtecture era themed bilan,
Sequence of spaces along a central si
connected courtyards
SSS Craft demonstration Exhbiton Space
amphitheatre
Temporary Exhibition
SUbrary
Research and conservation Facility
village complex
[STRUCTURAL SYSTEMS Tartan Grid system employed. Reinforced Concrate, Steel
RCC, timber and mild steel construction
ae Timber, Sandstone, Thateh, Terracotta, Mild |=
steel, Bamboo.
[STYLE OF DESIGN Acrnemcrmeniiningieie siete i, TE)
[MUSEUM OF ISLAMIC ARTS. DOHA QATAR
(NEW ACROPOLIS MUSEUM, ATHENS, GREECE
"THE BIHAR MUSEUM, PATNA INDIA
IT ai Architect New Yor®)
‘Bernard Techumi Architects
ai & Associates + Opole Lord Clbural Resources
recreational Recreational Recreational
60,000 50 000 sm sez50 3G
- (500050 (approx) 7900080"
- 725% (approx) 3
35.500 50% i000 30m 5aT0 SOM
arent and simply oF esr.
Expression of geomet progression
Pay oght and hed
mental symbatsm echieved ough simple
Response to monumental context.
“Casscal Principles infused with contemporary de-
Son
A museum dedicated to the diy of Patna
“Identty Formation
Permanent Gallery “Temporary Gallery
Seedy Calery SEdvation wing
bray Conservation Lab
colleion storage “Ausltarum (197 Seat)
Restaurant “cite shop
-Eshibion Space (5 calles).
“eget of pesos! hast,
ae
oma Sen
sTheater(180seat) Cafe, terrace and store
Exhibition Space
“children's Maseum
entry Foyer
“aaminieerative Center
courtyards
Reinforced Concrete, Steel
Reinforced Concrete, Steal
eeeaeataninmmnonacae
Corten Steel Terracota and localnatwils om
‘ihe CHAPTER 3: READING THE PROGRAM 3.1, PROGRAM COMPONENTS
“The Following would be the main
features of the Museum:
[Link]
2. Exhibition
3. Workshop and Research Center
4. Library Services
5. Convention Facilities
[Link]
Hospitality
‘Administrative and Management
‘Support.
1. Galleries
Purpose: The purpose of modern
‘museums to collect, preserve,
interpret and display items of artistic,
cultural or scientific significance For
the education of the public. Galleries
prove themselves to be an effective
‘medium of showcasing collections For
the masses to view.
The museum is conceptualized to
house three large galleries dedicated to
display the city’s historical and cultural
heritage, present and probable Future
developments
istrcal and contemporary Attack spay Galeres/ Museums/ Temporary
‘and Other Visual Hertage ‘iibition
‘at and Cat unique tothe ty Tralning/ Exhibiting Workshops Classes/ Exhibition
Spaces/ Retail
Performing Arts Hertage Performances ‘Auditorium
Conary Heritage Food Exhibition (ale Food Court Restaurant
Administrative and Management Management Offices and logit operations
Support
Research nd Development Resear and tody Colaborative easroams, research
Tacity andoces
‘Uterature Werk and Information Reading Ubrar/Reaing rea
GALLERIES
CULTURAL
HERITAGE
GALLERY
HISTORICAL
LEGACY GALLERY
CONTEMPORARY AND.
CITY FUTURE GALLERY nes 018 Jomememmcionit sists i, TTT)
2. Exhibition
‘The word “exhibition” is usually, but not always, used for a collection of
EXHIBITION items made available to an audience. The museum would showcase 2
considerable portion of both temporary (inked with the workshop and
research center to showcase related developments) and permananet
exhibition spaces which would house exhibits For long durations (ea
quarterly or half yearly basi)
3. Workshop and Research Center (WRC)
PERMANENT EXHIBITION TEMPORARY EXHIBITION The museum is visualized to develop asa learning center altogether
‘SPACE ‘SPACE ‘with educational Facilities and programmes intended to closely study
the city’s transformation and revive the dying arts and crafts that are
Unique to the city. The WRC would serve asa space to learn, research,
experiment and develop.
‘WORKSHOP AND
RESEARCH CENTER:
sTupIos | RESEARCH AND MATERIAL SUPPORT AND
LECTURE DEVELOPMENT | PROTOTYPING ADMINISTRATIVE
HALLS LABS IN-CHARGE FACILITIES. (ER oe errsce meen vsningions ino vtn sv 201
4. Library Services
‘This would contain a large number of books and
volumes relating to all aspects of human endeavour.
It would be 2 repository ofall information on the
subject, wherever available, printed Form, or on the
internet.
5. Convention Facilities
These would be on the patter of those available
‘elsewhere and would be available to organizations
‘hin would carry out debates/ discussions/ seminars
‘on relevant subjects. they would not be available
For commercial or marketing events, These Facities
‘would be state of the art and would be designed For
‘gatherings of $0 to 250 people.
6. Office
“The museum would house small branch offices oF
bodies and corporations dedicated to the city’s
study, survey and management and conceptualizing
related future proposals. This would help facilitate
