STORYTELLING THROUGH MY RESEARCH:

PROJECT OVERVIEW

AIM: TO DEVELOP INNOVATIVE DESIGN SOLUTIONS THAT MAKE

ARCHAEOLOGICAL MUSEUMS INTERACTIVE, FOSTERING PUBLIC
ENGAGEMENT WHILE ENSURING ARTIFACT PRESERVATION.

Learning Objectives:
To explore design strategies that enhance the interaction between visitors and
historical artifacts.
A Forgotten Past, A Lost Connection
To study the role of technology in preserving artifacts while improving visitor
Imagine walking through the ruins of an ancient civilization, where every
engagement.
broken stone, every faded carving, whispers a story of the past. These stories
To analyze spatial configurations that foster a deeper connection to historical
remain unheard by many because they are locked away in forgotten
narratives.
corners of history. My research began with a simple question: How can we
To develop a framework for balancing public engagement and artifact bring these stories to life?
preservation.
To investigate user-centric approaches to creating inclusive and engaging The Problem: Museums as Silent Spectators
museum spaces. Most archaeological museums in India are static—artifacts are displayed
behind glass, labels provide minimal information, and visitors walk past
Scope: without truly engaging. The disconnect between artifacts and people has
Focus on archaeological sites in India. led to a decline in public interest, leaving museums as silent spectators of
Address challenges for museums in urban settings. history rather than active storytellers.
Limitations may include time constraints, resource limitations, and specific case
studies focusing on one or two significant sites. The Inspiration: Merging the Past and the Future
Through my research, I explored how modern technology can revolutionize
-Archaeological Museum to Bridge Past and Present Limitations: the way we experience history. Looking at global examples like the Museum
The project will focus on the design aspects and not delve into detailed artifact of the Future in Dubai and interactive museums in Europe, I realized that
restoration techniques. technology is not just a tool—it is a bridge between ancient history and
Financial constraints and feasibility of implementing cutting-edge technologies like modern audiences.
AR/VR on a large scale will not be addressed in detail.
The museum design will cater primarily to archaeological artifacts and may not The Vision: A Museum That Speaks
accommodate other forms of art or exhibits. What if a museum could talk to you?
What if you could experience the life of an ancient civilization through
The research will be limited to selected case studies and surveys, which may not
immersive storytelling?
represent the entire target audience.
What if history was not just preserved but felt, lived, and understood?

WHAT IS AN ARCHAEOLOGICAL MUSEUM? The Solution: Kalaayan – The Archaeological Museum of Timeless Treasures
My research aims to redesign the experience of archaeological museums by
An archaeological museum is a space dedicated to preserving, studying, and integrating:
showcasing historical artifacts, structures, and stories from ancient civilizations. It serves as 🔹 Interactive AR/VR to let visitors experience historical events.
a bridge between the past and present, offering visitors a chance to experience history 🔹 Holographic Storytelling that brings ancient figures to life.
firsthand through exhibits, artifacts, and digital storytelling. 🔹 Dynamic Exhibition Spaces that adapt and evolve with new discoveries.
🔹 Sustainable Design that preserves artifacts while offering a futuristic
experience.
WHY AN ARCHAEOLOGICAL MUSEUM?
INTRODUCTION:- HOW ARE CURRENT MUSEMS
Archaeological museums preserve history by showcasing
IN INDIA LACKING?
cultural artifacts that connect us to past civilizations.
However, traditional museums often struggle to engage
modern audiences, relying on static displays and History Fades India’s
conventional storytelling. Existing Museums A Need for
Without Archaeological Bridging Past &
Feel Static Storytelling &
In India, despite its rich archaeological heritage, many Engagement Wealth is Present
Technology
museums lack interactive spaces and digital integration, Underutilized
leading to a disconnect between history and public interest.
This calls for a reimagined approach that merges modern
technology with architectural innovation.
Lack of Interactivity & Engagement
This thesis envisions a futuristic archaeological museum that
blends past and present through interactive exhibits, AR/VR,
dynamic spatial planning, and sustainable design—making Traditional Rich history but Museums should This museum aims
Ancient artifacts museums rely on be more than just
history more accessible, engaging, and experiential for all. poorly to make history
hold stories of glass displays display spaces.
represented in immersive,
past civilizations. and text panels. Interactive
modern formats. educational, and
Many remain Lack of exhibits, AR/VR,
Many artifacts engaging.
unseen, lost, or interactive and and digital
are either in Not just
CONNECT GATHER OFFER SHELTER VIEW forgotten. engaging storage or at risk storytelling can preservation, but
elements. of deterioration. bring history to experience. Poor Artifact Preservation & Display
life.

Museums in Adaptive Reuse Buildings

Bridges the past and present Acts as a cultural hub for Enhances visitor engagement Ensures artifact protection with Optimizes artifact visibility with
through immersive storytelling, exhibitions, lectures, and through AR/VR, holography, climate-controlled spaces, strategic layouts, observation
linking historians, researchers, workshops, fostering community and interactive displays, sustainable materials, and decks, and immersive lighting
and visitors to India’s rich engagement in heritage making history more secure conservation methods. techniques. Visitor Engagement Beyond the Visit
heritage with interactive preservation. experiential.
experiences.

SYNOPSIS
NAME: TANISHQ RATHOD
PRN: 2000701037 FINAL YR. B.ARCH
THESIS GUIDE: DR.GAURI SHIURKAR
SEM:X

-Archaeological Museum to Bridge Past and Present

01
 DESIGN CONCEPT AND DISPLAY METHODS:
DECCAN COLLEGE - ARCHAEOLOGY MUSEUM, PUNE. Theme: To integrate education, research, and public engagement in archaeology.
Architectural Style:
Functional and utilitarian design with a focus on preserving artifacts.
RELEVANCE TO THE TOPIC Use of simple geometries and modest aesthetics to emphasize content over form.
Functional Focus: Academic spaces and public exhibits coexist to serve dual purposes.
The Archaeology Museum at Deccan College is directly connected to the study and display of
archaeological findings, providing valuable insights into the preservation, curation, and
presentation of ancient artifacts. It serves as an academic and public hub for India’s
archaeological heritage, making it relevant to the topic.
Faculty room Laboratory

Display Cases Wall Mounts Platforms Dioramas or Period Settings

ARCHITECTURAL AND FUNCTIONAL FEATURES:-

Laboratory Laboratory

Passage
Fossil
Open Spaces for Exhibits: Gallery Arrangement:
REASONS FOR SELECTION Repository GROUND FLOOR PLAN Material Use: Black
stone ensures passive
Courtyards and Ventilation:
Two large courtyards Outdoor areas display Thematic galleries enhance
cooling and energy provide natural light and large sculptures and storytelling by categorizing
Academic Approach: Operated by a premier institute in archaeology, it offers insights into efficiency through thick ventilation. artifacts, blending built exhibits like artifacts,
designing spaces for education and research alongside exhibition. walls. and open spaces. sculptures, pottery, and
Focused Display: The museum specializes in showcasing Indian prehistory and archaeology, inscriptions.
aligning with the thesis.
Compact Scale: Analyzing its layout and planning can provide valuable lessons for efficient use BUILDING PLANNING
of space in a specialized museum.
Early History Gallery Art and Architecture Gallery Courtyards Enhance
natural ventilation by
LOCATION AND CONTEXT enabling cross-breezes
between galleries,
Location: Deccan College Post Graduate and Research Institute, Pune, Maharashtra, India. laboratories, and
academic spaces. The
Regional Context: Megalithic Epigraphy and open-to-sky character
Located in Pune, a city known for its rich cultural and educational legacy. facilitates vertical air COURTYARD
Gallery Numismatics Gallery
Proximity to archaeological sites like Bhaja Caves and Karla Caves. movement, aiding passive
cooling in Pune’s semi-arid
Local Context: climate.
Situated within the Deccan College campus, fostering collaboration between researchers,
students, and the public.
Surrounded by lush greenery, offering a serene academic environment. FIRST FLOOR PLAN Establish visual and spatial
continuity within the
Protohistory
Gallery museum and the adjoining
Pre history COVERED PASSAGES
academic buildings. They
Gallery
act as lungs of the built
mass, allowing views across
corridors and open spaces,
Prof.H.D.Sankalia Prof. H.D. Sankalia and breaking down the COLLEGE COURTYARD MUSEUM
Memorial Gallery Memorial Gallery building’s mass into human-
MAHARASHTRA PUNE scaled units.
INDIA
AREA CHART:
SITE PLANNING STANDARDS & NORMS
The Deccan Archaeology INFORMATIVE PASSAGES

i. Siting of the Building: Museum thoughtfully

incorporates dedicated MAHARASHTRA
Centrally located on the campus for easy access by students, faculty, and visitors.
Surrounded by open spaces and vegetation for natural cooling and pleasant Designed following conservation spaces for researchers,
aesthetics. standards set by the Archaeological archaeologists, and academic
Survey of India (ASI). staff, supporting the
ii. Zoning & Circulation Pattern: institution’s dual role as both a
Pedestrian Circulation: Clear and simple pathways connect different functional public museum and a
Basic fire safety measures and
zones. research hub.
accessibility provisions for visitors.
Vehicular Circulation: Limited to the periphery, ensuring minimal disturbance to
LIGHTING IN MUSEUM
pedestrian zones.

LIVE CASESTUDY-I 02
NAME: TANISHQ RATHOD
PRN: 2000701037 FINAL YR. B.ARCH
THESIS GUIDE: DR.GAURI SHIURKAR
SEM:X

-Archaeological Museum to Bridge Past and Present

CHHATRAPATI SHIVAJI MAHARAJ VASTU SANGRAHALAY (CSMVS), MUMBAI SITE PLANNING
i. Siting of the Building:
Centrally located in South Mumbai, easily accessible by public transport.
RELEVANCE TO THE TOPIC Oriented to maximize views of the surrounding urban context.
ii. Allocation of Site for Various Functions:
The CSMVS is one of India’s premier museums, showcasing an extensive collection of
Galleries arranged thematically (Indian art, prehistory, European art).
artifacts that represent India’s cultural and historical heritage. Its architectural and
Dedicated conservation labs and research facilities.
curatorial design offers valuable insights into the fusion of historical and contemporary
Landscaped garden enhances the visitor experience.
museum design, making it relevant for designing a futuristic museum inspired by India’s
iii. Zoning & Circulation Pattern:
past.
Pedestrian Circulation: Visitors are guided through a central atrium with clear directional signage.
Vehicular Circulation: Parking and drop-off zones are planned at the periphery to maintain pedestrian safety.
Buddha gallery Bird gallery Animal gallery Key gallery

HERITAGE BUILDING EXTENDED BUILDING

DOME FROM SQUINCHES AND

QUTUB SHAHI RIBBON WINDOW
TOMB
Hindu gallery

GROUND FLOOR PLAN

JAIN GALLERY
Jain gallery MINARET TOPPED BANGLADAR ROOF
WITH DOME OVER ENTRANCE

HERITAGE BUILDING EXTENDED BUILDING

REASONS FOR SELECTION MUSEUM BUILDING

1.Architectural Significance:
The Indo-Saracenic style combines Indian, Islamic, and European elements, providing
inspiration for blending historical and modern design. Prints gallery
POINTED ARCHES GEOMETRIC
2. Collection Diversity: MUGHAL JAALIS
Houses archaeological artifacts, art, and textiles that represent India’s history.
3.Urban Context:
BUILDING PLANNING
Located in South Mumbai, the museum is a landmark within a bustling city, offering
insights into integrating cultural spaces in urban environments.
FIRST FLOOR PLAN
A soaring atrium
Money gallery
crowned by the dome,
LOCATION AND CONTEXT surrounded by multi-level
Location: galleries. The vertical
CSMVS is situated at Kala Ghoda, Fort, in South Mumbai. volume enhances natural
light, ventilation, and a CENTRAL DOME PROVIDES A SENSE OF GRANDEUR AND
Regional Context: OPENNESS
Set amidst Mumbai's historical landmarks like the Gateway of India and the Prince of sense of grandeur at the
Wales Dock. heart of the museum.
Jewellery gallery Miniature painting Decorative gallery Himalayan gallery A sectional cut through the central
The museum serves as a cultural hub in a cosmopolitan city.
gallery dome reveals the museum’s spatial
Local Context:
hierarchy
Surrounded by other cultural institutions, making it a prominent part of Mumbai’s ADMINISTRATIVE AREA

cultural district. RESEARCH AREA

HERITAGE BUILDING EXHIBITION AREA
EXTENDED BUILDING

The circular gallery layout

encourages intuitive INTRICATE STONE CARVINGS ON ARCHES AND
navigation, minimizing COLUMNS
congestion and guiding
visitors through a seamless
spatial journey.

Circular flow prevents

MAHARASHTRA MUMBAI SECOND FLOOR PLAN congestion
JNAF Gallery

DESIGN CONCEPT AND DISPLAY METHODS: Combining thick stone

masonry with steel CIRCULAR FLOW PREVENTS CONGESTION AND ENSURES
Theme: A harmonious blend of India’s rich cultural heritage and colonial influence.
reinforcements, this A SMOOTH VISITOR EXPERIENCE.
technique merges traditional
Architectural Style:
compressive strength with
Indo-Saracenic architecture with domes, arches, and balconies.
modern tensile support for
Influences of Mughal, Gujarati, and European Gothic styles.
greater stability and span.
Sir Ratan Tata Chinese and Japanese Arms and armour Indian textiles
Functional Focus: gallery gallery gallery gallery
Focuses on both display and conservation, with galleries arranged thematically. Load-Bearing Stone Masonry
with Steel Reinforcements

LIVE CASESTUDY-II 03
NAME: TANISHQ RATHOD
PRN: 2000701037 FINAL YR. B.ARCH
THESIS GUIDE: DR.GAURI SHIURKAR
SEM:X

-Archaeological Museum to Bridge Past and Present

 DESIGN CONCEPT AND DISPLAY SPACES:
NATIONAL MUSEUM, NEW DELHI
The design follows a rectilinear form
RELEVANCE TO THE TOPIC with a strong emphasis on symmetry.
Inspired by Indian temple and palace
One of the most significant museums in India, showcasing the country’s architecture, incorporating courtyards,
archaeological, historical, and cultural heritage. domes, and open corridors.
Displays artifacts from Indus Valley Civilization, Mauryan, Gupta, and Mughal periods, Aims to provide a structured yet THE ENTRANCE HARRAPAN MAURYA ARTS KUSHANA GALLERY
making it highly relevant for an archaeological museum study. CORRIDOR GALLERY GALLERY ARTEFACTS
immersive experience for visitors, with
thematic galleries and interactive
exhibits.
Provides a clear zoning strategy,
balancing exhibition spaces, research
areas, and visitor amenities.

GROUND FLOOR PLAN

GUPTA GALLERY EARLY MEDIEVAL LATE MEDIEVAL DECORATIVE
ARTEFACTS ARTEFACTS ARTEFACTS ARTS GALLERY 1

LINEAR CIRCULATION IN
CHANNEL CIRCULATION FROM DECORATIVE VIEW OF THE VIEW OF THE MUSICAL
GALLIERIES
ENTRANCE TO DIFFERENT GALLERIES ARTS GALLERY 2 TEXTILES GALLERY INSTRUMENTS

BUILDING PLANNING
REASONS FOR SELECTION
Houses over 200,000 artifacts, making it one of the most comprehensive repositories LIBRARY &
RESEARCH
AREAS
VISITOR AMENITIES
(CAFETERIA, SHOPS,
The axonometric diagram showcases
of Indian history.
ETC.)

the vertical organization of spaces, with

CIRCULATION
& UTILITIES

Represents a blend of modernist architecture with traditional Indian elements. FIRST FLOOR PLAN ADMINISTRATION
& OFFICES

galleries stacked by historical period —

Provides insights into museum planning, spatial organization, and exhibition from ancient artifacts at the base to
strategies.
modern exhibits above. Each zone is
distinctly color-coded to represent
STORAGE &

LOCATION AND CONTEXT

CONSERVATION

public, semi-public, and restricted areas,

EXHIBITION
GALLERIES

1.Location: Janpath, New Delhi, India. ensuring clarity in spatial hierarchy and
2.Context: functional zoning.
AREA CHART
Situated in Lutyens’ Delhi, surrounded by key government buildings, cultural
centers, and embassies.
Close proximity to India Gate and Rashtrapati Bhavan, making it easily
accessible to both tourists and scholars.
Regional climate: Hot semi-arid; requires effective climate-responsive design.

The sectional diagram illustrates

distinct circulation paths for visitors,
staff, and artifact movement. This
separation ensures smooth navigation,
operational efficiency, and minimal
SECOND FLOOR PLAN disruption to exhibits and conservation
activities.

Well-defined corridors and wayfinding

INDIA NEW DELHI JANPATH
signage throughout the museum.

SITE PLANNING
i. Siting: Atriums and courtyards enhance visual
Centrally located with main access from Janpath Road, surrounded by connectivity between galleries and
landscaped buffers for a calm, immersive environment. floors while promoting natural
DIRECTIONAL LIGHT EACH DISPLAY HAS ITS OWN NATURAL LIGHTING IS ONLY USED IN
ii. Site Allocation: FOCUSED LIGHT CENTER CIRCULATION COURT ventilation. These open-to-sky voids act
Exhibition Halls: Thematic galleries across floors as breathing spaces, improving spatial
Admin & Research: Offices, curatorial, conservation spaces orientation and environmental comfort
Public Areas: Library, shop, cafeteria, auditorium within the museum.
Storage: Secured zones for artifact preservation Atriums and courtyards enhance natural
iii. Zoning & Circulation: light and airflow while visually linking
Pedestrian: Clear pathways through galleries and open courtyards different parts of the museum. They also
Vehicular: Separate VIP, visitor, and service access; peripheral parking to offer calm pause points between
reduce congestion galleries.
WELL-DEFINED CORRIDORS DISPLAY AREAS DOUBLE-HEIGHT ENTRANCE LOBBY

BOOK CASESTUDY-I
NAME: TANISHQ RATHOD
PRN: 2000701037 FINAL YR. B.ARCH
THESIS GUIDE: DR.GAURI SHIURKAR
SEM:X

-Archaeological Museum to Bridge Past and Present

04
 MUSEUM OF THE FUTURE, DUBAI DESIGN CONCEPT
Theme: "See the Future, Create the Future."
Architectural Form:
RELEVANCE TO THE TOPIC A torus-shaped structure symbolizing knowledge, innovation, and sustainability.
The Museum of the Future is a prime example of combining futuristic design with The void at the center represents the unknown future.
technological innovation while preserving cultural narratives. It aligns with the idea of Cultural Connection:
creating an iconic structure for showcasing India's archaeological history through Arabic calligraphy on the façade contains quotes from Sheikh Mohammed bin
immersive storytelling and smart technologies. Rashid Al Maktoum about innovation and progress.

LONGITUDINAL SECTION

STRUCTURAL DESIGN & CONSTRUCTION

Steel Frame & Parametric Design: Built using 2,400 diagonally intersecting steel members, forming a
diagrid structure for strength and flexibility.
No Internal Columns: The structure is self-supporting, using an internal concrete core and steel
exoskeleton.
Facade: Made of 1,024 stainless steel panels, each uniquely 3D-printed and calligraphed with
Arabic quotes.

REASONS FOR SELECTION

Represents a global benchmark for futuristic museums.
Focuses on technology-driven storytelling, which is vital for engaging visitors.
Exemplifies sustainability and innovative structural engineering.
Inspires how a building’s form can narrate a story, similar to India’s historical
essence.
BUILDING PLANNING
LOCATION AND CONTEXT
The interior layout
Location: Sheikh Zayed Road, Dubai, UAE. features gently curved
Regional Context: ramps that guide visitors
-Sits amidst Dubai’s urban fabric and iconic skyscrapers. through exhibits in a
-Symbolizes Dubai’s ambition to lead in innovation and sustainability. continuous, seamless
Local Context: flow. This fluid circulation
-Proximity to the financial district emphasizes its integration into a modern cityscape. enhances spatial
orientation and ensures
an accessible, immersive
experience across all
levels. VERTICAL CIRCULATION THROUGH ELEVATORS AND RAMPS.
BREAKDOWN OF SPECIAL SPACES:
The sectional cut reveals the
dramatic central void, around
which galleries and circulation
paths are arranged. This vertical
UNITED ARAB EMIRATES DUBAI volume enhances visual
SHEIKH ZAYED ROAD
connectivity, encourages upward

SITE PLANNING movement, and anchors the visitor

experience within the building’s
toroidal form.
i. Siting: RESEARCH & CAFÉ & RETAIL STORE
AUDITORIUM
Located prominently along Sheikh Zayed Road, INNOVATION HUB EXHIBITION FLOORS (LEVELS 1-5)

elevated on a landscaped podium for maximum

visibility.
Futuristic tech features
ii. Site Allocation:
like holograms,
Podium includes entry, parking, and green zones; the
interactive walls, and
torus holds exhibitions, workshops, and offices.
AI-guided paths
iii. Zoning & Circulation: create an immersive
Pedestrian: Entry via podium with vertical movement and intelligent visitor
through ramps and elevators. experience.
Vehicular: Parking and drop-off integrated into
lower levels. OSS HOPE (SPACE AL WAHA (“THE OASIS”) HEAL INSTITUTE (HEALTH &
EXPLORATION) SUSTAINABILITY)
GRAND OPEN SPACE WITH FUTURISTIC LIGHTING AND DESIGN.

BOOK CASESTUDY-II
NAME: TANISHQ RATHOD
PRN: 2000701037 FINAL YR. B.ARCH
THESIS GUIDE: DR.GAURI SHIURKAR
SEM:X

-Archaeological Museum to Bridge Past and Present

05
 DESIGN CONCEPT
THE BRITISH MUSEUM, LONDON Theme: A blend of neoclassical grandeur and modern intervention, symbolizing the preservation of history while
embracing innovation.
Architectural Form: A monumental structure with symmetrical planning, large colonnades, and a central courtyard,
RELEVANCE TO THE TOPIC maintaining a sense of grandeur and permanence.
The British Museum is one of the world’s most renowned museums, dedicated to human Cultural Connection: The museum showcases global heritage, with exhibits from Egypt, Greece, Rome, Asia, and the
history, culture, and archaeology. Its vast collection of artifacts and its architectural Americas, emphasizing the interconnectedness of civilizations. The Great Court’s modern glass roof represents a bridge
DISPLAY CASES
evolution provide valuable insights for designing an archaeological museum. between past and future architecture.

PLATFORMS

COMMON SPACES

EXHIBITION AREAS

GROUND FLOOR PLAN

CAFÉS &
RESTAURANTS

REASONS FOR SELECTION

BUILDING PLANNING
Houses a vast collection of archaeological artifacts from multiple civilizations.
COMMON SPACES
One of the oldest and most influential museum designs in the world.
EXHIBITION AREAS
Incorporates modern interventions (Great Court) within a historic structure.
Provides a balanced approach to exhibit design and visitor circulation. The central Reading

SCULPTURE
Room anchors the Great
DISPLAYS Court, with radial
LOCATION AND CONTEXT circulation paths guiding
visitors seamlessly
Location: Great Russell Street, London, United Kingdom.
through hierarchical
Regional Context: Located in Central London, it serves as a major cultural and
gallery spaces. LINEAR AND RADIAL CIRCULATION FROM THE GREAT COURT.
educational hub.
Local Context: Situated in a densely populated area, well connected by public
transport.
The modern glass-steel roof
floods the interior with
natural daylight, enhancing
the expansive volume and
IT INCLUDES GREAT COURT, EXHIBITION GALLERIES,
contrasting elegantly with
READING ROOM, LEARNING SPACES, CAFÉS,
SHOPS, AND CONSERVATION AREAS. classical facades. Double-
height volume enhances
SPACE DISTRIBUTION openness, while
UPPER FLOOR PLAN neoclassical façades frame
ENGLAND LONDON NATURAL VENTILATION THROUGH COURTYARDS AND ATRIUMS
UNITED KINGDOM the modern intervention
blend of heritage and
SITE PLANNING innovation.

i. Siting of the Building

The museum is positioned in a prominent urban setting, maximizing accessibility. COMMON SPACES Historic stone masonry forms
ii. Allocation of Site for Various Functions EXHIBITION AREAS the building’s robust base and
Main Galleries: Displaying collections from different civilizations. classical walls, topped by the
Temporary Exhibition Spaces: For rotating displays and new acquisitions. contemporary glass-and-steel GRAND STONE COLUMNS AND PORTICOS REFLECT NEOCLASSICAL DESIGN.
Educational & Research Facilities: Library and study rooms for scholars. roof of the Great Court,
Visitor Amenities: Cafés, bookstores, and interactive zones. representing architectural
iii. Zoning & Circulation Pattern evolution. This juxtaposition
Zoning: Logical separation of permanent galleries, temporary exhibitions, and highlights the museum’s
research areas. evolution from classical
Pedestrian Circulation: Clear wayfinding system with a radial layout. LOWER FLOOR PLAN monument to contemporary
Vehicular Circulation: Restricted access, with designated loading/unloading zones cultural landmark.
for artifacts. READING ROOMS AND DIGITAL ARCHIVES FOR RESEARCHERS.

BOOK CASESTUDY-III
NAME: TANISHQ RATHOD
PRN: 2000701037 FINAL YR. B.ARCH
THESIS GUIDE: DR.GAURI SHIURKAR
SEM:X

-Archaeological Museum to Bridge Past and Present

06
 DECCAN COLLEGE CHHATRAPATI SHIVAJI
MUSEUM OF THE FUTURE, NATIONAL MUSEUM, NEW
SR.NO DESCRIPTION DUBAI DELHI
ARCHAEOLOGY MUSEUM, MAHARAJ VASTU BRITISH MUSEUM, LONDON INFERENCE DRAWN
PUNE SANGRAHALAYA, MUMBAI

Museums should blend

Dedicated to archaeology One of the world's largest
Focuses on the future of Showcases India’s historical Dedicated to archaeology historical preservation with
and research, preserving collections of historical
a. Relevance to the Topic humanity, AI, and digital evolution with artifacts from and research, preserving modern technological
historical findings. artifacts and archaeological
experiences. various periods. historical findings. engagement for broader
findings.
appeal.

A hybrid approach combining

Benchmark for museum design
Pioneers new ways of museum Follows traditional museum Academic and research-based, One of the best examples of Indo- education, conservation, and
b. Reasons for Selection storytelling. planning with Indian context. focused on archaeology. Saracenic museum architecture.
evolution, integrating old and
interactive spaces is
new.
necessary.

c. Location & Context Located in Dubai’s tech hub, In Delhi’s cultural district, near In Pune’s academic zone, Prime heritage site in Located in London’s
symbolizing future innovation. India Gate. catering to researchers. Mumbai, near Gateway of Bloomsbury area, a global
Local Context: Near Emirates Surrounded by other cultural Close to major excavation India. cultural district.
Towers, high accessibility, and government buildings, sites in Maharashtra, making Local Context: Set in a green Well-connected through
prominent urban landmark making it a part of a larger it relevant for field precinct, providing a buffer public transport with
historical zone. researchers. from urban congestion. pedestrian-friendly access
and public plazas.

Site selection should consider

accessibility, cultural
relevance, and tourism
potential.

d. Design Concept Symbolic architecture, fluid, The architecture follows a Research and academic- Heritage-focused, blending Neoclassical with a central
non-linear form, emphasizing monumental and institutional oriented, minimalistic. colonial and traditional Indian modern intervention.
AI-based storytelling. approach, emphasizing Linear and grid-based elements. The modern addition of the
Elliptical shape symbolizes symmetry and hierarchy. exhibition layout for easy Dome as a central Great Court by Norman
humanity and progress. Focus on conservation, movement and categorization. architectural feature, inspired Foster integrates
documentation, and education Focus on authenticity and by Gol Gumbaz, Bijapur. contemporary design within a
rather than interactive original presentation of Integration of traditional motifs historic structure.
storytelling. archaeological finds. in a contemporary museum Focus on public engagement
A museum’s design should
setting. through interactive exhibits.
reflect its theme—whether
futuristic, traditional, or
academic.

COMPARITIVE ANALYSIS
NAME: TANISHQ RATHOD
PRN: 2000701037 FINAL YR. B.ARCH
THESIS GUIDE: DR.GAURI SHIURKAR
SEM:X

-Archaeological Museum to Bridge Past and Present

07
 DECCAN COLLEGE CHHATRAPATI SHIVAJI
MUSEUM OF THE FUTURE, NATIONAL MUSEUM, NEW
SR.NO DESCRIPTION ARCHAEOLOGY MUSEUM, MAHARAJ VASTU BRITISH MUSEUM, LONDON INFERENCE DRAWN
DUBAI DELHI
PUNE SANGRAHALAYA, MUMBAI

e. Site Planning

e.i. Site Plan Overlay Elevated green podium Located on Janpath Road, Located within college, Green belt around the Located in a dense urban
enhances visibility. ensuring high visibility and allowing integration with museum for noise and heat fabric with a large open
Oriented for maximum accessibility. academic facilities. reduction. courtyard for public
exposure along Sheikh Zayed A standalone structure with Surrounded by open green Orientation designed to interaction.
Road. open spaces around it for spaces, providing a buffer maximize natural ventilation Surrounded by streets on all
better circulation. from urban noise. and daylight. sides.
A well-planned site enhances
movement, experience, and
accessibility.

e.ii. ii. Allocation of Site for Various Functions Ground & Podium: Public spaces, Ground Floor: Reception, ticket Main building: Galleries organized by Main Museum Block: permanent and Main building: Galleries organized by
landscaping. counters, public waiting area. civilization and time period. temporary galleries. civilization and time period.
Middle Levels: Exhibition halls, Upper Floors: Galleries, exhibition halls Separate sections for public Visitor Facilities: Ticket counters, The Great Court: Central atrium with a
immersive zones. (Harappan Gallery, Buddhist Art, exhibitions, academic research, and souvenir shop, cafeteria. glass roof.
Top Levels: Research areas, sky Mughal & Rajput Paintings, etc.). artifact storage. Conservation & Research Wing: Research & Conservation Areas:
gardens. Auditorium, library, research labs, Outdoor spaces for workshops and Laboratories, archives, library. Restricted access zones for scholars
Basement: Parking, services, back-end conservation center. training programs. Administrative Block: Offices, staff and artifact preservation.
operations. Parking & Services: Basement level Visitor Amenities: Canteen, rest areas, areas, security rooms. Visitor Amenities: Cafeteria, gift shop, A mix of public, semi-public,
and service entry. and outdoor plazas. rest areas, and outdoor plazas. and private spaces should be
clearly defined. Clearly
defined zoning enhances user
Space Distribution at Deccan College Archaeology Museum, Pune

experience and operational

efficiency.

e.iii. Zoning & Circulation Pattern (Pedestrian & Pedestrian: Direct entry from Pedestrian: Pedestrian: Pedestrian: Pedestrian:
Vehicular) metro, pathways. - Direct access from Janpath - Direct access from Janpath - Entry via central grand - Clear circulation pathways
Road. Road. staircase leading to main from the Great Court leading to
Vehicular: Drop-off zones, - Visitors move through a linear - Visitors move through a linear galleries. various galleries.
underground parking. circulation path, from entry to circulation path, from entry to - Defined pathways through - Signage and digital wayfinding
various galleries. various galleries. gardens and courtyards. enhance visitor navigation.
Internal Circulation: Well- Vehicular: Vehicular: Vehicular: Vehicular:
defined exhibition flow, - Separate drop-off zone for - Separate drop-off zone for - Parking at periphery for visitors, - Limited vehicular access; A mix of linear and radial
escalators, ramps. VIPs, staff entry, and visitor VIPs, staff entry, and visitor buses, and VIPs. primary movement is pedestrian- circulation creates an intuitive
parking. parking. - Separate service access for oriented. flow.
Internal Circulation: Internal Circulation: deliveries and artifact handling. Internal Circulation:
- Defined pathways through - Defined pathways through Internal Circulation: - Radial circulation centered
central corridors. central corridors. - Central atrium as a visual around the Great Court,
- Staircases and elevators for - Staircases and elevators for anchor, with corridors branching providing easy movement
vertical movement. vertical movement. into galleries. between exhibitions.
- Radial circulation for easy
visitor movement.

COMPARITIVE ANALYSIS
NAME: TANISHQ RATHOD
PRN: 2000701037 FINAL YR. B.ARCH
THESIS GUIDE: DR.GAURI SHIURKAR
SEM:X

-Archaeological Museum to Bridge Past and Present

08
 DECCAN COLLEGE CHHATRAPATI SHIVAJI
MUSEUM OF THE FUTURE, NATIONAL MUSEUM, NEW
SR.NO DESCRIPTION DUBAI DELHI
ARCHAEOLOGY MUSEUM, MAHARAJ VASTU BRITISH MUSEUM, LONDON INFERENCE DRAWN
PUNE SANGRAHALAYA, MUMBAI

f. Building Planning

f.i. Spatial Planning Flexible exhibition spaces with Thematic gallery division based on Research-oriented zoning, lecture Hierarchical planning with Large atrium with clear zonal
movable partitions. history. halls, library, labs.` pavilions, halls, and special exhibits. divisions.

ADMINISTRATIVE AREA

RESEARCH AREA

EXHIBITION AREA

ADMINISTRATIVE
AREA
Modular spaces allow
adaptability for future museum
RESEARCH
AREA

EXHIBITION
AREA

trends.
EXHIBITION
AREA

EXHIBITION
AREA

EXHIBITION
AREA

f.ii. Access AI-driven wayfinding, multiple entry Controlled access with a single Restricted access for research Open circulation through Open circulation through
points. main entrance. areas, controlled public zones. courtyards and galleries. courtyards and galleries.

Accessibility enhances user

engagement

f.iii. Circulation Dynamic and interactive pathways, Centralized with radial paths, Functional research-based Linear and structured circulation, Central atrium connects different
AI-based, open circulation paths. movement allows natural movement, Research-focused Defined visitor paths leading to wings Radial circulation improving
transitions. circulation with clear divisions. exhibits. accessibility.

Circulation impacts visitor flow

f.iv. Volumetric Arrangement Elliptical form with a hollow Monumental, symmetrical Simple box-like massing with Grand central dome with Central Great Court acts as a
core. massing. courtyards for natural ventilation. radiating wings. focal point with high ceilings
Column-free open exhibition Atrium allows natural light Smaller galleries arranged in High ceilings for temperature and an open-plan design.
spaces. (Openness). clusters for subject-wise control and aesthetics. Galleries feature high ceilings
Integrated podium landscape Courtyards and terraces categorization. Large gallery spaces allowing for large exhibits, creating a
A balance between
merges public and museum enhance visitor experience. flexibility in exhibits. sense of grandeur.
spaces. grandiosity and functionality is
needed for a museum's
volumetric planning.

COMPARITIVE ANALYSIS
NAME: TANISHQ RATHOD
PRN: 2000701037 FINAL YR. B.ARCH
THESIS GUIDE: DR.GAURI SHIURKAR
SEM:X

-Archaeological Museum to Bridge Past and Present

09
 DECCAN COLLEGE CHHATRAPATI SHIVAJI
MUSEUM OF THE FUTURE, NATIONAL MUSEUM, NEW
SR.NO DESCRIPTION DUBAI DELHI
ARCHAEOLOGY MUSEUM, MAHARAJ VASTU BRITISH MUSEUM, LONDON INFERENCE DRAWN
PUNE SANGRAHALAYA, MUMBAI

f. Building Planning

f.vi. v. Light & Ventilation Calligraphy façade cut- Natural lighting through Use of shaded courtyards Clerestory windows and Natural light through skylights
outs allow natural light. skylights and courtyards. and skylights for controlled skylights provide controlled in the Great Court.
AI-driven smart ventilation Artificial lighting for controlled natural lighting. natural lighting. Artificial lighting used in
for climate control. exhibition environments. Artificial lighting carefully Cross-ventilation through sensitive exhibit areas to
Mechanical ventilation and placed to avoid damage to strategic openings protect artifacts.
HVAC systems ensure climate artifacts. Use of artificial LED lighting to Mechanical ventilation and
control. Passive ventilation strategies prevent UV damage. HVAC systems.
A combination of natural and
using cross-ventilation.
artificial light enhances
experience and artifact
preservation.

f.vi. Climate Compatibility LEED Platinum certified, Thick walls and shaded Thick brick walls for Thick stone walls act as Passive design features like
highly sustainable. courtyards help in passive insulation against Pune’s thermal insulation. thick masonry walls for
Passive cooling, solar cooling. hot summers. Courtyards provide passive thermal insulation.
panels, smart energy Rainwater harvesting Courtyards and shaded cooling. Energy-efficient systems for Passive strategies should
management. system integrated. verandas reduce heat Recent retrofitting includes lighting and temperature complement modern HVAC for
Green zones around the gain. solar panels and rainwater control. energy efficiency.
building for microclimate Rainwater harvesting harvesting. Water conservation
control. system in place. strategies in public spaces.

f.vii. Structural System Steel and glass parametric RCC frame with thick walls. Load-bearing walls and RCC Indo-Saracenic structure with Traditional masonry with
shell, futuristic. frame.(BLACK STONE) reinforced elements. modern steel-framed
modifications.

Hybrid structural systems allow

for both preservation and
innovation.

f.viii. Building Services AI-driven HVAC, lighting, HVAC systems for Poor services old lighting - Centrally controlled HVAC Climate control systems for
security. temperature & humidity systems system for artifact artifact preservation.
Interactive tech: VR, AR, control (essential for No HVAC system for preservation. Security measures:
holograms for exhibits. artifact preservation). Artifacts - Fire detection and Surveillance cameras, Conservation-focused HVAC
Security systems with Just Ventilators provided at suppression systems. restricted access zones. and fire safety measures are
surveillance cameras & the top. - Security measures including Fire safety systems: Smoke crucial for artifact
access control. Security systems including CCTV, access control, and detectors, sprinklers, fire preservation.
Fire safety measures: CCTV and access control. artifact alarm systems. exits.
Sprinklers, smoke detectors,
fire exits.

COMPARITIVE ANALYSIS 10
NAME: TANISHQ RATHOD
PRN: 2000701037 FINAL YR. B.ARCH
THESIS GUIDE: DR.GAURI SHIURKAR
SEM:X

-Archaeological Museum to Bridge Past and Present

 DECCAN COLLEGE CHHATRAPATI SHIVAJI
MUSEUM OF THE FUTURE, NATIONAL MUSEUM, NEW
SR.NO DESCRIPTION ARCHAEOLOGY MUSEUM, MAHARAJ VASTU BRITISH MUSEUM, LONDON INFERENCE DRAWN
DUBAI DELHI
PUNE SANGRAHALAYA, MUMBAI

f. Building Planning

f.ix. Functional Requirements AI-powered interactive Conservation labs, research Academic museum with Blend of historical High-tech conservation labs,
screens, immersive tech. facilities, galleries. restoration labs and research conservation with digital restoration facilities, and Combining traditional
spaces. display adaptations. digital archives. exhibition methods with
interactive technology
improves visitor engagement.

f.x. Architectural Detailing Minimalist, tech-focused Traditional Indian motifs with Simple, research-centric, Rich Indo-Saracenic Classical facades with
interiors. institutional design. focused on function. ornamentation and traditional modern interior modifications. Architectural detailing should
detailing. reflect the museum’s theme
and historical context.

g. Standards & Norms LEED-certified, smart building NBC, ASI, fire safety, Academic fire safety, ASI norms, heritage UNESCO heritage site norms, Compliance with global
regulations. accessibility standards. conservation guidelines. conservation laws. museum artifact conservation conservation and
standards. sustainability standards is
essential.

h. Conclusion A museum of the future should Traditional hierarchical zoning Research-focused spaces and Courtyards and passive Centralized circulation (like
focus on technology-driven works well but needs modern conservation labs are critical cooling strategies create a the Great Court) enhances
storytelling with immersive adaptation for flexibility. for an archaeological visitor-friendly and sustainable movement and accessibility. Archaeological museum
experiences. museum. museum environment. should integrate historical
preservation with adaptive,
interactive, and sustainable
design principles.

COMPARATIVE MATRIX

Nat. Museum LEGENDS:

Parameter MOTF Dubai Deccan College CSMVS Mumbai British Museum
Delhi

| = STRONG
AR/VR Integration
| = PARTIAL
| = LIMITED
Chronological
Layout

Vernacular
Elements

Public
Engagement

Research Access

COMPARITIVE ANALYSIS 11
NAME: TANISHQ RATHOD
PRN: 2000701037 FINAL YR. B.ARCH
THESIS GUIDE: DR.GAURI SHIURKAR
SEM:X

-Archaeological Museum to Bridge Past and Present

INTRODUCTION:
Bhuj, established in 1510 by Rao Hamirji, is historically significant as Kutch’s former capital. Located LOTHAL HISTORICAL DEVELOPMENT OF BHUJ
strategically on ancient trade routes, it became a vibrant cultural crossroads. Its legacy includes rich
traditions, arts, and crafts that thrive today.
District: Kutch
State: Gujarat
Population: ~150,000 (Urban)
Language: Gujarati, Kutchi
Historic capital of the Kutch region with deep cultural roots.
Known for traditional crafts like embroidery and mud work.
Home to museums, cultural centers, and educational institutes.
Hot semi-arid climate suited for passive design strategies.

Location and Discovery:

CULTURAL SIGNIFICANCE: Lothal is an ancient city near the Gulf of Khambhat in Gujarat. It was excavated by the
Archaeological Survey of India (ASI) between 1955 and 1960. Historians believe Lothal was
Known as Gujarat’s cultural hub, Bhuj excels in traditional crafts like Bandhani,
an important port city that helped the Harappan civilization trade with other cultures.
embroidery, and block printing. Diverse communities such as Rabari and
Dockyard:
Mutwa enrich its cultural fabric. The city celebrates vibrant festivals and
Lothal's most famous feature is its dockyard, which is considered the world's oldest known
unique customs.
dock. This shows that the Harappans had advanced knowledge of maritime engineering.
Recent studies confirm the existence of this dock, proving Lothal was a key trade and
production hub.
HISTORICAL LEGACY:
Urban Features: JUSTIFICATION FOR THE ARCHAEOLOGICAL MUSEUM IN BHUJ, GUJARAT
Bhuj showcases historical landmarks blending Indian, Persian, and European influences. Its The city was well-planned, with streets arranged in a grid pattern, a central marketplace,
architecture reflects diverse cultural interactions and power shifts. The city remains pivotal in and houses made of standardized bricks. This reflects the Harappan civilization’s expertise in Central Location Between Dholavira & Lothal: Bhuj's
exploring Gujarat’s historical and architectural heritage. urban planning. strategic proximity to UNESCO sites Dholavira and
Artifacts: Lothal makes it an ideal hub for showcasing Indus
Excavations at Lothal have uncovered beads, seals, weights, and pottery, showing that Valley heritage, offering tourists convenient access.
trade and industry were thriving. The discovery of a bead-making factory suggests that Tourism Infrastructure: Bhuj’s established attractions
specialized craft production was an essential part of the city's economy. like Kutch Museum and Rann of Kutch provide
Significance: strong tourism foundations, making it perfect for a
Lothal provides valuable information about the Harappan civilization’s maritime trade, city major archaeological museum.
planning, and industrial activities, highlighting its importance as a major port city. Alignment with Development Plans: The
Aina Mahal Prag Mahal Bhujia Fort: Sharad Baug Palace archaeological museum aligns with Bhuj’s DP-2025

GEOGRAPHICAL CONTEXT: DHOLAVIRA goals, benefiting from planned

infrastructure and enhancing public facilities.
cultural

Cultural and Educational Potential: The museum will

Located near the iconic salt desert, Rann of Kutch, Bhuj has adapted uniquely to an arid
serve as a research and educational hub on
environment. Extreme temperatures and scarce rainfall influenced its traditional, climate-
Harappan civilization, hosting interactive programs,
responsive architecture. Its stark landscape contrasts beautifully with vibrant local culture.
workshops, and exhibits.
Economic and Cultural Boost: The museum will boost
2001 EARTHQUAKE & URBAN TRANSFORMATION: tourism, promote local handicrafts and businesses,
and support preservation efforts, enriching Bhuj
The 2001 earthquake severely impacted Bhuj but led to resilient recovery efforts. economically and culturally.
Reconstruction blended heritage conservation with modern, sustainable urban planning.
Bhuj now serves as a model of heritage-sensitive, disaster-resistant urban renewal. Location and Discovery:
Dholavira is located on Khadir Island in the Rann of Kutch, Gujarat. It was discovered
in 1968 by archaeologist J.P. Joshi, and the Archaeological Survey of India (ASI)
WHY BHUJ STANDS OUT: carried out excavations from 1990 to 2005.
Bhuj uniquely harmonizes tradition and modernity, blending historic palaces with bustling Water Management:
markets. The proximity to Rann of Kutch and festivals like Rann Utsav attract global tourists. Its Dholavira is famous for its impressive water conservation system. The people built
resilience and vibrant culture make it ideal for archaeological study and preservation. reservoirs and channels to collect and store rainwater, which was essential for survival
in the dry region.
Artifacts:
Archaeologists found seals, pottery, ornaments, and tools, showing a rich culture and

BHUJ active trade.

Significance:
Dholavira gives us valuable insights into the Harappan civilization’s urban planning,
water management, and social organization, helping us understand this ancient
society better.

Rich Heritage of Bhuj Food of Bhuj

Culture of Bhuj Block printing KUTCH UNIVERSITY BHUJ MARKET RANN UTSAV

SITE STUDY 12
NAME: TANISHQ RATHOD
PRN: 2000701037 FINAL YR. B.ARCH
THESIS GUIDE: DR.GAURI SHIURKAR
SEM:X

-Archaeological Museum to Bridge Past and Present

1. SPECIFIC DESCRIPTION OF ISSUES LEGISLATION
EXPERT OPINIONS & USER INTERVIEWS
A. ISSUES RELATED TO ARCHAEOLOGICAL MUSEUMS A. Building Bye-Laws
Building bye-laws set guidelines for construction, safety, and land use in urban A. Archaeology Professor Interview Insights
areas. Interviewee: Dr. Nilam Dhapare
1. Preservation Challenges (Museum Assistant & Professor of Archaeology)
1. FSI (Floor Space Index) Regulations for Museum Buildings
Artifacts require precise temperature and humidity control to prevent
FSI defines the maximum permissible built-up area on a given land parcel.
deterioration. 1. Importance of Contextual Storytelling in Exhibits
In Gujarat:
Organic Materials (Wood, Textiles, Leather):
Museums generally fall under public/semi-public institutional buildings. 🔹 Why it Matters:
Vulnerable to mold, decay, and insect infestation if humidity is high. Museums should narrate history through artifacts rather than just displaying them.
Permissible FSI:
Requires 16-20°C temperature and 40-55% humidity. Chronological & thematic storytelling helps visitors connect with historical events.
1.2 - 2.5 in urban zones (varies by plot size and location).
Inorganic Materials (Stone, Metal, Pottery):
Additional FSI may be available for cultural institutions under special 🔹 Design Recommendations:
Metal can corrode if exposed to moisture or pollutants. Gallery layouts should be sequential, guiding visitors through time periods or themes.
permissions.
Stone artifacts can develop salt efflorescence in high humidity. Use large-scale murals, interactive panels, and projections to provide historical context.
2. Height Restrictions in Heritage-Sensitive Zones
Ideal conditions: 18-22°C temperature and 40-50% humidity. Integration of storytelling kiosks where visitors can listen to narratives about artifacts.
If the site is near protected heritage structures, height restrictions may apply.
Light Exposure: Example:
As per ASI (Archaeological Survey of India) guidelines:
UV rays cause fading and weakening of organic materials. A Harappan Civilization Gallery could have life-size dioramas, explaining daily life through a blend of real artifacts
Within 100m of a protected site: No new construction is allowed.
Solution: Use UV-filtered LED lighting with intensity below 50-100 lux for and digital screens.
Within 200m - 300m: Limited-height construction with ASI approval.
delicate artifacts.
3. Setback Requirements
Artifacts displayed near windows or under direct lights are susceptible to 2. Need for Interactive Elements (Digital Walkthroughs, Augmented Reality)
Museums require a minimum setback of 6-10m from roads and adjacent
photo-degradation.
structures for safety and aesthetics. 🔹 Current Issues:
Pollution & Human Interaction: Many visitors, especially younger audiences, find static displays less engaging.
Larger setbacks may be mandated for heritage-sensitive sites.
Dust, pollutants, and oil from hands can cause chemical reactions on surfaces. Traditional glass-case exhibits lack immersive experiences.
Solution: Use display cases with microclimate control and restrict handling
B. Acts Relevant to Museums & Archaeological Sites
🔹 Recommended Solutions:
through interactive digital interfaces. Augmented Reality (AR): Visitors can use mobile apps to scan artifacts and see reconstructions of their original
1. The Antiquities and Art Treasures Act, 1972
form.
2. Visitor Engagement Issues Governs the handling, acquisition, display, and export of antiquities.
Virtual Reality (VR) Zones:
Traditional museums often lack immersive experiences, leading to visitor Museum Relevance:
Recreate historical events (e.g., Battle of Panipat, Indus Valley life).
disinterest. Artifacts must be registered under the Act.
Allow visitors to explore archaeological sites virtually.
Static displays with minimal interaction fail to connect emotionally with visitors. Prohibits unauthorized movement of archaeological objects.
Touchscreen Kiosks with 360-degree views of artifacts for detailed study.
Limited storytelling or contextualization of artifacts reduces educational Ensures proper documentation and authenticity verification of exhibits.
Example:
impact. 2. The Ancient Monuments and Archaeological Sites and Remains Act, 1958
At the Bhuj Archaeological Museum, visitors could wear VR headsets to "walk through" the Dholavira ruins,
Digital Integration (AR/VR): Protects nationally important monuments and sites.
experiencing its architecture firsthand.
AR/VR can reconstruct historical settings, providing a first-person exploration of Museum Relevance:
ancient sites. If the museum is near an ASI-protected site, it requires special permissions.
Interactive kiosks and AI-guided tours enhance visitor engagement by offering Excavated artifacts must be reported to the ASI.
VISITOR SURVEY
personalized experiences. Restricts modifications to historically significant structures.
3. The Museum Grant Scheme (Ministry of Culture, Government of India)
3. Circulation & Zoning Problems Provides funding and support for the development of new and existing Final Insights &
Poorly planned spaces can cause visitor congestion, disrupting the flow and museums. Recommendations
diminishing the museum experience. Requires adherence to specific guidelines for museum layout, security, and
Narrow pathways and lack of clear signage can lead to confusion and conservation. 1.Interactive exhibits
overcrowding. are a must – Visitors
Solution: Implement wide, clearly marked circulation paths with adequate NORMS & STANDARDS FOR MUSEUM DESIGN overwhelmingly
wayfinding. prefer AR/VR and
Lack of Designated Areas: A. Spatial Standards for Museum Planning touch-based
Absence of dedicated research, conservation, and educational zones limits experiences.
the museum's role in academia and public education. 2.Architectural design
Museum Function Recommended Area & Layout Considerations

Solution: Allocate separate areas for conservation labs, research centers, Entrance & Reception Large lobby with waiting area; minimum 5-6 sqm per visitor
matters – Aesthetic
and classrooms to foster a holistic learning environment. Exhibition Galleries 5-7 sqm per visitor for comfortable movement and functional
Artifact Storage Secure storage 10-15% of total museum area
appeal influence
visitor decisions.
Conservation & Restoration 8-12 sqm per staff member for restoration labs
3.Better accessibility
B. SITE-SPECIFIC ISSUES IN BHUJ, GUJARAT Research & Study Areas Minimum 3-4 sqm per researcher
is needed –
Museums should
1. Climate Conditions
Auditorium & Lecture Halls Seating capacity 100-500 people, acoustic insulation

improve facilities for

Bhuj experiences a hot and arid climate, influencing artifact preservation and visitor comfort. Public Amenities (Cafes, Bookstores, Restrooms) 10-15% of total area for visitor facilities

elderly and disabled

Temperature: Can soar above 40°C in summer, necessitating efficient cooling systems. Outdoor Spaces (Courtyards, Open-air Exhibits) Shaded pathways, landscape integration

visitors.
Humidity: Generally low, but monsoon periods can cause spikes, leading to condensation issues in
4.Comfort spaces are
Service & Maintenance Areas Loading docks, back-end storage, mechanical rooms

display cases.
important – Seating,
Solution: Use HVAC systems with dehumidifiers and climate-controlled display cases to maintain B. Lighting Standards for Museums
gardens, and cafes
consistent conditions.
enhance the
2. Seismic Risks
Artifact Type Recommended Lighting Levels (Lux) Light Source

experience.
Bhuj is in a seismically active zone, making structural resilience crucial. Paintings, Manuscripts, Textiles 50-100 lux LED with UV filters

5.Digital and physical

The region has a history of severe earthquakes (e.g., the 2001 Bhuj earthquake). Stone Sculptures, Metal Artifacts 200-300 lux Controlled LED lighting
exhibits should be
Solution:
balanced – Most
Implement seismic base isolators and shock-absorbing foundations. Interactive Displays, Informational Panels 300-500 lux Spotlights & ambient lighting

visitors prefer a mix

Use lightweight, flexible materials to reduce earthquake impact.
of both.
Open-Air Exhibits 500-1000 lux (natural lighting control) Shading elements

Ensure emergency evacuation plans and clear signage for visitor safety.
6.Promotional efforts
3. Cultural & Heritage Sensitivity
Storage & Conservation Areas 50-100 lux (low intensity) Adjustable LED lighting

needed – Many are

Bhuj has a rich cultural and architectural heritage, influencing the museum's design approach.
B. International & National Museum Standards unaware of local
The design must respect local architectural styles, such as traditional Bhunga huts and Kutch
1. Time Saver Standards for Building Types (Museum Design Chapter) museums, indicating
architecture, while incorporating modern elements.
Minimum Aisle Width: 1.8m-2.4m for visitor circulation. a need for outreach
Local artisans and craftsmen can be involved in the construction process, reflecting regional
Exhibit Distance: Visitors should view artifacts from 1-2m for proper visibility. campaigns.
aesthetics and supporting the local economy.
Ceiling Height: 4m-7m for large gallery spaces, allowing artifact display flexibility.

DATA COLLECTION 13
NAME: TANISHQ RATHOD
PRN: 2000701037 FINAL YR. B.ARCH
THESIS GUIDE: DR.GAURI SHIURKAR
SEM:X

-Archaeological Museum to Bridge Past and Present

GEOGRAPHICAL LOCATION: GEOGRAPHICAL MAP: URBAN FABRICS:
Latitude: 23.25° North Latitude: 23.25° North
Longitude: 69.67° East Longitude: 69.67° East 🟡 Residential Area
Major City: Bhuj (69.6703° E, 23.2413° N) Major City: Bhuj (69.6703° E, 23.2413° N) Dense housing nearby ensures
footfall and local engagement.
🟢 Open/Green Spaces
Green buffers support climate
comfort and visual relief.
⚫ Road Hierarchy
Strong road network ensures
smooth site connectivity.
🔴 Transportation Map
Site is easily accessible via public
and private transport.

SUNPATH ANALYSIS RESIDENTIAL AREA OPEN/GREEN SPACES ROAD HIERARCY TRANSPORTATION MAP
SITE PHOTOGRAPHS AROUND THE SITE
“Bhuj lies in Gujarat’s archaeological corridor. It’s centrally

S W
located between Dholavira and Lothal, both key Harappan sites.
The site preserves its rich cultural history through the Kutch WEAKNESSES
Museum, local crafts, and oral traditions.” STRENGTHS
High summer temperature
Culturally rich city
Earthquake-prone zone
Tourism hub
(Zone V)
Proximity to Indus sites
Preservation Regulation

O T
OPPORTUNITIES THREATS

Educational + tourism
Uncontrolled urban sprawl
integration
nearby
Unique museum narrative
Risk of site encroachment

CLIMATE & ENVIRONMENTAL FACTORS

Observations:

Arid & Semi-Arid Climate:

Hot summers and mild
TRAFFIC FLOW: winters.
Temperature Range: 10°C in
winter to 45°C in summer.
Building Orientation Low Rainfall: Annual
Passive Cooling & Ventilation Morning : Busy
Orienting longer facades north-south precipitation is around 350-
Proper roof insulation is critical to
can minimize heat gain from the east- 400 mm.
minimize heat gain in summer.
west sun exposure. Prevailing Winds: Dominantly
East-facing windows can be smaller or
Courtyards & open spaces can Afternoon : Moderate SITE FEATURES from the southwest, offering
help manage natural
shaded to reduce morning heat impact. potential for natural
ventilation. ventilation.
Night: Busy
High Solar Exposure: Strong
URBAN CONTEXT & CONNECTIVITY sunlight throughout the year.
Bhuj Bus stand Bhuj Railway station Bhuj Airport
(4.3 Km from site) (2 Km from site) Viable Multi Specialty
(1.9 Km from site) Hotel Nest Bhuj SITE AREA- 28,356.50
Hospital
(1.6 Km from site) Sq.m. (7.007 Acre)
(4.1 Km from site)

TOPOGRAPHY & SOIL CONDITION

COURTYARDS

Flat Terrain: The site is mostly flat with minor undulations.

Gradual Slope: A gentle slope of 1.8 meters over 175 STONE
meters, making it easy for construction. TERRACORTTA OR BURNT
Saline Soil: The presence of saline soil requires appropriate SHADING CLAY BRICKS
WATER BODIES
foundation treatment. INSULATED WALLS

SOUTH WEST WINDS

RAINWATER GETTING RAINFALL
COLLECTED WATER ON
ROOFS

The site’s strategic location makes it ideal for a cultural and research hub, attracting both casual visitors and
STORED IN TANKS
academic scholars. CROSS VENTILATION USED FOR WATER BODIES
The main entry should be designed along Airport Ring Road for smooth vehicular movement. MAIN ROAD REUSABLE WATER
Adequate visitor parking and bus drop-off zones should be planned to manage high seasonal footfall. EXISITING SITE

SITE SECTION

SITE ANALYSIS 14
NAME: TANISHQ RATHOD
PRN: 2000701037 FINAL YR. B.ARCH
THESIS GUIDE: DR.GAURI SHIURKAR
SEM:X

-Archaeological Museum to Bridge Past and Present

USER OVERVIEW SPACE EXPECTATIONS VS MAPPED
The archaeological museum is envisioned as a public cultural institution that caters to a wide spectrum of
USER GROUP IDENTIFICATION NEEDS
users. It aims to be an interactive, educational, and community-engaged space, attracting visitors from across
Gujarat and beyond. The primary user groups include tourists (domestic and international), students and
researchers, local communities, and craft practitioners.

USER EXPECTATION VS MAPPING-

BASED SPACE PLANNING

This comparative diagram visualizes the

contrast between what people intuitively
expect from a cultural site and what spatial
programming actually reveals through
mapping and research.

This diagram compares what users typically

CULTURAL VISITORS EDUCATIONAL USERS COMMUNITY USERS

USER GROUP EXPERIENCE expect in a public cultural space versus what
spatial mapping revealed as necessary for an
archaeological museum.
The museum will attract Students, school groups, The local community—
tourists, history lovers, and and researchers from including artisans, User expectations leaned toward interactive
locals curious to explore nearby institutions will storytellers, and historians— exhibits, digital zones, and public gathering
Gujarat’s rich past. These benefit from guided will use the space for live spaces like cafés and open gardens.
users seek interactive exhibits, conservation workshops, demonstrations, Site mapping, however, emphasized the
displays, replica walk- labs, and digital learning and cultural events. The need for chronological galleries, workshops,
throughs, and immersive spaces, making the museum becomes a and research zones rooted in conservation
storytelling. museum a hub for platform for reviving and education.
knowledge and heritage practices.
academic exploration. The contrast highlights the need to balance
engagement and purpose — designing a
USER GROUP IDENTIFICATION space that is both public-friendly and
contextually meaningful.
This section defines the key user groups expected to visit and engage with the archaeological museum. It
identifies each group’s behavioral patterns, time engagement, levels of privacy, intent of visit, and
corresponding design requirements.
The users range from local communities and school groups to tourists, academics, and artisans, each with distinct
spatial, sensory, and educational needs.

User Group Profile & Needs

Interested in Gujarat's heritage, seek immersive storytelling and visual

Tourists
displays.

Including school groups, families, and craft communities; expect cultural

Local Residents
pride and accessibility.

Students & Researchers Require access to conservation labs, archives, and educational exhibits.

Historians & Archaeologists Seek curated galleries, chronological narratives, and working labs.

May participate in workshops and community spaces; expect public

Artists & Craftsmen
interaction.

USERGROUP ANALYSIS
NAME: TANISHQ RATHOD
PRN: 2000701037
B.ARCH
THESIS
SHIURKAR
SEM:X
GUIDE:
FINAL YR.

DR.GAURI

-Archaeological Museum to Bridge Past and Present

15
ZONONG ACCORDING TO PRIVACY:
ZONONG ACCORDING TO UTILIZATION: ARAE DISTRIBUTION: BUBBLE DIAGRAM:
The proposed archaeological museum in Bhuj is planned as a multifunctional institution that
brings together historical storytelling, academic research, conservation, and community
engagement. The spatial program is divided into Public, Semi-Public, and Private zones, with a
clear emphasis on visitor flow, functional zoning, and experiential layering.

Zone Purpose

Museum galleries, VR zones, cinema,

Public Zone
amphitheater, public amenities

Semi-Public Zone
Research labs, conservation studios, seminar KAAL-DRISHYA ARCHAEOLOGICAL MUSEUM Souvenir
halls, archives Shop
Offices, staff facilities, admin storage, security,
Private Zone
loading zones Cafeteria
Vertical & horizontal connections, restrooms,
Circulation/Service
core services
Museum
Galleries

PRIVATE

SEMI PUBLIC

PUBLIC

DESIRED ADJACENCIES
SEMI PUBLIC PATH
PRIVATE PATH
MANDATORY ADJACENCIES

AREA PROGRAM:
1. VISITOR CAPACITY ESTIMATION
Based on the expected annual footfall of 53,600 to 89,700 visitors, we estimate the
daily average footfall:
Low Estimate: 53,600 ÷ 365 / 150 visitors/day
High Estimate: 89,700 ÷ 365 / 250 visitors/day
Peak Footfall (Festival Season): Could be 2–3 times the daily average, so around
450–750 visitors per day

2. SPACE STANDARDS FOR MUSEUMS

According to standard museum design guidelines:
Exhibition Space: 5–10 sq.m per visitor during peak times
Circulation & Service Areas: ~25–30% of total built-up area
Outdoor & Landscape Zones: Larger than built-up for an immersive experience PROXIMITY MATRIX
PUBLIC PATH
GRAND ENTRANCE PLAZA

TICKETING &
INFORMATION CENTER

PARKING CALCULATIONS:
7 GALLERIES
✅ 1. Standard Parking Norms for Museums/Public Buildings (as per NBC & Gujarat GDCR)
AR/VR

Vehicle Type Standard Norm (Minimum)

MUSEUM CAFÉ
Car Parking 1 space per 100–150 sq.m. built-up area

SOUVENIR SHOP
Two-Wheelers 1 space per 200–250 sq.m. built-up area

Bus (Optional for groups) 1 per 500 visitors (event-based only) ARCHAEOLOGICAL
RESEARCH CENTER

✅ 2. Built-up Area Based Parking Requirement LIBRARY & ARCHIVES

Parameter Calculation
WORKSHOPS & LABS
Total Built-up Area 14,100 sq.m.

SEMINAR & LECTURE HALLS

Car Parking Required (1 per 150 sq.m.) 14,100 ÷ 150 = 94 spaces

STAFF OFFICES & SECURITY CONTROL

Two-Wheeler Parking Required (1 per 250 sq.m.) 14,100 ÷ 250 = 56 spaces

➡️ Based on full capacity and strictest interpretation, you'd need: STORAGE & CONSERVATION LABS

94 Car spaces
56 Two-wheeler spaces LOGISTICS & MAINTENANCE
2 Buses
PUBLIC TOILETS

PROGRAMMING 16
NAME: TANISHQ RATHOD
PRN: 2000701037 FINAL YR. B.ARCH
THESIS GUIDE: DR.GAURI SHIURKAR
SEM:X

-Archaeological Museum to Bridge Past and Present

 SITE RADIAL GRID LINEAR

ENTERANCE
ENTERANCE
CA ENTERANCE+ GALLERIES
FE
TE
RI
A+

.
DI
IE
SH

AU
ER
O

LL
PS

GA
ADMIN

CAFETERIA+SHOPS

BALANCE
AUDI.

GALLERIES
GALLERIES SCREEN LECTURE GALLERIES
HA;LL

CA
FET L RESEARCH
H ;L

R
ER RC HA Y

ES AB
IA LABS
A
RE AR

EA S
+S SE BS

L
TU IBR
HALL ADMIN

R
H RE LA

C
OP C

H
AND LIB.
S LE +L

LIBRARY ADMIN

ENTERANCE
SHOPS AD ENTERANCE+ GALLERIES
MIN

GALLERIES GALLERIES
ENTERANCE
CAFETERIA+SHOPS
IES

GALLERIES
ER

CAFETERIA
LL
GA

GALLERIES
GALLERIES

RHYTHM
AUDI.
SHOPS

GALLERIES
GALLERIES AUDI. GALLERIES

RESEARCH
LABS
RE LAB

ADMIN LECTURE
SE S

LECTURE
AR

GALLERIES
HA;LL
CH

HALLS

AMPHI.
LIBRARY
ADMIN RESEARCH
LABS
LE
CT
UR AUDI. LIBRARY
EH
A ;LL SERVICES ADMIN
LIBRARY

ENTERANCE
LECTURE
O PS HA;LL CAFETERIA+SHOPS ENTERANCE GALLERIES
H ENTERANCE+
+S CAFETERIA+SHOPS GALLERIES
A GALLERIES
RI
TE
FE
CA GA

GALLERIES
L IES

GALLERIES
LE ER
ADMIN RI
ES LL
GA
LI
BR
A

GALLERIES
RY

+AUDI
RESEARCH

HIERARCHY
GALLERIES LECTURE HA;LL
LABS
+LIBRARY

ES GA
RI
GALLERIES

E LLE
LL RI
GA ES RESEARCH
ADMIN
I.
D

LABS
AU

ES
RI
LE
GAL

LECTURE HA;LL ADMIN

RESEARCH
+LIBRARY
LABS AUDI.

LEGENDS: PUBLIC ZONES(MUSEUM EXHIBIT AREAS) SEMI PUBLIC ZONES(RESEARCH AREAS) PRIVATE ZONES(ADMINISTRATION AND SERVICES)

IDEA MATRIX 17
NAME: TANISHQ RATHOD
PRN: 2000701037 FINAL YR. B.ARCH
THESIS GUIDE: DR.GAURI SHIURKAR
SEM:X

-Archaeological Museum to Bridge Past and Present

 SITE RADIAL GRID LINEAR

(A straight or elongated sequence of spaces, like a corridor or

(Spaces radiate outward from a central core, like a circular (A structured, modular layout with intersecting paths for easy
spine-based layout.)
ripple pattern.) organization.)

Radial + Balance Linear + Balance

Grid + Balance

✅ Pros: ✅ Pros: ✅ Pros:

Equal distribution of spaces on both sides of the central axis.
Ensures equal distribution of spaces around a core. Ensures equal spatial distribution for different museum zones.
BALANCE Enhances visitor engagement by providing multiple
movement choices.
Easily expandable without disturbing existing layouts.
Provides multiple access points, improving visitor movement.
Easy navigation for visitors, ensuring smooth circulation.
Works well for chronological storytelling in museum exhibits.

Works well for symbolic or spiritual themes in museums.

❌ Cons: ❌ Cons:
Can become monotonous if not broken with open spaces or
❌ Cons: Can feel too rigid and formal, lacking organic flow.
variations.
Some spaces may feel disconnected from the central core. May require extra signage for easy navigation.
Limits expansion, as adding new sections may disrupt the
Circulation paths may become confusing if not well-planned.
balance.

Grid + Rhythm
Radial + Rhythm Linear + Rhythm

✅ Pros: ✅ Pros: ✅ Pros:

Repetitive structure makes it easy to organize and scale
Allows a dynamic and engaging visitor journey. Predictable flow for visitors, encouraging smooth movement.
exhibits.
Repeating elements create a harmonious experience. Repeating elements (exhibits, green spaces) create a sense
Creates a sense of predictability, reducing confusion.
RHYTHM Best for storytelling museums with different
periods/zones.
time
Encourages a consistent visitor experience across the
museum.
of order.
Enhances storytelling through repetitive spatial sequences.

❌ Cons: ❌ Cons: ❌ Cons:

Visitors may feel forced into a circular path. If not carefully designed, it may feel too repetitive or dull.
Might feel repetitive and lack uniqueness.
Some zones may become less accessible. Can become lengthy, leading to visitor fatigue.
If spaces are too similar, visitors may not feel engaged.

Grid + Hierarchy
Linear + Hierarchy
Radial + Hierarchy
✅ Pros: ✅ Pros:
✅ Pros: Establishes a clear center and periphery for organizing
Clear sense of importance and progression from one space
Strong emphasis on the central space, ideal for grand spaces.
to another.
exhibits. Important functions (main hall, auditorium) can be
Main exhibit or grand hall can be placed at the center or end
Creates a sense of importance and movement toward key centralized.
HIERARCHY zones.
Works well for museums with a central theme or monument.
Works well for multi-functional museums with diverse exhibits.
to create impact.
Works well with museum narratives that follow a timeline.

❌ Cons: ❌ Cons:
❌ Cons: Visitors may feel less guided compared to linear or radial
Visitors must follow a fixed path, which may not suit all users.
Expansion can be challenging without disrupting symmetry. layouts.
May create crowding at key zones due to hierarchical
Peripheral zones may feel less significant. If hierarchy is too rigid, some areas may feel secondary or
emphasis.
unimportant.

IDEA MATRIX 18
NAME: TANISHQ RATHOD
PRN: 2000701037 FINAL YR. B.ARCH
THESIS GUIDE: DR.GAURI SHIURKAR
SEM:X

-Archaeological Museum to Bridge Past and Present

MATERIAL PALETTE:

BHUJ PINK SANDSTONE

BRICKS KUTCH CLAY KAAL (काल) = TIME + DRISHYA (दृश्य) = SIGHT OR VISION

KAAL DRISHYA
= “THE VISION OF TIME” — SEEING THE PAST, PRESENT,
AND FUTURE TOGETHER.

The design uses architecture as a timeline — Visitors don’t just walk; they wander,
they pause, they reflect. Every curve, every corridor, every shadow becomes a
memory.
The museum is not built to be seen. It is built to be felt.
THATCH TERRACOTTA HARDWOOD It invites users to get lost — in stories, in ruins, in echoes of the past.
DIVING INTO MUSEUM ZONES

CONCEPT THROUGH FORM DISCOVERY ZONE PUBLIC INTERACTION

HISTORY ZONE
Showcasing archaeological digs, (AR/VR) ZONE
findings, and preserved ruins. Featuring galleries arranged in a
Form: Circular, inward- chronological timeline. Offering immersive digital
focused, emotionally experiences through augmented
and virtual reality.
grounding
PUBLIC ENGAGEMENT ZONE RESEARCH ZONE
Structure: Thick earthen
walls, conical roof – Including outdoor amphitheaters, Dedicated to conservation, artifact ADMINISTRATION ZONE
reinterpreted in modern cultural performances, and restoration, and academic studies.
workshops. Managing museum operations, staff
materials
facilities, and security.
Philosophy: Community,
protection, timelessness

FUNCTIONAL QUALITIES OF A MUSEUM

CONCEPTUAL SKETCHES:

EXPLORING FORM

CONNECT GATHER VIEW

Where past and present touch — between Around stories, artifacts, voices — To not just see, but to witness —
stone walls and digital skies. in courtyards that echo with culture. the timeline unfold in silence and awe.

CONCEPT THROUGH CIRCULATION

Visitors enter as observers, but the deeper they go,

the more they lose track of time and orientation.
This disorientation is intentional — a way to mirror
the archaeological process itself: you dig, you
discover, but you never return the same.

It is not just a museum walk. It is a memory maze.

It asks the question not to be answered, but to be felt —

Where did we lose ourselves in time?

And what are we still searching for? SHELTER OFFER
Holding fragile truths — Spaces that give —
under roofs built from memory and earth. knowledge, perspective, and pause.

CONCEPT & VISION 12

NAME: TANISHQ RATHOD
PRN: 2000701037 FINAL YR. B.ARCH
THESIS GUIDE: DR.GAURI SHIURKAR
SEM:X

-Archaeological Museum to Bridge Past and Present

 “KHO GAYE HUM KAHA”

START OF
TOUR

01. EXCAVATION PIT (ENTRY 02. GATEWAY OF 03. INTERACTIVE DIG SIMULATION 04. WALKTHROUGH EXCAVATION 05. HISTORIC ART GALLERY
EXPERIENCE) ARCHAEOLOGY Period: Based on Indus Valley methodology PITS Period: Pre-Indus to Early Historic (7000 BCE
Period: Contemporary Interpretation Period: 10,000 BCE – Present Visitors participate in simulated excavations using tools, – 600 BCE)
grids, and layers to “uncover” replicas. Period: 3300 BCE – 1300 BCE
Visitors enter through a life-sized An immersive introduction to the science Displays prehistoric art, pottery, terracotta figurines,
Visitors walk through sunken trench-like spaces that
archaeological excavation zone, symbolizing of archaeology and its evolution over tribal symbols, and proto-civilization artifacts.
recreate real archaeological dig sections.
the beginning of discovery. time.

10.AR-ENHANCED ARTIFACT 09. DISPLAY OF LOST CITIES 08. CIVILIZATION CINEMA 07. INDUS VALLEY CIVILIZATION 06. INDUS VALLEY CIVILIZATION
GALLERY Period: Multi-period Period: Across Timelines – LOTHAL – DHOLAVIRA
Period: Multi-period An immersive 3-wall screening room where visitors Short films reconstruct the day-to-day life, rituals, Period: 3000 BCE – 1500 BCE
experience key historic moments of ancient cities — architecture, and society of various civilizations in India. Period: 2400 BCE – 1900 BCE
Artifacts across eras brought to life with AR layers that Focus on Gujarat’s UNESCO World Heritage site,
making them feel present inside vanished civilizations. Maritime legacy of Gujarat; dockyard replica, bead
show their use, context, and restoration. showcasing advanced town planning, reservoirs, and
industry, seals, and trade artifacts.
Harappan public life.

END OF
TOUR

1.1MAURYA & GUPTA 12.MEDIEVAL GUJARAT 13. MUGHAL & COLONIAL 15. MODERN GUJARAT &
EMPIRE GALLERY GALLERY
Period: 600 BCE – 500 CE GALLERY EARTHQUAKE MEMORY
Period: 500 CE – 1500 CE
Ashokan edicts, Buddhist relics, and trade Period: 1500 CE – 1947 CE Period: 1947 CE – Present
Temple fragments, Jain manuscripts, coins,
items from Gujarat’s classical period — Exhibits maps, textiles, British trade links, and A tribute to Gujarat’s growth, with a special
Rajput influences — with projection-based
includes VR of monasteries and trade ports. Mughal coinage; includes an AR-based trade focus on the 2001 Bhuj earthquake, Smritivan,
restoration experiences.
interaction experience. and post-disaster resilience — includes AR
reconstructions of Bhuj.

USER EXPERIENCE TIMELINE 19

NAME: TANISHQ RATHOD
PRN: 2000701037 FINAL YR. B.ARCH
THESIS GUIDE: DR.GAURI SHIURKAR
SEM:X

-Archaeological Museum to Bridge Past and Present

1. SITE RESPONSE 2. TIME CORE INTRODUCTION 3. FUNCTIONAL ZONING
“Identifying buildable zones” “Placing the symbolic center – a circular node representing the concept of eternal time.” “Branching out galleries and public spaces radially from the core.”
The site is defined by 35% ground coverage and 1.2 FSI. The terrain is largely flat with gradual contours. A central circular form is introduced — the Time Core, inspired by Bhunga architecture and symbolizing Museum functions are organized in a radial + fragmented manner — with exhibition zones, public courtyards,
Roads on the 24m and 9m sides offer excellent access. The buildable area is outlined, and shown. continuity, culture, and cosmic time. This becomes the orientation hub and anchor of the museum. admin and research extending outward like time spirals. The experience flows outward chronologically.

5.COURTYARD & VOID INSERTION 6. FINAL ARCHITECTURAL FORM

4. INITIAL ARCHITECTURAL MASSING “Completing the massing with circular roof, Bhunga forms, and cultural materiality.”
“Inserting courtyards and light wells for pause, reflection & natural light.”
“Defining the primary building shape based on radial zoning and movement flow.” The building form emerges as a timeless blend of radial planning, local Bhuj sandstone, thatch-inspired roof
Open-to-sky voids, courtyards, and water bodies are inserted between wings. These act as climatic
The final overall footprint emerges — a solid mass formed from functional wings and the Time Core, forms, and glass inserts. It embodies memory, materiality, and movement — creating an immersive journey
buffers and moments of sensory engagement — letting light, shadow, and silence enter the museum
establishing the experiential and chronological path through the museum. through time.
journey.

FORM DEVELOPMENT 20
NAME: TANISHQ RATHOD
PRN: 2000701037 FINAL YR. B.ARCH
THESIS GUIDE: DR.GAURI SHIURKAR
SEM:X

-Archaeological Museum to Bridge Past and Present

 LAND USE: GREEN ZONES AND OPEN SPACES LAND USE: BUILT UP “The urban fabric of the Kaaldrishya site is an interplay of access,
services, built density, and landscape. By layering these spatial
elements, the museum sits in continuity with the city while carving out its
unique experiential footprint — rooted in history, memory, and
This diagram presents a layer-by-layer breakdown of the final museum design, showing how movement.”
internal roads, built masses, green zones, and service areas were strategically organized to
create a self-sufficient and fluid internal environment.
It reflects the outcome of conceptual zoning, circulation planning, passive climate strategies,
and visitor flow considerations that shaped the internal spatial fabric of Kaaldrishya.

ENTERANCE ROADS TO SITE

VEHICULAR ACCESS ROADS

SERVICE ROADS

LAND USE: ROAD NETWORK PEDESTRIAN ACCESS ROADS

LAND USE: SERVICES

AND CIRCULTION

INTERNAL SPATIAL FABRICS 12

NAME: TANISHQ RATHOD
PRN: 2000701037 FINAL YR. B.ARCH
THESIS GUIDE: DR.GAURI SHIURKAR
SEM:X

-Archaeological Museum to Bridge Past and Present

MASTER PLAN
NAME: TANISHQ RATHOD
PRN: 2000701037 FINAL YR. B.ARCH
THESIS GUIDE: DR.GAURI SHIURKAR
SEM:X

-Archaeological Museum to Bridge Past and Present

 IINDUS VALLEY LOTHAL PORT
JALASHRAY
INSPIRED
AMPHITHEATRE
CAFETERIA

TIMELINE IN SOIL
KIDS PLAY AREA
ARTISANS WORKSHOP

INDUS VALLEY
REPLICA HOMES

INDUS VALLEY
RUINS REPLICA

INDUS VALLEY
WIND TOWERS

INDUS VALLEY
BOTANICAL GARDEN

SITE FEATURES
NAME: TANISHQ RATHOD
PRN: 2000701037 FINAL YR. B.ARCH
THESIS GUIDE: DR.GAURI SHIURKAR
SEM:X

-Archaeological Museum to Bridge Past and Present

 CHIMNEY EFFECT
GREY WATER REUSE THE NATURAL MOVEMENT OF WARM AIR RISING AND COOL AIR
ENTERING BELOW ENHANCES VERTICAL VENTILATION, REDUCING
FOR LANDSCAPING INDOOR TEMPERATURES AND IMPROVING AIR QUALITY.

WASTE MANAGEMENT
USE OF LOCAL AND RECYCLED MATERIALS CONSTRUCTION WASTE REUSE PLAN

PROVIDING COURTYARDS
PASSIVE COOLING TECHNIQUES

LOCATION & TRANSPORTATION SOLAR POWER INTEGRATION

THE SOLAR PANELS POWER MUSEUM LIGHTING, AR INSTALLATIONS, AND ADMINISTRATIVE
AREAS — SIGNIFICANTLY LOWERING OPERATIONAL CARBON FOOTPRINT

NAME: TANISHQ RATHOD

SUSTAINANILITY & PASSIVE DESIGN STRATEGIES PRN: 2000701037 FINAL YR. B.ARCH
THESIS GUIDE: DR.GAURI SHIURKAR
SEM:X

-Archaeological Museum to Bridge Past and Present

SITE RENDERS
NAME: TANISHQ RATHOD
PRN: 2000701037 FINAL YR. B.ARCH
THESIS GUIDE: DR.GAURI SHIURKAR
SEM:X

-Archaeological Museum to Bridge Past and Present

 HIGH TENSILE STRENGTH ROPE
SPIDER FITTING TO SECURE THE ROOF

WOODEN
BATTERNS
8mm THICK TOUGHEN GLASS
THATCH ROOF

STEEL SKELETON
STEEL SKELETON

Materials:
Insulated glass; stainless steel fittings

ROOF PLAN
(SCALE 1:250)

CONSTRUCTION DETAILS SITE AREA- 28,356.50 Sq.m.

(7.007 Acre)
SIGN
 Total Project Cost: ₹7,93,44,660

BOQ
NAME: TANISHQ RATHOD
PRN: 2000701037 FINAL YR. B.ARCH
THESIS GUIDE: DR.GAURI SHIURKAR
SEM:X

-Archaeological Museum to Bridge Past and Present

 WA
YT
OA
IRP
OR
T

Adj. Residential area

<<<24 M WIDE R
OAD>>>

AHU

Adj. Residential area Adj. Residential area

<<

2500
OHT OHT
PUMP
ROOM
<9

2000 2000
M
WI
DE
RO
AD
>>
>

User Category Nos. Norm (litres/day/person) Total Demand AHU

Visitors 450–750 5 litres/person/day

2,250 – 3,750 L/day
(NBC for museums) 1500
2000
OHT

Staff (admin, security, ~50

45 litres/day/person 2,250 L/day
cleaning, etc.)
Total Daily Demand — 4,500 – 6,000 litres/day 4,500 – 6,000 litres/day

7000

UG Tank Capacity
UGWHT

Design for 1-day full storage

3000

Add 25% buffer for fire-fighting reserve and minor fluctuations

UG Tank Capacity =
PLY LINE
= 6,000 L (domestic) + 1,500 L (25% buffer)
AL WATER SUP
= 7,500 litres ≈ 8,000 litres or 8 KL MUNICIP
If fire-fighting system is required by local fire norms:

Add Fire-fighting reserve: Typically 50,000 – 1,00,000 litres (depending on area) Adj. Residential area
Domestic Use 8,000 litres
Fire-Fighting Use 50,000 litres (min.)
Treated Water (optional, RWH reuse) 5,000 litres
Total UG Tank ~63,000 litres (≈ 63 KL)

Step 3: OH Tank Capacity

200 people × 45 L/day = 9,000 liters/day

Now add a 30% buffer for peak load, wastage, and design safety:

9,000 × 1.3 = 11,700 litres/day~12,000 litres

2 tanks of 6,000 liters (for weight distribution + maintenance) WATER SUPPLY LAYOUT
NAME: TANISHQ RATHOD
UGHT DIMENSIONS 7.0 mx3.0 mx3.1 m 65.10 m³ 65,100 litres (SCALE 1:500) PRN:2000701037
OHWT DIMENSIONS 2.5 m × 2.0 m × 1.2 m 6 m³x2 12,000 litres YEAR: FIFTH YR. B.ARCH
SITE AREA- 28,356.50 Sq.m. THESIS GUIDE: DR.GAURI SHIURKAR

(7.007 Acre)
SIGN
 WA
YT
OA
IRP
OR
T

Adj. Residential area

<<<24 M WIDE R
OAD>>>

M.H.
I.C.

I.C.

I.C.

I.C.
I.C.
WOMEN'S
WASHROOM
MEN'S
WASHROOM
LIFT LIFT
MUSEUM SERVICE
S
(AHU)
MODERN GUJARAT STORAGE
& EARTHQUAKE
SPECIALLY
-ABLED LIFT
CAFETERIA KITCHEN
WASHROOM LOBBY
HERITAGE GALLERY

BILLING

I.C.
PASSAGE

EARTHQUAKE
SIMULATOR

WALK-THROUGH
EXCAVATION PIT

I.C.
LVL:
00 MM

SOUVENIR
SHOP

MODERN INTERACTIVE DIG

I.C.
INNOVATION SIMULATION
LVL:
600 MM

M.H.

C.
I.
GATEWAY TO ARCHAEOLOG
Y
I.C.

I.C.

I.C.
M.H.

QR SCANNER

I.C
.
ENTERANCE

Adj. Residential area

PASSAGE
<<

LVL:
+600 MM
LVL:
RECEPTION
LVL:
0 MM
+800MM &
SERVICES

LIFT LIFT
WAITING LVL:
00 MM

I.C.
<9

EXCAVATION PIT
LVL:
LIFT LOBBY
-2000 MM

LVL: LVL:
WOMEN'S
00 MM MEN'S
+600 MM
WASHROOM WASHROOM
M

TICKET
COUNTER

M.H. I.C. I.C.

CLOAK
ROOM
WI

LVL:
+800MM
DE

QR SCANNER
STAFF
LVL: ROOM
+800MM

I.C.
STAFF
ROOM
RO

ADMIN
M
STAFF ROO

STAFF STAFF
ROOM ROOM
LVL:
+600 MM
AD

.
I.C
MEN'S
LVL: WATCH ADMIN
CABIN
00 MM ROOM

I.C.

M.H.
AREA
WAITING
>>

LVL:
. +600 MM
I.C

AREA
SEATING

E
PASSAG
>

RECEPTI
ON+ FINANCE

EPTION
HEAD
DESK
CABIN
REC

T LVL:
ARTIFAC
G& 00 MM
HANDLIN
BANKING
REPLICA
.
I.C

HOP FINANCE
WORKS
CABIN
MENT MENT
DEPART DEPART
HEAD'S HEAD'S
I.C.

CABIN
CABIN
L
CONTRO E
STORAG
/ ROOM
OOD LAB
PALEOF
BIO
R DATING OLOGY
COMPUTE CARBON ARCHAE
LAB LAB SPACE
N
SERVATIO
T CON
ARTIFAC STUDIOS
ORATION PING ATION
& REST RAM- GIS & MAP CONSERV R'S
PHOTOG 3D LAB CURATO
& &
ATION OR'S CABIN
-METRY G LAB PRESERV DIRECT
SCANNIN DEPT. CABIN
MUSEUM
E
RY STORAG
T- CHEMIST
SEDIMEN LAB E
&
-OLOGY PASSAG
R-
GEOMO Y
TANY -PHOLOG
PALAEOBO GY
I.C.

LAB
O & PALYNOLO
ARCHAE LAB LIFT

.
Y

I.C
ZOOLOG POLOGY LOBBY
LY
& ANTHRO SPECIAL SERVICES
-ABLED OM MUSEUM U)
X-RAY LAB
(AH
TION WASHRO
DIFFRAC G
LOADIN
ROOM
BAY

I.C.
LIFT
LIFT

MEN'S OM .
WASHRO I.C

ANCE WOMEN'SOM
T MAINTEN WASHRO

All underground soil and waste pipelines are routed to Inspection Chambers (ICs) ARTIFAC
STUDIOS
I.C.

and Manholes before reaching the Underground Water Tank (UGWT) and/or Septic M.H.
LVL:

I.C.
00 MM I.C.
I.C.

E
Tank. PASSAG
I.C.
I.C.

I.C.

Inspection Chambers (ICs): M.H.

I.C.

I.C.

Size: 740 mm × 450 mm I.C.

I.C.

Placement: Every 8 meters M.H.

4500 I.C.
PIT
SOAK

Purpose: Access for maintenance and clearing of short-run pipes from toilet blocks, TANK
I.C.

SEWAGE
2000

I.C.
I.C.

gully traps, and floor drains. I.C.

Material: Brick masonry with plaster finish or precast concrete.

Manholes:

Diameter: 900 mm (circular) Adj. Residential area

Placement: Every 30 meters on main drainage lines or at every major change in
direction/depth. 900MM DIA. MANHOLE
M.H.
Purpose: Mainline access, cleaning, and slope adjustment points.

Cover: Cast iron or RCC heavy-duty cover for external areas.

I.C. 750x450 MM INSPECTION CHAMBER
All ICs and manholes are placed along a gravity-based drainage system, sloping
gently towards the septic tank or municipal connection.

Minimum pipe slope: 1:60 for 100 mm pipes; 1:100 for 150 mm pipes

Pipe material: uPVC or SWR with solvent-weld joints

GULLY TRAP
DRAINAGE LAYOUT
Bends and junctions are softened with access points or cleanouts (SCALE 1:500)
NAME: TANISHQ RATHOD
SITE AREA- 28,356.50 Sq.m. PRN:2000701037
(7.007 Acre) YEAR: FIFTH YR. B.ARCH
THESIS GUIDE: DR.GAURI SHIURKAR

SIGN
 WA
YT
OA
IRP
OR
T

Adj. Residential area

<<<24 M WIDE R
OAD>>>

WOMEN'S
WASHROOM

H
MEN'S
WASHROOM
LIFT LIFT
MUSEUM SERVICE
S EXIT
(AHU)
MODERN GUJARAT STORAGE
CAFETERIA
FIRE ALARM

SPECIALLY
& EARTHQUAKE -ABLED LIFT KITCHEN
WASHROOM LOBBY
HERITAGE GALLERY
FIRE ALARM

PASSAGE BILLING

EARTHQUAKE
SIMULATOR H
WALK-THROUGH
EXCAVATION PIT

LVL:
00 MM

SOUVENIR
SHOP

MODERN FIRE ALARM

INTERACTIVE DIG
INNOVATION FIRE ALARM SIMULATION
LVL:

H 600 MM

GATEWAY TO ARCHAEOLOG
Y

H
QR SCANNER

ENTERANCE

Adj. Residential area

PASSAGE
<<

LVL:
+600 MM
LVL:
RECEPTION
LVL:
0 MM
+800MM &
LIFT LIFT
WAITING LVL:
00 MM
<9

EXCAVATION PIT
LVL:
FIRE ALARM
LIFT LOBBY
-2000 MM

LVL: LVL:
WOMEN'S
00 MM MEN'S
+600 MM
WASHROOM WASHROOM
M

TICKET
COUNTER

CLOAK
ROOM
WI

LVL:
+800MM

H
DE

QR SCANNER
STAFF
LVL: ROOM
+800MM

STAFF
ROOM
RO

ADMIN
M
STAFF ROO

MEDICA
L STAFF STAFF
ROOM

H LVL:
+600 MM
ROOM ROOM
AD

ADMIN
FIRE ALARM
LVL:
00 MM ROOM

AREA
WAITING
>>

LVL:
+600 MM

AREA
SEATING

H PASSAG
E
>

RECEPTI
ON+ FINANCE

EPTION
HEAD
DESK
CABIN
REC

T LVL:
ARTIFAC
G& 00 MM
HANDLIN
BANKING
REPLICA
HOP FINANCE
WORKS
CABIN
MENT MENT
DEPART DEPART
HEAD'S HEAD'S
CABIN
FIRE ALARM
CABIN
L
CONTRO E
STORAG
/ ROOM
OOD LAB
PALEOF
BIO
R DATING OLOGY
COMPUTE CARBON ARCHAE
LAB LAB SPACE
N
SERVATIO
T CON
ARTIFAC STUDIOS
ORATION PING ATION
& REST RAM- GIS & MAP CONSERV R'S
PHOTOG 3D LAB CURATO
& &
ATION OR'S CABIN
-METRY G LAB
SCANNIN

T- CHEMIST
RY
PRESERV
DEPT. MUSEUM
STORAG
E
DIRECT
CABIN
H
SEDIMEN LAB E
&
-OLOGY PASSAG
R-
GEOMO Y
TANY -PHOLOG
PALAEOBO GY LAB
O & PALYNOLO
ARCHAE LAB LIFT
Y
ZOOLOG POLOGY LOBBY
LY
& ANTHRO SPECIAL SERVICES
-ABLED OM MUSEUM U)
X-RAY LAB FIRE ALARM (AH
TION WASHRO
DIFFRAC G
LOADIN
ROOM
LIFT BAY
LIFT

MEN'S OM
WASHRO

ANCE WOMEN'SOM
T MAINTEN WASHRO
ARTIFAC
STUDIOS

H LVL:
00 MM

E
PASSAG

H FIRE HYDRANT PLACED AT DISTANCE OF 60M

H UGWHT

Danger electricity
Extinguisher
Adj. Residential area
Fire Hosereel
FIRE ALARM
Fire alarm
Fire pump
H Fire Hydrant
EXIT

FIRE FIGHTING LAYOUT

(SCALE 1:500) NAME: TANISHQ RATHOD
PRN:2000701037
SITE AREA- 28,356.50 Sq.m. YEAR: FIFTH YR. B.ARCH
THESIS GUIDE: DR.GAURI SHIURKAR
(7.007 Acre)
SIGN
WA
YT
OA
IRP
OR
T

Adj. Residential area

<<<24 M WIDE R
OAD>>>

WOMEN'S
WASHROOM
MEN'S
WASHROOM
LIFT LIFT
MUSEUM SERVICE
S
(AHU)
MODERN GUJARAT STORAGE
& EARTHQUAKE
SPECIALLY
-ABLED LIFT
CAFETERIA KITCHEN
WASHROOM LOBBY
HERITAGE GALLERY

PASSAGE BILLING

EARTHQUAKE
SIMULATOR

WALK-THROUGH
EXCAVATION PIT

LVL:
00 MM

SOUVENIR
SHOP

MODERN INTERACTIVE DIG

INNOVATION SIMULATION
LVL:
600 MM

GATEWAY TO ARCHAEOLOG
Y

QR SCANNER

ENTERANCE

Adj. Residential area

PASSAGE
<<

LVL:
+600 MM
LVL:
RECEPTION
LVL:
0 MM
+800MM &
SERVICES

LIFT LIFT
WAITING LVL:
00 MM
<9

EXCAVATION PIT
LVL:
LIFT LOBBY
-2000 MM

LVL: LVL:
WOMEN'S
00 MM MEN'S
+600 MM
WASHROOM WASHROOM
M

TICKET
COUNTER

CLOAK
ROOM
WI

LVL:
+800MM
DE

QR SCANNER
STAFF
LVL: ROOM
+800MM

STAFF
ROOM
RO

ADMIN
M
STAFF ROO

STAFF STAFF
ROOM ROOM
LVL:
+600 MM
AD

MEN'S
LVL: WATCH ADMIN
CABIN
00 MM ROOM

AREA
WAITING
>>

LVL:
+600 MM

AREA
SEATING

E
PASSAG
>

RECEPTI
ON+ FINANCE

EPTION
HEAD
DESK
CABIN
REC

T LVL:
ARTIFAC
G& 00 MM
HANDLIN
BANKING
REPLICA
HOP FINANCE
WORKS
CABIN
MENT MENT
DEPART DEPART
HEAD'S HEAD'S
CABIN
CABIN
L
CONTRO E
STORAG
/ ROOM
OOD LAB
PALEOF
BIO
R DATING OLOGY
COMPUTE CARBON ARCHAE
LAB LAB SPACE
N
SERVATIO
T CON
ARTIFAC STUDIOS
ORATION PING ATION
& REST RAM- GIS & MAP CONSERV R'S
PHOTOG 3D LAB CURATO
& &
ATION OR'S CABIN
-METRY G LAB PRESERV DIRECT
SCANNIN DEPT. CABIN
MUSEUM
E
RY STORAG
T- CHEMIST
SEDIMEN LAB E
&
-OLOGY PASSAG
R-
GEOMO Y
TANY -PHOLOG
PALAEOBO GY LAB
O & PALYNOLO
ARCHAE LAB LIFT
Y
ZOOLOG POLOGY LOBBY
LY
& ANTHRO SPECIAL SERVICES
-ABLED OM MUSEUM U)
X-RAY LAB
(AH
TION WASHRO
DIFFRAC G
LOADIN
ROOM
LIFT BAY
LIFT

MEN'S OM
WASHRO

ANCE WOMEN'SOM
T MAINTEN WASHRO
ARTIFAC
STUDIOS

LVL:
00 MM

E
PASSAG

ATOR
GENER
&
R
TR A N S FORME

LINE

ICIPAL ELEC
TRICAL
SUPPLY Adj. Residential area
M UN

ELECTRICAL DISTRIBUTION LAYOUT

(SCALE 1:500) NAME: TANISHQ RATHOD
PRN:2000701037
SITE AREA- 28,356.50 Sq.m. YEAR: FIFTH YR. B.ARCH
THESIS GUIDE: DR.GAURI SHIURKAR
(7.007 Acre)
SIGN
 Going
DOWN

Going
DOWN

GROUND FLOOR PLAN

(SCALE 1:250)

HVAC LAYOUT
 Going
DOWN

Going
DOWN

Coming

Coming
UP

UP

FIRST FLOOR PLAN

(SCALE 1:250)

HVAC LAYOUT
LIFT LIFT
MUSEUM SERV
ICES
(AHU)

LIFT
LOBBY

LIFT
LOBBY
ICES
M SERV
MUSEU HU)
(A

LIFT
LIFT

SECOND FLOOR PLAN

(SCALE 1:250)

HVAC LAYOUT
 Going
DOWN

Going
DOWN SB

SB
SB

MUGHAL & COLONIA

L
GUJARAT GALLERY
AHU

SB
SB
SB

SB

SB

SB

SB

VR STATION

Coming

Coming
UP

UP
SB

SB
MEDIEVAL GUJARA MAURYA &
T GALLERY GUPTA EMPIRE
(RAJPUT & SULTANATE

SB
INFLUENCE) GALLERY SB

HISTORIC ART GALLE

RY
SB

SB

RE

SB
ST
AR
E
A
OPEN EXHIBIT AREA

SB
DIGITAL
SCREEN

SB SB

REST AREA

SB
SB

SB SB

OPEN EXHIBIT AREA

DIGITAL
SCREEN
othal)
GA LLERY (l
ATION
LLEY CIVILIZ
VA
INDUS

SB
EL
EM MOD
GE SYST
DRAINA

OPEN EXHIBIT AREA

E
HOUS
PPAN
L HARA
ENTIA
RESID

SB

RY
SB

GALLE
SB

N
VR STATIO

A
LICAS
URE REP
MINIAT

REPLIC
EAR CH
Y & RES

SB
LIBRAR AREA
DIN G
REA
N
VR STATIO
NT &
STUDE TUDIO
SEMINA LL

ICA
R&

RY REPL
S GRANA
INTERN
A

L
MODE
H

YARD
DOCK
SB
RENCE

SB
ODELS

SB
SB
SHIP M
CONFE

SB
TAGE

SB
SB

al)
Y (Loth
GALLER
BACKS

IZATION
Y CIVIL

CIVILIZ
VALLE

CINEM
INDUS

ATION
SB

AT
SB

A
M
SB

CIVILIZ

ION
SB

E
SB

CIN
SB

SB

SB

SB SB

SB
SB MEDIA
SB
SB

AHU
SB

M/
G ROO
ODS

MEETIN
SB

CR E E NING
S
TANK P

ROOM
SSOR'S
SB

PROFE
E
LOUNG
THINK

E HA LL
URPOS
MULTIP

FIRST FLOOR PLAN

(SCALE 1:250)

LIGHTING LAYOUT SITE AREA- 28,356.50 Sq.m.

(7.007 Acre)
SIGN
 SB

AHU

SB

SB

IES
T CIT 3D
OS HO
OFL LO
AY GR
DI SPL AM
SP
AC
E

SB

SB

SB SB

SB
PASSAGE
SB SB

REST AREA

SB

SB

ACTS
AR-ENHANCED ARTIF

AHU

SECOND FLOOR PLAN

(SCALE 1:250)

LIGHTING LAYOUT SITE AREA- 28,356.50 Sq.m.

(7.007 Acre)
SIGN
 Going
DOWN

Going
DOWN

SB

MODERN GUJARA

SB
T CAFETERIA STORAGE
& EARTHQUAKE KITCHEN

SB
SB

HERITAGE GALLERY

SB
SB

SB
SB

SB

SB
SB

BILLING

SB
SB

EARTHQUAKE
SIMULATOR

SB
WALK-THROUG
H EXCAVATIO
N PIT

SOVERIGN
SHOP

MODERN INTERACTIVE DI

SB
SB

SB
INNOVATION G SIMULATION

SB
SB
SB

GATEWAY TO
ARCHAEOLO
GY

SB
QR SCANNER

SB
RECEPTION
&
WAITING
SB SB

SB
EXCAVATION PITS
SB SB
Outdoor reconstructed excavation
zones showing unearthed ruins.
TICKET
COUNTER

SB
CLOAK

SB
ROOM

SB

QR SCANNER
STAFF
ROOM

STAFF
ROOM

SB

SB

SB
ADMIN SB

OM
STAFF RO

STAFF STAFF
ROOM ROOM

SB

MEN'S
SB
SB WATCH ADMIN
CABIN
ROOM
SB

SB
SB
SB

SB

SB

G AREA
WAITIN

G AREA
SEATIN

GE
PASSA ION+ E
RECEPT FINANC
HEAD
DESK
SB
CABIN
SB

T
ARTIFAC
G&

SB
HANDLIN
SB
G
REPLIC
A BANKIN
E
WORKS
HOP FINANC

SB
CABIN
MENT
SB DEPART 'S MENT
DEPART 'S
HEAD HEAD
CABIN CABIN
L
CONTRO

SB
E

SB
/ STORAG
LAB ROOM
FOOD
PALEO

SB
BIO
TER N DATIN
G OLOGY
COMPU CARBO ARCHAE
SPACE
SB
LAB LAB SB
SB
N SB

ERVATIO
T CONS S
ARTIFAC STUDIO
RATION APPING VATION
& RESTO - GIS & M SB
CONSER R'S
GRAM CURATO
PHOTO 3D LAB
SB

& &
VATION OR'S CABIN
-METRY PRESER DIRECT
NG LAB
SB

SCANNI SB
DEPT. CABIN
MUSEUM
SB
RY E
SB
T- CHEMIST SB
STORAG SB

SEDIMEN & LAB

SB
SB
Y
-OLOG SB

OR-
SB

GEOM SB

GY
-PHOLO
SB

BOTANY
SB
PALAEO LOGY LAB
O & PALYNO
SB ARCHAE Y LAB
SB

G
SB
ZOOLO GY
ROPOLO
AHU

SB
& ANTH SB
SB

X-RAY LAB
CTION
DIFFRA
ROOM

SB
SB

ENANCE
T MAINT
ARTIFAC
S
STUDIO

GE
PASSA

SB

GROUND FLOOR PLAN

(SCALE 1:250)

LIGHTING LAYOUT SITE AREA- 28,356.50 Sq.m.

(7.007 Acre)
SIGN
 Going
DOWN

Going
DOWN

Coming

Coming
UP

UP

FIRST FLOOR PLAN

(SCALE 1:250)

HVAC LAYOUT
 DRAWING NO : 1
WORKING DRAWING

NOTES :
C8
C8
J · THIS DRAWING IS ONLY FOR ACADEMIC
39093 C9 AND GOVERNMENT PURPOSE AND IS
C9
I
38206
4587
NOT TO BE FACSIMILE.

· DRAWING NOT TO BE SCALED.

5751

· ONLY WRITTEN DIMENSIONS TO BE

C5 FOLLOWED.
C5
H
34112
· THIS DRAWING IS TO BE READ IN
8402 CONJUNCTION WITH RELEVANT AND
2000
D1 STRUCTURAL SERVICES DRAWING.
C14 C16 C19 C22 C25 C27
C14 C16 C19
G
C22 C25 C27

30832 D1
6136 299 292 291 284 283 276 275
STAFF
299 298 300 298
· ALL THE LEVELS SPECIFIED ARE
641 641 443 621
ROOM
112 1884 W 556 599 840
W 599
W
599
1618
W
600
599 W 599 UNFINISHED UNLESS OTHERWISE
D1
C44405 6003
SPECIFIED.
C4 W
F R4689
4839 4988 4988 4988
28400 4539
· FOR SIDE MARGIN REFER SANCTIONED
STAFF R4689 LAYOUT.
5537 4141 200 ROOM
4152 200200 6147

8482 9977 9977

200
· DISCREPANCIES SHOULD BE CLEARED
200 D2 200
9492
4783
5388 4141 D2
4152 D2
549 599
D2
5399 1236 WITH THE ARCHITECT BEFORE
6795
2637
139
PROCEEDING THE WORK.
6337
4988 4988 4988 W 1835
STAFF
C3 C13 WATCHMEN'S
4839
STAFF ROOM
309
C30

WA
3741 3741
ROOM

YT
C3 C13
E 8854 3312 CABIN

OA
C30
599

IRP
22324

O RT
200 ADMIN Adj. Residential area

1859 200 1097 200 2644 200200 W W

W ROOM 1169 308

<<<24 M WIDE ROAD

>>>

D2 D1
8406
D3 D1 1162
203
4277
503
5260 201
514 167 201

5605 154
501

W 1898
514 167874 199
2167

Adj. Residential area Adj. Residential area

<<
607

<9
WAITING AREA

M
188 217

WID
807
582

ER
4923

OA
1782

C12 C15 C18 29065 C21 C24 C29 698

D>
911

>>
196
217 1708
C12 C15 C18
D
C21 C24 C29
2000
658 201
RECEPTION+ 1012
201

16338 4029

DESK 192
5445
1096 Adj. Residential area

SEATING AREA

W
KEY PLAN

C7 D1
ADDITIONAL NOTES / LEGENDS :
D3 D1 610
C7
C
12038
449 449
853 1991 1991 546
1002
OPENING SCHEDULE
5919 1932 200 4839 200
1991
W
1995 1991
200
FINANCE
1960
W W W
2078
599 D1 HEAD 290 OPENING SIZE
CABIN 2257
2257
1 D1 1800 x 3000
C2 CONTROL
3630
355
C11
DEPARTMENT 4096 4096
C28
C2 C11
C28 B 599 4692 ROOM HEAD'S 4593 4593 2 D2 900 x 3000
599 CABIN BANKING
9659 289
356 5698 FINANCE 3 D3 1000 x 3000
DEPARTMENT CABIN
4 D4 4000 x 3000
HEAD'S
4839 D2 2337
8692 164
2841 CABIN 5 D5 750 x 3000
D2 4958
5380 D2
449 352 4839
6 W 2000 x 2100
MUSEUM 10687 V 10687 D2 10687 552 200
3691
STORAGE 1805 1795
208 208 7 W1 1400 x 2100
D2 4958
7860
V 1596
5380 150
150 5341
8 W2 4000 x 2100
100
D2
274
D1 2095 D2 9 V 700x750
V STORAGE
267 110 DIRECTOR'S 3492 3492CURATOR'S
150
V
274
D5 2123 D2
4540
CABIN CABIN
4839
R4689 DRAWING TITLE : WORKING PLAN
274 4243
274
D5
249 2644 2644 PROJECT TITLE: ARCHEOLOGICAL
V
274 249 599 599 MUSEUM AT BHUJ, GUJRAT
C1 D4 D1
2165 W
599
958
C6W 957
274
D5 2095
369
C10
3467 V V D5 560
599
C17
2638
W 1522
599
C205045 599
C23
2750
C26
1777 V W1 W D5
C1 C6 C10
A 149 200 200
C20 C23 C26

1500 200
299 300 259 300 299 300 298 299 299 300
NORTH SCALE : 1:125
DRAWN BY: TANISHQ
2000
PAPER SIZE : A1
REVISIONS:
C6 C7

C10 C11 C12

C3 C4

C13 C14

C19

C22

C25
C1 C2

C5

C8

C9

C15 C16

C17 C18

C20 C21

C23 C24

C26 C27

C28 C29
C30
12997
1500

10910

14721

19893

24411

29422

34410

39357

45000

48681

53167
C'
A'

B'

D'

E'

F'

G'

H'

I'

J'

K'

L'
OPENING SCHEDULE
ADMINISTRATION BLOCK OPENING SIZE
PROJECT: ARCHEOLOGICAL MUSEUM
1 D1 1800 x 3000 WORKING DRAWING
NAME: TANISHQ RATHOD
2 D2 900 x 3000 PRN NO: 2000701037
COLLEGE : SSAUDP
3 D3 1000 x 3000
4 D4 4000 x 3000
5 D5 750 x 3000
SIGN STAMP
6 W 2000 x 2100
7 W1 1400 x 2100
8 W2 4000 x 2100
9 V 700x750
 DRAWING NO : 1
WORKING DRAWING

NOTES :
· THIS DRAWING IS ONLY FOR ACADEMIC
AND GOVERNMENT PURPOSE AND IS
NOT TO BE FACSIMILE.
C8
C8
J
39093 C9 · DRAWING NOT TO BE SCALED.
C9
I
38206
· ONLY WRITTEN DIMENSIONS TO BE
FOLLOWED.

· THIS DRAWING IS TO BE READ IN

C5 CONJUNCTION WITH RELEVANT AND
C5
H
34112
STRUCTURAL SERVICES DRAWING.

· ALL THE LEVELS SPECIFIED ARE

UNFINISHED UNLESS OTHERWISE
C14 C16 C19 C22 C25 C27 SPECIFIED.
C14 C16 C19
G
C22 C25 C27

30832
· FOR SIDE MARGIN REFER SANCTIONED
C4 LAYOUT.
C4
F
28400
· DISCREPANCIES SHOULD BE CLEARED
WITH THE ARCHITECT BEFORE
16MM Ø MAIN PROCEEDING THE WORK.
BARS@125 CC

WA
8MM Ø STIRRUPS@200 CC

YT
OA
IRP
O RT
Adj. Residential area

C3 C13 C30 40MM CLEAR COVER

GL
<<<24 M WIDE ROAD
>>>

C3 C13
C30 E CONCRETE
8406

22324 203
4277
201 503

514 167 201

501
154
1898 2167
514 167874 199
Adj. Residential area Adj. Residential area

<<
607

<9
M
188 217

WID
807
582

ER
4923

OA
1782
698

D>
>>
196
217 1708

658 201
201
4029
192
5445
Adj. Residential area

C12 C15 C18 C21 C24 C29

C12 C15 C18
12MM Ø DISTRIBUTION BARS @ 70 CC
D
C21 C24 C29

16338
KEY PLAN
P.C.C. BED
ADDITIONAL NOTES / LEGENDS :

C7
C7
C
12038

C2 C11 C28 8Ø16

C2 C11
C28 B
9659

600
S1Ø8@15CM

DRAWING TITLE : WORKING PLAN

PROJECT TITLE: ARCHEOLOGICAL
600
MUSEUM AT BHUJ, GUJRAT
SEC. IN COLUMN C1 NORTH SCALE : 1:125
1:20
DRAWN BY: TANISHQ
C1 C6 C10 C17 C20 C23 C26 PAPER SIZE : A1
C1 C6 C10
C20 C23 C26 A
1500 REVISIONS:
C6 C7

C10 C11 C12

C3 C4

C13 C14

C19

C22

C25
C1 C2

C5

C8

C9

C15 C16

C17 C18

C20 C21

C23 C24

C26 C27

C28 C29
C30
12997
1500

10910

14721

19893

24411

29422

34410

39357

45000

48681

53167
C'
A'

B'

D'

E'

F'

G'

H'

I'

J'

K'

L'
PROJECT: ARCHEOLOGICAL MUSEUM
WORKING DRAWING
COLUMN SCHEDULE NAME: TANISHQ RATHOD
SECTION SIZE SPECIFICATION COLUMN PRN NO: 2000701037
CALCULATIONS : COLLEGE : SSAUDP
16MM DIA. ROD
35695
19959

16MM DIA. 600X600

USING PYTHAGORUS THEOREM C1-C30
ROD

1 8MM DIA.
STIRRUPS
40MM
300
8MM DIA. STIRRUPS
COVER

230

40MM COVER
29593
19959^2 + 29593^2 = 35695^2 SIGN STAMP
 DRAWING NO : 1
WORKING DRAWING

NOTES :
· THIS DRAWING IS ONLY FOR ACADEMIC
AND GOVERNMENT PURPOSE AND IS
NOT TO BE FACSIMILE.

· DRAWING NOT TO BE SCALED.

· ONLY WRITTEN DIMENSIONS TO BE

FOLLOWED.

· THIS DRAWING IS TO BE READ IN

CONJUNCTION WITH RELEVANT AND
STRUCTURAL SERVICES DRAWING.
+16.50 M
SECOND FLOOR
SLAB LEVEL
· ALL THE LEVELS SPECIFIED ARE
W2
UNFINISHED UNLESS OTHERWISE
SPECIFIED.
+10.60 M
FIRST FLOOR SLAB
LVL

· FOR SIDE MARGIN REFER SANCTIONED

LAYOUT.
+5.60 M
Arch. Giuseppe Conte

Arch. Giuseppe Conte

Arch. Giuseppe Conte Arch. Giuseppe Conte

Arch. Giuseppe Conte

Arch. Giuseppe Conte
GROUND FLOOR
SLAB LVL · DISCREPANCIES SHOULD BE CLEARED
WITH THE ARCHITECT BEFORE
W W W W
D1 PROCEEDING THE WORK.
+0.60 M
PLINTH LVL

WA
± 0.00 M

YT
OA
GROUND LVL

IRP
O
RT
Adj. Residential area

<<<24 M WIDE ROAD

>>>

8406

EAST SIDE ELEVATION 201

203

514
4277

167

501
503

201

154
1898 2167
514 167874 199
Adj. Residential area Adj. Residential area

<<
607

<9
M
188 217

WID
807
582

ER
4923

OA
1782
698

D>
>>
196
217 1708

658 201
201
4029
192
5445
Adj. Residential area

KEY PLAN
ADDITIONAL NOTES / LEGENDS :
OPENING SCHEDULE
OPENING SIZE
1 D1 1800 x 3000
2 D2 900 x 3000
3 D3 1000 x 3000
4 D4 4000 x 3000
5 D5 750 x 3000
6 W 2000 x 2100
7 W1 1400 x 2100
8 W2 4000 x 2100
9 V 700x750

DRAWING TITLE : WORKING PLAN

PROJECT TITLE: ARCHEOLOGICAL
MUSEUM AT BHUJ, GUJRAT
NORTH SCALE : 1:250
DRAWN BY: TANISHQ
PAPER SIZE : A1
REVISIONS:

+10.60 M
FIRST FLOOR SLAB
LVL

W W W W W W W W W W W W

+5.60 M
GROUND FLOOR
SLAB LVL

W W W W W W W W W W W W D4 W W W1 W W W W

+0.60 M
PLINTH LVL

± 0.00 M
PROJECT: ARCHEOLOGICAL MUSEUM
GROUND LVL
WORKING DRAWING
NAME: TANISHQ RATHOD
PRN NO: 2000701037
COLLEGE : SSAUDP
SOUTH SIDE ELEVATION

SIGN STAMP
 DRAWING NO : 1
WORKING DRAWING

NOTES :
· THIS DRAWING IS ONLY FOR ACADEMIC
AND GOVERNMENT PURPOSE AND IS
NOT TO BE FACSIMILE.

· DRAWING NOT TO BE SCALED.

· ONLY WRITTEN DIMENSIONS TO BE

+23.00 M
FOLLOWED.
ROOF
TOP LEVEL

· THIS DRAWING IS TO BE READ IN

CONJUNCTION WITH RELEVANT AND
STRUCTURAL SERVICES DRAWING.
+15.60 M
SECOND FLOOR
ROOF LEVEL
· ALL THE LEVELS SPECIFIED ARE
UNFINISHED UNLESS OTHERWISE
SPECIFIED.
+10.60 M
PARAPET LVL
+10.60 M
FIRST FLOOR SLAB
LVL

MEN'S HANDICAPPED WOMEN'S LIFT LOBBY AHU ROOM

· FOR SIDE MARGIN REFER SANCTIONED
+8.60 M
LINTEL LVL MUGHAL & COLONIAL
GUJARAT GALLERY
WASHROOM WASHROOM WASHROOM
MEDIEVAL GUJARAT GALLERY
(RAJPUT & SULTANATE INFLUENCE) MAURYA & GUPTA
LAYOUT.
5.00
EMPIRE GALLERY

3.00
D5 D5 D5 D1 D1 D4

+5.60 M
GROUND FLOOR
WALK-THROUGH EXCAVATION PIT
· DISCREPANCIES SHOULD BE CLEARED
SLAB LVL

+3.60 M MEN'S HANDICAPPED WOMEN'S LIFT LOBBY AHU ROOM

CAFETERIA 7.06
INTERACTIVE DIG SIMULATION
WITH THE ARCHITECT BEFORE
WASHROOM WASHROOM
LINTEL LVL WASHROOM
SOVERIGN SHOP
DISPLAY PROCEEDING THE WORK.
5.00

W W
MODERN GUJARAT

3.00
& EARTHQUAKE D5 D5 D5 D1 D1 D4
HERITAGE GALLERY
+0.60 M

0.90
PLINTH LVL

WA
± 0.00 M

YT
2.00

OA
GROUND LVL

IRP
O
RT
Adj. Residential area

<<<24 M WIDE ROAD

>>>

8406

203
4277
201 503

514 167 201

501

SECTION - AA'
154
1898 2167
514 167874 199
Adj. Residential area Adj. Residential area

<<
607

<9
M
188 217

WID
807
582

ER
4923

OA
1782
698

D>
>>
196
217 1708

658 201
201
4029
192
5445
Adj. Residential area

KEY PLAN
ADDITIONAL NOTES / LEGENDS :
OPENING SCHEDULE
OPENING SIZE
1 D1 1800 x 3000
2 D2 900 x 3000
3 D3 1000 x 3000
4 D4 4000 x 3000
5 D5 750 x 3000
6 W 2000 x 2100
7 W1 1400 x 2100
8 W2 4000 x 2100
9 V 700x750

DRAWING TITLE : WORKING PLAN

PROJECT TITLE: ARCHEOLOGICAL
MUSEUM AT BHUJ, GUJRAT
+23.00 M
ROOF
TOP LEVEL NORTH SCALE : 1:250
DRAWN BY: TANISHQ
PAPER SIZE : A1
REVISIONS:
+15.60 M
SECOND FLOOR
ROOF LEVEL

+11.50 M
PARAPET LVL
+10.60 M
FIRST FLOOR SLAB
LVL

MEDIA THINKING PASSAGE CONNECTING TO LIFT LOBBY

PROFESSOR'S PODS +8.60 M
MEETING ROOM/
LINTEL LVL
3.60

LOUNGE SCREENING

4.85
ROOM 5.00 INDUS VALLEY
MULTIPURPOSE HALL REPLICA
W W CIVILIZATION CIVILIZATION CIVILIZATION
GALLERY
0.25

D1 D1 D1 D1 D1 CINEMA CINEMA GALLERY (Lothal) +6.50 M

SILL LVL
+5.60 M
GROUND FLOOR
SLAB LVL

PALAEOBOTANY & SEDIMENTOLOGY & CHEMISTRY CONSERVATION COORDINATOR’S AREA DEPARTMENT HEAD'S BANKING & FINANCE FINANCE
X-RAY ARCHAEOZOOLOGY & PASSAGE CONNECTING TO LIFT LOBBY MUSEUM STORAGE PASSAGE
ARTIFACT MAINTENANCE PALYNOLOGY GEOMORPHOLOGY LAB & AND WAITING CABIN DEPARTMENT HEAD CABIN +3.60 M
DIFFRACTION ANTHROPOLOGY LAB LINTEL LVL
STUDIOS LAB LAB PRESERVATION
ROOM CONTROL
DEPT.
5.00

4.85 ROOM
PASSAGE PASSAGE PASSAGE
W W W W W W W

D1 D1 D3 D1 D1 +1.50 M
SILL LVL
+0.60 M
PLINTH LVL PROJECT: ARCHEOLOGICAL MUSEUM
± 0.00 M
GROUND LVL WORKING DRAWING
NAME: TANISHQ RATHOD
PRN NO: 2000701037
COLLEGE : SSAUDP

SECTION - BB'
SIGN STAMP