KAAL DRISHYA

An Archaeological Museum to Bridge Past and Present

A thesis submitted to the Faculty of Department of Architecture in

partial fulfillment of the requirements for the
Bachelor’s Degree of Architecture
Symbiosis Skills and Professional University

Tanishq Rathod
PRN: 2000701037

Under the supervision of

Dr. Gauri Shiurkar

May 2025
TABLE OF CONTENT
01. THESIS DESCRIPTION (Pg. 10–39)
Thesis Description
Project Background and Description
Research Framework
Archaeology & Museum Relevance
Problem Identification and Preliminary Research
Developing Aim, Objectives, Scope, Limitation and Methodology
Site Selection
Rationale for Selecting Bhuj as Site
History & Future Visions

02. PRECEDENT STUDIES (Pg. 44–75)

Overview of Precedents
Deccan College Archaeology Museum, Pune
CSMVS, Mumbai
National Museum, New Delhi
Museum of the Future, Dubai
British Museum, London
Comparative Analysis of Precedants

03. SITE ANALYSIS (Pg. 80-93)

Site Selection Criteria
Bhuj City Profile
Historical Development of Bhuj
Proximity to Archaeological Sites (Dholavira, Lothal)
Natural Features & Contours
Environmental & Climate Analysis
Legal Regulations and FSI
Infrastructure and Connectivity
Site Photographs & Maps
SWOT Analysis
Conclusion

04. USER ANALYSIS (Pg. 98-103)

User Overview
User Group Identification
User Group experience
05. DATA COLLECTION & ANALYSIS (Pg. 108-127)
Issues Related to Archaeological Museum
Site-Specific Issues in Bhuj, Gujarat
Specific Functional Requirements
Archaeological Museum Legislation
Norms & Standards
Expert Opinions & User Interviews

06. PROGRAMMING (Pg. 132-145)

Program Description
Area Program Table
Proximity Matrix and Diagrams
Calculations
Idea Matrix

07. CONCEPTUAL DESIGN (Pg. 150–159)

Concept Statement: Bridging Past and Present
Design Philosophy
designing elements
Inspirational Form and Elements
Conceptual Sketches and Diagrams
Massing Models

08. THE FINAL DESIGN (Pg. 164-187)

Site Plan
Site section
Master Plan
Site Features
Plans
Elevations
Sections
Renders

09. BIBLIOGRAPHY (Pg. 189)

Books
Research Papers
Site Visits
Interviews & Surveys
Web Sources
01. THESIS DESCRIPTION
01. THESIS DESCRIPTION
1.Thesis Description
2.Project Background and Description
3.Research Framework
4.Archaeology & Museum Relevance
5.Problem Identification and Preliminary Research
6.Developing Aim, Objectives, Scope, Limitation and
Methodology
7. Site Selection
8.Rationale for Selecting Bhuj as Site
9.History & Future Visions
1.1. THESIS DESCRIPTION
Archaeological museums are vital GOALS & OBJECTIVES
cultural spaces that preserve the
essence of ancient civilizations, Rooted in storytelling and research-
providing a physical and emotional link based design, the main goals of Kaal
between the past and the present. Drishya are:
“Kaal Drishya: The Future of Our
Past” is an architectural thesis project
that reimagines the presentation of
archaeology by designing a futuristic,
experience-driven museum in Bhuj, CONNECT PEOPLE WITH THE PAST
Gujarat, a historically rich but THROUGH IMMERSIVE STORYTELLING,
SIMULATION, AND EXPERIENTIAL ZONES
underrepresented region in terms of
heritage infrastructure.

The museum will not only serve as a

repository of excavated artifacts and
historical timelines, but also as a
public and research-oriented hub that
TO PRESERVE & SHOWCASE
uses modern storytelling tools like GUJARAT’S ARCHAEOLOGICAL LEGACY ACROSS
TIME PERIODS FROM PREHISTORY TO MODERN
AR/VR, holographic displays,
ERA.
interactive walk-throughs, and live
conservation labs. The space will blend
vernacular Kutchhi architecture
(inspired by Bhunga houses and Indus
Valley planning) with modern
TO REDEFINE MUSEUM DESIGN
technologies to create a dynamic BY BLENDING LOCAL ARCHITECTURE WITH
FUTURISTIC TECHNOLOGY FOR DYNAMIC
learning and cultural experience. LEARNING SPACES.

Kaal Drishya aims to achieve this by:

Designing a timeline-based museum that narrates the evolution of civilization

in Gujarat.
Promoting archaeological awareness through physical replicas, excavation
simulations, and digital reconstructions.
Encouraging public curiosity while preserving academic research integrity.

10
11
1.2. PROJECT BACKGROUND AND DESCRIPTION
India, a cradle of civilization, has witnessed the rise and fall of some of the most
significant ancient cultures in human history — most notably, the Indus Valley
Civilization. Despite the depth and diversity of its archaeological wealth, much of
this history remains inaccessible or underrepresented in public institutions.
Physical remnants of ancient life lie scattered across the nation, particularly in
Gujarat, yet there is a lack of modern, engaging, and inclusive platforms to
celebrate and preserve this rich heritage.

Archaeology in India has long been celebrated for uncovering the roots of one of
the world's oldest civilizations. Yet, a large part of India’s archaeological wealth
remains disconnected from public consciousness due to the lack of engaging,
accessible, and interactive museum spaces. Most archaeological sites are either
unexplored, forgotten, or poorly curated, especially in regional contexts like Bhuj,
which is rich in cultural heritage but lacks a dedicated platform to represent its
historical timeline.

The Kutch region is home to two of the greatest Harappan sites — Dholavira and
Lothal — yet Bhuj lacks a central museum that integrates their stories. After the
2001 earthquake, the city rebuilt itself with strength and resilience, but its deep
historical layers are still not part of everyday awareness or civic pride.

12
The proposed museum aims to address this by:

Presenting Gujarat’s archaeological timeline in a

spatial and chronological manner
Designing for public interaction, academic research,
and cultural education
Blending vernacular architecture and modern
technology to respect context and climate
Introducing transparent conservation processes,
excavation zones, and AR/VR layers
Creating an inclusive space where history becomes
accessible and memorable

WHY AN ARCHAEOLOGICAL MUSEUM?

History Fades India’s

Existing Museums A Need for
Without Archaeological Bridging Past &
Feel Static Storytelling &
Engagement Wealth is Present
Technology
Underutilized

Ancient artifacts Traditional Rich history but Museums should This museum
hold stories of museums rely on poorly be more than just aims to make
past civilizations. glass displays represented in display spaces. history
Many remain and text panels. modern formats. Interactive immersive,
unseen, lost, or Lack of Many artifacts exhibits, AR/VR, educational, and
forgotten. interactive and are either in and digital engaging.
engaging storage or at risk storytelling can Not just
elements. of deterioration. bring history to preservation, but
life. experience.

13
1.3. RESEARCH FRAMEWORK
Statement of the Problem: were distributed, while settlement
patterns studies deals with the general
The objective of the study for this
overview of the settlement
project is to keep our past safe and to
distribution. Hence, archaeology and
show it to the world that how much
architecture both concern broad
rich our past was. This also allow the
traditions, thoughts, and ideas of the
new learners and researcher to came
ancient people.
across from the distance and learnt
the away of our past. Past to future is Narrowing down the Problem
the away to make the bond of culture.
Cultural learning is imminent by
The lack of emotionally engaging
visually involved in the past. So the
and technologically integrated
history and the cultural vibrancies can
archaeological museums limits how
be represent by a museum.
effectively heritage is communicated
in India and visitors are often passive
Objective of the study:
observers rather than active
The objective of the study for this participants in the journey of history.
project is to keep our past safe and to
show it to the world that how much There is a pressing need for a new
rich our past was. This also allow the kind of museum — one that uses
new learners and researcher to came design as a storytelling medium,
across from the distance and learnt merges technology with tradition, and
the away of our past. Past to future is makes archaeological knowledge
the away to make the bond of culture. accessible and exciting.
Cultural learning is imminent by
visually involved in the past. So the
history and the cultural vibrancies can RESEARCH QUESTION:
be represent by a museum.
HOW CAN AN ARCHAEOLOGICAL
MUSEUM BE DESIGNED TO
Archaeology Vs Architecture:
PRESERVE CULTURAL HERITAGE
Both disciplines take into account the WHILE MAKING HISTORICAL
way societies organized and
NARRATIVES IMMERSIVE,
transformed landscape, topography,
INTERACTIVE, AND RELEVANT TO
and the general environment. Formal
THE MODERN PUBLIC?
arrangements are the way buildings

14
 1.4. ARCHAEOLOGY & MUSEUM RELEVANCE
Archaeology:
Archaeology is the study of human history through material remains like tools,
pottery, jewelry, and ruins of structures. It helps us understand ancient
civilizations, their cultures, technologies, and daily lives.

Archaeologists explore these remnants to piece together the stories of our

ancestors, bridging the gap between history and the physical evidence left behind.
These artefacts reveal how people lived, worked, and adapted to their
surroundings, preserving the legacy of the past for future generations.

Need for an Archaeological

Museum:
An archaeological museum is essential
for preserving, understanding, and
celebrating human history. It
safeguards ancient artifacts from
damage and decay, ensuring they
remain intact for future generations.
These museums serve as educational
spaces, making history accessible
through interactive exhibits and
storytelling. They support ongoing
research, allowing scholars to uncover
deeper insights into ancient
civilizations. By showcasing regional
heritage, they build cultural identity,
foster community pride, and promote
tourism. Importantly, they also protect
endangered artifacts and inspire
curiosity, creativity, and awareness
about the importance of our past in
shaping the future.

15
1.4. ARCHAEOLOGY & MUSEUM RELEVANCE
Significance of an 🔬 Science & Technology
New Discoveries: Applies
Archaeological Museum:
advanced methods like carbon
🏛️
: Education dating and digital scanning.
Understanding History: Environmental Insight: Reveals
Introduces ancient civilizations, how ancient societies adapted to
lifestyles, and societal evolution. changing environments.
Skill Development: Enhances
critical thinking, research, and 🏳️ Politics & Society
analytical abilities. National Symbolism: Strengthens
Holistic Learning: Integrates national identity and unity.
history, science, and technology Global Diplomacy: Shared heritage
for enriched education. fosters international cooperation
and peacebuilding.
💰 Economics Archaeology:
Tourism Growth: Attracts visitors,
Archaeology is the study of human
boosts local economies, and
history through the excavation and
creates employment.
analysis of artifacts, structures, and
Job Creation: Supports careers in
other remains. It reveals how ancient
archaeology, research,
people lived, what they valued, and how
conservation, and museum
societies evolved. By examining tools,
management.
pottery, buildings, and burial sites,
Heritage Protection: Prevents
archaeologists uncover the stories of
damage or destruction of historic
past civilizations and their influence on
sites through formal conservation.
the world today.
🏘️ Community & Culture
Preserving Identity: Maintains Archaeologist:
regional heritage and fosters pride. An archaeologist is a researcher who
Local Involvement: Engages studies human history by examining
communities in cultural initiatives. physical remains like artifacts,
Promoting Unity: Celebrates structures, and fossils. They conduct
diversity and encourages excavations at historical sites and
intercultural understanding. analyze findings in labs.

16
Types of Archaeology: 3.Sedimentology:
Analyzes soil and sediment layers at
1.Paleontology (Archaeobotany): excavation sites to reconstruct ancient
Studies ancient plant remains like landscapes and activity patterns. Helps
seeds, wood, and pollen to understand date and interpret archaeological
human interaction with plants—diet, finds.
rituals, and environment. Combines
archaeology and botany.

2.Palaeobotany: 4.Archaeozoology:
Focuses on fossilized plants from Examines animal remains (bones,
prehistoric times to study plant shells, etc.) to understand past diets,
evolution, ancient climates, and domestication, and human-animal
ecosystems. Often used to trace relationships. Connects archaeology
natural history and resource with biology.
formation.

17
1.4. ARCHAEOLOGY & MUSEUM RELEVANCE
Types of Archaeology: 7.Maritime Archaeology:
Investigates ancient marine life and
underwater remains (shells, coral, fish)
5.Geomorphology:
to study sea-level changes and early
Studies landforms and environmental
oceanic ecosystems.
changes like erosion or river shifts to
understand how ancient societies
interacted with their terrain.

6.Anthropology:
Explores human societies, behaviors,
and evolution through four branches:
– Cultural: Social behavior
– Biological: Human evolution
– Linguistic: Language systems
– Archaeological: Material culture and
past lifestyles

“Archaeology is not just about digging up

the past—it’s about piecing together the
human story, one layer at a time.”
-William Faulkner

18
Archaeological Survey of National Museum, New Delhi –
Artifacts from Indus Valley to modern
India:
times, including Buddhist art.
The Archaeological Survey of India Indian Museum, Kolkata – India’s
(ASI) is the main organization in India oldest museum; prehistoric fossils,
responsible for archaeological sculptures, and dynasty-era artifacts.
research and preserving cultural Sanchi Museum, MP – Buddhist
heritage. It was founded in 1861 during sculptures and inscriptions from
British rule and operates under the Sanchi Stupa.
Ministry of Culture, Government of Ajanta & Ellora Museums,
India. Maharashtra – UNESCO site exhibits;
frescoes, sculptures, Buddhist relics.
Functions of ASI: Bodh Gaya Museum, Bihar – Buddhist
Excavation – Uncovers ancient statues and relics from Buddha’s
sites and artifacts. enlightenment site.
Preservation – Protects Sarnath Museum, UP – Buddha
monuments and heritage statues and the original Ashoka Pillar.
structures. Harappa Museum, Punjab – Indus
Management – Maintains 3,600+ Valley artifacts like seals and pottery.
protected sites. CSMVS, Mumbai – Sculptures, coins,
Documentation – Records heritage and royal artifacts from various
for research. periods.
Awareness – Conducts exhibitions Konark Museum, Odisha – Stone
and outreach. carvings and models from the Sun
Temple.
Museums of ASI:
Khajuraho Museum, MP – Sculptures
The Archaeological Survey of India and carvings from Khajuraho temples.
(ASI) manages and oversees important
museums across India that display
collections related to the country’s
rich archaeological heritage. These
museums help preserve ancient
artifacts, sculptures, and inscriptions,
and educate the public about India’s
history. museums managed by the
ASI:-

19
1.4. ARCHAEOLOGY & MUSEUM RELEVANCE
World Heritage Sites in India:

Sacred Ensembles of the Hoysalas Karnataka 2023

Santiniketan West Bengal 2023

Dholavira Gujarat 2021

Kakatiya Rudreshwara (Ramappa) Telangana 2021

Temple

The Architectural Work of Le Chandigarh 2016

Corbusier, an Outstanding
C t ib ti t th M d
Victorian and Art Deco Ensemble of Maharashtra 2018
Mumbai

Historic City of Ahmedabad Gujarat 2017

Jaipur City Rajasthan 2020

Archaeological Site of Nalanda Bihar 2016

Mahavihara (Nalanda University)

Rani-Ki-Van Gujarat 2014

Hill Forts of Rajasthan Rajasthan 2013

The Jantar Mantar Rajasthan 2010

Red Fort Complex Delhi 2007

Champaner-Pavagadh Archaeological Gujarat 2004

Park

Chhatrapati Shivaji Terminus Maharashtra 2004

Rock Shelters of Bhimbetka Madhya Pradesh 2003

Mahabodhi Temple Complex at Bodh Bihar 2002

Gaya

Mountain Railways of India Tamil Nadu 1999

20
 Humayun’s Tomb, Delhi Delhi 1993

Qutb Minar and its Monuments, Delhi Delhi 1993

Great Living Chola Temples Tamil Nadu 1987

Group of Monuments at Pattadakal Karnataka 1987

Churches and Convents of Goa Goa 1986

Fatehpur Sikri Uttar Pradesh 1986

Group of Monuments at Hampi Karnataka 1986

Khajuraho Group of Monuments Madhya Pradesh 1986

Group of Monuments at Mahabalipuram Tamil Nadu 1984

Sun Temple, Konarak Orissa 1984

Agra Fort Uttar Pradesh 1983

Ajanta Caves Maharashtra 1983

Ellora Caves Maharashtra 1983

Taj Mahal Uttar Pradesh 1983

21
1.5. PROBLEM IDENTIFICATION AND PRELIMINARY RE
1. Literature Review

Preservation of Archaeological Artifacts

Challenges Identified:
Environmental Degradation: Artifacts exposed to environmental conditions (humidity,
light, pollutants) deteriorate faster without controlled preservation.
Insufficient Storage Facilities: Many storage units lack modern climate-control
systems and are overcrowded, compromising artifact integrity.
Theft and Illegal Trade: Unprotected archaeological findings are vulnerable to theft
and black-market trade, leading to the loss of invaluable cultural heritage.

Need Addressed: A well-designed archaeological museum with dedicated preservation

facilities can provide secure, controlled environments to safeguard artifacts.

Museum Design and Spatial Planning

Challenges Identified:
Static and Outdated Displays: Traditional museum layouts often fail to capture the
interest of modern audiences, particularly younger generations.
Poor Visitor Flow: Ineffective spatial organization leads to crowding or missed
sections, reducing visitor satisfaction.
Exhibit Accessibility: Museums often lack facilities to make exhibits accessible to
people with disabilities or to provide multilingual content.

Need Addressed: Incorporating flexible layouts, interactive zones, and inclusive design
principles can enhance the visitor experience and engagement.

Public Awareness and Engagement

Challenges Identified:
Limited Contextualization: Many archaeological sites and museums fail to provide
detailed, accessible narratives, leaving visitors unable to grasp the historical
significance of exhibits.
Minimal Educational Outreach: Museums are often underutilized as tools for
educating the public, especially schoolchildren and non-experts.
Disconnected Communities: Local communities are rarely involved in the curation or
storytelling process, resulting in a lack of connection to their own heritage.

22
SEARCH
Need Addressed: A museum with interactive and narrative-driven exhibits, educational workshops,
and community participation can build a deeper public connection to history.

Integration of Modern Technology

Challenges Identified:
Underutilization of Technology: Many museums rely on static displays, missing opportunities to
use AR/VR, holography, and interactive tools to create immersive experiences.
Difficulty in Visualizing the Past: Static artifacts do not fully convey their original context,
leading to a lack of emotional connection for visitors.
Lack of Digital Accessibility: Museums rarely provide digital alternatives, like virtual tours or
mobile apps, for remote audiences or those unable to visit in person.

Need Addressed: A technologically advanced museum can bridge the gap between past and
present, making history accessible and engaging for modern audiences.

2. Gaps Identified in Existing Research

Lack of Focus on Regional History: Lesser-known archaeological sites often lack representation
in national museums, leaving regional heritage overlooked.
Inadequate Support for Research: Limited infrastructure for artifact research, such as
laboratories or storage facilities, affects the Aability of experts to study and conserve heritage.
Unaddressed Sustainable Development Goals (SDGs): Existing museum designs rarely align with
sustainability principles or prioritize eco-friendly practices.
Poor Community Integration: Museums often fail to engage with local communities, ignoring
the cultural narratives unique to the region.

23
1.5. PROBLEM IDENTIFICATION AND PRELIMINARY RE
3. Research Justification

Designing an archaeological museum is essential to address these issues:

Preservation: To provide state-of-the-art infrastructure for protecting and

conserving artifacts.
Education: To enhance public knowledge and interest through engaging narratives
and interactive technologies.
Community Engagement: To celebrate regional history while fostering pride and
awareness among local populations.
Tourism: To boost cultural tourism and economic development by creating an
immersive visitor experience.

The findings from this preliminary research will serve as a foundation for developing the
design concept and addressing the identified gaps.

24
SEARCH

Category Description Key Features

Futuristic Design Inspired by India’s Past Symbolizes India’s cultural richness while Inspired by Ancient Forms: Mandalas, Stupas,
adopting futuristic elements. temple spires reinterpreted with
parametric/organic designs.
Dynamic Facades: Kinetic elements that
evolve over time.
Floating/Gravity-Defying Elements:
Suspended structures or cantilevers for a
timeless look.

Immersive Storytelling Spaces Transforms the museum into an experiential Time-Travel Galleries: Projection-mapped
journey through time. galleries for key historical eras (e.g.,
Harappan, Mughal).
Holographic Storytelling: Interactive
narrators (historical figures, artisans).
Walkthrough Excavation Zones: Realistic
archaeological dig recreations.

Integrating Smart Technologies Enhances visitor engagement with cutting-edge AI Curators: Personalized, interactive tours.
tech. Interactive Screens: Touch-sensitive virtual
artifacts.
Augmented Reality Portals: AR experiences
for historical reconstructions.

Sustainability Rooted in History Combines ancient wisdom with modern Traditional Building Methods: Stepwell-
sustainable practices. inspired systems for water management.
Net-Zero Energy Museum: Renewable
energy sources, rainwater harvesting, passive
cooling.

Feature Iconic Indian Archaeological Highlights significant archaeological findings Lost City of Dholavira: Interactive city
Discoveries with innovative displays. planning models.
Ashokan Edicts: Real-time decoding with
projection mapping.
Ellora Caves: Virtual Kailasa temple
walkthrough.

Architecture as a Narrative Encourages the museum as a cultural and social Living History Zones: Spaces for artisans and
hub. live exhibits.
Heritage Festivals: Areas for performances,
workshops, and historical reenactments.

Community Integration Encourages the museum as a cultural and social Living History Zones: Spaces for artisans and
hub live exhibits.
Heritage Festivals: Areas for performances,
workshops, and historical reenactments.

25
1.5. PROBLEM IDENTIFICATION AND PRELIMINARY RE
AREAS OF RESEARCH:

1. Proposition:
The proposition is to create an archaeological museum that bridges the gap
between historical preservation and public engagement by integrating
innovative design strategies, interactive technologies, and user-centered
spaces. The project will emphasize fostering a deeper connection between
visitors and historical narratives, enhancing learning, and ensuring the
effective preservation of artifacts. The museum will serve as a cultural
landmark, reflecting the time and context of its artifacts while meeting
contemporary needs for public interaction.

2. Areas of Research
a. Medium
Interactive Technologies: To study the role of AR/VR, holography, and
other emerging technologies in enhancing visitor engagement and
storytelling.
26
SEARCH
Materiality and Sustainability: To Investigate sustainable materials and
construction techniques that support preservation while reducing the
environmental footprint.
Spatial Configurations: To Analyze layouts and circulation patterns that
encourage exploration and discovery while maintaining artifact security.
Lighting Design: To Research optimal lighting strategies for artifact
display, including natural and artificial lighting, to enhance visibility
without causing damage.

b. Programmatic Content
Exhibit Design: To Explore best practices for organizing permanent and
temporary exhibits, focusing on narrative storytelling and thematic
arrangement.
Visitor Amenities: To Study user needs for recreational areas, cafes, and
gift shops to improve visitor satisfaction and experience.
Educational Spaces: To Investigate the inclusion of classrooms, lecture
halls, and interactive zones for workshops and seminars.
Preservation Labs: To Research the requirements for artifact
conservation spaces, including environmental control and advanced
storage solutions.
Community Engagement: To Explore programs like cultural festivals,
archaeological workshops, and temporary exhibitions to foster local
participation.

c. Reflection of Time
Architectural Expression: To Study how contemporary architectural
styles can pay homage to historical eras, blending modern and traditional
design principles.
Storytelling through Design: To Research how spaces can narrate the
stories of the artifacts they house, reflecting the cultural and historical
periods they represent.
Adaptability and Longevity: To Investigate how the museum can be
designed for future adaptability, ensuring relevance as both a repository
of the past and a hub of cultural innovation.
Cultural Context: Examine how the museum can resonate with its local
setting while maintaining a global appeal.
27
1.6. DEVELOPING AIM, OBJECTIVES, SCOPE, LIMITATIO
Archaeological museums serve as custodians of history, preserving and
showcasing the artifacts that narrate our collective past. However, a
significant gap exists in how these institutions engage the public with
historical narratives. Often, museums are underutilized, with static displays
failing to captivate visitors. The proposed thesis seeks to address this issue
by designing an archaeological museum that bridges the gap between
historical preservation and public engagement.

Aim: To develop innovative design solutions that make archaeological

museums interactive, fostering public engagement while ensuring artifact
preservation.

Objectives: The project aims to study effective preservation techniques,

explore interactive technologies, and design user-friendly spatial
configurations. The scope includes focusing on archaeological sites in India
and addressing urban challenges for museum design. This project will serve
as a model for revitalizing public interest in history and creating spaces that
foster cultural appreciation.

Learning Objectives:
To explore design strategies that enhance the interaction between
visitors and historical artifacts.
To study the role of technology in preserving artifacts while improving
visitor engagement.
To analyze spatial configurations that foster a deeper connection to
historical narratives.
To develop a framework for balancing public engagement and artifact
preservation.
To investigate user-centric approaches to creating inclusive and engaging
museum spaces.

Scope:
Focus on archaeological sites in India.
Address challenges for museums in urban settings.
Limitations may include time constraints, resource limitations, and
specific case studies focusing on one or two significant sites.
28
N AND METHODOLOGY
Methodology:
Literature review on existing archaeological museums and their design
approaches.
Case studies of successful museums that blend historical preservation
with public engagement.
Surveys and interviews with museum visitors and local communities to
understand engagement patterns.
Site analysis focusing on spatial configurations and visitor flow in urban
contexts.
RESEARCH PHASE

Literature Review

Key Insights

Case Studies

Visitor Flow

Design Strategies

MUSEUM
INTERACTIVE
DESIGN
TECHNOLOGIES

Site Selection Criteria

Option 1: Bhuj, Option 2: Option 3:

Gujarat Arikamedu, Rakhigarhi,
Puducherry Haryana

Stakeholder Feedback

Historians
Archaeologists Curators

Stakeholder Feedback

Behavior Engagement
Design Brief
Patterns Challenges

Comprehensive Report

29
1.6. DEVELOPING LIMITATIONS
Limitations:
The project will focus on the design aspects and not delve into detailed
artifact restoration techniques.
Financial constraints and feasibility of implementing cutting-edge
technologies like AR/VR on a large scale will not be addressed in detail.
The museum design will cater primarily to archaeological artifacts and
may not accommodate other forms of art or exhibits.
The research will be limited to selected case studies and surveys, which
may not represent the entire target audience.

30
 1.7. SITE SELECTION
OPTION 1A: BHUJ, GUJARAT.

Central Location Between Dholavira and Lothal.

Proximity to Key Sites: Bhuj is centrally located between Dholavira (UNESCO
World Heritage Site) and Lothal, offering a prime spot to showcase Indus Valley
Civilization history.
Historical Significance: Bhuj has a rich historical background with Indus Valley
Civilization connections and numerous heritage sites.
Accessibility: Well connected by Bhuj Airport, railways, and highways.
Urban & Cultural Context: Located near the historic Kutch region, a well-
known tourist destination.
Climate Considerations: Arid climate, requiring passive cooling strategies.
Tourism Potential: Already a major cultural and tourism hub, with Rann Utsav
attracting visitors.
Challenges: Earthquake-prone zone, requiring careful structural
considerations.

SITE
OPTION- 1

PROPOSED DP PLAN PROS :-

1.Easily accessible to public
(2025)
transportation.
2.Located in New Bhuj.
3.Site is located near railway station.
CONS:-
1. Small facing of site at main road.

OPTION:-1
Airport Ring Road, New Bhuj,
Gujrat.
Site Area:- 26,286 Sq.m.

31
1.7. SITE SELECTION
OPTION 1B: BHUJ, GUJARAT.

PROS :-
1.This site is well connected to main
road.
CONS:-
1.Low accessibility to public
transportation.
2.Site is located in outskirts of Bhuj.

SITE
OPTION- 2

OPTION:-2 PROPOSED DP PLAN

Near Changleshwar Mahadev Mandir, (2025)
Mudra-Bhuj Road, Bhuj, Gujrat.
Site Area:- 26,312 Sq.m.

SITE
PHOTOGRAPHS

OPTION 1C: BHUJ, GUJARAT.

PROS :-
1.Well connected to both primary and
secondary road.
2.Site is near to airport.
3.This site is located in New Bhuj.
CONS:-
1. Site is located in high traffic flow area,
which can be concern for noise
disturbance.
SITE
OPTION- 3

OPTION:-3

Airport Ring Road, New Bhuj,

Gujrat.
PROPOSED DP PLAN Site Area:- 26,312 Sq.m.
(2025)

SITE
PHOTOGRAPHS

32
OPTION 2: ARIKAMEDU, PUDUCHERRY

Historical Significance: An ancient Roman trade center, significant for Indo-

Roman connections.
Accessibility: Located near Puducherry, well connected by roads and Chennai
International Airport.
Urban & Cultural Context: Close to Puducherry’s French heritage, adding a
layer of cultural richness.
Climate Considerations: Hot and humid climate, requiring shading and
ventilation strategies.
Tourism Potential: Puducherry is already a well-established tourist
destination.
Challenges: Site remains largely unexcavated; conservation regulations might
pose restrictions

PROPOSED DP PLAN
(2025)

WR6G+3CX, Thengaithittu, Puducherry, 605004

PROS :- CONS:-

1.Close to Arikamedu – Strong 1.Flood & Erosion Risk – Coastal

historical connection. vulnerability.
2.Boat Access – Unique and immersive 2.Boat Dependency – Weather
visitor experience. can affect access.
3.Near Puducherry – High tourist 3.Heritage Regulations –
footfall. Construction restrictions.
4.Scenic Waterfront – Iconic 4.Accessibility Issues – May need
architectural potential. better transport links.
5.Cooler Climate – Benefits from sea 5.Mosquitoes & Ecosystem
breezes. Impact – Environmental
6.Boosts Local Economy concerns

33
1.7. SITE SELECTION
OPTION 3: RAKHIGARHI, HARYANA

Historical Significance: One of the largest Indus Valley Civilization sites in

India.
Accessibility: Located in Haryana, accessible from Delhi by road and rail.
Urban & Cultural Context: Rural setting with limited urban infrastructure but
immense archaeological value.
Climate Considerations: Semi-arid region with extreme summers and winters.
Tourism Potential: Potential to become a major heritage site with proper
development.
Challenges: Currently under excavation, requiring careful preservation
strategies.

Contextual & Historical Justification:

Significance of Rakhigarhi: Rakhigarhi is one of the largest Indus Valley
Civilization sites and preserving and showcasing its heritage is important.
Proximity to Excavation Sites: my chosen location respects the integrity of the
archaeological mounds while being close enough for educational and tourism
purposes.
34
SITE SELECTION: COMPARITIVE ANALYSIS.

Criteria Bhuj, Gujarat Arikamedu, Puducherry Rakhigarhi, Haryana

Indus Valley connections, Roman trade center, Largest Indus Valley site in
Historical Significance
strong heritage Indo-Roman relations India

Well connected by Close to Puducherry, Accessible from Delhi,

Accessibility
airport, rail, and roads accessible via Chennai developing connectivity

Near historic Kutch Coastal town with rich Rural setting, potential for
Urban Context
region, strong tourism Indo-French culture heritage tourism

Arid, requiring passive Hot and humid, requires Semi-arid, needs climate-
Climate Considerations
cooling shading responsive design

High, due to Rann Utsav Moderate to high, with High potential but currently
Tourism Potential
and cultural sites Puducherry tourism underdeveloped

Conservation regulations
Active excavation, requires
Challenges Earthquake-prone zone and unexcavated
careful planning
remains

35
1.8. RATIONALE FOR SELECTING BHUJ AS SITE
WHY BHUJ? – A CULTURAL &
HISTORICAL NEXUS
Bhuj, located in Gujarat’s Kutch district, is
a city rich in history, culture, and
geography. Founded in 1510, it once
served as the capital of the princely Kutch
state and sat on major trade routes,
fostering cultural exchange and
craftsmanship.
Known as Gujarat’s cultural hub, Bhuj is
celebrated for traditional arts like
Bandhani, embroidery, and block printing,
supported by diverse communities like
the Rabari, Mutwa, and Jats.
Its historical landmarks reflect a fusion of
Indian, Persian, and colonial influences.
Geographically, its proximity to the Rann
of Kutch and its arid climate have shaped
its unique vernacular architecture.
The 2001 earthquake was a turning point
—Bhuj rebuilt itself with resilience,
combining heritage preservation with
modern, disaster-resistant planning.
Today, Bhuj stands out as a living example
of tradition meeting transformation,
making it the ideal setting for an
archaeological museum and research
center that bridges the past and future.

BHUJ

Rich Heritage of Bhuj Food of Bhuj

Culture of Bhuj Block printing

36
Lothal – The Harappan Port City:
Location: Near Gulf of Khambhat, Gujarat
Discovered: Excavated by ASI (1955–60)
Key Feature: World’s oldest known dockyard, proving advanced maritime
engineering
Urban Design: Grid-planned streets, central market, standardized brick houses
Findings: Beads, seals, pottery, and a bead-making factory indicating trade and
industry
Significance: Highlights Harappan maritime trade, city planning, and
craftsmanship

Dholavira – The City of Water Wisdom

Location: Khadir Island, Rann of Kutch, Gujarat
Discovered: Found in 1968; excavated by ASI (1990–2005)
Urban Layout: Divided into citadel, middle town, and lower town
Water Management: Advanced reservoirs and channels for rainwater
harvesting
Findings: Seals, ornaments, tools, and pottery
Significance: Offers deep insight into Harappan planning, water systems, and
social structure

LOTHAL
DHOLAVIRA
BHUJ

37
1.8. RATIONALE FOR SELECTING BHUJ AS SITE
JUSTIFICATION FOR THE ARCHAEOLOGICAL MUSEUM IN BHUJ,
GUJARAT

Why Bhuj is the Ideal Site

📍 Strategic Location:
Centrally located between Dholavira and Lothal, Bhuj is perfectly placed to
represent Indus Valley Civilization heritage. It offers easy access for tourists
visiting both sites.
🎯 Cultural Tourism Hub:
Home to the Kutch Museum, Prag Mahal, and Rann Utsav, Bhuj already attracts
visitors. An archaeological museum will further enhance its tourism appeal.
🛠 Development Alignment:
The city’s DP-2025 includes zones for cultural and public use. The museum
supports planned growth and benefits from existing infrastructure.
🎓 Educational Potential:
Bhuj can serve as a center for Harappan research, exhibitions, and cultural
workshops, engaging both locals and tourists.
📈 Economic & Cultural Impact:
The museum will boost tourism, support local crafts, and contribute to heritage
conservation, making Bhuj a vibrant node of cultural preservation and economic
growth.

38
 1.9. HISTORY AND FUTURE VISONS
The concept of museums in India dates back to the colonial era, with early
examples like the Indian Museum (1814, Kolkata) and Prince of Wales Museum
(1922, Mumbai). These institutions were modeled on European frameworks,
primarily focused on collection, classification, and display.
In the post-independence period, museums evolved to emphasize national pride
and regional history, but often remained static in terms of interactivity. With
increasing public awareness, heritage tourism, and digital access, museums today
are expected to be dynamic learning environments rather than silent halls of
display.

Pre-1950s: Colonial institutions focusing on cataloging history

1960s–1980s: Rise of national museums and archaeological departments 1990s:
Introduction of guided tours, audio systems, and curated lighting
2000s: Use of digital displays, touchscreen interfaces, and thematic zoning
2010s: Integration of VR/AR, smart exhibits, and audience-responsive
installations
Future Vision: Immersive museums that simulate history through multi-
sensory environments, transparent labs, and interactive storytelling

39
02. PRECEDENT STUDIES
02. PRECEDENT STUDIES
1.Overview of Precedents
2.Deccan College Archaeology Museum, Pune
3.CSMVS, Mumbai
4.National Museum, New Delhi
5.Museum of the Future, Dubai
6.British Museum, London
7.Comparative Analysis of Precedants
2.1. OVERVIEW OF PRECEDENTS
01. DECCAN COLLEGE
ARCHAEOLOGY MUSEUM
Institution: Deccan College
Postgraduate and Research Institute
Location: Pune, Maharashtra
Year: Ongoing since 1950s

02. CSMVS (CHHATRAPATI

SHIVAJI MAHARAJ VASTU
SANGRAHALAYA)
Architect: George Wittet
Location: Mumbai, Maharashtra
Year: 1905

03. NATIONAL MUSEUM

Architect: Ganesh Bikaji Deolalikar
Location: New Delhi, India
Year: 1949

44
04. MUSEUM OF THE FUTURE,
DUBAI
Architect: Killa Design
Location: Dubai, UAE
Year: 2022

05. THE BRITISH MUSEUM

Architect: Sir Robert Smirke; Great
Court by Foster + Partners
Location: London, UK
Year: 1753

45
2.2. DECCAN COLLEGE ARCHAEOLOGY MUSEUM
Project Type: Archaeological Museum (Academic + Public Institution)
Architect: In-house institutional design by Deccan College
Year: Established in the 1950s (expanded over time)
Site Area: ~5,000 sq.m (estimated within campus)
Built-up Area: ~2,000–2,500 sq.m
Location: Pune, Maharashtra, India

REASONS FOR SELECTING DESIGN CONCEPT

THIS CASE STUDY Functional over aesthetic –
Operated by India’s leading prioritizing learning, preservation, and
archaeological institute — academic research
relevance Modular planning with separate zones
Combines research, curation, and for labs, galleries, and outdoor
public engagement in one space learning
Compact, functionally efficient layout Climate-responsive planning:
— a model for medium-scale museums courtyards, thick walls, verandahs
Strong climate-sensitive and Architecture supports storytelling
sustainable design through clear zoning and display
Features thematic galleries aligned organization
with your Gujarat historical timeline

46
 Faculty room Laboratory

Laboratory Laboratory

Passage
Fossil
Repository GROUND FLOOR PLAN

Early History Gallery Art and Architecture Gallery

Megalithic Epigraphy and

Gallery Numismatics Gallery

FIRST FLOOR PLAN

Protohistory
Gallery
Pre history
Gallery

Prof.H.D.Sankalia Prof. H.D. Sankalia

Memorial Gallery Memorial Gallery

47
2.2. DECCAN COLLEGE ARCHAEOLOGY MUSEUM
SITE OVERVIEW
Located inside Deccan College Campus, surrounded by academic buildings
Lush green environment offers a peaceful educational context
Proximity to Bhaja & Karla Caves strengthens its archaeological significance
Easily accessible for both students and public audiences
Central siting within campus with natural ventilation through courtyards

AREA CHART

SPACE AND FUNCTIONS

Space Type Description

Public Galleries Prehistory, Protohistory, Megalithic, Fossils,

Epigraphy, Numismatics

Laboratories Artifact cleaning, restoration, and analysis

Fossil Repository Specialized space for fossil displays and

research

Academic Wings Faculty room, seminar room, student

interaction spaces

Courtyards & Passages Allow open-air movement and outdoor display

Open Exhibit Zones Outdoor sculpture displays and

training/workshop spaces

Visitor Amenities Basic — informal seating, signage, lecture space

48
ARCHITECTURAL AND FUNCTIONAL FEATURES

Material Use: Courtyards and Open Spaces for Gallery

Black stone Ventilation: Two Exhibits: Arrangement:
Thematic galleries
ensures passive large courtyards Outdoor areas
enhance storytelling
cooling and energy provide natural light display large
by categorizing
efficiency through and ventilation. sculptures and
exhibits like artifacts,
thick walls. artifacts,
sculptures, pottery,
blending built and inscriptions.
and open spaces.
DISPLAY METHODS

Display Cases Wall Mounts Platforms Dioramas or Period Settings

KEY TAKEAWAYS AND CONCLUSION

Hybrid Functionality: A successful integration of research and public
interaction
Zoning: Clearly defined circulation between private (labs) and public (galleries)
zones
Sustainability: Use of local black stone, thick walls, natural courtyards
Space Efficiency: Compact, single-story design still offers rich experiential
quality
Display Typology: Dioramas, wall mounts, and thematic clustering enhance
understanding
Minimalist Architecture: Keeps focus on exhibits; durability prioritized over
ornamentation

49
 2.3. C.S.M VASTU SANGRAHALAY
Project Type: City Museum – Art, History & Archaeology
Architect: George Wittet (Original), modern interventions by various teams
Year: Foundation laid in 1905, opened in 1922 (Ongoing renovations)
Site Area: ~30,000 sq.m (approx.)
Built-up Area: ~11,000–13,000 sq.m (across heritage and extended wings)
Location: Kala Ghoda, Fort, South Mumbai, Maharashtra, India

REASONS FOR SELECTING DESIGN CONCEPT

THIS CASE STUDY Architectural style: Indo-Saracenic
Revival — combines Mughal, Hindu,
Blend of heritage architecture and
and Gothic elements
modern upgrades
Layout organized around a central
Houses a vast collection of
domed atrium acting as a spatial and
archaeological artifacts, paintings,
symbolic core
sculptures, and textiles
Emphasis on grandeur and openness
The Indo-Saracenic architectural style
— reflected in arches, domes, and
offers inspiration for fusing traditional
double-height spaces
and modern forms
Contemporary interventions (e.g.,
Strong zoning principles, visitor flow,
digital gallery) inserted without
and multi-floor gallery planning
disrupting the original character
Represents a landmark museum in
Thematic galleries branch out from
India’s urban cultural landscape
the center, guiding the visitor in a
circular flow

50
 Buddha gallery Bird gallery Animal gallery Key gallery

HERITAGE BUILDING EXTENDED BUILDING

Hindu gallery

GROUND FLOOR PLAN

JAIN GALLERY
Jain gallery

HERITAGE BUILDING EXTENDED BUILDING

Prints gallery

FIRST FLOOR PLAN

Money gallery

Jewellery gallery Miniature painting Decorative gallery Himalayan gallery

gallery

HERITAGE BUILDING EXTENDED BUILDING

SECOND FLOOR PLAN JNAF Gallery

Sir Ratan Tata Chinese and Japanese Arms and armour Indian textiles
gallery gallery gallery gallery

51
2.3. C.S.M VASTU SANGRAHALAY
SITE OVERVIEW
Located in the cultural precinct of South Mumbai
Surrounded by institutions like the Jehangir Art Gallery, NGMA, and the
Gateway of India
Easily accessible through public transport (train, bus, taxi)
Enclosed within a landscaped plot with courtyards, gardens, and shaded
circulation paths

GALLERIES RADIATE OUTWARD IN A LOGICAL FLOW

CIRCULAR FLOW PREVENTS CONGESTION AND
ENSURES A SMOOTH VISITOR EXPERIENCE.

SPACE AND FUNCTIONS

Space Type Description

Thematic Galleries Hindu, Jain, Buddhist, Arms & Armour, Textiles,

Miniature Paintings, etc.

Conservation Labs Equipped with modern tools for artifact restoration

Research Areas JNAF Gallery, reading rooms, archives

Visitor Amenities Shops, rest areas, café, toilets

Auditorium & Lecture Halls For cultural events, films, and academic sessions

Admin & Staff Areas Offices, curators' workspaces, service cores

Courtyards & Verandahs Semi-open transition spaces, improve comfort &

ventilation

Extended Modern Wing Houses special exhibitions, digital archive access

52
ARCHITECTURAL AND FUNCTIONAL FEATURES

DOME FROM SQUINCHES AND

QUTUB SHAHI RIBBON WINDOW
TOMB

MINARET TOPPED BANGLADAR ROOF

WITH DOME OVER ENTRANCE

MUSEUM BUILDING

POINTED ARCHES GEOMETRIC

MUGHAL JAALIS

KEY TAKEAWAYS AND CONCLUSION

Central Atrium Model: Radial layout creates hierarchy and orientation clarity
Blend of Old and New: Heritage structure coexists with digital interventions —
ideal for your thesis
Thematic Galleries: Enables narrative-driven zoning across time periods or
topics
Cultural Integration: Incorporates Indian ornamentation (jalis, domes, columns)
with modern use
Climate Strategy: Thick walls, shaded verandahs, and courtyards help reduce
heat gain
Urban Impact: Shows how a museum can function in a dense urban context while
preserving identity
Functional Layering: Separate access paths for public, staff, and service
circulation ensures clarity

53
2.4. NATIONAL MUSEUM, NEW DELHI
Project Type: National-Level Archaeological & Cultural Museum
Architect: Ganesh Bikaji Deolalikar
Year: Established in 1949
Site Area: ~26,000 sq.m
Built-up Area: ~18,000 sq.m
Location: Janpath Road, Lutyens’ Delhi, New Delhi, India

REASONS FOR SELECTING DESIGN CONCEPT

THIS CASE STUDY Follows a rectilinear plan with
symmetrical geometry, inspired by
India’s largest repository of
temple and palace architecture
archaeological heritage — Indus Valley
Uses courtyards and domes to define
to Colonial Era
zones and allow light/air into internal
Demonstrates chronological and
spaces
thematic gallery planning
Aims to provide a structured,
Strong example of government-run
immersive experience
museum architecture and
Galleries organized by civilization,
management
empire, or art form to reflect cultural
Includes integrated spaces for
depth
conservation, curation, education, and
Interior volumes use light, signage,
public access
and display levels to guide visitor flow
Showcases how a museum can
maintain clarity across multiple floors
and departments

54
GROUND FLOOR PLAN

FIRST FLOOR PLAN

SECOND FLOOR PLAN

55
2.4. NATIONAL MUSEUM, NEW DELHI
SITE OVERVIEW
Located in central Delhi’s prestigious Lutyens’ zone, near India Gate and
Rashtrapati Bhavan
Well-connected through major roads and Delhi Metro
Site surrounded by landscaped greens to buffer against urban noise
Courtyards and open-to-sky zones create natural interaction spaces

EACH DISPLAY HAS ITS OWN FOCUSED LIGHT DOUBLE-HEIGHT ENTRANCE LOBBY

SPACE AND FUNCTIONS

Space Type Description

Indus Valley, Mauryan, Gupta, Mughal, Kushan,

Thematic Galleries
Decorative Arts, Musical History

Conservation & Storage Artifact preservation labs and controlled archives

Rare manuscripts, academic reading, digital catalog

Research & Library
access

Auditorium, cafeteria, museum shop, courtyard

Public Amenities
seating

Administrative Zones Director’s office, curators, security

Circulation Zones Central double-height lobby, linear corridor galleries

Exhibition Zoning Ground to 2nd floor vertical stacking of galleries

56
ARCHITECTURAL AND FUNCTIONAL FEATURES

THE ENTRANCE HARRAPAN MAURYA ARTS KUSHANA GALLERY

CORRIDOR GALLERY GALLERY ARTEFACTS

LINEAR CIRCULATION
IN GALLIERIES

GUPTA GALLERY EARLY LATE DECORATIVE

ARTEFACTS MEDIEVAL MEDIEVAL ARTS GALLERY 1
ARTEFACTS ARTEFACTS

CHANNEL CIRCULATION FROM

ENTRANCE TO DIFFERENT DECORATIVE VIEW OF THE VIEW OF THE
ARTS GALLERY 2 TEXTILES MUSICAL
GALLERIES GALLERY INSTRUMENTS

KEY TAKEAWAYS AND CONCLUSION

Chronological Narrative: Clearly separates time periods through floor stacking

and signage
Multi-Level Clarity: Shows how vertical design can maintain spatial logic in large
museums
Courtyard Integration: Combines enclosed galleries with open-air breathing
spaces
Mixed Typologies: Balances formal gallery spaces with public outreach and
academic zones
Climate Responsiveness: Incorporates passive cooling via courtyards and shaded
corridors
Accessibility: Includes ramps, elevators, and multi-entry access points for
inclusive circulation

57
2.5. MUSEUM OF THE FUTURE
Project Type: Futuristic Experiential Museum
Architect: Killa Design
Year: Completed in 2022
Site Area: ~30,000 sq.m
Built-up Area: ~17,600 sq.m
Location: Sheikh Zayed Road, Dubai, UAE

REASONS FOR SELECTING DESIGN CONCEPT

THIS CASE STUDY Theme: “See the Future, Create the
Future”
Represents the cutting-edge of
Form: A torus-shaped ring with a
museum design, focused on
central void symbolizing the
storytelling through technology
“unknown” future
Serves as a global benchmark for
The Arabic calligraphy façade features
immersive and interactive experiences
quotes by Sheikh Mohammed bin
Iconic form symbolizes the future,
Rashid Al Maktoum
innovation, and limitless knowledge
Uses parametric design and steel
Integrates AR/VR, AI, projection
diagrid structure to support the
mapping, and sensor-based
seamless form
experiences
Acts as a living exhibit of
Demonstrates how a building’s form
sustainability, smart technology, and
can act as a cultural narrative in itself
human imagination
— essential to my thesis

58
LONGITUDINAL SECTION

59
2.5. MUSEUM OF THE FUTURE
SITE OVERVIEW
Located in central Dubai along Sheikh Zayed Road, surrounded by skyscrapers
and key government buildings
Elevated on a landscaped podium that holds parking, public spaces, and café
zones
Visual icon for the city’s vision of a tech-driven cultural identity
Proximity to metro and road network makes it highly accessible.

GRAND OPEN SPACE WITH FUTURISTIC LIGHTING AND

VERTICAL CIRCULATION THROUGH ELEVATORS AND RAMPS.
DESIGN.

SPACE AND FUNCTIONS

Zone / Function Description

AI, space exploration, health, sustainability, and

Exhibition Floors (5 levels)
visionary environments

Platforms for real-time R&D and emerging

Innovation Labs
technologies

Research & Learning Zones Think-tanks, design studios, future studies archives

Multi-purpose space for launches, events, and

Auditorium
debates

Public Zones (Podium) Landscaped areas, café, museum shop, ticketing

High-speed elevators, spiral ramps for immersive

Vertical Circulation
flow

60
ARCHITECTURAL AND FUNCTIONAL FEATURES
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.

KEY TAKEAWAYS AND CONCLUSION

Architecture as a Storyteller: The building itself is a narrative — inspired by my
goal for “Kaal Drishya”
No Internal Columns: Steel diagrid allows open, flexible, interactive spaces
Immersive Flow: Seamless circulation reflects a journey-based experience, ideal
for archaeological timelines
Smart Building Systems: Lighting, HVAC, and tech are responsive — essential for
modern museum design
Central Void Concept: Symbolism of unknown time or lost history can be applied
to your museum concept
AR/VR Integration: Sets a new standard for engagement — use it in your future
timeline zones
Parametric Innovation: Shows how form and tech can merge to serve cultural
storytelling

61
2.6. THE BRITISH MUSEUM
Project Type: Global Archaeology & Cultural Heritage Museum
Architect: Sir Robert Smirke (Original), Foster + Partners (Great Court
Renovation)
Year: Established in 1753, Great Court renovated in 2000
Site Area: ~75,000 sq.m
Built-up Area: ~45,000 sq.m
Location: Great Russell Street, London, United Kingdom

REASONS FOR SELECTING

THIS CASE STUDY
One of the most influential museums
in the world, with a vast collection of
global archaeology
Offers a strong example of adaptive
reuse and expansion of historic
museum buildings
Combines monumental neoclassical
architecture with modern
interventions like the Great Court
Excellent example of radial + linear
DESIGN CONCEPT
circulation, zoning by time periods Theme: A blend of neoclassical
and civilizations permanence and modern openness
Incorporates conservation labs, Architectural Form: Symmetrical
libraries, archives, and digital planning with a central domed reading
repositories room and colonnaded façade
Sets international standards for Conceptualized as a space where
museum security, display, access, and global history is preserved, studied,
documentation and shared
Renovations introduced the idea of a
"museum as a forum", emphasizing
public gathering and discourse
The glass-roofed court acts as a
modern reinterpretation of open
learning and interaction spaces

62
 CAFÉS &
DISPLAY CASES RESTAURANTS

COMMON SPACES

EXHIBITION AREAS

GROUND FLOOR PLAN

PLATFORMS SCULPTURE
DISPLAYS

SPACE DISTRIBUTION

UPPER FLOOR PLAN

COMMON SPACES

EXHIBITION AREAS

LOWER FLOOR PLAN

63
2.6. THE BRITISH MUSEUM
SITE OVERVIEW
Situated in central London, surrounded by academic institutions, cafés, and
cultural centers
Highly accessible via London Underground, bus, and pedestrian networks
The central courtyard was reimagined as the Queen Elizabeth II Great Court —
an enclosed plaza with a translucent roof
Surrounded by historic structures that blend harmoniously with newer spaces

LINEAR AND RADIAL CIRCULATION FROM THE GREAT NATURAL VENTILATION THROUGH COURTYARDS AND
COURT. ATRIUMS

SPACE AND FUNCTIONS

Space Type Description

Egypt, Greece, Rome, Asia, Mesopotamia, Africa,

Thematic Galleries
Indigenous Cultures

British Library partnership; scholar access to rare

Reading Rooms & Research Zones
manuscripts

Dedicated spaces for restoration, cataloging, and

Conservation Labs
digital scanning

Central gathering space, orientation hub, ticketing,

Great Court
cafés, retail

Temporary Exhibition Areas Rotating exhibits and touring installations

Visitor Amenities Bookstore, café, cloakroom, wayfinding desks

RFID tracking, climate control, artifact-safe loading

Service & Security
docks

64
ARCHITECTURAL AND FUNCTIONAL FEATURES

CIRCULATION AND ZONING OF THE MUSUEM

KEY TAKEAWAYS AND CONCLUSION

Zoning by Civilization: Logical storytelling using spatial hierarchy — ideal for your
historical timeline zones
Central Court Planning: Offers opportunities for public congregation and
exhibition overlaps
Integration of Old & New: Reinforces how heritage buildings can evolve without
losing identity
Advanced Back-End Functions: Conservation, digital documentation, and
research infrastructure
Symbolic Design: Neoclassical pillars, domes, and symmetry reflect permanence
and cultural depth
Radial + Linear Flow: Supports multiple paths of discovery and layered user
experiences
Global Standard for Museum Design: Encourages accessibility, security, and
flexibility

65
2.7. COMPARATIVE ANALYSIS

66
67
2.7. COMPARATIVE ANALYSIS

68
69
2.7. COMPARATIVE ANALYSIS

70
71
2.7. COMPARATIVE ANALYSIS

72
73
2.7. COMPARATIVE ANALYSIS

COMPARATIVE MATRIX
Nat. Museum LEGENDS:
✅ = STRONG
Parameter MOTF Dubai Deccan College CSMVS Mumbai British Museum
Delhi
|
AR/VR | ⚠️ = PARTIAL
Integration
| = LIMITED

Chronological
Layout

Vernacular
Elements

Public
Engagement

Research Access

74
AREA COMPARISION:

75
03. SITE ANALYSIS
03. SITE ANANLYSIS
1.Site Selection Criteria
2.Bhuj City Profile
3.Historical Development of Bhuj
4.Proximity to Archaeological Sites (Dholavira,
Lothal)
5.Natural Features & Contours
6.Environmental & Climate Analysis
7.Legal Regulations and FSI
8.Infrastructure and Connectivity
9.Site Photographs & Maps
10.SWOT Analysis
11.Conclusion
3.1. SITE SELECTION CRITERIA
Bhuj was selected for its strategic
location near key archaeological sites
like Dholavira and Lothal, yet it lacks a
museum that showcases this heritage.
The site is well-connected—just 6 km
from the airport and 5.5 km from the
railway station—and sits along a 15m
wide arterial road. Its flat terrain and
hot semi-arid climate make it suitable
for passive, climate-responsive
architecture. Surrounded by
educational institutions and tourism
hotspots like Smritivan, the site offers
great potential for cultural
engagement, research, and public
education.

80
 3.2. BHUJ CITY PROFILE
Bhuj, the district headquarters of Kutch in Gujarat, is a historic town known for its
rich cultural heritage, traditional crafts, and earthquake-resilient architecture.
With a population of around 1.5 lakhs, it serves as a regional hub for education,
tourism, and administration. The city has a strong identity rooted in its royal
history, proximity to archaeological sites, and vernacular traditions like Bhunga
houses and intricate embroidery. Post the 2001 earthquake, Bhuj underwent
massive redevelopment, making it a symbol of resilience. Its vibrant craft culture
and urban revival make it an ideal location for a museum celebrating
archaeological and cultural narratives.

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.

81
3.3. HISTORICAL DEVELOPMENT OF BHUJ
Bhuj is a city shaped by centuries of history, cultural richness, and architectural
resilience. Founded in 1510 AD by Rao Hamir of the Jadeja dynasty, it served as the
capital of Kutch, protected by Bhujiyo Dungar and Bhujia Fort. Over time, its
architecture absorbed Indo-Islamic, Gujarati, and Colonial influences, seen in
landmarks like Aina Mahal, Prag Mahal, and Kutch Museum.
The 2001 earthquake was a defining moment, devastating the city but sparking a
massive reconstruction effort that focused on earthquake-resistant design and
community healing. Smritivan Earthquake Memorial now stands as a tribute to this
transformation.
Bhuj is also known for its vibrant craft traditions such as Ajrakh printing, Rabari
embroidery, and Lippan mud work, making it a living heritage zone. Post-2001, the
city expanded with new infrastructure, universities, and revitalized urban
planning, positioning it as a hub for cultural tourism and education.
Bhuj’s evolution—from royal seat to resilient city—makes it the ideal setting for a
museum that bridges the past, present, and future.

82
 3.4. PROXIMITY TO ARCHAEOLOGICAL SITES
Bhuj lies at the heart of Gujarat’s archaeological belt, making it a strategic base for
a museum celebrating ancient heritage. It connects easily to major Indus Valley
Civilization sites:

🏛️ Dholavira – ~250 km: A UNESCO World Heritage Site known for advanced
urban planning, reservoirs, and Harappan architecture.

⚓ Lothal – ~370 km: One of the world’s earliest dockyards, highlighting ancient
maritime trade.

🐎 Surkotada – ~160 km: A Harappan site with rare evidence of horse remains.

This central
location supports
the idea of Bhuj as
a gateway to
Gujarat’s lost
cities.

83
3.5. NATURAL FEATURES & CONTOURS
TOPOGRAPHY:

CONTOURS SHOWN ON SITE

Mostly Flat Terrain: The site has minor elevation changes, indicating it is
generally flat with slight slopes.
Variation: The highest elevation reaches around 90m, while the lowest is close to
84m, showing a 6m variation in height.
Possible Water Drainage Areas: The gentle dips in elevation could indicate
natural drainage paths or low-lying zones where water might collect.
Possible Interpretation: The contour map could represent a landform with a
deep depression (pit or valley) on the left, a ridge in the middle, and a slightly
elevated, rolling terrain on the right.

ELEVATION PROFILE OF LAND

TOPOGRAPHIC CONTOUR MAP

84
SOIL TYPE:
The soil profile consists of sandy loam
with clayey sublayers, offering:
Good natural drainage
Moderate bearing capacity
Suitable conditions for shallow to
medium-depth foundations

VEGETATION:

Neem, Acacia, and other native shrubs

Sparse ground cover
Useful for shading, erosion control,
and local landscaping strategies

DRAINAGE & WATER TABLE:

Natural slope aids surface water
runoff during monsoon
No nearby water bodies, so flooding
risk is low
Shallow aquifers may allow for
groundwater recharging and
harvesting

GEOLOGICAL STABILITY:
Though located in a seismic Zone V,
the soil conditions are stable enough
to support earthquake-resistant
construction if designed appropriately

85
3.6. ENVIRONMENTAL & CLIMATE ANALYSIS

Understanding the climatic behavior of Bhuj is crucial for designing a sustainable

and context-responsive museum. The region falls under the hot semi-arid climate
zone (Köppen classification BSh), where buildings must respond to high
temperatures, intense sunlight, low rainfall, and dry air.

86
 Arid & Semi-Arid Climate: Hot summers and mild winters.
Temperature Range: 10°C in winter to 45°C in summer.
Low Rainfall: Annual precipitation is around 350-400 mm.
Prevailing Winds: Dominantly from the southwest, offering potential for
natural ventilation.
High Solar Exposure: Strong sunlight throughout the year.

URBAN FABRICS OF THE SITE:

RESIDENTIAL AREA OPEN/GREEN SPACES

AROUND THE SITE

ROAD HIERARCY TRANSPORTATION MAP

87
3.7. LEGAL REGULATIONS AND FSI
ZONING AND LAND USE
The site falls under the Public/Semi-Public (PSP) Zone as per the Bhuj Area
Development Plan.
Permissible activities in this zone include museums, cultural institutions, research
centers, auditoriums, and educational facilities.
The site can accommodate both indoor galleries and outdoor public spaces like
amphitheaters, exhibition courts, or cultural plazas.
SETBACK NORMS
Setback Type Minimum Distance
(General Guideline)

Front Setback 12 meters

Side Setback 6 meters

Rear Setback 6 meters

FLOOR SPACE INDEX (FSI)

Site Location: Bhuj, Gujarat
Site Area: 28,356.50 sq.m. (7.007
Blend with commercial & Legends:-
tourism zones – Supports Residential zone. acres)
footfall and visibility. Public transportation.
Proposed site.
Permissible FSI: 1.2
Institutional &
educational synergy Defense zone Permissible Built-up Area: 34,027.8
Urban expansion sq.m
potential
Permissible Ground Coverage: 35% –
HEIGHT AND MASSING 40%.

REGULATIONS: FIRE SAFETY NORMS

Maximum Permissible Height: ~20- Fire exits, sprinklers, hydrants, and
25 meters (G + 2 or G + 3 with stepped emergency evacuation corridors are
terraces) mandatory.
For larger public buildings, architectural All galleries must ensure 2-directional
features like domes or spires may exceed exit with appropriate width as per
height limits with special permission. occupant load.

88
 3.8. INFRASTRUCTURE AND CONNECTIVITY
The site’s strategic location makes it SITE FEATURES
ideal for a cultural and research hub,
attracting both casual visitors and
academic scholars. Bhuj Bus stand
(4.3 Km from site)
Bhuj Railway station
(400 m from site)
The main entry should be designed
along Airport Ring Road for smooth
vehicular movement.
Viable Multi Specialty
Adequate visitor parking and bus Bhuj Airport
Hospital
(1.9 Km from site)
drop-off zones should be planned to (4.1 Km from site)

manage high seasonal footfall.

PHYSICAL INFRASTRUCTURE
Hotel Nest Bhuj Large Site Area – 26,312
(1.6 Km from site) Sq.m. (6.5 acres)
Service Status & Relevance

Connected to the city’s

Water Supply municipal water lines;
overhead tanks can be used.

Nearby transformer and 3-

Electricity phase power supply; feasible
for lighting & HVAC.

Requires planned stormwater

Drainage runoff and recharge pits due
to low rainfall.

Municipal sewage network

Sewage & Sanitation available; septic tanks may be
used for backup.

Local collection system

Waste Management functional; separate dry/wet
segregation encouraged.

Fiber-optic lines available in

Internet/Telecom the vicinity; essential for
smart displays.

TRAFFIC FLOW:

1. Morning: Busy.
2. Afternoon: Moderate.
3. Evening: Busy.

89
3.9. DESIGN STRATEGIES
Passive Cooling Required: Shading devices, courtyards, and water bodies will help mitigate heat.

COURTYARDS

Hotel Nest Bhuj

(1.6 Km from site)
SHADING
WATER BODIES

Wind Utilization: Southwest winds can be used for cross-ventilation in building design.

SOUTH WEST WINDS

CROSS VENTILATION

Rainwater Harvesting: Essential due to low rainfall and arid conditions.

RAINWATER GETTING COLLECTED RAINFALL WATER

ON ROOFS

STORED IN TANKS
USED FOR WATER BODIES
REUSABLE WATER

Material Selection: Heat-resistant materials like stone, terracotta, and insulated walls are needed.

STONE
TERRACORTTA OR BURNT
CLAY BRICKS
INSULATED WALLS

Solar Energy Potential: High solar radiation makes it ideal for solar panels and energy-efficient strategies.

SOLAR PANELS
SOLAR PANELS INSTALLATION
INSTALLATION

90
3.10. SITE PHOTOGRAPHS & MAPS

SITE

RESIDENTIAL

SITE

TRANSPORTATION

91
3.11. SWOT ANALYSIS
✅ Strengths – Centrally located between Dholavira and Lothal, ensuring
comprehensive representation of Indus Valley heritage; well-connected by airport,
rail, and road; thriving tourism due to Rann of Kutch and existing cultural sites;
promotes cultural research, education, and heritage conservation.

❌ Weaknesses – Earthquake-prone region, requiring seismic-resistant design;

arid climate, needing passive cooling strategies; limited global awareness about
the Indus Valley Civilization compared to other ancient cultures.

⚡ Opportunities – Can boost local economy by attracting domestic and

international tourists; aligns with government heritage initiatives (DP-2025);
potential for smart museum features, interactive exhibits, and sustainable
architecture.

⚠️ Threats – Natural disaster risks (earthquakes, water scarcity); competition from

Lothal’s planned museum and other heritage sites; concerns about environmental
impact and long-term sustainability.

92
 3.12. CONCLUSION
The selected site, located along Airport Ring Road in New Bhuj, offers excellent
connectivity and lies in a culturally rich region, making it an ideal setting for an
archaeological museum. Its flat terrain and sandy loam soil allow for easy
construction and sustainable planning. Although natural shade is minimal, the
open land provides opportunities for integrating climate-responsive features like
courtyards, passive cooling, and solar energy.
Bhuj’s proximity to major sites like Dholavira and Lothal, along with its post-
earthquake transformation, reinforces its potential as a symbolic and strategic
location. With essential infrastructure already in place and the city's deep-rooted
craft and cultural heritage, the site can support a museum that not only preserves
history but also engages the community and inspires future generations.

93
04. USER ANALYSIS
04. USER ANALYSIS
1.User Overview
2.User Group Identification
3.User Group experience
 4.1. USER OVERVIEW
The archaeological museum is envisioned as a public cultural institution that
caters to a wide spectrum of 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.

CULTURAL VISITORS EDUCATIONAL USERS COMMUNITY USERS

The museum will attract tourists, Students, school groups, and The local community—including
history lovers, and locals curious researchers from nearby artisans, storytellers, and
to explore Gujarat’s rich past. institutions will benefit from historians—will use the space for
These users seek interactive guided exhibits, conservation live workshops, demonstrations,
displays, replica walk-throughs, labs, and digital learning spaces, and cultural events. The museum
and immersive storytelling. making the museum a hub for becomes a platform for reviving
knowledge and academic heritage practices.
exploration.

98
 4.2. USER GROUP IDENTIFICATION
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

Tourists immersive storytelling and visual
displays.

Including school groups, families, and

Local Residents craft communities; expect cultural
pride and accessibility.

Require access to conservation labs,

Students & Researchers
archives, and educational exhibits.

Seek curated galleries, chronological

Historians & Archaeologists
narratives, and working labs.

May participate in workshops and

Artists & Craftsmen community spaces; expect public
interaction.

99
4.2. USER GROUP IDENTIFICATION

100
101
4.3. USER GROUP EXPERIENCE

102
103
 DATA COLLECTION
05. AND ANALYSIS
05. DATA COLLECTION AND ANALYSIS
1.Issues Related to Archaeological Museum
2.Site-Specific Issues in Bhuj, Gujarat
3. Specific Functional Requirements
4. Archaeological Museum Legislation
5.Norms & Standards
6.Expert Opinions & User Interviews
 5.1. ISSUES RELATED TO ARCHAEOLOGICAL MUSEUM
1. Preservation Challenges
Artifacts require precise temperature and humidity control to prevent deterioration.
Organic Materials (Wood, Textiles, Leather):
Vulnerable to mold, decay, and insect infestation if humidity is high.
Requires 16-20°C temperature and 40-55% humidity.
Inorganic Materials (Stone, Metal, Pottery):
Metal can corrode if exposed to moisture or pollutants.
Stone artifacts can develop salt efflorescence in high humidity.
Ideal conditions: 18-22°C temperature and 40-50% humidity.
Light Exposure:
UV rays cause fading and weakening of organic materials.
Solution: Use UV-filtered LED lighting with intensity below 50-100 lux for delicate
artifacts. Artifacts displayed near windows or under direct lights are susceptible to
photo-degradation.
Pollution & Human Interaction:
Dust, pollutants, and oil from hands can cause chemical reactions on surfaces.
Solution: Use display cases with microclimate control and restrict handling through
interactive digital interfaces.

2. Visitor Engagement Issues

Traditional museums often lack immersive experiences, leading to visitor disinterest.
Static displays with minimal interaction fail to connect emotionally with visitors.
Limited storytelling or contextualization of artifacts reduces educational impact.
Digital Integration (AR/VR):
AR/VR can reconstruct historical settings, providing a first-person exploration of
ancient sites.
Interactive kiosks and AI-guided tours enhance visitor engagement by offering
personalized experiences.

3. Circulation & Zoning Problems

Poorly planned spaces can cause visitor congestion, disrupting the flow and diminishing
the museum experience.
Narrow pathways and lack of clear signage can lead to confusion and overcrowding.
Solution: Implement wide, clearly marked circulation paths with adequate wayfinding.
Lack of Designated Areas:
Absence of dedicated research, conservation, and educational zones limits the museum's
role in academia and public education.
Solution: Allocate separate areas for conservation labs, research centers, and classrooms
to foster a holistic learning environment.

108
 5.2. SITE-SPECIFIC ISSUES IN BHUJ, GUJARAT
1. Climate Conditions
Bhuj experiences a hot and arid climate, influencing artifact preservation and visitor
comfort.
Temperature: Can soar above 40°C in summer, necessitating efficient cooling systems.
Humidity: Generally low, but monsoon periods can cause spikes, leading to
condensation issues in display cases.
Solution: Use HVAC systems with dehumidifiers and climate-controlled display
cases to maintain consistent conditions.
2. Seismic Risks
Bhuj is in a seismically active zone, making structural resilience crucial.
The region has a history of severe earthquakes (e.g., the 2001 Bhuj earthquake).
Solution:
Implement seismic base isolators and shock-absorbing foundations.
Use lightweight, flexible materials to reduce earthquake impact.
Ensure emergency evacuation plans and clear signage for visitor safety.
3. Cultural & Heritage Sensitivity
Bhuj has a rich cultural and architectural heritage, influencing the museum's design
approach.
The design must respect local architectural styles, such as traditional Bhunga huts and
Kutch architecture, while incorporating modern elements.
Local artisans and craftsmen can be involved in the construction process, reflecting
regional aesthetics and supporting the local economy.
Cultural sensitivity also extends to exhibit content, ensuring that local traditions and
histories are accurately and respectfully represented.

Design Implications
Understanding these issues helps in:
Crafting preservation-friendly environments.
Designing engaging, educational spaces that attract diverse audiences.
Ensuring resilience and sustainability in the architectural design.

109
5.3. SPECIFIC FUNCTIONAL REQUIREMENTS
1. EXHIBITION SPACES
Function: Display and interpretation of artifacts in a controlled environment.

Design Considerations:
Climate-Controlled Galleries:
Maintain temperature between 18-22°C and humidity at 40-50% to prevent artifact
degradation.
Use HVAC systems with dehumidifiers for stable conditions.
Lighting with UV Filters:
Use UV-filtered LED lights (< 50-100 lux for sensitive artifacts).
Avoid direct natural light to prevent photo-degradation
Thematic Display Zones:
Organize artifacts chronologically or by civilization, material, or theme.
Use spatial storytelling techniques (e.g., immersive timeline-based walkthroughs).
Flexible Display Systems:
Modular exhibit panels and adjustable-height pedestals for different artifact types.
Rotating display cases to change exhibits periodically.

2. ARTIFACT STORAGE & CONSERVATION

Function: Safe storage and restoration of artifacts.

Design Considerations:
Secure, Humidity-Controlled Vaults:
Specialized storage rooms with controlled temperature & RH levels.
Fire-resistant and dust-proof storage units.
Material-Specific Storage:
Organic Artifacts (Wood, Textiles): Stored in inert gas chambers.
Metal Artifacts: Stored with silica gel packets to prevent oxidation.
Fragile Items (Pottery, Glass): Shock-absorbing storage with padded shelves.
Restoration Labs:
Equipped with precision tools, microscopes, and chemical treatment areas.
Separate spaces for wet and dry conservation processes.
Specialized workstations for artifact documentation and cataloging.

110
3. RESEARCH & STUDY AREAS
Function: Spaces for scholars, archaeologists, and students to study collections.

Design Considerations:
Dedicated Research Library:
Houses historical texts, excavation reports, and digital archives.
Digital Archives:
High-resolution 3D scanning lab for creating digital replicas.
Access to GIS-based archaeological databases.
Private Workspaces for Researchers:
Silent study zones with adjustable lighting and temperature controls.
Artifact handling areas with strict access control.
Collaborative Seminar Rooms:
Spaces for interdisciplinary research discussions.

4. INTERACTIVE & DIGITAL ZONES

Function: Enhancing visitor engagement using modern technology.

Design Considerations:
AR/VR Exhibit Areas:
Virtual reconstructions of historical sites (e.g., Harappan cities, Dholavira).
AI-driven virtual guides for personalized tours.
Touchscreen Kiosks:
Interactive artifact exploration tables with 3D visualization.
Multilingual audio-visual guides for inclusivity.
Projection Mapping & Holographic Displays:
Augmented storytelling to recreate excavation processes.
Holographic displays to show how artifacts were used in their time.

5. PUBLIC AMENITIES
Function: Visitor comfort and engagement beyond exhibits.

Design Considerations:
Auditoriums:
Seating capacity of 100-300 people for lectures, screenings, and discussions.
Acoustically optimized walls and retractable seating for flexibility.

111
 5.3. SPECIFIC FUNCTIONAL REQUIREMENTS
5. PUBLIC AMENITIES
Rest Areas:
Comfortable seating lounges with natural ventilation.
Quiet meditation areas for spiritual or cultural reflection.

6. ACCESSIBILITY FEATURES
Function: Ensuring inclusivity for all visitors.

Design Considerations:
Ramps & Lifts:
Gradual slopes with non-slip surfaces for wheelchair access.
Elevators with large door openings for mobility aid users.
Tactile Pathways & Braille Signage:
Embossed floor guides leading to key areas for visually impaired visitors.
Braille descriptions on all major exhibits.
Sensory-Friendly Zones:
Quiet areas for visitors with sensory sensitivities.
Adjustable light and sound levels in exhibit rooms.

Conclusion: Designing for Preservation, Engagement, and Accessibility

By integrating climate-controlled environments, interactive elements, research spaces, and

accessibility features, the museum can cater to diverse audiences while ensuring the long-
term preservation of India’s archaeological heritage.

112
 5.4. ARCHAEOLOGICAL MUSEUM LEGISLATION
ACTS RELEVANT TO MUSEUMS & ARCHAEOLOGICAL SITES

1. The Antiquities and Art Treasures Act, 1972

Governs the handling, acquisition, display, and export of antiquities.
Museum Relevance:
Artifacts must be registered under the Act.
Prohibits unauthorized movement of archaeological objects.
Ensures proper documentation and authenticity verification of exhibits.

2. The Ancient Monuments and Archaeological Sites and Remains Act, 1958
Protects nationally important monuments and sites.
Museum Relevance:
1.If the museum is near an ASI-protected site, it requires special permissions.
2.Excavated artifacts must be reported to the ASI.
3.Restricts modifications to historically significant structures.

3. The Museum Grant Scheme (Ministry of Culture, Government of India)

Provides funding and support for the development of new and existing museums.
Requires adherence to specific guidelines for museum layout, security, and
conservation.

LOCATION-SPECIFIC ACTS IN BHUJ, GUJARAT

1. ASI (Archaeological Survey of India) Regulations

If the site is near Dholavira (Harappan Site) or other protected monuments,
construction must comply with ASI rules.
Excavated objects must be preserved under ASI’s conservation standards.
2. Gujarat State Urban Development Policies
Governs land use and zoning regulations in Bhuj.
Ensures sustainable urban development through proper site planning.
Promotes heritage conservation through adaptive reuse strategies.
3. Heritage Conservation Act (Gujarat Government)
Encourages retaining vernacular architectural elements in new developments.
Imposes architectural controls to maintain cultural identity.

113
 5.4. ARCHAEOLOGICAL MUSEUM LEGISLATION
D. DISASTER MANAGEMENT ACTS
1. National Building Code (NBC), 2016
Seismic-Resistant Design (Bhuj is in Zone V – High Earthquake Risk)
Use of flexible base isolation techniques to reduce structural damage.
Structural elements must comply with IS 1893:2016 (Earthquake Design Code).
Fire Safety Standards
Fire-resistant materials for exhibit halls and storage areas.
Fire escape routes, smoke detectors, and automatic fire suppression systems.
Compliance with IS 2189:2019 (Fire Alarm Systems).
2. Fire Safety Regulations for Museums
Fire-proof vaults for storing fragile or flammable artifacts.
Dedicated evacuation planning, including accessible emergency exits.
Water mist or gas-based fire suppression for artifact protection.

E. ENVIRONMENTAL PROTECTION ACTS

1. Energy Conservation Building Code (ECBC), 2017
Ensures energy-efficient museum design using:
Passive cooling techniques (courtyards, shading devices).
Green roofs & solar panels for renewable energy use.
Double-glazed windows for thermal insulation.
2. Water Conservation & Waste Management
Rainwater Harvesting
Collection and storage of rainwater for landscaping and non-potable use.
Greywater Recycling
Wastewater treatment for reuse in toilets and irrigation.
Solid Waste Management
Segregation of waste and recycling programs for paper, glass, and plastic.

Conclusion: Integrating Legal Compliance in Museum Design

Adhering to these legal frameworks ensures that the archaeological museum in Bhuj is:
✅ Structurally safe (earthquake-resistant).
✅ Legally compliant (meets heritage conservation laws).
✅ Sustainable & energy-efficient.
✅ Fire-safe & disaster-resilient.

114
 5.5. NORMS & STANDARDS
A. SPATIAL STANDARDS FOR MUSEUM PLANNING

Museum Function Recommended Area & Layout Considerations

Entrance & Reception Large lobby with waiting area; minimum 5-6 sqm per visitor

Exhibition Galleries 5-7 sqm per visitor for comfortable movement

Artifact Storage Secure storage 10-15% of total museum area

Conservation & Restoration 8-12 sqm per staff member for restoration labs

Research & Study Areas Minimum 3-4 sqm per researcher

Auditorium & Lecture Halls Seating capacity 100-500 people, acoustic insulation

Public Amenities (Cafes, Bookstores, Restrooms) 10-15% of total area for visitor facilities

Outdoor Spaces (Courtyards, Open-air Exhibits) Shaded pathways, landscape integration

Service & Maintenance Areas Loading docks, back-end storage, mechanical rooms

B. INTERNATIONAL & NATIONAL MUSEUM STANDARDS

1. Time Saver Standards for Building Types (Museum Design Chapter)

Minimum Aisle Width: 1.8m-2.4m for visitor circulation.
Exhibit Distance: Visitors should view artifacts from 1-2m for proper visibility.
Ceiling Height: 4m-7m for large gallery spaces, allowing artifact display flexibility.
Visitor Capacity: 1 visitor per 7 sqm ensures comfortable movement.
Security Considerations:
Surveillance cameras at entry points.
Alarm systems for valuable artifacts.

2. National Museum Standards (ICOM – International Council of Museums)

Universal Access: Ramps, elevators, and wheelchair access in all public areas.
Emergency Evacuation Routes: Clearly marked pathways and emergency exits.
Artifact Protection Guidelines:
Use of display cases for fragile objects.
Controlled environments to prevent deterioration.

3. National Building Code (NBC), 2016 – India

Fire Safety: Museums should have two fire exits per floor and smoke detectors.
Earthquake-Resistant Structures: Especially important for Bhuj (Seismic Zone V).

115
5.5. NORMS & STANDARDS

116
 C. LIGHTING STANDARDS FOR MUSEUMS
Lighting plays a crucial role in artifact preservation and visual experience.

Artifact Type Recommended Lighting Levels (Lux) Light Source

Paintings, Manuscripts, Textiles 50-100 lux LED with UV filters

Stone Sculptures, Metal Artifacts 200-300 lux Controlled LED lighting

Interactive Displays, Informational Panels 300-500 lux Spotlights & ambient lighting

Open-Air Exhibits 500-1000 lux (natural lighting control) Shading elements

Storage & Conservation Areas 50-100 lux (low intensity) Adjustable LED lighting

🔹 UV Protection: Lighting should have UV filters (< 75 microwatts/lumen) to prevent

artifact damage.
🔹 Dimming Controls: Adjustable lighting based on daylight availability.
D. TEMPERATURE & HUMIDITY CONTROL
Temperature and humidity must be regulated for artifact conservation.

Artifact Type Temperature (°C) Humidity (%)

Organic Materials (Textiles, Wood,

18-22°C 45-55% RH
Paper, Leather, Bone, Ivory)

Metal Artifacts 18-22°C 40-50% RH

Stone Sculptures, Ceramics 18-24°C 40-55% RH

Mixed-Material Exhibits 18-22°C 45-50% RH

🔹 Air Filtration: Museums should have HEPA filters to reduce dust and pollutants.
🔹 HVAC Systems: Climate-controlled air conditioning is essential for temperature &
humidity stability.

117
 5.5. NORMS & STANDARDS
E. ACOUSTICAL REQUIREMENTS FOR MUSEUMS
Acoustic design ensures clear sound in auditoriums and controlled noise in galleries.

Museum Area Recommended Acoustical Treatment

Exhibition Halls Sound-absorbing panels to reduce echo

Auditoriums & Lecture Halls Reverberation Time (RT): 0.6 – 1.2 sec for clear speech

Research & Study Areas Soundproofing to minimize external noise

Public Circulation Spaces Noise level below 50 dB for a quiet environment

🔹 Noise Control Strategies:

Use of carpets, fabric wall panels, and acoustic ceiling tiles in quiet areas.
Separate noisy zones (cafes, interactive zones) from galleries.

Conclusion: Integrating Museum Norms & Standards

✔️ Preserving artifacts through climate control, low-light conditions, and secure storage.
✔️ Enhancing visitor experience with spacious layouts, proper lighting, and noise control.
✔️ Ensuring legal compliance with NBC, ICOM, and fire safety standards.
✔️ Sustainable museum design with energy-efficient HVAC & lighting solutions.

118
 5.6. EXPERT OPINIONS & USER INTERVIEWS
A. ARCHAEOLOGY PROFESSOR INTERVIEW INSIGHTS

Interviewee: Dr. Nilam Dhapare

(Museum Assistant & Professor of Archaeology)

1. Importance of Contextual Storytelling in Exhibits

🔹 Why it Matters:
Museums should narrate history through artifacts rather than just displaying them.
Chronological & thematic storytelling helps visitors connect with historical events.
🔹 Design Recommendations:
Gallery layouts should be sequential, guiding visitors through time periods or themes.
Use large-scale murals, interactive panels, and projections to provide historical context.
Integration of storytelling kiosks where visitors can listen to narratives about artifacts.
Example:
A Harappan Civilization Gallery could have life-size dioramas, explaining daily life through a
blend of real artifacts and digital screens.

2. Need for Interactive Elements (Digital Walkthroughs, Augmented Reality)

🔹 Current Issues:
Many visitors, especially younger audiences, find static displays less engaging.
Traditional glass-case exhibits lack immersive experiences.
🔹 Recommended Solutions:
Augmented Reality (AR): Visitors can use mobile apps to scan artifacts and see
reconstructions of their original form.
Virtual Reality (VR) Zones:
Recreate historical events (e.g., Battle of Panipat, Indus Valley life).
Allow visitors to explore archaeological sites virtually.
Touchscreen Kiosks with 360-degree views of artifacts for detailed study.
Example:
At the Bhuj Archaeological Museum, visitors could wear VR headsets to "walk through" the
Dholavira ruins, experiencing its architecture firsthand.

3.Recommendations for Artifact Storage & Conservation Best Practices

🔹 Key Issues:
Many museums lack proper climate control, leading to artifact deterioration.
Metallic artifacts corrode, while organic materials (wood, textiles, paper) degrade in
fluctuating humidity.

119
5.6. EXPERT OPINIONS & USER INTERVIEWS
Improper handling by staff can cause damage over time.
🔹 Best Practices for Storage & Conservation:
Temperature & Humidity Control:
18-22°C, 45-55% RH for organic materials.
UV-protected storage for manuscripts and textiles.
Artifact Handling:
Only trained conservators should touch artifacts.
Use gloves & climate-controlled storage cases.
Preventive Conservation Measures:
Silica gel packets in storage to absorb moisture.
LED lighting with UV filters to prevent fading.
Example:
The CSMVS Museum, Mumbai, uses different temperature zones for sculptures &
manuscripts to prevent material degradation.

4. How Can an Archaeological Museum Blend the Past with the Future?
Q: My thesis focuses on designing an archaeological museum that bridges the past and the
future. What would be your recommendations?

Dr. Dhapare: Your approach is very relevant. A modern archaeological museum should:
✅ Respect the past – Maintain authenticity in materials and conservation.
✅ Embrace technology – Use interactive projections, AI-curated tours, and AR-based
reconstructions.
✅ Design flexible spaces – Create modular exhibit spaces for rotating collections.
✅ Ensure accessibility – Incorporate Braille signages, tactile models for visually impaired
visitors, and universal design principles.

Conclusion & Key Takeaways

🔹 Storytelling enhances visitor engagement by creating narratives around artifacts.
🔹 AR, VR, and AI can revolutionize how history is experienced in museums.
🔹 Artifact storage needs climate-controlled, UV-protected, and disaster-proof
environments.
🔹 A future-focused museum must balance tradition with innovation, ensuring
sustainability

120
B. MUSEUM STAFF INTERVIEWS

Interviewees: Senior Curators & Conservation Staff

(Location: CSMVS Museum, Mumbai)

1. Challenges in Artifact Maintenance & Security

🔹 Major Challenges:
Pollution & dust accumulation in open-display artifacts.
Lack of dedicated conservation labs in many regional museums.
Security risks due to inadequate CCTV surveillance and theft threats.
🔹 Proposed Solutions:
Glass-encased displays with humidity control for fragile objects.
Regular artifact inspections using digital monitoring tools.
RFID tagging for tracking and protecting valuable artifacts.

C.ARCHAEOLOGY PROFESSOR INTERVIEW INSIGHTS

Interviewees: Senior Curators & Conservation Staff
(Location: CSMVS Museum, Mumbai)

2. Visitor Flow Issues & Space Utilization Concerns

🔹 Current Problems:
Congested exhibition areas due to poor space planning.
Lack of clear wayfinding signage, leading to visitor confusion.
Insufficient rest areas, especially for elderly visitors.
🔹 Recommended Solutions:
One-way circulation paths to improve visitor movement.
Zoning of exhibits based on themes (Prehistoric, Medieval, Colonial, etc.).
Resting points with seating every 50 meters in galleries.
Example:
The British Museum, London, has interactive maps & digital guides that help visitors
navigate its vast collection efficiently.

121
5.6. EXPERT OPINIONS & USER INTERVIEWS
C. VISITOR SURVEYS & ANALYSIS

Survey Conducted ONLINE through Google Forms.

Sample Size: 39 visitors

1. Interest in Archaeology and History:

76.9% of respondents are interested in archaeology and history.
A small percentage (10.3%) are not interested, and 12.8% are unsure.
Conclusion: There is strong interest in archaeology and history, indicating potential
for high engagement if presented effectively.

122
2. Museum Visit Frequency:
43.6% visit rarely (once a year or less).
30.8% visit occasionally (once in 3-6 months).
Only 15.4% visit frequently.
Conclusion: Museums struggle to attract regular visitors. This indicates a need for more
engaging, changing exhibits to encourage repeat visits.

3. Awareness of Nearby Museums

56.4% are aware of archaeological sites/museums near them, while 43.6% are not.
Conclusion: There is a gap in awareness. This suggests the need for better promotion
and educational outreach to inform people about local museums.

123
5.6. EXPERT OPINIONS & USER INTERVIEWS
4. Importance of Museum Architecture
63.2% find museum architecture very important, while 31% consider it somewhat
important.
Conclusion: A well-designed, aesthetically appealing museum can be a major factor in
attracting visitors.

5. Expected Spaces in a Museum

71.8% expect outdoor spaces/gardens.
46.1% expect seating/rest areas.
38.5% want a gift shop.
51.3% want a cafeteria or refreshment area.
Conclusion: Visitors seek comfort and additional experiences beyond exhibits, such as
relaxation areas, refreshments, and outdoor spaces.

124
6. Challenges While Visiting Museums
73.7% reported a lack of interactive features.
47.4% mentioned poor accessibility for elderly/disabled individuals.
23.7% found high entry fees a challenge.
Conclusion: The biggest concern is a lack of interactive exhibits, highlighting the need
for AR/VR, guided tours, and hands-on experiences. Accessibility improvements and
pricing considerations are also necessary.

7. Motivation for Visiting a Museum

44.4% visit due to an interest in history/culture.
48.7% for educational purposes.
46.2% for leisure/entertainment.
Conclusion: Museums serve both educational and recreational purposes, meaning
designs should cater to both scholars and casual visitors

125
5.6. EXPERT OPINIONS & USER INTERVIEWS
8. Preferred Museum Experiences
56.4% prefer interactive exhibits (screens, VR, touch screens).
56.4% prefer traditional artifacts with descriptions.
51.3% enjoy guided tours.
Conclusion: While traditional displays are still valued, visitors overwhelmingly prefer
interactive and digital experiences.

9. Exhibit Showcase Preferences

73.7% prefer a combination of digital + physical exhibits.
18.4% prefer digital-only displays.
Conclusion: Museums should integrate both physical artifacts and digital technology for
the best visitor experience.

126
10. Would Futuristic Features Increase Visits?
71.8% said yes.
20.5% said maybe.
Conclusion: The inclusion of futuristic and engaging experiences (VR, AR, interactive
storytelling) could significantly boost museum attendance.

Final Insights & Recommendations

Interactive exhibits are a must – Visitors overwhelmingly prefer AR/VR and touch-
based experiences.
Architectural design matters – Aesthetic and functional appeal influence visitor
decisions.
Better accessibility is needed – Museums should improve facilities for elderly and
disabled visitors.
Comfort spaces are important – Seating, gardens, and cafes enhance the experience.
Digital and physical exhibits should be balanced – Most visitors prefer a mix of both.
Promotional efforts needed – Many are unaware of local museums, indicating a need
for outreach campaigns.

127
06. PROGRAMMING
06. PROGRAMMING
1.Program Description
2. Area Program Table
3.Proximity Matrix and Diagrams
4.Calculations
5.Idea Matrix
 6.1. PROGRAM DESCRIPTION
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

Research labs, conservation studios,

Semi-Public Zone
seminar halls, archives

Offices, staff facilities, admin storage,

Private Zone
security, loading zones

Vertical & horizontal connections,

Circulation/Service
restrooms, core services

KAAL-DRISHYA ARCHAEOLOGICAL MUSEUM

132
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

3.Key Spatial Components

🔷 Public Zone
Grand entrance plaza, ticketing & information center
7 chronological galleries (Prehistoric to Modern Gujarat)
VR zone, 3D hologram room, storytelling spaces
Amphitheater, museum shop, café with dining
Toilets and resting areas

🔷 Semi-Public Zone
Conservation labs, artifact restoration and replication workshops
GIS mapping, X-ray diffraction, anthropology labs
Archive, seminar room, professor's lounge, student studios
Research reading room, digital documentation zones

🔷 Private Zone
Director’s office, curator's office, admin block
Meeting rooms, finance, HR, staff rooms
Control room, surveillance, artifact loading & long-term storage

🔷 Circulation / Core
Entry lobbies, gallery connectors
Vertical movement (stairs, ramps, lifts)
Toilets, service corridors, janitor & mechanical shafts

133
6.2. AREA PROGRAM TABLE

134
135
6.3. PROXIMITY MATRIX AND DIAGRAMS

136
137
6.3. PROXIMITY MATRIX AND DIAGRAMS
GRAND ENTRANCE PLAZA

TICKETING &
INFORMATION CENTER

7 GALLERIES

AR/VR

MUSEUM CAFÉ

SOUVENIR SHOP

ARCHAEOLOGICAL
RESEARCH CENTER

LIBRARY & ARCHIVES

WORKSHOPS & LABS

SEMINAR & LECTURE HALLS

STAFF OFFICES & SECURITY CONTROL

STORAGE & CONSERVATION LABS

LOGISTICS & MAINTENANCE

PUBLIC TOILETS

138
 SEMI PUBLIC PATH
PRIVATE PATH

PUBLIC PATH

🟦 Public Path
Visitors enter through the Public Entrance and follow a linear journey across:
Discovery Zone: Introduction to archaeological themes and site context
History Zone: Chronological galleries representing Gujarat’s historical timeline
Interactive Zone: AR/VR rooms, holographic displays, simulated excavation pits
Public Engagement Zone: Amphitheater, café, souvenir shop, and storytelling spaces
This looped visitor flow ensures a guided, immersive experience from entry to exit.
🟨 Semi-Public Path
This path caters to academic and research users, starting from a separate access point.
Research and Conservation Zone: Includes laboratories, archives, studios, and reading rooms
Maintains controlled visual connectivity with public areas (e.g., glass-walled labs)
Supports collaboration while safeguarding sensitive research processes
🟥 Private Path
Accessed exclusively by authorized personnel, this zone supports museum operations and
security:
Museum Administration: Director’s office, admin rooms, staff workspaces
Storage: Artifact handling, long-term preservation areas
Conservation: High-security restoration labs, equipment zones
Restricted Access Node: Ensures critical separation from public routes

139
6.3. PROXIMITY MATRIX AND DIAGRAMS

BUBBLE DIAGRAM:

Souvenir
Shop

Cafeteria

Museum
Galleries

PRIVATE

SEMI PUBLIC

PUBLIC

DESIRED ADJACENCIES

MANDATORY ADJACENCIES

140
 6.4. CALCULATIONS
AREA STATEMENT:

Site Location: Bhuj, Gujarat

Site Area: 28,356.50 sq.m. (7.007 acres)
Permissible FSI: 1.2
Permissible Built-up Area: 34,027.8 sq.m.
Proposed Built-up Area: 14,100 sq.m.
FSI Consumed: 0.50
Permissible Ground Coverage: 9,924.77 sq.m.
Proposed Ground Coverage: 8,256 sq.m.
Ground Coverage %: 29.11%

✅ 1. Standard Parking Norms for Museums/Public Buildings (as per NBC &
Gujarat GDCR)

Vehicle Type Standard Norm (Minimum)

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

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

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

✅ 2. Built-up Area Based Parking Requirement

Parameter Calculation

Total Built-up Area 14,100 sq.m.

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

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

➡️ Based on full capacity and strictest interpretation, you'd need:

94 Car spaces
56 Two-wheeler spaces
2 Buses
141
6.4. IDEA MATRIX

142
143
6.4. IDEA MATRIX

144
145
146
07. CONCEPTUAL DESIGN

147
148
07. CONCEPTUAL DESIGN
1.Concept Statement: Bridging Past and Present
2.Concept Development & Sketches
3.Design Philosophy
4.Timeline for Museum
5.Form Development
6.Spatial Fabrics

149
 7.1. CONCEPT STATEMENT
BRIDGING PAST & PRESENT
The design blends ancient architectural wisdom with modern interactive
storytelling to create an experience where history is not just seen but felt.
Digital and physical elements co-exist—AR/VR interactions complement real
artifacts, reinforcing the theme of timeless treasures being rediscovered.

CONCEPTUAL ENHANCEMENTS

Spatial Flow: A spiral pathway guides visitors through different time periods,
creating an immersive storytelling experience.
Experiential Design: Combines interactive technology (VR/AR, AI touchscreens)
with traditional exhibition spaces for a dynamic museum experience.

WHERE HISTORY IS NO
IENCE T JU
ST
PER SE
EX EN
AN B
TE

UT
EA

FE
CR

LT
.

150
 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.
It invites users to get lost — in stories, in ruins, in echoes of the past.

151
 7.2 CONCEPT DEVELOPMENT AND SKETCHES

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?

152
CONCEPT THROUGH FORM
Form: Circular, inward-
focused, emotionally
grounding
Structure: Thick earthen
walls, conical roof –
reinterpreted in modern
materials
Philosophy: Community,
protection, timelessness

CONCEPTUAL SKETCHES:
EXPLORING FORM

153
7.3. DESIGN PHILOSOPHY

DIVING INTO MUSEUM ZONES

DISCOVERY ZONE HISTORY ZONE PUBLIC INTERACTION

Showcasing archaeological digs, Featuring galleries arranged in (AR/VR) ZONE
findings, and preserved ruins. a chronological timeline.
Offering immersive digital experiences
through augmented and virtual reality.

PUBLIC ENGAGEMENT RESEARCH ZONE ADMINISTRATION ZONE

ZONE Dedicated to conservation, Managing museum operations, staff
artifact restoration, and facilities, and security.
Including outdoor amphitheaters,
academic studies.
cultural performances, and
workshops.

154
1. Balance & Symmetry
The museum ensures visual and spatial balance by aligning linear, radial, and
grid planning harmoniously.
The repetitive pattern of galleries creates symmetry, while the radial center
acts as a unifying axis.
2. Rhythm & Repetition
The repeated placement of gallery spaces in a linear sequence creates a
rhythmic experience.
Example: The Indus Valley’s architecture had a sense of order, which is
reflected in consistent gallery layouts.
3. Hierarchy & Focal Point
Hierarchy is established through the gradual elevation of spaces, where the
radial center stands as the highest, most dominant feature.
The central exhibition/workshop space becomes the focal point, drawing
visitors into the core experience of the museum.

BALANCE HIERARCHY RHYTHM

155
7.3. DESIGN PHILOSOPHY
FUNCTIONAL QUALITIES OF A MUSEUM

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.

SHELTER OFFER
Holding fragile truths — Spaces that give —
under roofs built from memory and earth. knowledge, perspective, and pause.

MATERIAL PALETTE:

BRICKS KUTCH CLAY

BHUJ PINK SANDSTONE

THATCH TERRACOTTA HARDWOOD

156
 7.4. TIMELINE FOR MUSUEM
“KHO GAYE HUM KAHA”

START OF
TOUR

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

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

END OF
TOUR

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

157
7.5. FORM DEVELOPMENT

1. SITE RESPONSE 4. INITIAL ARCHITECTURAL MASSING

“Identifying buildable zones” “Defining the primary building shape based on radial zoning and movement flow.”
The site is defined by 35% ground coverage and 1.2 FSI. The terrain is largely flat with gradual contours. Roads on The final overall footprint emerges — a solid mass formed from functional wings and the Time Core, establishing
the 24m and 9m sides offer excellent access. The buildable area is outlined, and shown. the experiential and chronological path through the museum.

2. TIME CORE INTRODUCTION 5.COURTYARD & VOID INSERTION

“Placing the symbolic center – a circular node representing the concept of eternal time.” “Inserting courtyards and light wells for pause, reflection & natural light.”
A central circular form is introduced — the Time Core, inspired by Bhunga architecture and symbolizing Open-to-sky voids, courtyards, and water bodies are inserted between wings. These act as climatic buffers
continuity, culture, and cosmic time. This becomes the orientation hub and anchor of the museum. and moments of sensory engagement — letting light, shadow, and silence enter the museum journey.

6. FINAL ARCHITECTURAL FORM

3. FUNCTIONAL ZONING “Completing the massing with circular roof, Bhunga forms, and cultural materiality.”
“Branching out galleries and public spaces radially from the core.” The building form emerges as a timeless blend of radial planning, local Bhuj sandstone, thatch-inspired roof
Museum functions are organized in a radial + fragmented manner — with exhibition zones, public courtyards, admin forms, and glass inserts. It embodies memory, materiality, and movement — creating an immersive journey
and research extending outward like time spirals. The experience flows outward chronologically. through time.

158
 7.6. SPATIAL FABRICS

LAND USE: GREEN ZONES AND OPEN SPACES

LAND USE: BUILT UP

LAND USE: SERVICES

ENTERANCE ROADS TO SITE

VEHICULAR ACCESS ROADS

SERVICE ROADS

PEDESTRIAN ACCESS ROADS

LAND USE: ROAD NETWORK AND CIRCULTION

159
08. THE FINAL DESIGN
08. THE FINAL DESIGN
1.SITE PLAN
2.SITE SECTION
3.MASTER PLAN
4.SITE FEATURES
5.GROUND FLOOR
6.FIRST FLOOR
7.SECOND FLOOR
8.SECTIONS
9.ELEVATIONS
AREA STATEMENT:

Site Location: Bhuj, Gujarat

Site Area: 28,356.50 sq.m. (7.007 acres)
Permissible FSI: 1.2
Permissible Built-up Area: 34,027.8 sq.m.
Proposed Built-up Area: 14,100 sq.m.
FSI Consumed: 0.50
Permissible Ground Coverage: 9,924.77 sq.m.
Proposed Ground Coverage: 8,256 sq.m.
Ground Coverage %: 29.11%

164
165
166
SECTION AA’

SECTION BB’

167
168
169
170
171
172
173
174
175
176
177
178
SECTION AA’

SECTION BB’

179
180
SECTION CC’

SECTION DD’

181
182
EAST ELEVATION

NORTH ELEVATION

183
184
SOUTH ELEVATION

WEST ELEVATION

185
8.8 RENDERS

186
187
 09. BIBLOGRAPHY
Books
Understanding Museums – Graham Black
The Architecture of Museums – Wim de Wit
Ancient Cities of the Indus Valley Civilization – Jonathan Mark Kenoyer

Research Papers
IEnhancing User Experience in Museums through Technology – IJAR, Vol. 9, Issue 3
Museum as Experience: New Approaches to Display Design – IJSAR, 2022
Interactive Museums: Designing for Engagement & Learning – International Journal of
Museum Studies
Use of AR/VR for Storytelling in Indian Museums – NID Design Journal

Site Visits
Deccan Archaeology Museum, Pune
CSMVS Museum, Mumbai
Smritivan Earthquake Memorial, Bhuj
National Museum, Delhi

Interviews & Surveys

Interview: Dr. Nilam Dhapare Location: Deccan Archaeology Museum, Pune
Interviewees: Senior Curators & Conservation Staff Location: CSMVS Museum, Mumbai
Survey: Conducted online through Google Forms
Sample Size: 39 museum visitors
Focus: Expectations, Interactivity, and Learning Experience

Web Sources
www.archdaily.com
www.indianmuseums.gov.in
www.whc.unesco.org

Articles from: Dezeen, The Better India, BBC Heritage Features

This thesis is a journey through time, memory, and imagination — conceived,
researched, and designed by
Tanishq Rathod
In pursuit of preserving the past through architecture.