Dissertation - Vinay Mohanan

Museum Architecture And The Implications Of Minimalism & Phenomenology 1
DECLARATION
I, VINAY MOHANAN, student of B.ARCH, bearing enrolment number A1904016131 hereby
declare that the dissertation titled MUSEUM ARCHITECTURE AND THE
IMPLICATIONS OF MINIMALISM & PHENOMENOLOGY submitted by me to Amity
School of Architecture and Planning in partial fulfilment of the requirements of the five year
Bachelor’s in Architecture program at Amity University, Noida is my original work. It is
further declared that all the sources of information used in this dissertation have been duly
acknowledged.
I understand that the dissertation may be electronically checked for plagiarism by the use of
plagiarism detection software to access the originality of the submitted work.
Place: Mayur Vihar, Phase-1

X
Date: 21/10/2020 VINAY MOHANAN
B.ARCH 5TH YEAR, SEC-C
X X X
DIRECTOR GUIDE EXTERNAL EXAMINER

ACKNOWLEDEMENT
This research project has been a great learning experience for me. Since the beginning of the
project there were multiple challenges which I faced. I wish to express my sincere gratitude to
Dr. D.P Singh, Director of Amity School of Architecture and Planning and I owe deepest
gratitude to my guide Ar. Richa Kushwaha, Professor, Amity School of Architecture and
Planning, Amity University, Noida for supporting and guiding me at various stages of this
project. I would like to thank Amity School of Architecture and Planning, Noida for providing
me this opportunity to do this research.
Most importantly I would like to convey my deepest gratitude to my Parents and friends, who
have been very supportive since the beginning of this project. Without their support I would
not have survived the numerous working days and nights.
I would also like to thank my fellow classmates for sharing diverse knowledge at various stages
of this project.
X
VINAY MOHANAN
B.ARCH 5TH YEAR, SEC-C

FACULTY GUIDE CERTIFICATE
This is to certify that VINAY MOHANAN bearing enrolment no. A1904016131 has prepared
the report for Architectural Seminar on “MUSEUM ARCHITECTURE AND THE
IMPLICATIONS OF MINIMALISM & PHENOMENOLOGY” under my guidance.
X
AR. Richa Kushwaha
Faculty Guide

ABSTRACT
The architectural facilities in museums establish structures that have been deliberately
constructed for the usage of the artefacts that have been acquired owing to their geographical,
science or creative significance. For one thing, it is crucial to conserve the key items in the
collection and to conserve them also involves very complex environments. On the other hand,
museums make some of their collections freely accessible, so that people can travel easily
around the area and ensure safety. Furthermore, museum buildings are also publicly owned and
museum architecture is intended to state the society. Today, museum architecture must also fix
environmental problems.
Minimalist architecture, sometimes referred to as 'minimalism', involves the use of simple
design elements, without ornamentation or decoration. Proponents of minimalism believe that
condensing the content and form of a design to its bare essentials, reveals the true 'essence of
architecture'. Minimalist architecture is restricted to fewer elements to achieve the most.
Minimalist architecture emerged from the Cubist-inspired movements of De Stijl and Bauhaus
in the 1920s. Architects such as Ludwig Mies van der Rohe, theorised that minimalism gave
maximum power to architectural space. In comparison to the approaches of Bauhaus and De
Stijl, minimalist design was inspired by Japanese culture. Because of the identification of
simplistic artefacts, the philosophy of minimalism has often centred on incorporating just what
is needed and excluding the rest from the conventional Japanese Architecture. Minimalist
architectural constructs embody such elements, such as reduction, simplification, and
unification, of shape, light, space and the content. Those features are called the "essence" of
architecture by the least.
Designing an experience is a unique responsibility of an architect. The theory of
phenomenology acknowledges this responsibility by implementing sensory design in order to
establish experiential, architectural space. Phenomenology demonstrated in architecture is the
manipulation of space, material, and light and shadow to create a memorable encounter through
an impact on the human senses. This theory promotes the integration of sensory perception as
a function of a built form. This creates an experience that is beyond tangible, but rather abstract,
observed and perceived. Phenomenological concept strategies in architectural design intend to
develop a unique experience of the phenomena of space, light and form.
Rock music has achieved legendary status in being used as a type of expression over the years.
Despite its typically negative and noncompliant lyrics, rock could be a kind of art that permits
one to unleash his/her feelings through singing in a very communicative tone. Rock music is
simply a form of letting folks unleash their anger and aggression and not hold it inside. Rock
music is thought of as one of the type of music that has rapidly developed in the last 50 or 60
years. His strong growth has been seen mostly in the last 50 years. All began in the 1950s with
a good old n-roll rock. In the 1960s the gold era for rock music was further established.

TABLE OF CONTENTS
CHAPTER-1 INTRODUCTION .......................................................................................... 12
1.1 NEED FOR THE STUDY ........................................................................................ 12
1.2 AIM OF THE RESEARCH ...................................................................................... 12
1.3 OBJECTIVES ........................................................................................................... 12
1.4 SCOPE ...................................................................................................................... 12
1.5 METHODOLOGY .................................................................................................... 13
CHAPTER-2 LITERATURE REVIEW ............................................................................... 14
2.1 UNDERSTANDING MUSEUM ARCHITECTURE ............................................... 14
2.2 THEORIES OF MINIMALISM AND PHENOMENOLOGY ................................ 16
2.2.1 MINIMALISM .................................................................................................. 16
2.2.2 PHENOMENOLOGY ....................................................................................... 17
2.3 THE HISTORY OF ROCK MUSIC ......................................................................... 18
CHAPTER-3 UNDERSTANDING MUSEUM ARCHITECTURE .................................... 19
3.1 DEFINITION ............................................................................................................ 19
3.2 ICOM DEFINITION ................................................................................................. 19
3.3 EDUCATIONAL ROLE OF MUSEUM .................................................................. 19
3.4 HISTORY OF MUSEUM ......................................................................................... 20
3.5 TYPES OF MUSEUMS ............................................................................................ 21
3.6 DESIGN GUIDELINES ........................................................................................... 21
3.7 PLANNING FACTORS ........................................................................................... 21
3.7.1 SITE SELECTION ............................................................................................ 23
3.7.2 ZONING OF A MUSEUM ................................................................................ 23
3.7.3 CLIMATE .......................................................................................................... 23
3.7.4 INDOOR AND OUTDOOR CIRCULATION .................................................. 24
3.7.5 EXHIBIT OF DISPLAYS ................................................................................. 26
3.7.6 TYPES OF DISPLAYS ..................................................................................... 27
3.7.7 MATERIALS ..................................................................................................... 28
3.7.8 LIGHTING ........................................................................................................ 28
3.7.9 SERVICES ......................................................................................................... 31
CHAPTER-4 THEORIES OF MINIMALISM & PHENOMENOLOGY ........................... 32
4.1 MINIMALIST ARCHITECTURE AND DESIGN .................................................. 32
4.1.1 MINIMALIST ARCHITECTURE CONCEPTS AND DESIGN ELEMENTS 32
4.1.2 ROOTS OF MINIMALIST ARCHITECTURE ................................................ 33

4.1.3 HISTORY OF MINIMALISM .......................................................................... 36
4.1.4 MATERIAL AND EFFECTS............................................................................ 36
4.2 PHENOMENOLOGY AND ARCHITECTURE ..................................................... 37
4.2.1 HISTORY .......................................................................................................... 38
4.2.2 THEORY OF PHENOMENOLOGY ................................................................ 38
4.2.3 MANIFESTATION OF PHILOSOPHY ........................................................... 39
4.2.4 COMMON THEME .......................................................................................... 40
4.2.5 LIGHT AND SHADOW ................................................................................... 40
4.2.6 “PHENOMENOLOGICAL CONCERNS ......................................................... 40
CHAPTER-5 THE HISTORY OF ROCK MUSIC .............................................................. 43
5.1 ROCK MUSIC AND ITS RAPID EVOLUTION .................................................... 43
5.2 HISTORY AND ORIGINS ....................................................................................... 43
5.3 EVOLUTION ............................................................................................................ 44
5.3.1 THE 1950s ......................................................................................................... 44
5.3.2 THE 1960s ......................................................................................................... 45
5.3.3 THE 1970s ......................................................................................................... 48
5.3.4 THE 1980s ......................................................................................................... 49
5.3.5 THE 1990s ......................................................................................................... 49
5.3.6 THE 2000s ......................................................................................................... 50
CHAPTER-6 ASSESMENT OF CASE STUDIES .............................................................. 51
6.1 NATIONAL MUSEUM, DELHI .............................................................................. 51
6.1.1 INTRODUCTION ............................................................................................. 51
6.1.2 AREA PROGRAMME ...................................................................................... 52
6.1.3 ARCHITECTURAL DRAWINGS .................................................................... 56
6.1.4 MATERIALS ..................................................................................................... 59
6.1.5 LIGHTING ........................................................................................................ 60
6.1.6 OBSERVATION ............................................................................................... 60
6.1.7 DESIGN ANALYSIS ........................................................................................ 60
6.1.8 CONCLUSION .................................................................................................. 60
6.2 PANORAMA HOUSE .............................................................................................. 61
6.3 THERME VALS ....................................................................................................... 65
6.3.1 HISTORY .......................................................................................................... 65
6.3.2 SITE ................................................................................................................... 66
6.3.3 CONCEPT ......................................................................................................... 66
6.3.4 PLANS ............................................................................................................... 67

6.3.5 SECTIONS ........................................................................................................ 67
6.3.6 FEATURES OF THE STRUCTURE ................................................................ 68
6.3.7 CONSTRUCTION DETAILS ........................................................................... 70
CHAPTER-7 CONCLUSION .............................................................................................. 71
CHAPTER-8 BIBLIOGRAPHY .......................................................................................... 72

LIST OF FIGURES
Figure 1: MINIMALISM RETROSPECTIVE EXHIBIT ....................................................... 12
Figure 2: PHENOMENOLOGY OF CONTEMPORARY ART ............................................ 12
Figure 3: DALI MUSEUM ...................................................................................................... 14
Figure 4: MUSEUM OF ORDOS, MONGOLIA .................................................................... 14
Figure 5: MUSEUM OF THE FLAMINGO DANCE ............................................................. 15
Figure 6: LONG STUDIO BY SAUNDERS ARCHITECTURE ........................................... 16
Figure 7: THERME VALS, SWITZERLAND ........................................................................ 17
Figure 8: LOUVRE MUSEUM, PARIS .................................................................................. 19
Figure 9: INDIAN MUSEUM, CALCUTTA, 1905 ................................................................ 20
Figure 10: MUSEUM OF MODERN LITERATURE, GERMANY ...................................... 21
Figure 11: MUSEUM PLANNING PROCESS ....................................................................... 22
Figure 12: CIRCULATION DIAGRAM ................................................................................. 24
Figure 13: GALLERY CIRCULATION ................................................................................. 25
Figure 14: CIRCULATION PATTERN .................................................................................. 25
Figure 15: TYPES OF DISPLAY ............................................................................................ 26
Figure 16: EXHIBITION SPACES ......................................................................................... 27
Figure 17: DISPLAY STANDARD ........................................................................................ 27
Figure 18: CONE OF VISION ................................................................................................ 28
Figure 19: CONE OF VISION ................................................................................................ 28
Figure 20: NATURAL LIGHTING ......................................................................................... 29
Figure 21: ARTIFICIAL LIGHTING ...................................................................................... 30
Figure 22: SERVICE LAYOUT .............................................................................................. 30
Figure 23: THE RECONSTRUCTION OF LUDWIG MIES VAN DER ROHE'S GERMAN
PAVILION IN BARCELONA ................................................................................................ 32
Figure 24: NAOSHIMA ART MUSEUM ............................................................................... 33
Figure 25: DE STIJL ART ....................................................................................................... 33
Figure 26: DE STIJL INFLUENCE ........................................................................................ 34
Figure 27: EAMES HOUSE .................................................................................................... 34
Figure 28: NEUE NATIONALGALERIE............................................................................... 34
Figure 29: RYŌAN-JI DRY GARDEN .................................................................................. 35
Figure 30: BAUHAUS BUILDING IN DESSSAU ................................................................ 36
Figure 31: AUF DEM WOLF SIGNAL BOX, BASEL, SWITZERLAND ........................... 36
Figure 32: RICOLA STORAGE BUILDING, LAUFEN, SWITZERLAND ......................... 37
Figure 33: WATCHING THE SUNRISE OVER THE SALK INSTITUTE .......................... 38
Figure 34: GRAND CENTRAL STATION, MANHATTAN 1940 ....................................... 39
Figure 35: BRUDER KLAUS FIELD CHAPEL, GERMANY .............................................. 40
Figure 36: LED ZEPPELIN SIGILS ....................................................................................... 43
Figure 37: CHUCK BERRY .................................................................................................... 43
Figure 38: JOHN, PAUL, GEORGE & RINGO (THE BEATLES MANIA) ......................... 44
Figure 39: ELVIS PRESLEY, CONSIDERED AS THE KING OF ROCK ........................... 44
Figure 40: JOHNNY CASH PERFORMING WALK THE LINE .......................................... 45
Figure 41: THE BEATLES LIVE ON THE ED SULLIVAN SHOW COMMENCED THE
BRITISH INVASION .............................................................................................................. 45
Figure 42: THE ROLLING STONES LOGO ......................................................................... 46
Figure 43: JIMI HENDRIX LIVE AT WOODSTOCK .......................................................... 46
Figure 44: BOB DYLAN LIVE ............................................................................................... 46
Figure 45: THE WHO LIVE IN THE 60s ............................................................................... 47
Figure 46: CREAM LIVE IN ROYAL ALBERT HALL, 1968 ............................................. 47
Figure 47: BLACK SABBATH LIVE ..................................................................................... 47
Figure 48: DARK SIDE OF THE MOON, PINK FLOYD ..................................................... 47
Figure 49: THE YARDBIRDS ................................................................................................ 47
Figure 50: LED ZEPPELIN WITH THEIR AIRCRAFT ........................................................ 48
Figure 51: DAVID BOWIE ..................................................................................................... 48
Figure 52: JOE WALSH, THE EAGLES ................................................................................ 48
Figure 53: THE RAMONES .................................................................................................... 48
Figure 54: FREDDIE MERCURY, QUEEN ........................................................................... 48
Figure 55: EDDIE VAN HALEN SHREDDING GUITAR.................................................... 49
Figure 56: AC/DC LIVE IN THE 80s ..................................................................................... 49
Figure 57: GUNS N ROSES LIVE, 1980s .............................................................................. 49
Figure 58: KURT COBAIN, NIRVANA ................................................................................ 49
Figure 59: CHESTER BENNINGTON, LINKIN PARK........................................................ 50
Figure 60: DISPLAYS IN MUSEUM ..................................................................................... 51
Figure 62: SUN PATH DIAGRAM ........................................................................................ 52
Figure 62: PREVAILING WIND DIRECTION...................................................................... 52
Figure 63: SITE DISTRIBUTION........................................................................................... 52
Figure 64: AREA DISTRIBUTION ........................................................................................ 52
Figure 65: CONCEPTUAL DEVELOPMENT OF THE MUSEUM...................................... 56
Figure 66: SITE PLAN ............................................................................................................ 56
Figure 67: GROUND FLOOR ................................................................................................. 57
Figure 68: FIRST FLOOR ....................................................................................................... 57
Figure 69: SECOND FLOOR .................................................................................................. 57
Figure 70: HORIZONTAL ZONING ...................................................................................... 57
Figure 71: BASEMENT PLAN ............................................................................................... 57
Figure 72: GROUND FLOOR PLAN ..................................................................................... 57
Figure 73: SECOND FLOOR PLAN ...................................................................................... 58
Figure 74: FIRST FLOOR PLAN............................................................................................ 58
Figure 75: SPECIAL EXHIBITION PLAN I .......................................................................... 58
Figure 76: SPECIAL EXHIBITION PLAN II......................................................................... 58
Figure 77: NATIONAL MUSEUM MODEL.......................................................................... 59
Figure 78: COURTYARD ....................................................................................................... 59
Figure 79: FRONT ELEVATION ........................................................................................... 59
Figure 80: USE OF ALUMINIUM & WOOD IN THE MUSEUM ....................................... 59
Figure 81: EFFECTIVE USE OF SPOT LIGHTING ............................................................. 60
Figure 82: PANORAMA HOUSE ........................................................................................... 61
Figure 83: SITE PLAN ............................................................................................................ 61
Figure 84: GROUND FLOOR PLAN ..................................................................................... 62
Figure 85: FIRST FLOOR PLAN............................................................................................ 62
Figure 86: PHOTOGRAPHS OF THE EXTERIOR OF THE HOUSE CAPTURED FROM
VARIOUS ANGLES A DIFFERENT TIMES OF THE DAY INDICATE THE WELL -

DEFINED CONTOURS OF THE STRUCTURE AS WELL AS THE TOPOGRAPHY AND
RUGGED HUES OF THE SURROUNDING TERRAIN. ..................................................... 63
Figure 87: ELEVATION ......................................................................................................... 63
Figure 88: EXTERIOR VIEW OF THE PANORAMA HOUSE ............................................ 63
Figure 89: SECTION ............................................................................................................... 64
Figure 90: AXONOMETRIC VIEW ....................................................................................... 64
Figure 91: THIS SPREAD: THE LARGE LIVING SPACE ABOVE, AS WELL HE TWO
BEDROOMS THAT OCCUPY THE EACH END OF THE STRUCTURE LEND VISUAL
DE TH WHILE THE MINIMAL NATURE OF THE II HTIN AND INTERIOR
FURNISHINGS EMPHASIZE THE VIEW OF THE LANDSCAPE BEYOND .................. 64
Figure 92: THERME VALS .................................................................................................... 65
Figure 93: LOCATION PLAN ................................................................................................ 66
Figure 94: PUBLIC REVITALIZATION ............................................................................... 66
Figure 95: PLAN AT UPPER LEVEL .................................................................................... 67
Figure 96: PLAN AT LOWER LEVEL .................................................................................. 67
Figure 97: FINDING A BALANCE WITH NATURE ........................................................... 68
Figure 98: MAIN ENTRANCE ............................................................................................... 68
Figure 99: THE BATHS .......................................................................................................... 69
Figure 100: THE DRAMATIC STAIRCASE ......................................................................... 69
Figure 101: THE MYSTERY .................................................................................................. 69
Figure 102: NO SPECIFIC PATH TO WANDER .................................................................. 69
Figure 103: MODULE SPECIFICATIONS ............................................................................ 70
Figure 104: NATURAL LIGHT .............................................................................................. 70
LIST OF TABLES
Table 1: AREA CHART .......................................................................................................... 54
Table 2: USER ACTIVITY ..................................................................................................... 56

CHAPTER-1 INTRODUCTION
1.1 NEED FOR THE STUDY

A museum is a place where any individual regardless of his/her cast, creed, colour, sex, ethnic
background can find inspiration and purpose from the stories/experiences of the of the bygone
eras. It is a step towards the advance of humanity as a collective. A museum is an establishment
that conserves a collection of artefacts and other articles of artistic, historic, cultural &
scientific value. Architecture of any museum tells its own tale by circulating the visitors
(differing in density) through various backgrounds, lightings, labels & arrangement. It is
therefore imperative for the public to be aware about the history of the world.
FIGURE 1: MINIMALISM RETROSPECTIVE FIGURE 2: PHENOMENOLOGY OF

EXHIBIT CONTEMPORARY ART
These are a few concise pointers elucidating why this study is imperative-
1. To promote the wider knowledge, appreciation and enjoyment of the art
2. Acquisition of Artefacts
3. Recording of Artefacts
4. Preservation of Artefacts
5. Exhibition of Artefacts
6. Education
7. Incorporation of design theories of Minimalism and Phenomenology into the main
project
1.2 AIM OF THE RESEARCH
To study Museum Architecture with respect to Minimalism and Phenomenological aspects and
creating efficient spaces to exhibit the journey of music.
1.3 OBJECTIVES
 To understand museum architecture planning concepts functionality
 To study the theories & concepts of Minimalism and Phenomenology
 To explore the evolution of Music with respect to history and artefacts
1.4 SCOPE
 Understand and identify the theory and concept of Minimalism
 Apprehend the notion and philosophy of Phenomenology
 Integrating the aspects of Minimalism and Phenomenology in Museum Architecture
 To apprehend the history of music & its relevance
 The scope of the study will focus on museum for music

1.5 METHODOLOGY

CHAPTER-2 LITERATURE REVIEW
2.1 UNDERSTANDING MUSEUM ARCHITECTURE

Museum architecture is defined as the art of designing and installation or building an area that
is used for storing the basic functions of the museum, in particular a variety of displaying
features, a vibrant restoration, research, management, and reception of museum visitors.
Since the museum's discovery from the end of the 18th to the beginning of the 19th centuries
and the conversion of antique buildings of the patrimony, a specific architecture was created
that was related to the protection, study and communication of collections by means of eternal
or transitory show works. The older museum buildings as well as the more recent ones illustrate
this design. The museum definition was strengthened by the architectural language itself. This
gallery, which was conceived as one of the major styles of museums of the arts and with the
assistance of expansion, gave birth to the names gallery, gallery and gallery in French, Italy
and Germany and in Anglo-American countries. The temple with a cupola and columned
portico, was built together with the gallery.
FIGURE 3: DALI MUSEUM FIGURE 4: MUSEUM OF ORDOS, MONGOLIA
Although the form of museum buildings was regularly centred on safeguarding collections, it
developed as new features in museum work were developed. So it was after looking for answers
for superior lighting of the exhibits (Soufflot, Brébion, 1778; J B.Le Brun, 1787), for dispensing
the collections better throughout the museum building (Mechel, 1778- 1784), and for
structuring the exhibition area better (Leo von Klenze, 1816-1830), At the start of the 20th
century museum people realised that the everlasting exhibitions have to be reduced. For this,
they created storage areas, either by the means of sacrificing exhibition rooms or by developing
an area within the basement, or via constructing new structures. In addition, any effort was
made to render the displays so unbiased as practicable, even though this was meant to
compromise all or part of the historical decoration prevailing. The advent of electricity has
rendered these improvements even simpler and allowed the lighting devices to be revamped
entirely.
New “features that emerged in the second half of the twentieth century caused fundamental
architectural changes: the growth in the quantity of transient exhibitions caused a distinctive
distribution of collections among the permanent exhibition and storage spaces; the
improvement of visitor facilities, instructional workshops and relaxation areas, especially the
introduction of massive multipurpose spaces; the improvement of bookshops, restaurants and
stores for promotion of gadgets regarding the exhibitions. But at the same time, the
decentralisation through regrouping and through subcontracting a few museum operations
required the construction or set up of specialised self-sustaining buildings: firstly, restoration
workshops and laboratories that can specialise whilst serving numerous museums, then storage
spaces positioned away from the exhibition spaces.”
The architect is the person who designs and draws the plans for the building and who directs
its construction. More broadly speaking, the person who designs the envelope around the
collections, the staff and the public.
From this point of view, architecture influences all the factors related to room and light in the
museum which seem secondary, but are definitive factors for the significance of the show
(chronological arrangement, accessibility from every perspective, non-partisan context, etc.).
Therefore, museum buildings are planned and installed according to an architecture programme
established with the assistance of the technical and administrative heads of the facility.
However, this does not continually dispense with the option regarding the programme concept
and the limits of the architect's interventions. Architecture may be viewed as a whole work as
an art or an approach for the creation and design of a museum, which incorporates all the
museum mechanism. This method is ideally envisaged, often approved by developers, whereas
the architectural programme, which regularly takes a long time, covers all museographic
concerns.
FIGURE 5: MUSEUM OF THE FLAMINGO DANCE
Some architects have specialized in staging exhibitions and have emerged as stage designers
or exhibition designers. Those who can name themselves ‘museographers’, or experts in
museum practice are rare, unless their practices encompass this particular sort of competence.
(Key Concepts of Museology, André Desvallées and François Mairesse)
The present problems of museum architecture lie in the struggle which logically exists between,
on one hand, the objectives of the architect (who will discover himself in the highlight because
of the global visibility of this kind of building today), and on the other hand, the people linked
with the maintenance and displaying of the collections; finally, the consolation of the
distinctive visitors have to be taken into account. This problem has already been highlighted
via the architect Auguste Perret: “For a ship to float, should it not be designed quite
differently from a locomotive? The specifixity of the museum building falls to the architect,
who will be inspired by its function to create the organism.”
An observation modern-day architectural creations suggests that, despite the fact that majority
of the architects take the necessities of the museum programme into consideration, many
maintain to favour the beautiful object over the outstanding tool.

2.2 THEORIES OF MINIMALISM AND PHENOMENOLOGY
2.2.1 MINIMALISM
“A shape, a volume, a colour, a surface is something itself. It shouldn’t be
concealed as part of a fairly different whole” - DONALD JUDD
Modernism In architecture has persevered for a long
time now. It has developed from being only a
concept or layout to being nerve or the building. The
theories and notions of numerous architects or the
mid-twentieth century and that or the present day
architects have given a much wider outlook on the
prevailing state of affairs of the trends in modern
architecture.
One of the most exceptional chapter or Modern
Architecture is 'Minimalism'. This crusade deals with
stripping away the undesirable information and
defines the genuine essence or any given
architectural element. The phrase minimalism is also FIGURE 6: LONG STUDIO BY SAUNDERS
used to explain a fashion in design and architecture, ARCHITECTURE
in which the situation is reduced to its vital elements.
Minimalist architectural designers concentrate on the relationship among ideal planes, elegant
lighting, and the void spaces left due to the elimination or third-dimensional shapes in an
architectural design. Minimalism has been associated a great deal to the improvement of
functionalism.
The Simplicity in minimalism can't be equated to the sparseness of modernism, with the motor
age aesthetic, stripped of ornamentation, so that shape and element are decreased to the mere
blandness. Minimalism is an older, richer and broader culture than that. Minimalism may be
visible as the reduction of architecture to its most fundamental notion of area and mass. Its
central theme isn't removal of ornamentation but celebration of space and form.
Minimalist philosophy was elementarily centred on the question: How much can you strip away
from an item — paintings, sculptures, buildings, furniture — without losing its essential
purpose and identity?
In his prose, Macarthur states that "minimalism is the latest architectural trend" (Macarthur
2002). He has also defined the approach as minimalist in the architecture. In spite of this, it is
fair to note the humanised form of the modernist containers, minimalism, in which it
demonstrates the contemporary way of living without a doubt. People say that minimalism was
the following phase of architecture, which evolved from the architecture of modernism. In
architectonic work, the word 'minimalism' begins in the late eighties. Since then, several
thinkers have come here with interpretive minimalism trends. As a result, these patterns
continue to be debated, do not come from nowhere and were not always present. With reference
to these textual materials and studies once again, it is established that a distinction is made
between the views in the architectural direction of minimalism. There is a significant
distinction between West and Japanese to minimalism among the interpretations. In view of

these evidence, the written vice says that the minimalist formula is appropriate to Japanese
environment, culture and lifestyles. (Vice-President 1994).
According to Japanese interpretation, minimalist design simplifies places to demonstrate the
internal splendour and quality of the building itself, so that citizens can encourage a simple and
historically Japanese way of life. Mode is not necessarily without decoration, but all details or
sculptures have been reduced to a purer level. The style, which is extraordinarily suited to
Japanese Zen’s ideology, is rather simplified.
Influenced via the means of traditional Japanese designs, the Bauhaus art school and De Stijl,
Minimalist architecture, exemplified through the signature style of architect Mies van der
Rohe, which he describes as "Less Is more", refers to building designs which are decreased to
the absolute bare minimum of elements.
2.2.2 PHENOMENOLOGY
Phenomenology, an investigating theory of objects
that cause one to collect the universe, rejects the
abstract approach to seeing our universe. Meaning,
abstract forensic methods like science,
diagrammatic, schematic and theoretical processes
that obtain objective comprehension do not justify
the form of a real world. Phenomenology lets us into
convey the essence of our life via architecture. Thus
architecture becomes a "concretization of the
existential vacuum" observable as a whole in the FIGURE 7: THERME VALS, SWITZERLAND
area of phenomenology. By way of a
phenomenological prism it provides an ability to merge the interdependence of human
life with the universe by getting closer to the methodology of architectural architecture.
Phenomenology is the analysis of essences; and according to it all topics are described as
essences: for instance the nature of consciousness or the nature of perception. However,
phenomenology is also a philosophy which restores essences and does not intend to come to
an understanding of man and the universe from some other point of departure than their
'factivity.' This theory is transcendental, which brings the arguments coming out of the natural
mindset the easier to explain them into perspective; yet it is also a theory which the universe is
'already' to focus on—as an inalienable presence; and all their energies are focused on
achieving a clear and primal interaction with the world. It's the search for a 'rigorous scientific'
theory, but it also includes an account of space and time as we 'live' them. It aims to explain
our perception explicitly in its current form (MerleauPonty, 2002)
Merleau-Ponty perceives phenomenology as an arrival to the human realm which heralds
knowledge, of which knowledge always speaks “and in relation to which every scientific
schematization is an abstract and derivative sign language, as is geography in relation to the
countryside in which we have learnt beforehand what a forest, a prairie or a river is”
(Merleau-Ponty, 2002).
Edmund Husserl is considered the father of phenomenology. The phenomenological crusade
commenced with his Logical Investigations. Husserl’s phenomenology evolved in the context
of his critique of the dominant philosophical dispositions of his time: psychologism and

historicism. These currents, in Husserl’s view, had been lowering philosophical expertise to
genuine, scientific expertise. For him, the principle assignment of philosophy was to pursue
and figure out indubitable expertise in contradistinction to genuine expertise that might in no
way be apodictically certain.
In his Inaugural Lecture at Freiburg in Breisgau (1917) Husserl states:
A new fundamental science, pure phenomenology, has developed within philosophy: This is a
science of a thoroughly new type and endless scope. It is inferior in methodological rigor to
none of the modern sciences. All philosophical disciplines are rooted in pure phenomenology,
through whose development, and through it alone, they obtain their proper force. Philosophy
is possible as a rigorous science at all only through pure phenomenology. (Husserl, 1917)
2.3 THE HISTORY OF ROCK MUSIC
Every person is totally different and every one of us have different tastes in food, books, sport
and, of course, music. Rock music takes its roots back in 1940-1950s and as a personal music
style it has transmitted plenty from rock and roll, ethnic music and blues. Two of the foremost
musical instruments that verify the conception of rock are drums and bass guitar. The sound,
born from these instruments is strong, powerful and may be conceptualized to the whole rock
music. It’s exceptional that rock lovers are thought to be the foremost ablaze fans.
Rock music has achieved legendary status in being used as a type of expression over the years.
Despite its typically negative and noncompliant lyrics, rock could be a kind of art that permits
one to unleash his/her feelings through singing in a very communicative tone. Rock music is
simply a form of letting folks unleash their anger and aggression and not hold it inside. I’d
rather see our society release our troubles in a musical form instead of in a violent one. Rock
music is thought of as one of the type of music that has rapidly developed in the last 50 or 60
years. His strong growth has been seen mostly in the last 50 years. All began in the 1950s with
a good old n-roll rock. In the 1960s the gold era for rock music was further established. Because
of the British takeover of rock by The Beatles, Rock took a fundamental change. The music of
the Beatles contributed to a modern music dubbed hippy and psychedelic rock music.
In the 1970s, regarded as the memorable years, rock music has been evolving in numerous
genres such as heavy rock, punk rock and even pop rock. The 1980s saw a shift in the hair
patterns of the members of the band. This age was also an indicator of what was regarded as
hair bands. Music genres like hard rock and funk rock were included there. In the 1990s, rock
evolution proved completely fresh and crazy. It legacies modern music styles such as grunge
music and progressive rock. The innovative distortion & feedback of the guitar were given.
All of them were already renowned from the 1950's until the 1999's. Many bands are already
revered at the period. Most of today's artists continue to perform numerous styles of rock music.
Some also render remakes of these songs utilising new models and software.

CHAPTER-3 UNDERSTANDING MUSEUM ARCHITECTURE
Museum is an abode, where art and knowledge hold

the utmost importance. Three primary tasks of a
museum are –
 Education
 Presentation
 Forming of a collection
Nowadays, the general public prefers not go to a
museum first-hand, to attain knowledge or
information. Instead people expect to go through a FIGURE 8: LOUVRE MUSEUM, PARIS
unique experience. This is exactly why museums
should be able to offer a "spectacle" to better compete with movie theatres, malls and
amusement parks. This dissertation topic focuses on how a museum can echo the crux of the
past, present and future to the visitors. “This study has materialized into an organized system
to enhance inter-disciplinary museum design work, by developing a prescriptive design process
framework.
3.1 DEFINITION
Museums are defined as 'semi-formal' places of learning which collect display and
interpret artefacts of some sort, for educational purposes. It can also be defined as a
collection of repository of rare and curious things in nature and art, arranged for the purposes
of study. (The Emergence of the Modern Museum, Jonah Siegel)
3.2 ICOM DEFINITION
The International Council of Museums (ICOM) is an international organisation of museums
and museum professionals which is committed to the research, conservation, continuation and
communication to society of the world’s natural and cultural heritage, present and future,
tangible and intangible. It is based in Paris and was established in 1946. (Source – ICOM)”
ICOM is a network of museum specialists in a number of fields relevant to museums and
history with nearly 30,000 participants in 137 countries. The Museum ICOM describes as –
"It is a non-profit making, permanent institution in the service of society and of its
development and open to the public, which acquires, conserves, researches,
communicates and exhibits, for purposes of study education and enjoyment,
material evidence of people and their environment"
3.3 EDUCATIONAL ROLE OF MUSEUM
“The museum has an important duty to develop its educational role and attract wider
audiences from all levels of the community, locality or group it serves. It should offer
opportunities for such people to become involved in the museum and to support its goals and
activities. Interaction with the constituent community and promotion of their heritage is an
integral part of the educational role of the museum” (Source – ICOM)
Museum instruction typically includes a visitor or visiting party to a specific item, item, mark,
individual, aspect or intellectual assembly. Museum testing in order to attract power and load

power of artefacts in museums has been tested for a long time. The notes that the visitors have
acquired are stored in the mind and remain there for a while.
On a museum tour, the information a tourist gets seem to hold a "contextual map." The visit to
the museum reflects rather than a single unitary phenomenon a group of interactions. During
the museum tour, any knowledge collected would potentially contain psychological, mood,
cognitive and sensory connexions. These comparisons can be integrated in a reminiscence that
will promote a reminder of the whole experience from every facet of those studies. (Museum
and Education, Prabhas Kumar Singh)
3.4 HISTORY OF MUSEUM
For centuries, museums have played a pivotal
function in societies across the world. They are
cultural establishments wherein people are able
to come, research and revel in art. Some
museums have established a status for their
collection of art.
An examination of the advancement of the
museums from their formative years leading up
to the present will be used to divulge their
impact on civilization and to explore how FIGURE 9: INDIAN MUSEUM, CALCUTTA, 1905
museums can and do play a role in cultural
peacekeeping, most notably through art exhibitions.”
In ancient times, references to the Chitrasala (image gallery) can be linked to the concept of
museums in India. The museum trend in India, though, dates from Europe's trends. It was in
late 1796 AC that the Asian Community of Bengal felt the need to houses the vast array of
archaeological, ethnological, geological and zoological research. The first need of housing
articles from Antiquarian remains. In 1814, however, they started the main museum. Later, the
centre of this museum of the Asian Community was given to the Calcutta Indian Museum.
(Source - https://asi.nic.in/museums/)
The Archaeological Survey of India has also collected a vast number of antiquarian artefacts,
thanks to various exploratory studies that have started since the period of his first general
officer, Alexander Cunningham. The museums were established before Sir John Marshall had
entered and the local museums such as Sarnath (1904), Agra (1906), Ajmer (1908), Delhi Fort
(1909), Bijapur (1912), Nalanda (1917) and Sanchi (1919) started to be created. Hargreaves
one of the former Directors General of ASl illustrates the idea of site museums well:
"It has been the policy of the Government of India to keep the small and movable antiquities,
recovered from the ancient sites, in close association with the remains to which they belong,
so that they may be studied amid their natural surroundings and not lose focus by being
transported. A separate Museums Branch in ASI was created in 1946 by Mortimer Wheeler.
After the independence, there was a spurt in the growth of site museums in ASI. At present
there are 44 site museums under the control of ASI."(Source - https://asi.nic.in/museums/)

3.5 TYPES OF MUSEUMS
It “varies, from large institutions, covering
many of the categories below, to very small
institutions that specialize in a particular
subject, location, or a notable person.
Categories include: fine arts, applied arts, craft,
archaeology, anthropology and ethnology,
biography history, cultural history, science,
technology, kid's museums, natural history,
botanical and zoological gardens. Within those
classes many museums specialize further, e.g.
Museums of modern art, folk art, local history, FIGURE 10: MUSEUM OF MODERN LITERATURE,
GERMANY
military records, aviation history philately,
agriculture or geology. Another form of museum is an encyclopaedic museum. Commonly
mentioned as a universal museum, encyclopaedic museums have collections representative of
the world and typically include art, science history, and cultural history.
(Source - https://www.museumplanner.org/wp-content/uploads/2011/07/Museum)
The museum's form and scale are seen in its collection. In a museum a central selection of
significant things in the field is usually held. This paper focuses on museum of classic rock
music. (Source - https://tractors.fandom.com/wiki/Museum)
3.6 DESIGN GUIDELINES
In order for tourists to grasp the time they would need detailed additional explanations in the
rules for archaeological sites-museum. With a great visit to such museums, sound / music
captured content, immersive environments and audio-visual photographs should be evoked in
order to enhance the environment. Some decisive points to be kept in mind are –
 The building's atmosphere must be maintained interior as well as outside. Landscaping
across the building must be evolved in a manner that it enhances the experience inside
the museum.
 Aesthetic alternatives aid and mirror the subject matter and tone of the exhibition.
 Orientation, spatial organization, and traffic flow are suitable to the desires of the
exhibition.
 The physical space (which include layout, lighting, flooring) is created in such a
manner that audience members of various physical sizes and competencies are capable
of navigate and engage with the exhibition.
 If required audio-visual footage, voice recordings, ambient music etc. can also be used
for developing a whole experience.
Other than following ASI regulations for museum planning, the neighbourhood building
improvement manage guidelines also are to be followed. The museum comes below
institutional buildings class in DCR (Development Control Rules).
3.7 PLANNING FACTORS
The strategy for the museum includes preparing the museum's unique purpose and the area in
which the museum's collection will be stored. The manner in which museums are built and

built differs according to the collections in which they belong, but overall, they create an
environment which is readily open to the public and which exhibits the selected items.
The museum's preparation method must be driven by the storyboard. In order to conform to the
storyboard and other visual and coordination needs, the planner shall begin reviewing and
assigning the exhibition area.
Fig 11 is of central significance to explain museum preparation, the choosing of the suitable
location, zoning, operating criteria, the description of the required circulation area including
the specifications for accessible access, protection needs and official legal regulations, such as
fire escape, in the design phase. Section and sub-pages relating to the topics and sub-themes of
the narrative, storey board and the architecture of the show system: tables, open display
vitrines, windows, case shelves, block boxes, table boxes, wall-hung tables and other wall
mounted items. They must be displayed, circulated and circulated.
FIGURE 11: MUSEUM PLANNING PROCESS

3.7.1 SITE SELECTION
“Site selection includes measuring the needs of a new venture in opposition to the merits of
potential location. Site selection is a part of the planning. Lists of things affecting the selection
are typically drawn up including:
 Availability
 Access
 Cost of acquisition and development
 Security consideration
 Visibility
 Compatibility of neighbouring facilities
Each factor should be weighed before it is evaluated. The weighing of site selection factors
should be done in relation to fundamental issues of the museums mission, its policies and its
institutional character.
3.7.2 ZONING OF A MUSEUM
In the practice or designing the zoning can be organized as –
 Public Collection Areas: Zone with environmental controls and refuge designed for
the conservancy of collections.
 Non Public Areas: Zone which is intended for the staff alone with environment
controls and refuge.
 Public Non-collection Areas: Zone in which the finish, resilience and environment is
created for anthropological cosiness.
 Non Public-Collection Areas: Zone in which the finish, durability and environment is
created for only the staffs.
Zoning analysis is a useful tool for the following reasons –
 It unmistakably directs the amount of space that must be confined within the museum’s
surrounding.
 It provides yardsticks which support the museum project beam in monitoring the brief.
 It formulates the source for preliminary of building running costs.”
3.7.3 CLIMATE
The building should be focused to achieve natural assistance during the seasons. Appropriate
shading systems for manipulating natural light on displays. Stop dramatic moisture and
temperature variations at all stages. As a general law, temperature and moisture standards are
often appropriate for gallery areas in storage areas.
When an entry into and the exit to the museum is used in the display gallery, objects should
not place close to the door to eliminate dramatic changes in temperature and humidity. The
level of light in the storage: the degree of luminosity and UV damage sets. Cover all UV philtre
lights with especially blooming tubing. Do not store any artefact in a sunlight field. (Source -
https://www.scribd.com/presentation/385308640/ghfgg)

3.7.4 INDOOR AND OUTDOOR CIRCULATION
Circulation space identifies area of a building that is used for pedestrian travel, such as a
hallway, stairway, and areas in a room that lead to another room. Some crucial arguments while
determining the circulation in a museum are –
 Cultivate cognizant exhibits for certain trends of tourist movement. Strategize to
prevent further measures by tourists
 Reduce the amount of steps not to be taken
 Do not plan many points for tourists to pick from or exit the show after paying priority
to any of the rudiments of the exhibits
 Elude developing two-sided screens, where screens contrast with those on the one
hand
FIGURE 12: CIRCULATION DIAGRAM
Designing circulation spaces should be –

 Stretch corridors beyond the currently in usage archetypal 8-9 foot
 Passages should be capable of conducting two-way traffic without effort.
 Split the lengths of the corridor. It condenses journey time and often stops children
from moving through the halls
 Preserve constant width corridors. Big corridors and bottlenecks build
 Consider the rounding or angling turns, so the cross-corridor is clear.
 A danger could be blind corners. People who travel rapidly or turn quickly don't
recognise the transport in the crossing corridor. This may trigger blockages, crashes
and disruptions
FIGURE 13: GALLERY CIRCULATION
FIGURE 14: CIRCULATION PATTERN

3.7.5 EXHIBIT OF DISPLAYS
Spaces should reinforce and promote an involvement of the viewer in the finalising accessory
use sets. As we pass into the exhibit, we always notice beautiful exhibits arranged to show a
particular item or art work as strikingly as possible. These thrilling visual exhibitions also
impress and amaze children and adults alike.
The wonderful displays are described in the exhibits of the museum. They are accessible in all
museums, including museums of architecture, culture and technology. Museum displays are
established and structured to attract eyes and be scholastic as well. A meticulous preparation
and knowledge of the designing of a display in the museum takes place. In a museum the
displays are usually built such that as naturally as possible they are arranged and shown. The
museum's usable room should also be prepared.
Such displays would remain permanent in a museum, and others will be temporary only. Some
might be meant for allowable encounters, whereas others must be shielded from curious
museum admirers. (Planning Analysis and Design of Museum Building, M Senthil)
FIGURE 15: TYPES OF DISPLAY

3.7.6 TYPES OF DISPLAYS
When the cases are progressively settled with curved lines which benefit from this movement
configuration, the area is appealing to tourists, and can progress easily with the case.
FIGURE 16: EXHIBITION SPACES
Figure 16 shows arrangements to generate a certain mystery and the visitor's ability to look at
corners to see what's next. Cases arranged to taper the door a little enough that the interior of
the lobby opens up with definite caution.
FIGURE 17: DISPLAY STANDARD
3.7.6.1 DISPLAY CASE

A package is a display case with one or more glass flanks or tops that can be seen as clear glass
(or plastic, usually acrylic for strength). A display case may stand alone or be built-in on the
concrete. Built-in screens may either be mounted to the wall and can act as space pieces or fall
from the ceiling.

FIGURE 18: CONE OF VISION
FIGURE 19: CONE OF VISION
3.7.6.2 CONE OF VISION

The view cone is the apparent field seen in a picture of the ordinary view of someone without
the peripheral vision of him / her. In brief, the vision cone is the seeing area – or the visual
angle. When a person may want to view the whole art screen, for example, a 60 ° vision cone
is usually appropriate, so that someone will choose to sit at a certain distance to achieve this
vision level. (Source - www.unitedsignsca.com/The-Cone-of-Vision)
3.7.7 MATERIALS
The materials for the design and exterior treatment of the framework shall be locally obtainable
and must also represent the personality of the city. For locally available products, a feasible
extension may be accomplished. And it is best to use stable materials in case building for the
display spaces. However, if fragile products, for example, need to be utilised regardless of
fiscal causes, precautions should be implemented to mitigate adverse consequences. Screen all
wood with a polyurethane water-based dissolver. The task would also be to fasten the lumber
with metal foil. An option for ready-made storage systems is commercial shelving. Shelter the
racks with steady parts apt to the range: i.e. volara ethafoam. Using open shelving dust
coverings. Unbleached cotton is a successful option for many.
3.7.8 LIGHTING
In the visitor's taste, the lighting of museums and art galleries plays an important role in viewing
and experiencing objects in the gallery and the whole framework. A museum lighting designer
must meet several contradictory design criteria to cultivate an efficient lighting scheme.
Light-differences in exhibitions or indoors may have an emotional effect on a visitor’s capacity
for an understanding of the job, since the human eye takes a few minutes to control heavy shifts
in the light. Brightly contrasting light conditions can be very disconcerting between a strong

entrance and a dark gallery. (MUSEUM LIGHTING - PURE AND SIMPLE, by Jack V. Miller
and Ruth Ellen Miller)
“The rudiments of exhibit lighting match the three goals of any museum –
 PRESENTATION: Displaying the true splendour of art and historic artefacts
 PRESERVATION: Guarding exhibits from fading and harm
 CONSERVATION: Sustaining energy resources manpower and funds
3.7.8.1 NATURAL LIGHTING
Natural lighting is accomplished through the practice
of atriums and cut out spaces, specifically by north
lighting. Figure 20 shows the plan and section of
various natural lighting arrangements.
3.7.8.2 ARTIFICIAL LIGHTING
 Fluorescent lighting: Behind case fascia
panel (without diffusing panel separating light
from case interior); angles of vision must be
calculated to avoid glare from light source.
 Vertical Lighting: Slim Fluorescent tubes set
in case corners, forming light columns;
suitable for wall cases with solid sides.
 Fluorescent column: set behind case FIGURE 20: NATURAL LIGHTING
uprights· a possible solution for lighting in old
wall cases.
 Side Lighting: Louvres essential to mask fluorescent tubes; accurate calculation of
light spread is needed to ensure even illumination on case back panel.
 Internal case lighting: Slim light box for miniature fluorescent or incandescent lamps;
brightness at eye level should be carefully controlled; wiring to the light box, housed
in case corner, may be distracting.
 External lighting: through flass tap, but heat may build up unless 'cool' light source
is used; objects can cast shadows when lit by slanting light and possible problems of
glare.
 Integral Lighting: Light box separated from case interior by diffusing glass or louvers
(with clear glass panel excluding dust); fluorescent for even, well distributed light or
tungsten, for highlighting, can be accommodated.
 Lighting from below as well as from upper light box to reduce effect of shadows and
to light undersides of objects; light source must be masked, usually by louvers.
 Backlighting: fluorescent tubes behind diffusing material, usually opal Perspex; tubes
must be evenly spaced, at some distance from diffuser; ideally fitted with dimmers to
control brightness.
 Strip lights (fluorescent or tungsten) attached to shelf ends inside the case,
illuminating both above and below a shelf; can only be used for objects with no
conservation risks.”

FIGURE 21: ARTIFICIAL LIGHTING
The lighting is known as a broad focus or mission illumination, which is primarily responsible
for dispersing the light emitted by the system. Lighting types consist of alcove lighting and is
indirect, as most others. Sometimes this is achieved by fluorescent lights.
FIGURE 22: SERVICE LAYOUT

3.7.9 SERVICES
In the assembly phase, certain resources cannot be delivered by outside organisations in a
manner that inevitably needs a separate space. Movement and circulation need not be
interconnected to the fullest degree practicable. (Museums, art galleries and temporary
exhibition spaces, by Geoffrey Matthews)
In Museum Planning, Building services engineering comprises mechanical engineering,
electrical engineering and plumbing (MEP) engineering, all of which are further sub-divided
into the following:
 Communication lines, telephones and IT networks
 Escalators and lifts
 Fire detection and protection
 Heating, ventilation and air conditioning (HVAC)
 Lightning protection
 Natural lighting and artificial lighting, and building facades
 Security and alarm systems
 Water, drainage and plumbing
Building Services impact the architecture of a structure and play a noteworthy role on the
sustainability and energy demand of a structure. The modern trend in MEP or building services
engineering is the utilization of Building Information modelling or BIM which may include
3D and 4D modelling. 3D BIM services aid building conception, preview or prototype of
architectural structures prior to the actual construction.

CHAPTER-4 THEORIES OF MINIMALISM & PHENOMENOLOGY
4.1 MINIMALIST ARCHITECTURE AND DESIGN

The word minimalism is also used to term aproclivity in planning and architecture, wherein the
subject is curtailed to the utmost elementary and crucial elements. Minimalist architectural
designers emphasize on the association between two seamless planes, chic lighting, and the
void spaces left by the deduction of three-dimensional profiles in an architectural design.
Minimalistic design has been vastly predisposed by Japanese traditional design and
architecture. The workings of De Stijl artists are a foremost reference. De Stijl stretched the
philosophies of expression by accurately consolidating basic elements such as lines and planes.
With respect to home design, more striking "minimalistic" designs are not strictly minimalistic
because they are loftier, and use more costly building materials and finishes.
Architect Ludwig Mies van der Rohe (1886-1969) embraced the dictum “Less is more" to
define his aesthetic. His ploy was one of positioning the indispensable constituents of a
structure to construct an impression of extreme effortlessness - he solicited each component
and feature to aid manifold visual and functional resolutions; for example, designing a floor to
also function as the radiator, or a colossal hearth to also house the lavatory. Designer
Buckminster Fuller (1895-1983) adopted the engineer’s goal of “Doing more with less”. But
his concerns were oriented toward technology and engineering rather than aesthetics.
(Wikipedia- Minimalism)
FIGURE 23: THE RECONSTRUCTION OF LUDWIG MIES VAN

DER ROHE'S GERMAN PAVILION IN BARCELONA
4.1.1 MINIMALIST ARCHITECTURE CONCEPTS AND DESIGN ELEMENTS

The conception of minimalist architecture is to divest everything down to its vital quality and
accomplish simplicity. The notion is not completely deprived of embellishment, but that all
measures, specifics, and joinery are considered as condensed to a point where no one can
eradicate anything further to develop the design. The contemplations for ‘essences’ are light,
form, detail of material, space, place, and anthropological condition. Minimalist architects not
only ponder the physical merits of the structure. They cogitate the transcendent dimension and
the imperceptible, by heeding to the figure and listening carefully to details, individuals, space,
environment, and materials, trusting that this divulges the immaterial quality of something
namely indiscernible and helps the pursuit for the crux of those unseen qualities-such as natural
light, sky, earth, and air. Furthermore, they "open a dialogue" with the surrounding
environment to choose the most crucial materials for the construction and construct

relationships between structures and sites. (Dissertation – Minimalism in Architecture by Kriti
Bafna)
In minimalist architecture, design essentials
endeavour to convey the message of simplicity.
The simple geometric forms, elements lacking
ornamentation, modest materials and the
recurrences of structures signify a sense of order
and vital worth. The association of natural light in
structures discloses simple and uncontaminated
spaces. In the late 19th century, as the fine arts and
crafts movement became widespread in Britain,
society treasured the outlook of 'truth to materials'
with respect to the insightful and intrinsic
characteristics of materials. Minimalist architects
respectfully 'listen to figure’, pursuing essence FIGURE 24: NAOSHIMA ART MUSEUM
and simplicity by re-experiencing the cherished
qualities in simple and common materials.”(Wikipedia- Minimalism)
4.1.2 ROOTS OF MINIMALIST ARCHITECTURE
Certain items that appeared before him influenced the minimalist style. What inspired
minimalist architecture in particular was –
 De Stijl art movement
 Architects like Ludwig Mies van der Rohe
 Traditional Japanese Design
4.1.2.1 THE DE STIJL ART MOVEMENT
De Stijl (Dutch for 'The Style'), also known as
neoplasticism was a Dutch art movement instituted
in 1917, Leiden. De Stijl comprised of artists and
architects (Wikipedia- De Stijl). Its doyenne was
Theo van Doesburg who expired in 1931, and this
fundamentally marked the end for the De Stijl
crusade. This movement existed merely for an
ephemeral period, however established the structure
for minimalism.
De Stijl pressed for simplicity and abstraction by FIGURE 25: DE STIJL ART
decreasing designs only to its necessary form and
colour, sticking to only:
 Horizontal and vertical lines
 Elimination
 Reduction
 Simplification
 Rectangular forms
 Primary values white, black and grey
 Primary colours blue, red and yellow
Also, numerous of the features or layers don't overlap, permitting each of them to be self-
regulating and not sheltered or inhibited by other elements. It doesn't take a lot of imagination
to fathom how De Stijl influenced minimalist design. (Source -
http://lewismetcalf.weebly.com/research.html)
The reaction of De Stijl, which compared with Art Deco and Modern Baroque, embraced a
shift away from enhancement towards a more modern-day visual vocabulary. Mondrian
indicated that it was a quest "for the universal when the individual missed value."
In 1915, a group of artists set up a journal of painting. The publication of the abstract poet, Piet
Mondrian, the poet and architect Theo van Doesbourg, was initially called De Stijl. It was
written in 1917. Other representatives of the architects Gerrit Rietveld and JJP Oud are
representatives of the cluster.
While De Stijl’s design has been moderately minimal, its influence is still impressive, and its
influence is visible in buildings such as Rietveld's Schröder Home, J.J.P. Oud Café De Unie,
and Charles and Ray Eames-Eames Home. The architects' works such as Mies van der Rohe,
the Bauhaus model and modern designs will still remember his patrimony. (Source -
https://www.designingbuildings.co.uk/wiki/De_Stijl)
FIGURE 27: EAMES HOUSE FIGURE 26: DE STIJL INFLUENCE
4.1.2.2 LUDWIG MIES VAN DER ROHE

Ludwig Mies Van Der Rohe was a German
architect who’s known to be a pioneer of modern
architecture, and his architectural style all
through post-World War I placed the basis for
minimalist design. He has designed many
revolutionary buildings, including Chicago’s
Crown Hall and New York’s Seagram Building.
Van Der Rohe endeavoured for simplicity and
clarity in his architectural designs by:
 Using contemporary resources like steel
and plates of glass FIGURE 28: NEUE NATIONALGALERIE
 Having a minimal structural framework

 Including lots of open space”

He is the one who propagated the term “less is more”, which as cited earlier, is one of the
informal mission statements for minimalist design. Like with De Stijl, the link among Van Der
Rohe and minimalist design is clear. (Source - http://lewismetcalf.weebly.com/research.html)
4.1.2.3 TRADITIONAL JAPANESE DESIGN
It was often a focus in typical Japanese architecture to clearly include what is required and to
exclude the rest. If you look at ancient Japanese architecture and interior design, you will find
very little superfluities, clear paint and design choices and clean lines and shapes prevailed.
(Source - http://lewismetcalf.weebly.com/research.html)
The notion of simplicity appears in
various cultures, particularly the Japanese
traditional culture of Zen Philosophy.
Japanese influence the Zen ethos into
aesthetic and design elements for their
structures. This knowledge of architecture
has impacted Western Society,
specifically in America since the mid-
18th century. Furthermore, it motivated
the minimalist architecture in the 19th
century. (Wikipedia- Minimalism)
FIGURE 29: RYŌAN-JI DRY GARDEN
Zen theories of simplicity conduct the
philosophies of liberty and spirit of living. Simplicity is not just of aesthetic value; it has an
ethical intuition that discloses the inner merits of materials and objects, which covers the
character of truth. For e.g., Ryoanji sand garden reveals the simplicity and the nature of a couple
of rocky places and vast open space from a representation of the environment. Ma's Japanese
aesthetic is that room is vacant or accessible. It removes any unnecessary inner wall and opens
up the space. The desolation of the space environment eliminates it to the finest quality.
(Wikipedia- Minimalism)
Wabi-sabi’s Japanese aesthetics respect the value of modest and bare posts. It values the lack
of needless qualities, it maintains a life of discretion and strives to demonstrate the intrinsic
character of the materials. In Japanese floral art, for example, also known as ikebana, the key
concept is to permit the floral expression. People break off the plants' twigs, leaves and blooms
and merely hold the important portion of the plant. This reflects the notion of the consistency
and inherent design essential. However, far from being simply a spatial conception, Ma is
omnipresent in any part of Japanese everyday lives, whether it be in time or in daily activities.
Japanese architecture and Japanese society are related. Zen and minimalism impregnate
Japanese society. From the way food is made, to the way it is offered, to the way it is eaten, to
topics like tea ceremonies and stone gardens — all stress minimalism and emphasis on what
we are doing. Anything that is not important is not concerned with the operation. Simplicity
emanates from also typical Japanese clothing including kimono. Essentially, there are no
superfluities and embellishments. The essential versatility of each feature of the clothing
consists of freedom of mobility, natural refrigeration, warmth, solidity and ease of installation.
(Source -https://spyrestudios.com/minimalist-design-a-brief-history-and-practical-tips/)

4.1.3 HISTORY OF MINIMALISM
Minimalism began in the early 20th century with
architecture, approximately around the 1920s.
Post-World War I, architect Van der Rohe was
one of the initial prominent architects who used
philosophies in his designs that came to
epitomise minimalist design. The purpose,
minimalist architecture started taking off was the
accessibility of contemporary materials: glass,
concrete, steel. Also, homogeneous means of
construction were establishing, which aided to
more meritoriously design and build minimalist
FIGURE 30: BAUHAUS BUILDING IN DESSSAU
edifices. The trend sustained through the mid-
20th century, with noteworthy designer and architect Buckminster Fuller designing domes
using simple geometric shapes that still stand and look modern today.
The emphasis on simplicity was on art, interior design, mode and music. Minimum sculpture,
mature in America in the 1960s. The painters, Akin to De Stijl, reacted against abstract-
expressionist painting and only used rudimentary geometrical types in their work.
In Germany, on the other hand, Bauhaus has been developed as an art school for mass
production and the union of technology between arts and crafts. Bauhaus had strong relations
with De Stijl and shared its ideals of functionality, purity, purity and shape reduction. In 1947,
the renowned architect Ludwig Mies Van der Rohe summarises his minimalist theory in the
expression of "Less is enough," as he comes to the United States and is recognised as the
foreign model. In comparison to the Bauhaus and the Stijl, minimalist design was inspired by
traditional Japanese design. It applies to the reduction of shape to the absolute minimum of
feature. (Interpretation of minimalist architecture according to various cultures – Amin Aizat)
4.1.4 MATERIAL AND EFFECTS
This theme is a conversation on exactly how architects convey their aim more toward detailing
and survey of the finishes. Goodman emphasizes in his
book in 2011, that minimalism is a significant
simplification of form, a shift of attention from form to
surface and detailing, and from programmatic innovation
to architecture or neutral container. He added that, this
style is also change from authorial resolve to the mode a
labour is experienced by the denizen. Thus beside
simplification, Goodman also claims that minimalism focus
more on how the building give effect to surrounding
people.
In that regard, Jacques Herzog and Pierre de Meuron, two FIGURE 31: AUF DEM WOLF SIGNAL BOX,
Swiss architects, were among the main designers. Herzog BASEL, SWITZERLAND
quoted in 1997 the intense visceral reaction they have to a
stranger as their building power.

The consequence, enjoyment of materiality as well as sensory effects of their systems on people
engaging with them. More focus is provided to how diversity or content will impact individuals
instead of the type itself.
The type is typically massive and seems to be composed of a single solid shape. As a
consequence, we have also shown that their systems have vicious fragmentation resistance and
each project can be just one thing: a necessary one, closed and completed with uniform
treatment of facia instead of a blend of different components.
It is reasonable to say that Herzog and de
Meuron's business started to blossom
after the completion of Ricola storage
building in 1986. Conception of
minimalism was underlined by
producing a warehouse that has
correspondingly humble volume; a
rectangular prism with a minor loading
deck attached on one side. The splendour
of this dazzling structure is, the facade
FIGURE 32: RICOLA STORAGE BUILDING, LAUFEN,
treatment where HNO use panels of fibre SWITZERLAND
cement attached to wooden framework
and appears to pile one another within the horizontal lines. Simplification and material-wise
are two critical minimalist components that conveyed, well, Herzog and de Meuron.
Supplementary to that, Atuf Dem Wolf Signal Box and Blue House were other buildings that
were designed using parallel constituents. (Interpretation of minimalist architecture according
to various cultures – Amin Aizat & An Introduction To Architectural Theory 1968 To The
Present, Harry Francis Mallgrave and David Goodman)
4.2 PHENOMENOLOGY AND ARCHITECTURE
Phenomenology shares the conviction that the critical stance proper to philosophy
requires a move away from a straightforward metaphysical or empirical
investigation of objects, to an investigation of the very framework of meaning and
intelligibility that makes any such straightforward investigation possible in the first
place. It precisely asks how something like objectivity is possible in the first place.
Phenomenology has also made important contributions to most areas of philosophy.
Contemporary phenomenology is a somewhat heterogeneous field – DAN
ZAHAVI
The theories of phenomenology are an empirical framework for viewing our universe, which
are a theory of exploring objects that enable one to collect the universe. Inference, empirical
research methods, for example scientific, diagrammatic, geometrical which analytical methods,
which do not effectively describe the constructs of the physical world. Phenomenology helps
one to talk to the central design of our being. Thus architecture, thoroughly known within
phenomenology, transforms the 'concretization of existential room.' In other terms, it provides
one a chance to connect the symbiotic connexion between human experience and the
environment with the imminence of an architectural architecture with a phenomenological eye.
(Recognition of the Component of Parallax and Finding its Roots in Forming the Design
Philosophy of Steven Holl by Hassan Ebrahimi Asl, Siamak Panahi and Manouchehr
Foroutan)
The assistances of phenomenology in architecture are among the most substantial and durable
in architecture, due to architecture's direct connexion with experience.
4.2.1 HISTORY
The phenomenology of architecture is the metaphysical education of architecture. In contrast,
architectural phenomenology is a crusade within architecture that commenced in the 1950s,
reaching an extensive audience in the late 1970s and 1980s, and continuing until today.
Architectural phenomenology, with its importance on anthropological experience, background,
intent and historical reflection, elucidation with poetic and virtuous reflections stood in sharp
disparity to the anti-historicism of post-war modernism and the satire of postmodernism. It was
under no circumstances an apt movement as it did not have a direct aesthetic connected with
it, thus is should be assumed as more of an alignment to thinking and making. (Source –
Wikipedia, Phenomenology in Architecture)
4.2.2 THEORY OF PHENOMENOLOGY
Crafting an experience is a distinctive duty of an
architect. The theory of phenomenology
recognizes this duty by executing sensory design
so as to establish experiential, architectural
space. Phenomenology, validated in
architecture, is the management of space,
material, and light and shadow to create a
notable encounter via a dip into the human
senses. This theory endorses the amalgamation
of sensory perception as a role of a built form.
This formulates an experience that's beyond
tangible, but rather abstract, observed and FIGURE 33: WATCHING THE SUNRISE OVER THE SALK
perceived. An examination of this aesthetic INSTITUTE
through clarification of its qualitative elements
will mark its central characteristics as a theory, in contrast to a rather rationalist design
approach. An observational argument to prioritize the anthropological experience in design
will be established by discovering the theoretical construct of phenomenology.
4.2.2.1 PHENOMENOLOGY IN ARCHITECTURAL DESIGN
Architecture influences the environment by translating anthropological interventions into
enhanced site contexts, systematised interstitial and programmatic room and fabric analysis. In
architectural architecture, the phenomenological principle focuses on cultivating a novel
perception in the sensations of room, light and shape. This hypothesis compares rationalism by
investigating quality and not by creating a mechanical sense of rationality and tectonics,
strengthens its impact on awareness of human experience.
According to the thinker Vernon Bourke, "rationalism is a philosophy where the concept of
reality is no sensory but logical and deductive" (Bourke p. 275), whereas phenomenology
offers layers of sensory information such as emotionally intelligent deliberate aspects of light
and darkness, substance and spatial awareness. "Rationalism provides a framework of
empirical reduction. The phenomenological framework contains a whole new conception of
functionality within nature.

In terms of the circulation and connexion of an elastic and flexible programme, design, shape
and purpose should be affected by the subtleties of human perception, both by the personal and
by the community. Architecture is meant to fulfil the needs of human activity; hence the
framework is formed to transform emotion and cognition, and establishes a connexion between
Anthropological senses. During the course of nature, esteem for the human body reverberates
in architecture precisely in relation to human experience. Christian Norberg-Schulz underlines
that "the world affects humans; the meaning of architecture goes beyond the pre-functional
concept" (Norberg-Schulz 5)
4.2.3 MANIFESTATION OF PHILOSOPHY
The compositions and principles of Alberto Pérez-Gómez,
Steven Holl, and Peter Zumthor signify the power of
phenomenon in their notional constructs. Their arguments
deliberate that the sensory experience between an
architectural entity and those who encounter it should be
serious and complimentary. These supporters are
unwavering to resuscitate emotion-evoking design via space,
material and light and shadow through manifestation of these
features into the both the larger context and close human
perception. The expression of this philosophy will be
additionally be explored through a case-study investigation
of Therme Vals in Switzerland by Peter Zumthor.
In his book, “Architecture and The Crisis of Modern
Science”, Alberto Pérez-Gómez challenges modern FIGURE 34: GRAND CENTRAL STATION,
architecture to “reaffirm its role as the theatre of memory MANHATTAN 1940
and metaphor that there is no such thing as a meaningless

structure” (Rykwert).
Pérez-Gómez expresses the origination of architectural program through human perception
and sensual experience when he suggests:
“[The human body] is the locus of all formulations about the world; it not only
occupies space and time but consists of spatiality and temporality… its experience
is therefore “geometrical”. The [extension of this] constitutes the thrust of
architectural design, the creation of an order resonant with the body’s own” (Pérez-
Gómez 3)
There is strategic elasticity between human perception and architectural rigor. In his illustrative
book, “Thinking Architecture”, Peter Zumthor believes that, “In [my job as an architect], I
contribute to the existing physical framework, to the atmosphere of places and spaces that
kindle our emotions…[Arranging] the sequences of rooms to guide us, take us places, but also
let us go and seduce us” (Zumthor 85-86).
Phenomenology can be exposed through arrangement of architectural elements. Steven Holl
declares, “While sensations and impressions quietly engage us in the physical phenomena of
architecture, the generative force lies in the intentions behind it." (Holl, Pallasmaa, and Perez-
Gomez 41)

There is a comprehension that the qualitative characteristics of phenomenology offer a pivotal
understanding of the sensory insight of space.
4.2.4 COMMON THEME
The supervision of space, material and light and shade is a popular theme for any
phenomenological system of architecture. The progress of flowing, malleable programme and
the usage of interstitial space in phenomenology decides space. Steven Holl draws up in his
book a « architectural synths » which, along with any subjective standard of material and light,
"forms the foundation of the entire experience," suggests: "earth, middle ground and distant
image" (Holl, Pallasmaa, Perez-Gomez 44);
This creates the need for placement by way of sensory conformity. Initially, the mixture of the
characteristics of room, material and light provides a sensorial reflection for the human.
Material is the obvious way of memory-assisting phenomenology. In expression of texture and
content Zumthor also mentions some of his most vibrant memories.
The phenomenon of materiality prompts memories and emotions, reflecting on of the layers of
this theory. “Memories like these contain the deepest architectural experience that I know.
They are the reservoirs of the architectural atmospheres and images that I explore in my work
as an architect” (Thinking Architecture 9-10)
It is the point where direct association between the experience and the visitor come into contact.
Not only does this contain the physical sense of touch but inferred visual inducement as well.
4.2.5 LIGHT AND SHADOW
Light and shadow generate a lively collaboration of colour, texture
and linked emotion associated to the program. The distinction
between these can be sharp or blurry depending on the anticipated
effect. This strategy can generate depth and exhibit texture and is one
of the sturdiest design features in phenomenology. Lighting is visual,
experiential, environmental, and sensual. The phenomenon comprises
in its consequence on the human condition.
Light is a requirement for the functionality of architecture. Its
deliberation for sensory admiration is vital in preliminary design. FIGURE 35: BRUDER KLAUS
How light expresses the crux of a space and depth is a treasured factor FIELD CHAPEL, GERMANY
of the philosophy of phenomenology.
4.2.6 “PHENOMENOLOGICAL CONCERNS
 PHENOMENON: A phenomenon is essentially a self-manifestation and self-showing,
and phenomenology etymologically means to let the thing to be seen from itself, as it
shows itself from itself
 PRECOGNITION: Our perception of the world is based on an a priori awareness of
it, i.e. precognition. Precognition – concluding language, Gestalt laws, and collective
memory – makes comprehension possible
 SPATIALITY: Man is spatially in the world through de-distancing and directionality.
De-distancing means making the things accessible by means of making the farness
vanish, and making them near to the range of concern. To achieve this, we should take
a direction towards the things. Man is primordially spatial

 EXISTENTIAL SPACE: We are not ‘in’ space; we ‘inhabit’ space. We live the space
through our bodies. Thus, we are our worlds and the space is existential
 HORIZON: We experience and perceive a thing not in isolation, but in a ‘horizon’ in
which it is related to other things, objects, persons, etc. This ‘horizon’ is constituted of
objects, beliefs, expectations, etc., and directs us to possibilities
 EXPERIENCE/MOVEMENT: The world is actually the ‘experienced world’, related
to the ‘living body’, the body in movement, not a separate object.
 MULTI-SENSORY EXPERIENCE: The experience of architecture is multi-sensory,
in which all the senses – including vision, hearing, touch, smell and taste – participate.
This multi-sensory attitude stands against the ‘supremacy of vision’ in both Western
thought and architecture, wherein the sense of vision plays the vital role in perceiving
the world
 BODY AND CITY PERCEPTION: We confront a city through our body and the
body participates in experiencing it through all the senses. The city inhabits memories
and imaginations, and thus we inhabit the city. It dwells in us. However, perception of
the city is through movement of the body and a network of open-ended overlapping
perspectives
 TIME: Architecture shows and halts time. In the work of architecture, we confront the
timeless experience of being human. We inhabit not only space and place, but also time
 BUILDING SITE: A building should fundamentally relate to its location. Architecture
and site should be poetically intertwined, by which a third condition appears, a relative
space rather than universal, a particular one, rather than general. This is actually
‘building the site’
 ‘GENIUS LOCI’: ‘Genius loci’, as the spirit of place, determines the special character
of the given site, ‘what’ it is and what it ‘wants to be’. Architecture is actually based on
perception, identification, and then visualization of the ‘genius loci’
 INTERPRETATION: However, preserving the ‘genius loci’ does not mean repeating
the same, but being capable of always new interpretations. Architecture perceives the
essence of ‘genius loci’ in ever new historical contents
 CRITICAL REGIONALISM: Critical regionalism is a marginal practice, critical of
modernization. It resists consumerism, internationalism, and universalism. It has a
tectonic attitude towards architecture rather than a scenographic one and pays attention
to site-specific factors, such as topography, climate, and local light. However, it
opposes the sentimental simulation of local elements or vulgar populism. It deals
simultaneously with universal civilization and elements from a peculiar place and
culture. Therefore, it necessitates ever new interpretations of the given environment. It
is creative rather than nostalgic
 TECTONIC: A building is essentially tectonic rather than scenographic, ontological
rather than representational, a ‘thing’ rather than a ‘sign’. Tectonics, as the poetics of
construction, intend to manifest structures poetically, in non-structural materials and a
procedure of joining
 DETAIL: Details, on the one hand, are the scene of the tectonics of architecture; on
the other hand, they enrich the tactility of building. They explain the construction and
manifest the architecture

 MATERIALITY: Architecture is a material entity, in which we encounter a concrete
structure. Materials record both natural and man-made particularities. They convey
sense and time, and enhance our haptic sensory
 PHENOMENAL ZONES: Phenomenal zones are the spiritual or physical zones in
which phenomena appear phenomenologically. They are the scenes of self-
manifestation of the phenomena.
o Inside/outside: Dwelling essentially establishes an inside against the outside.
Inside denotes a familiar realm and implies being ‘at home’.
o Threshold: Thresholds separate the inside and outside. However, where they
meet there is a gathering middle from which the building begins its presencing.
o Sky/earth: A work of architecture connects the earth and sky together through
its standing, rising and opening. Standing denotes its relationship to the earth,
rising its relationship to the sky, and opening the way it is related to
environment.
o Light: Light is the origin of being. It makes space appear. It gives the objects
life through its changing reflection.
o Darkness: Darkness is the absence of light. However, it makes the light visible.
Extensive light does not allow it to be perceived. Light and darkness make each
other appear, in their presence and absence.
o Water: Water has the capacity to gather the surroundings. As a pure material, it
reflects anything in itself, and brings the environment – sky, earth, wind, clouds,
vegetation, buildings, rain, etc. – into a living unity.
o Windows: Windows gather the inside and outside together. It allows the inside
to complement the outside.
o Walls: Walls gather standing and rising of the building, and the sky and earth
meet each other within it.
o Roof: The roof is the meeting point of the building and the sky. It gives the
building its special figure.
o Hearth: At the centre of the house, it awakens our unconscious memory,
dreams, and primal images and functions as the gathering centre.
o Tables: Tables used to be the organizing centre of home, on which different
activities occurred. It is the living scene of the house.
(Architectural Theory and Practice, and the Question of Phenomenology,
Mohammadreza Shirazi)

CHAPTER-5 THE HISTORY OF ROCK MUSIC
5.1 ROCK MUSIC AND ITS RAPID EVOLUTION

Since the dawn of time, music has been with guy. Any sound
or beat can be calculated somewhere as a type of music. From
early man song, it may have been so modest as the relaxing
tone of a waterfall or of a tree swinging in a jungle with its wind
or the wild animal. Currently, music is so diverse and deep in
life that almost all children and teenagers and even an adult
have a vast list of melodies to listen to.
Today, there are several distinct artistic divisions. These FIGURE 36: LED ZEPPELIN SIGILS
branches have now extended from the racial beats to everything
from a synthesiser. And then, in a multitude of forms a day, we are all exploring music, I'm
confident purists are not what young people all deem decent music. The discovery of "in music"
now seems to be under way. Music that helps you sound comfortable and throws something
superior out in the heartbeat as it gets along. So what made rock music so gloomy for a few
days now?
5.2 HISTORY AND ORIGINS
Any views remain about the precise roots of the Rock genre. Many
believe Rock created in the west through Elvis Presley's genesis of
Rock & Roll. That's not the case, though. All began after America's
post-war urbanisation. In the 1940s mainstream music was western,
traditional music, blues, rhythm and blues (called R&B), jazz and
classical music. The music was the most significant. In the United
States of America, rock music emerged primarily from a blend of
many common styles in that period. Rock music emerged in the late
1940s, as people were searching for quicker beats and pace, at the
point, from slow beat Jazz music and slow electric blues music. It is
assumed that the rock sound developed mainly from the guitar. The
current guitar tunes used in blues music are assumed to eventually be
mingled with other types of music, such as swing, classic music,
country music and other mainstream music that occurred at the FIGURE 37: CHUCK BERRY
moment. Everything this culminated in the birth of popular music as a
distinct music form which in the early 1950s was then recognised as Rock n Roll.
Around the moment, i.e. in the late 1940s and early 1950s, the black community was the target
of Rhythm and blues (R&B) artists. Yet artists began to perform with a multi-racial crowd later
on. These artists have reached this demographic in the newest styles or combinations of music.
The same fast beat mixes of R&B, blues and so on were coined as 'Rock n Roll.'
“It is believed that in 1951 in a town in Cleveland, Ohio in USA a musician by the name of
Alan Freed is said to have begun playing a new form of R&B music for a multi-racial
audience & is believed to have first used the phrase ‘Rock ‘N’ Roll’ to describe his music.”
(Source - Icons of Rock – Scott Schinder with Andy Schwartz & Encyclopaedia Britannica –
Rock Music)

5.3 EVOLUTION
Rock music is reported to have developed quite
quickly over the last 50 to 60 years, within those
music styles. It has developed quickly largely over the
past 50 years. All began in the 1950s with a good old
Rock n Roll.
This turned into a golden age for rock music in the
1960s. With the British rock takeover of the Beatles
Rock taking a slightly new direction. This was then
preceded by Surf in the USA, which was a
combination of hip and Beatles songs from the catchy FIGURE 38: JOHN, PAUL, GEORGE & RINGO (THE
rock n roll. The music of the Beatles contributed to a BEATLES MANIA)
modern music dubbed hippy and psychedelic rock music.
Different styles of rock music like heavy rock, punk rock and pop rock emerged in the 1970s,
the unforgettable years.
In the 1980s, the band's hair patterns shifted. This age was often popular for what was popular
as hair bands. Music genres like hard rock and funk rock were included there. It contributed to
heavy metal evolution. Tight leather trousers and crazy long hairdos were used to wearing
bands.
In the 1990's the rock was brand fresh and wild. It gave modern rock styles including Grunge
Rock and Alternative Rock. It produced the innovative distortion of the guitar and feedback.
Many of the genres from the 1950’s onwards till the 1999’s are still well known today. Most
of the bands in those eras are still popular today. Many of today’s bands still play the different
styles of rock music. Some of them even make remakes of those songs using modern day styles
and instruments. The latter half of 2000 also witness something that very well came to be
known as fusion music. It involved bringing together classical music (Western or Indian) and
blending it in with modern day rock music. This style today is very popular especially in our
country among our Indian youth that have blended the Indian classical instruments very
smoothly with instruments like the guitar, keyboard, percussion, etc.
5.3.1 THE 1950S
In the 1950s, young people come to adulthood. They
confronted challenges including social problems and the start
of the Cold War. First of all, Rock n Roll's emergence featured
such fine musicians as Chuck Berry, Elvis Presley, Little
Richard, Jerry Lee Lewis, The Shades, Buddy Holly, Bo
Diddley, Bill Haley & the Comets, Gene Vincent, the Everly
Brothers, Carl Perkins among many. These are known as Rock
n Rollers' first wave. Rock and roll may have been represented
at its earliest stage as just blues, with some electric guitar songs. FIGURE 39: ELVIS PRESLEY,
Rock & Roll was in its purest shape as plain as three chords, a CONSIDERED
ROCK
AS THE KING OF
powerful and insistent rhythm of guitar and a pleasant melody.

Early rock and roll is taken mostly from influences such as blues, R&B and country, but also

from gospel, jazz and folk. These genres were merged in a simple, fast, danceable and
captivating blues-based song framework.
The father’s or founders of Rock n Roll came to be
known as Bill Haley, Elvis Presley, Little Richard &
Chuck Berry. Their music revolutionized the music
industry and later gave way to new forms of rock music
in the decades to follow. Even in today’s times their
music is still very popular.
In the mid-1950's Rockabilly emerged. It's just a blend
of rock and roll, western music, blues and even some
jazz. It was an important genre in 1950s pop. White
performers such as Elvis Presley, Carl Perkins & Jerry FIGURE 40: JOHNNY CASH PERFORMING
Lee Lewis, who based primarily on the country root of WALK THE LINE
music, popularised Rockabilly. The Popular hits recorded around that time were “That’s All
Right (Mama)” – Elvis Presley, “Heartbreak Hotel” – Elvis Presley, “Rock Around the Clock”
– Bill Haley & the Comets, “Folsom Prison Blues” – Johnny Cash, “Blue Suede Shoes” – Carl
Perkins.
The king of Rock n Roll came into being later in the 1950's. He is also recalled as 'The
Leader' even today. All of the events in the 1950s contributed to the so-called Beach,
Garage Rock & the Twist dance craze. The biggest occurrence of the 1960s, though,
was the advent of British Rock N Roll, with the introduction of The Beatles, heavily
inspired by Rock N Roll in the 1950s.
“Rock and roll music, if you like it, if you feel it, you can't help but move to it. That's what
happens to me. I can't help it” - Elvis Presley
5.3.2 THE 1960S
In the 1960s there were several activities including the Vietnam War, the civil right war, beach
music, the San Francisco scene, the heavy metal music. Rock n Roll also experienced 4 stages
or sections in the 1960s. The below are the following pieces –
5.3.2.1 PART I – THE BEATLES & THE BRITISH INVASION
In this decade, i.e. after 1963, America and the majority of the world experienced what was
only called the British Invasion. In the 1960s, the one and only Beatles was the best-known
and world-famous band of the British invasion. Until now, the Beatles are deemed the success
storey of the sixties all-time. The biggest explanation why the Beatles are known as one of the
most influential rock bands ever is that they have taken what Elvis and other Rock n Roll
musicians developed in the 1950s and turned into something completely different. That is why
this period is regarded as a time of rock birth.
FIGURE 41: THE BEATLES LIVE ON THE ED

SULLIVAN SHOW COMMENCED THE
BRITISH INVASION

The first single hit song Beatlemania in Great Britain in 1962 began
with "Love Me Do." Along with the 1950's Rock n Roll, the Beatles
often popularised new forms of rock music that ranged from country
rock to psychedelic pop. In the 1960s the Beatles had such an impact
that their revolutionary ideas were viewed as social and cultural
movements. "I Wanna Hold Your Hand" was another major success by
The Beatles, which sold 2,6 million exemplars during the following two
weeks in the United States. During this period, the Beatles had several
hits including "She Loves You," "Please Please Me," etc. The Dave
Clark Five, The Kinks & The Rolling Stones were some of the other
new bands of this period. "Honky Tonk Lady" was the most famous FIGURE 42: THE ROLLING
STONES LOGO
rolling stones during this era.
5.3.2.2 PART II - MOTOWN MUSIC
Motown was a record label located in Detroit, established by Berry Gordy, who once operated
for the Ford Motors assembly line. By 1963, this black record label has been the most
profitable. A variety of vocal groups, songwriters and artists were involved in Motown. The
recorded music has become recognised for its "powerful and cocky orchestrations." The song
was focused on the black community’s racism during the civil war. Temptations, the Four Tops,
Martha Reeves & the Vandellas, and Diana Ross & The Supremes became the Motown's greats.
5.3.2.3 PART III – CLASSIC ROCK: THE SOUNDS OF THE 1960
The Hippie culture was witnesses of this period. They sung primarily
'Making Love Not Fighting.' The overarching trend was harmony. The
Beatles are one of the popular bands who have modified their image
and music during this period. Jefferson Airplane, Grace Slick, Jimi
Hendrix, Janis Joplin, The Doors, Steppenwolf, Simon & Garfunkel,
Mama and the Pappas and Lovin Spoonful were all made. The other
musicians were the musicians. The Woodstock was the well-known
concert of this period. It was a concert to promote unity, love and FIGURE 43: JIMI HENDRIX
fraternity. The concert was rocked by musicians including Jimi LIVE AT WOODSTOCK
Hendrix.
5.3.2.4 PART IV – MESSAGE MUSIC
Most themes found in rock and roll during this era dealt with
love and relationships gone wrong. It followed the war on
Vietnam & the various protests being undertaken. The music
was an attempt to reflect upon the events occurring at that time
like the civil rights movement, the growing unrest over the war
in Vietnam, and the rise of feminism.” The “message” within
the song focused on peace. Many songs received substantial
airplay and became “anthems” at concerts, rallies, and
demonstrations. FIGURE 44: BOB DYLAN LIVE
Bob Dylan, Joan Baez, Phil Ochs, and the group known as Peter,
Paul, and Mary are the most well-established musicians from folk tradition. Barry McGuire, a
poet who experienced the world's increasing chaos, sang in 1965. Bob Dylan, Joan Baez, Phil
Ochs, the group known as Peter, Paul and Mary are the most popular musicians from folk

tradition. Barry McGuire, a poet, struck the cartoons in 1965, with a song illustrating the
world's growing instability.
FIGURE 46: CREAM LIVE IN ROYAL ALBERT HALL, 1968 FIGURE 45: THE WHO LIVE IN THE 60S
The universe started to govern by other prominent hippy and psychedelic groups, including
Pink Floyd, The Who, The Rolling Stones, The Yardbirds, the Thanksgiving Dead, Jimi
Hendrix, Cream, and others. Their drug-induced songs and hypnoses melodies also produced
the counter-cultural revolution, the trendsetters.
FIGURE 48: DARK SIDE OF THE MOON, FIGURE 47: BLACK SABBATH LIVE
PINK FLOYD
Other genres of rock began to emerge such as progressive rock which is experimenting with
other instruments other than guitar, bass and drums. This was popularized by Pink Floyd. Folk
rock was popularized by Bob Dylan and Janis Joplin. The 1960’s ultimately gave birth to heavy
metal which is a thick, heavy, and highly amplified genre of rock mainly popularized by Black
Sabbath. The world was just now beginning to witness the tremendous power & impact rock
really had on society.
FIGURE 49: THE YARDBIRDS

5.3.3 THE 1970S
The marches ceased and citizens started to settle in
the 1970s, the Vietnam War had finished. The music
even died down along with that. The Beatles division
and the demise of John Lennon were observed
throughout the country. Rock music in the 70’s took
together diverse communities and fans more than
ever before. Music from rock has become modern
styles such as Hard Rock, Heavy Metal & Punk
Rock. With its great mix of hard rock and blues, Led
Zeppelin became highly popular. In this period there FIGURE 50: LED ZEPPELIN WITH THEIR AIRCRAFT
have been really popular bands and musicians like
David Bowie, The Eagles and Queen.
FIGURE 51: DAVID BOWIE FIGURE 52: JOE WALSH, THE EAGLES
Towards the late 70’s the world also witnessed the rise of Punk Rock. The founding fathers of
punk were The Ramones. They combined anarchism and teenage rage with rock and roll and
this came to be known as Punk Rock. Other bands such as The Sex Pistols and The Clash
helped popularize and redefine punk rock. This new, powerful and intense genre of music
influenced many bands of the future.
FIGURE 53: THE RAMONES
FIGURE 54: FREDDIE

MERCURY, QUEEN

5.3.4 THE 1980S
And then came the 1980’s. Rock Music revolutionized
itself in a way that everyone wanted to be part of the
upcoming scene. The music took a different turn, more in
terms of punk rock, new wave, heartland rock and
alternative rock. Most people would think of the 80’s as
all about big hairdos and androgyny. The eighties saw
everything from enthusiasm to neon pink socks, worn by
men. Creativity was expressed so greatly in the 1980’s
FIGURE 55: EDDIE VAN HALEN SHREDDING
and artists wore their individuality with pride. The 1980’s GUITAR
music scene is possibly considered as one of the strangest
times in the evolution of rock music. Music artists were doing everything, a mix of bubble-
gum pop, sentimental forever ballads to thumping electric beats and even the hardest rock
metal. This decade practically saw it all.”
Artist such as Bruce Springsteen, Guns and Roses, Van Halen, AC/DC, Aerosmith, Iron
Maiden, Metallica, Bon Jovi, and Motley Crue can best be remembered for their power ballads
and great guitar solos.
FIGURE 56: AC/DC LIVE IN THE 80S FIGURE 57: GUNS N ROSES LIVE, 1980S
The well-known experimental rocks, or Progressive Music, started to surface in the late 1980s,
with the involvement of bands like U2, REM, The Cure, The Smiths and Sonic Youth. In bands
like the Black Flag and the Dead Kennedys, Punk became more popular too.
Whatever the difference, the music of the 1980s was a major success. This is because the music
was people's minds talked, because there was no reason, you might identify with Phil Collins
slow ballads at night and render your black leather jacket and rock to Iron Maiden at night.
Free speech, experimentation and lyrics were an important feature in the 1980s. And that's
exactly why they claim they never disappear in the 1980s.
5.3.5 THE 1990S
In the early 1990s, Grunge and hard music became established. The
most famous grunge collective of the 90s came to become known
as Nirvana. The music from Grunge can be represented as dirty
guitar, powerful distortion guitar riffs and feedback. There were
grim songs that conveyed adolescence agony. Pearl Jam, Nirvana,
Jane's Addiction and Alice in Chains have become popular with
grunge and alternative bands.
FIGURE 58: KURT COBAIN,
NIRVANA

The Billboard magazine created the music industry’s commercial popularity. Instead of
utilising business manipulated word of mouth, it altered the way it categorised individuals and
albums of musicians by counting real retail purchases. Selling Rock suddenly beat pop, and
styles like country and hip-hop, which were "minority," started hitting lists. Investment in these
minority genres has thus driven the market.
In the nineties, music was proven for the listener and the philosophy behind music was to see
the artist as a whole, his creation, his party, his songs, his portrait, his music video and his
character. Many of them had a favourite musical style and a favourite genre, a favourite singer
and a favourite song. There were a lot of options at this point, you couldn't help.
5.3.6 THE 2000S
Alternative rock even today is one of the popular and broadest
genre of rock music. Emo, is a new sub-genre of rock that consists
of intense emotional lyrics with hardcore punk roots. It was
popularized by bands like From First to Last, The Used, Brand
New and softer bands such as Dashboard Confessional and Bright
Eyes which can also be described as indie.
Heavy metal has now reached an extremely new level. Sub-genres
of heavy metal like black metal, death metal and thrash metal which is very loud, aggressive
and fast entered the industry. Popular hardcore metal bands include Slipknot, As I Lay Dying,
Korn, Norma Jean and Cannibal Corpse.
Alternative rock has now become an all-time hit with bands such as Incubus, Red Hot Chili
Peppers, Chevelle, Coldplay, and the Foo Fighters. Pop rock is another popular genre. It is rock
mixed with a more mainstream approach and popular lyrics. Pop rock bands include Fall Out
Boy, All-American Rejects, Ashlee Simpson, Avril Lavigne, and others.
Another form of music that came about was the rap rock. They symbolized the fusion of the
raw, street music and hard rock pelting beats. It was an instant hit with the fans of both the
genres. Examples of such were Linkin Park, Limp Bizkit, Faith no More, Rage Against the
Machine, etc.
FIGURE 59: CHESTER BENNINGTON, LINKIN PARK

CHAPTER-6 ASSESMENT OF CASE STUDIES
6.1 NATIONAL MUSEUM, DELHI
6.1.1 INTRODUCTION
One of India's main museums is the National Museum in New Delhi. It includes various objects
from the pre-historical time to contemporary artworks. It was set up at the Durbar Hall in
Rashtrapati Bhavan on August 15, 1949. It runs under the Indian administration, the Ministry
of Culture. The museum is located at the edge of Maulana Azad Road and Janpath. The Gwyer
Committee formed by the Government of India in 1946 prepared the National Museum
blueprint. The museum comprises of some 200,000 artworks of Indian and international
heritage ranging over five thousand years.
In the first floor, which was established in 1983 and is now called the University since 1989
and has been operating Masters and Physiography courses on art history, conservation and
museology, it also has the National Museum of Art History, Museum Conservation and
Museology.
6.1.1.1 RELEVANCE
The National Museum is one of India's main and most well-designed institutions, and the
museum is also nearby. Proposed project location, which makes it necessary to pick the field
and problem to understand their design function. As the National Museum of India, collection
is also progressively critical in understanding museum planning background and facets.
FIGURE 60: DISPLAYS IN MUSEUM
6.1.1.2 SITE
The museum is situated on the corner of Jan path and Maulana Azad Road over an area of 7.5
acres, with a build-up area of about 18,000 m2
Latitude: 28° 36' 42.4764" N
Longitude: 77° 13' 10.1748" E
Connectivity-
 1.2 km away from Central Secretariat Metro Station
 3.8 km away from New Delhi Railway Station
 14.5 km away from Indira Gandhi international Airport
 Nearest stops: National Museum Bus Stop

CLIMATE-
 Macro-Climate: Humid Subtropical
 Average Temperature: 25.0 °C
 Maximum Temperature: 47.0 °C
 Minimum Temperature: -2.2 °C
 Annual Precipitation: 886 mm”
 Prevailing Wind Direction: 18km/h North-West
FIGURE 62: PREVAILING WIND
DIRECTION
6.1.1.3 SCALE
"lf you spent only one minute with each piece in the National
Museum's collection, it would take three years, nine months and
twenty-three days to view every item. Recognizing that 2,00,000
sculptures, paintings, coins, decorative arts, textiles, arms and
armours, manuscripts and anthropological objects can
overwhelm even most enthusiastic visitor. It has about 25 main
art gallery sections for encapsulating the diversity of the museum.
The museum also encompasses a grand library and auditorium
which make this museum one of the largest and well-designed FIGURE 62: SUN PATH
DIAGRAM
museums in India” - Published by National Museum. 2018. The
Museum in 90 minutes Vol. I: 2
6.1.2 AREA PROGRAMME
6.1.2.1 AREA DISTRIBUTION
FIGURE 63: SITE DISTRIBUTION
FIGURE 64: AREA DISTRIBUTION

6.1.2.2 AREA CHART

TABLE 1: AREA CHART

6.1.2.3 USER ACTIVITY
USER ACTIVITY SPACE
“Harappan Civilization
Gallery
Mauryan Gallery
Gupta Gallery
Terracotta Gallery
Bronze Gallery
Medieval Art Gallery
Buddhist Art Gallery
Jewellery Gallery
Decorative Art Gallery
Miniature Painting Gallery
Textile Gallery
Western Art Gallery
Copper Gallery
Visual Experience
Wood Carving Gallery
Tribal Art Gallery
Music Instrument Gallery
VISITOR Arms & Armour Gallery
Asian Antique Gallery
Ethnic Art Gallery
Coins
India Wall Painting Gallery
Manuscript Gallery
Maritime Heritage Gallery
Ajanta Painting
Thanjavur Painting Gallery
Special Exhibition
Auditorium
Shopping Museum Shop
Reading Library
Cyber Room
Parking Parking Area
Sanitation Toilet
Beverage & Food Restaurant
Staff Canteen
Official Work & Monitoring Office
Server Room
ADMINISTRATION Services Maintenance
& SERVICE STAFF Janitor Room
Store
Housekeeping Centre

High Tension Control Room
HVAC Room
Meeting Meeting Hall
Seminar Hall
Retiring Staff Rest Room
Beverage & Food Pantry
Sanitation Staff Toilet
Restoration Lab
WORKER STAFF Restoration Store
Reserve Collection”
TABLE 2: USER ACTIVITY
6.1.3 ARCHITECTURAL DRAWINGS

6.1.3.1 CONCEPTUAL PLAN
The building has been planned to fuse with the surrounding site. It was the first centrally
designed museum. The house consists of four levels and a cellar. The building's general plan
is a fan with an intermediate courtyard and a screened veranda. Wings are linked by numerous
specifications and necessities with the courtyard. Therefore you notice that after you have
watched the exhibits you are back at the same location as when you stopped.
FIGURE 65: CONCEPTUAL DEVELOPMENT OF THE MUSEUM
6.1.3.2 SITE PLAN

The site is not well planned and spaces are not segregated. There is no adequate car park and
the countryside is not well-designed. The neighbouring building provides parking services.
FIGURE 66: SITE PLAN

6.1.3.3 CIRCULATION PLAN
The philosophy behind the pattern of circulation was to encourage tourists to explore any part
of the show and not to neglect it.
FIGURE 67: GROUND FLOOR FIGURE 68: FIRST FLOOR FIGURE 69: SECOND FLOOR
6.1.3.4 ZONING
Both horizontal and vertical zoning is carried out. In the basement of
the museum are administration and other personnel rooms. Also in
the basement are services such as HVAC, electrical and other.
Exhibitions are on the highest floor. Exhibitions. The museum is split
into accessible rooms, change rooms and exhibits. This zoning is a
perfect guest experience for this museum.
FIGURE 70: HORIZONTAL
6.1.3.5 FLOOR PLANS ZONING
Display halls with central circulation courts 6 metres wide are interconnected. Separate VIP
and medically impaired entry is eligible. The cellar includes the AC plan space, a coffee shop
and a workspace.
FIGURE 71: BASEMENT PLAN FIGURE 72: GROUND FLOOR PLAN
The ground floor contains Harappan Gallery of Civilisation, Mauryan Gallery, Gupta Gallery,
Terracotta Gallery, Gallery of Bronze, Gallery of Medieval Art, Gallery of Buddhist Art,
Gallery of Jewels, Decorative Gallery, Gallery of Miniature Painting, Auditorium and Library.
At First Floor are located tokens, Indian Walls Painted Gallery, Manuscript Gallery, Ajanta
Paintings, Thanjavur Painting Gallery and the Unique Show.

The Textile Gallery, Western Art Gallery, Copper Gallery, Wood Carving Gallery and Tribal
Art Gallery are situated on the second floor of the property.
FIGURE 73: SECOND FLOOR PLAN FIGURE 74: FIRST FLOOR PLAN
6.1.3.6 DETAILS
FIGURE 75: SPECIAL EXHIBITION PLAN I
FIGURE 76: SPECIAL EXHIBITION PLAN II

6.1.3.7 ELEVATIONS
FIGURE 77: NATIONAL MUSEUM MODEL FIGURE 78: COURTYARD
FIGURE 79: FRONT ELEVATION
6.1.4 MATERIALS
FIGURE 80: USE OF ALUMINIUM & WOOD IN THE MUSEUM
The interior is built using timber, glass and stone. Marble and oak are the floors used. The
hue and rendering of various watts is achieved to prevent monotony. In several pieces, as the
Bronze and Coin Gallery, aluminium is often used. Strong strength R.C.C. and red sandstone
are designed for construction. The house is supplied with temporary buildings.

6.1.5 LIGHTING
Each show is fitted with its own concentrated light, diffused close lights are used in fake
ceilings or hung by steel. Within the museum there is no natural light. Artificial illumination is
achieved by minimising daytime exposures. Only in the middle circulation court is natural
lighting used. Well experimented with centred lighting in various positions with concave and
convex lenses. The gallery was dark in the jewellery area, with limited illumination in the
recessed pockets. The whole layout is round the central rotunda that illuminates the entire
passage.
FIGURE 81: EFFECTIVE USE OF SPOT LIGHTING
6.1.6 OBSERVATION
A significant number of 9,600 pieces are in the set, depicting aesthetically and votively diverse
subjects-royal ladies, musicians, performers, royal scenes and even animal figures depicting
aesthetic facets of art and mythology, storeys, narratives or pictures of the deity that reflect the
religious aspects. One of the museum’s best facets is the concept of the circulation pattern,
which is to allow tourists feel at any gallery in a time series. The tourist did not get adequate
parking, the Indian building was archaeologically surveyed for parking. Just the façade of the
front had been expressed. Toilet location was not correct; access was concealed by the landing
of staircase. Fire escapes and it is hard to get out of the position in the event of an incident.
6.1.7 DESIGN ANALYSIS
In various galleries, the Department has displayed the artefacts on the cellar. While scholastic
method will often have a different interpretation, each gallery has properly categorised artefacts
based on their dynastic, stylistic, chronological and religious characteristics. Since the museum
has a ramp, the architecture is not universal.
The usage of artificial illumination within the shadows balance gallery is one of the museum’s
key designs to keep sculptures and artefacts from being subjected to bright daylight. The inner
courtyard is set to illuminate the hallways.
6.1.8 CONCLUSION
The museum is the most important museum in the field in archaeology, and there are a broad
variety of sculptural masterpieces in this medium: marble, terracotta, stucco, bronze gold,
silver, ivorian and bone ranging over two centuries from the 3rd century BC to the 19th century
AD. The museum is worthy and has its rejections. It has one of its key benefits, because of its
zoning and circulation pattern, although the landscape is not built at the optimum level due to
lack of space. Contemporary styles are the usage of fabrics and certain new sections. One of
the strongest architectural features of the museum is the division of rooms, temporary and
permanent exhibits.

6.2 PANORAMA HOUSE
The spatial influence of rectangular box design-like concrete frames-sets a house in the vicinity
of Nashik. A distinct horizontal silhouette is produced by the colourful compositional and
building elements: a near vertical scale stretches the horizontal environments of the structure,
as well as the landscape outside the structure.
FIGURE 82: PANORAMA HOUSE
PROJECT: Panorama House

LOCATION: Gangapur Dam Backwaters, Nashik
ARCHITECT: A for ARCHITECTURE
DESIGN TEAM: Ajay Sonar, Monali Patil
SITE AREA: 1 acres
PROJECT AREA: 400m2
The house in the landscape is a powerful and oft - seen
image in the annals of architecture. Ajay Sonar's Panorama
House rakes up memories of the images of Craig Ellwood's
houses. But here, industrial steel gives way to reinforced
concrete - and slick metallic chic to the rugged hues of the
terrain. Situated a half hour's drive from Nashik's city
Centre, the Gangapur Dam lake as it is known has become
a fashionable destination for those who can afford to live
FIGURE 83: SITE PLAN
at a distance from the city, and with its bowl - like
landscape it potentially will see the kind of transformation that the surroundings of Pavna Lake
have witnessed.

FIGURE 84: GROUND FLOOR PLAN
The mounds create an intimate living condition on the lower level - where one finds the more
private spaces of the house - a master bedroom, a private living area that also opens up to the
pool on the lakeside, as well as the kitchen and the bathroom. The assertion of the space is a
dual condition of the burrow on one side, and the wide expanse of the lake seen beyond the
pool on other side towards the north - west, sheltered by the large overhang of what forms the
definitive singular image of the house's architecture.
FIGURE 85: FIRST FLOOR PLAN

FIGURE 86: PHOTOGRAPHS OF THE EXTERIOR OF THE HOUSE CAPTURED FROM VARIOUS ANGLES A DIFFERENT
TIMES OF THE DAY INDICATE THE WELL -DEFINED CONTOURS OF THE STRUCTURE AS WELL AS THE
TOPOGRAPHY AND RUGGED HUES OF THE SURROUNDING TERRAIN.
In such a background, the purpose could not have been easier than to construct an area which
would merely frame the idyllic image and to look at the glorious weather and seasonal play
that animates a perfect scene. The idea here is to work with architecture, room creating and
materials as least as possible. Being a room that is fluid. The boundaries between the inside,
the outside and the outside are often distorted.
In this house built by us, we are only incorporating three materials in a dedication to preserving
the integrity of space and also as a vital stand counter to current patterns in the usage of an
almost unlimited quantity of fake materials and artificial finishes. The colour of the earth and
mountains around the building blends to allow us to view it as a whole.
FIGURE 87: ELEVATION
FIGURE 88: EXTERIOR VIEW OF THE PANORAMA HOUSE

The house is a plain pigmented concrete cuboid built to complement the surrounding soil
colour, backed by an even grid of slender Miesien columns. With this plain purpose in mind.
A kind of prosperity and slender co-existence-much like Corbusier’s marriage to Mies for a
single subtropical form of residence.
FIGURE 89: SECTION
Concrete becomes here an all-round material that not only shapes

the box construction but also the completed ceiling and floor
surfaces. The elegantly proportioned structural box is
intermittently kept up by a series of cross-formed, angled steel
columns, an homage to Mies, certainly; yet here the columns
display their optical lightness with their interstitial gaps and so the
overall visual feel and feeling of levitation is accomplished.
Therefore, a house with a plain and specifically built diagram of
served and servants' rooms, verandas on both sides contribute to
the book feeling strong - and the lower decking height of the
concrete box, built in a deliberately designed manner, generates a
rooms of intimate domesticity wedded to the shear space of the
countryside. The colour of the earth and mountains around the FIGURE 90: AXONOMETRIC VIEW
building blends to allow us to view it as a whole.
This increased the horizontal spread of the home's setting, as does the closely vertical
dimension outside the building. The internal furniture and therefore the landscape view outside-
living luxuries are scarcely the core characteristic of the luxury of the outer world.
FIGURE 91: THIS SPREAD: THE LARGE LIVING SPACE ABOVE, AS WELL HE TWO BEDROOMS THAT
OCCUPY THE EACH END OF THE STRUCTURE LEND VISUAL DE TH WHILE THE MINIMAL
NATURE OF THE II HTIN AND INTERIOR FURNISHINGS EMPHASIZE THE VIEW OF THE
LANDSCAPE BEYOND

6.3 THERME VALS
“Mountain, stone, water – building in the stone, building with the stone, into the
mountain, building out of the mountain, being inside the mountain – how can the
implications and the sensuality of the association of these words be interpreted,
architecturally?”
- Peter Zumthor
Built over the only thermal springs in the Graubünden Canton in Switzerland, The Therme
Vals is a hotel and spa in one which combines a complete sensory experience designed by Peter
Zumthor.
FIGURE 92: THERME VALS
LOCATION: Graubünden, Switzerland

DESIGN AND CONSTRUCTION: 1986-1996
CLIENT: Municipality of Vals, Graubünden
ARCHITECTS: Peter Zumthor
MANUFACTURERS: Vitrocsa, Stonecon, Truffer Natural Stones
6.3.1 HISTORY
In the 1960s a German property developer, Karl Kurt Vorlop, built a hotel complex with over
1,000 beds to take advantage of the naturally occurring thermal springs and the source, which
provides the water for Valser mineral water, sold throughout Switzerland. After the developer
went bankrupt, the village of Vals bought up the five hotels in the development in 1983 and
resolved to commission a hydrotherapy centre at the centre of the five hotels, at the source of
the thermal springs. In 2012 the hotel and spa, previously owned by the Vals community, was
sold to the investor Remo Stoffel.

6.3.2 SITE
SITE
FIGURE 93: LOCATION PLAN FIGURE 95: SITE PLAN
BUILDING SITING: Therme Vals sits in the hillside as a natural rock outcropping, balanced
between the existing buildings on the site, navigating views and visits. Vals at the base of the
Swiss Alps is about, water, and the landscape. Therme Vals is about water, in the landscape.
Vals lies an hour away from Chur by car, deep in a valley dotted with shepherd huts and
enlivened by the sound of cowbells. Above the village, a tributary cascades down to meet the
upper Rhine. It’s a peripheral spot, dependent upon agriculture and tourism.
6.3.3 CONCEPT
Therme Vals became an icon of contemporary
architecture. From above, the new building is
almost invisible. The hillside meadow slopes
down to spread horizontally out onto a terrace
which will soon read as a carpet of blue
flowers.
From above, the new building is almost
invisible. The hillside meadow slopes down to
spread horizontally out onto a terrace which
will soon read as a carpet of blue flowers. In FIGURE 94: PUBLIC REVITALIZATION
this field are fissures of translucent glass and
a square bed of down lighters, a little like mechanical sunflowers. The roof is protected from
the ‘meagre meadow’, and from the hotel complex to the north, by a simple railing but then
erodes towards the south to reveal a swimming pool and sunbathers on flat slabs of rock.
From the road below, the building appears as an embankment, a monolith of compressed stone
with large ocular openings. Not so much a building as an earthwork, Zumthor’s design is about
digging and mounding up; it’s archaic and primary. It’s also extremely sensuous.
The spa building embraces many natural elements, such as heat, light, water, stone, sound in
distributions and combination beyond conventionality while comprising an environment of the
senses. The concept of public bath itself is intriguing, since it can connote the ideas of baptism
and purity, since baths were a Roman tradition.

6.3.4 PLANS
FIGURE 95: PLAN AT UPPER LEVEL
FUNCTIONS- MASSAGE ROOMS & RESTING AREAS
FIGURE 96: PLAN AT LOWER LEVEL
6.3.5 SECTIONS

The Baths is reached from the hotel by a circular
tube. This connexion's subterranean existence is
important since it dislocates people from outside
the earth. A knight pushes 90 degrees to clear a
tubular turnstile and 90 degrees again to connect
with a long shadowy hallway through where you
would be able to hear a few hacks. This takes you
to a tiered segment at the upper floor. At the east,
a void gives a peripheral view of the largest inner
pool and one of the great openings to the lower FIGURE 97: FINDING A BALANCE WITH NATURE
valley.
The cabins are set out for bathers in much brushed red mahogany. You stand on a terrace above
the largest indoor pool as you walk back. There's a right side (containing showers and
washrooms and steam rooms), but the emphasis is on the water's surface, on the sun, and on
the steadily falling step-by - step ramp that any able body has to go.
A longitudinal opening in the top roof admits a bright sunshine strip. The main pool is a room
for rotating that the bather returns to every time. All over there are wide stone shafts with
sunshine stripes from above and upwards vertical beams. The underneath of the light fittings
on the 'meagre meadow' is 16 little, light blue rooflights immediately above. The next strategy
for Zumthor is to create generous interlocking spaces out of those pinwheeling blocks of stele,
while the main step at Vals is to reform the hillside in order to occupy the Alpine Topography
(part-cave, partial pavilion).
The blocks, which in turn include orthogonal spaces, may be perceived to have been sculpted
from the rock, but are designed as a volumetric construction by the architect.
MATERIALS USED: Concrete, glass, stone, highly polished red mahogany, water,
composite of in-situ concrete and load-bearing gneiss from a local quarry.
6.3.6 FEATURES OF THE STRUCTURE
 GRASSED ROOF: The roof panels are extensively
planted with grass and thereby integrate into the
landscape.
 SUNK IN THE HILLSIDE: He couldn't build outside
and sunk the house to a hillock roof with flat roof units
that exactly fit the landscape.
 “VERNACULAR ARCHITECTURE: It is the same
material used for the roofs of the Vals village houses and
it comes straight from the mountain. These slabs make the
building look strong, resistant, even violent and rough,
just like the alpine landscape.
 FAÇADE: The only façade the building has, is made out
of these stones and interrupted by wide openings and FIGURE 98: MAIN ENTRANCE
windows. The symmetry of the exposed façade with the
environment is unique but what is also amazing is the fact that there are no doors in this
façade.

 ENTRANCE: In order to enter the spa, the only way was from the nearby hotel
complex, using a corridor through the mountain. This dark corridor really did the trick.
 15 DIFFERENT UNITS: The spa building is
made up of 15 different table like units, 5 metres
in height, with cantilevered concrete of units
supported by tie-beams.
 RED AND BLUE ROOMS: The baths where
the water is hot, calm red lighting is used and the
concrete walls are tinted red; while where the
water is cold, the lighting is blue.
FIGURE 99: THE BATHS
 NON-LINEAR DESIGN: The different
rectangular units reveal what is revealed from the exterior: the naïve and childish design
of different rectangular and other shapes that brick together like a puzzle, better, like a
Tetris game
 THE ROOF HOLES: There are also gaps between the roof units that allow lines of
light, making the feeling of the heavy roof even lighter. As the natural light is filtered
through these small gaps, it creates the illusion that these massive concrete ceilings are
floating in mid-air.
 MYSTERIOUS ATMOSPHERE: The staircase, the dark corridor and the fountain
can be thought as these aspects. The fact that there is no designated way of exploring
the building makes us feel that it is like a walk in the woods, where you do not have a
specific path, but you wander and discover.
FIGURE 100: THE DRAMATIC STAIRCASE FIGURE 101: THE MYSTERY
FIGURE 102: NO SPECIFIC PATH TO WANDER

6.3.7 CONSTRUCTION DETAILS
CLADDING MODULES: The blocks is constructed of hand-packed 15-cent-thick plates.
This consists in turn of three layers of varying slabs of thickness. The arrangement of the eye
looks though random permitted a clear design.
60,000 mixed blocks (metamorphic rock produced from feldspar and the quartz and mica) are
made up of a single block of maceration.
FIGURE 103: MODULE SPECIFICATIONS
ROOF ASSEMBLY: The overhanging roof of the each units doesn’t coincide with each other
it creates a beautiful natural light effect in the building.
FIGURE 104: NATURAL LIGHT

CHAPTER-7 CONCLUSION
The primary goal of the case study and literature study was to consider the museum's
architecture dimensions. Every room has its own value and every room plays an important part
in the livelihood. In order to identify these areas and their architecture elements, case studies
and literature studies are important. As a result of this research, it seems that Minimalism and
Phenomenology are not temporary approaches. The biggest reasons is: function and experience
are one of the most emphasized features of Minimalism and Phenomenology.
The National Museum is one of India's main and most prominent museums. One of the
museum’s best facets is the concept of the circulation pattern, which is to allow tourists feel at
any gallery in a time series. Acquisition, Recording, Preserving and Exhibiting artefacts that
are deemed priceless due to its heritage, is of critical importance. This need is fulfilled by
Museums. They also help in educating the users of the space regarding the importance of these
artefacts via the medium of experiences of various kinds (Sensory).
In Minimalist attitude, everything is for humans. Minimalism discusses to remove elements
which are used for unnecessary visual ornamentation and minimalism highlight function and
functionality. Lighting stands out as one of the most important element of both the theories.
Even natural or artificial usage of lighting and taking the natural light thorough interior spaces.
Right use of openings is very necessary for the lighting and circulation between indoor and
outdoor space.
Contemporary minimalistic behaviour illustrates the functionality, user and user-space
partnership. In this situation, on the other hand, being too successful in simplifying the space,
also contributed to space being constructed without purpose, which is converted into true void.
Although minimalist spaces without an indoor setting are useless, certain elements are
substantially minimalist.
Phenomenology is not solely guidance on a fashionably lovely template, nor should it be treated
as an informed or contemporary movement. It is an instructional method, a method that leads
to architectural profundity and stresses its elegance in daily life. This study describes
architecture as the nature of life experience around us and the quest for calm by means of a
flow of modern society. Simply to enter space for the enjoyment of recollection and to get into
one's thinking regarding the structure of one's existence, to understand space not just because
of the uniqueness of one's history, but because of the effect of that unique history on the present
and future.
Rock music has also embodied and served as the vehicle for cultural and social movements,
leading to major subcultures including mods and rockers in the UK and the hippie
counterculture that spread out from San Francisco in the US in the 1960s. Similarly, 1970s
punk culture spawned the Goth, punk, and emo subcultures. Inheriting the folk tradition of the
protest song, rock music has been associated with political activism as well as changes in social
attitudes, and is often seen as an expression of youth revolt against adult consumerism and
conformity.

CHAPTER-8 BIBLIOGRAPHY
1. André Desvallées and François Mairesse (2010), Key Concepts of Museology

2. Jonah Siegel (2008), The Emergence of the Modern Museum
3. International Council of Museums-ICOM (n.d), Mission and Objectives, About the
Council and their Objectives. Retrieved from:
https://icom.museum/en/about-us/missions-and-objectives/
4. Prabhas Kumar Singh (n.d), Museum and Education, Vol. 47, No. 1
5. Archaeological Survey of India-ASI (n.d), Museum, History of museums in India.
Retrieved from: https://asi.nic.in/museums/
6. Museum Planner (n.d), Types, Different varieties of museums. Retrieved from:
https://www.museumplanner.org/wp-content/uploads/2011/07/Museum
7. Fandom-Museums (n.d), Types, Different varieties of museums. Retrieved from:
https://tractors.fandom.com/wiki/Museum
8. Elizabeth Gay Hunt (2009), Study of Museum Lighting and Design, San Marcos, Texas
9. M Senthil (n.d), Planning, Analysis and Design of Museum Building, Chennai
10. United Signs (n.d), The Cone of Vision. Retrieved from:
https://www.unitedsignsca.com/The-Cone-of-Vision
11. Jack V. Miller and Ruth Ellen Miller (n.d), Museum Lighting - Pure and Simple,
Delaware
12. Geoffrey Matthews (n.d), Museums, Art Galleries and Temporary Exhibition Spaces
13. Wikipedia-Minimalism (n.d), Minimalist design and architecture, Describing
Minimalist Architecture and Design by referring prominent figures. Retrieved from:
https://en.wikipedia.org/wiki/Minimalism#Minimalist_design_and_architecture
14. Kriti Bafna (2018), Minimalism in Architecture, Jodhpur
15. Lewis Metcalf (n.d), De Stijl. Retrieved from:
http://lewismetcalf.weebly.com/research.html
16. Designing Buildings (n.d), De Stijl. Retrieved from:
https://www.designingbuildings.co.uk/wiki/De_Stijl
17. Oleg Mokhov (2011), Minimalist Design: A Brief History and Practical Tips,
Traditional Japanese Design. Retrieved from:
https://spyrestudios.com/minimalist-design-a-brief-history-and-practical-tips/
18. Amin Aizat (2017),Interpretation of minimalist architecture according to various
cultures
19. Harry Francis Mallgrave and David Goodman (2011),An Introduction To Architectural
Theory 1968 To The Present, 1st Edition, Wiley-Blackwell
20. Hassan Ebrahimi Asl, Siamak Panahi and Manouchehr Foroutan (2017), Recognition
of the Component of Parallax and Finding its Roots in Forming the Design Philosophy
of Steven Holl, Vol.14
21. Wikipedia-Phenomenology (n.d), Phenomenology in Architecture, Elucidating the
history of Phenomenology in Architecture. Retrieved from:
https://en.wikipedia.org/wiki/Phenomenology_(architecture)
22. Peter Zumthor (1998), Thinking Architecture, 1st Edition
23. Mohammadreza Shirazi (2009), Architectural Theory and Practice, and the Question of
Phenomenology, Iran

24. Scott Schinder with Andy Schwartz (2007), Icons of Rock- An Encyclopaedia of the
Legends Who Changed Music Forever
25. Eric Clapton (2007), Clapton: The Autobiography, Broadway Books

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Museum Architecture And The Implications Of Minimalism & Phenomenology 1

Place: Mayur Vihar, Phase-1

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1.1 NEED FOR THE STUDY

FIGURE 1: MINIMALISM RETROSPECTIVE FIGURE 2: PHENOMENOLOGY OF

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2.1 UNDERSTANDING MUSEUM ARCHITECTURE

FIGURE 3: DALI MUSEUM FIGURE 4: MUSEUM OF ORDOS, MONGOLIA

FIGURE 5: MUSEUM OF THE FLAMINGO DANCE

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Museum is an abode, where art and knowledge hold

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FIGURE 11: MUSEUM PLANNING PROCESS

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FIGURE 12: CIRCULATION DIAGRAM

Designing circulation spaces should be –

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FIGURE 13: GALLERY CIRCULATION

FIGURE 14: CIRCULATION PATTERN

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FIGURE 15: TYPES OF DISPLAY

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FIGURE 16: EXHIBITION SPACES

FIGURE 17: DISPLAY STANDARD

3.7.6.1 DISPLAY CASE

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FIGURE 19: CONE OF VISION

3.7.6.2 CONE OF VISION

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FIGURE 22: SERVICE LAYOUT

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4.1 MINIMALIST ARCHITECTURE AND DESIGN

FIGURE 23: THE RECONSTRUCTION OF LUDWIG MIES VAN

4.1.1 MINIMALIST ARCHITECTURE CONCEPTS AND DESIGN ELEMENTS

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FIGURE 27: EAMES HOUSE FIGURE 26: DE STIJL INFLUENCE

4.1.2.2 LUDWIG MIES VAN DER ROHE

 Having a minimal structural framework

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and metaphor that there is no such thing as a meaningless

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5.1 ROCK MUSIC AND ITS RAPID EVOLUTION