ARCHITECTURAL

DESIGN - V

NAME: VISHAAKH P
USN: 1BQ21AT070
BMS SCHOOL OF ARCHITECTURE
 LITERATURE
Case study: CENTRO BOTIN
as there was a lot of moving
The Centro Botin, a space for art, culture traffic, the architect reno
and education, projecting into the Bay of piano
Santander, was used as a parking space created “very huge park, and
completely open. and because
until it was built
the traffic
goes down, we gain a lot of
surface where there will be no
street, no sound,
no pollution and no
LOCATION:
phycological sense of
Santandar, spain
insecurities that comes from
principal architect: Hemmed in between the park and the sea, and on traffic”
renzo piano the axis of the public market, the new Centro
typology: Botin is half based on the land and the other half
visual art workshop center suspended over the water on stilts.
size:
6823 sq.m The project restores the ties between the
historical part of the city and the sea.

DESIGN CONCEPT it was considered “the most social project and

Piano has said of Centro Botin, that "from the
very beginning, I wanted the building to fly"; it is
clear from the completed project that he has
achieved this end and much more.
Centro Botín is an exemplar of the metaphoric
function of architecture, converging art with
culture, the city with the sea, and the earth with
the building is divided into two parts with a
the sky. the size and presence of Centro Botin is
skilfully calibrated to resonate with the scale
of the small city within which it is situated.
the light, the sea, and the architecture,
with highest capacity to create cultural and
these are the elements which architect
economical health”. 77 million euro was invested
renzo piano bought together in order to
in this project and 1400 jobs were made
make the botin center a reality
available
courtyard and separated
by a cantilever walkway above the sea

The exhibition
areas, which
require high
the ceramic facade was made precision and
to convey a magical adaptable
feeling reflecting light and illumination,
waves
have been lit
with Palco
spotlights,
installed on
tracks
The two bodies that make up the building are
completely faced with 280,000 small, slightly rounded recessed in the
ceramic tiles, pearl-coloured and vibrant, that ceiling.
reflect the sunlight, the sparkle of the water, and
the rarefied atmosphere of Cantabria.

east facade
The east volume houses an auditorium rising to
double height and cantilevered over the sea.
In the East Wing there is a 300 seat auditorium,
lit by recessed Reflex luminaires , and an
educational area.

77
m

m
85
west facade
its west façade equipped with a LED screen
50m

for screenings and outdoor cinema.

In the West Wing the exhibition galleries are
located on two floors, both lit from above by
a roof made of laminated glass, aluminium and
white canvas.
 PHYSICAL
location: bengaluru, india
type: museum
Architects: Mathew and Ghosh Architects
Area: 4089 m²
Year: 2023
The Museum of Art and Photography, Bangalore India,
MAP plays on the tensions between the idea of
collecting -collating, containing, and storing - which
is the fodder for curatorship, and engagement with
communities that embed the work as part of lived
experience in the city of Bangalore, from the mundane
to theatrical, and exotic to equal. The Museum design
internally predicates art and its showcase over
spatial dramatics to present generic gallery spaces,
that insulate precious art and artifacts from
ultraviolet light.
The hermetically sealed stainless steel imagery
subverts the pristine iconic and exclusive by the
election of material and motif that is mnemonically
relatable to the idea of containment - the stainless
steel post-industrial water tank:
The Museum of Art & Photography in Bengaluru opened
to the public on February 18, revealing an
extraordinary collection of South Asian art. Its
collection of over 60,000 works emphasises the
contemporary, blurs the high-low deliberately, and
includes newly commissioned works from
underrepresented communities to correct existing
gaps.
CASE STUDY: MUSEUM OF ART AND
PHOTOGRAPHY (MAP)
location map
DESIGN:
The building is wrapped in distinctive cladding
The upper floors of the 4,000-square-metre
museum are clad in stainless steel panels that
are embossed with a cross pattern often found
on water tanks.
According to the studio, this finish was designed
to present the idea that art, like water, is
precious.
It was designed to evoke the appearance of a
water tank
"This is a metaphorical reference to the capacity
of art to create a thrust on society and culture
for reflection, change and evolution," said Ghosh,
who lead the studio alongside Nisha Mathew.
"Here we reference art and it's increasing
preciousness, like water, within this stainless
steel clad container," he continued.
"It was our intent that the easiest way to recall
the MAP would be simply calling and recognising
it as a 'Tanki' – a local term for a water tank."
plans
live case
pictures
EXTERIOR:
From the outside, the building is reminiscent of a post-
industrial water tank, a metaphor for the capacity of
art to quench the thirst for wisdom, to galvanise society
and culture, and to reflect and evolve.
The stainless steel façade is emblazoned with
industrially pressed matte-finished panels that form a
container-like skin over the structure, holding a mirror
to the tanks of Bangalore's bygone colonial era.
The building also widens as it moves upwards, an
architectural intervention that optimises the structure,
allowing the galleries above to feel more generous, and
appear almost column-free.
In addition, MAP is poised to be the most inclusive museum
in India, with special integrations for people with
disabilities.
exterior views
study
there are different type of
user groups who visit the
museum; family, college
students, kindergarten
students, artists etc., all of the art installations here have a
here we can see a scanner next to them, which once you scan
them we can see information about and
kindergarten school on a
sometimes a video about
field trip to map
interactive spaces:
The museum lies at the intersection of art and
technology, with digital integrations underpinning the
exhibits on display. In the welcome atrium, for example,
flickering digital lamps, lit via QR codes, pay homage to
the Indian tradition of placing a lamp near the doorway.
Likewise, MAP's recently launched digital persona of the
late artist MF Husain – conceived in collaboration with
Accenture – lets visitors interact with the artist in real
time. Technologies such as photogrammetry for 3D-
scanning of artefacts, holograms, interactive
projections, interactive touch walls, sensor-based
digital art views, and AI-enabled art and pattern
searches, are among the tools available to bring each
exhibit to life and give each visitor a deeply
personalised experience.
Construction Ideology:
The idea of the 'veranda - plinth' off the street is a
significant marker of social discourse both at dwelling
as well as institutional scale in this geography: Its role
allows a dialogic space to negotiate visual visceral and
emotional engagements. The 'plinth of negotiations' may
thus weave threads of fragility and humility as one
traverses the landscape of discovery of the 'other'
versus art.
INTERIOR:
A public gallery space is located on the ground floor
The museum contains 620 square metres of gallery
space, with a large L-shaped exhibition space on the
ground floor set to be free to the public.
On the floors above, the steel frame is designed to
allow for large column-free spaces, including
the130-seat auditorium placed on the first floor.
The upper floors contain enclosed art galleries
Above this are four galleries that will be used for
paid exhibitions, along with a member's lounge,
library and learning centre.
Completing the building is a rooftop restaurant and
cafe that are designed as "a sanctuary" within the
city.
The main galleries are cocooned in opaque enclosures
that shield the artworks from exposure to
ultraviolet light, while also ensuring temperature
and humidity control.
At the same time, the circulation areas are enveloped
in glass, making nature a close neighbour and
mitigating museum fatigue (a selection of panes
feature a dichroic finish that projects a shimmering,
colour-shifting effect in relation to the changing
light and the position of the observer).
The experience culminates in a terrace that offers
unhindered vistas of the city, as well as the
neighbouring 300-acre Cubbon Park, one of the city's
historic hallmarks.
few other art installations
anthropometry for wall
for most pf the wall
hanging pieces
 SITE ANALYSIS AND STUDY
SITE LOCATION: SOIL TYPE: NOISE
Soil Type: The predominant soil type in Ramanagara District is red sandy loam. This MOST NOISE INTO THE SITE IS FROM THE MAIN ROAD SO
Longitude - 77.2712199
type of soil is well-drained and has good aeration, but it is also relatively low in organic AVOID PLACING STRUCTURES NEAR THE ROAD
Lattitude - 12.7118927 matter and nutrients. NOISE ALSO FROM THE WORKSHOP AT CERTAIN INTERVALS
Altitude - 709.918450m Soil Fertility: Soil fertility is generally low in Ramanagara District. This is due to a FROM NORTH WEST OF THE SITE
No-47/317,B.M Road number of factors, including the low organic matter content of the soil, the acidic soil
Archakarahalli,Vibhauthikere,Ramanagara,Karnataka - 562159 pH, and the leaching of nutrients due to the high rainfall

HISTORY:
RAMANAGARA DISTRICT WAS CARVED OUT OF THE ERSTWHILE BENGALURU RURAL
VEGETATION:
Ramanagara District is located in the southern Indian state of Karnataka. It is a tropical
SWOT
DISTRICT ON 23 AUGUST 2007, COMPRISING RAMANAGARA, CHANNAPATNA, region
KANAKAPURA AND MAGADI TALUKS. RAMANAGARA IS A TOWN AND A CITY with a variety of vegetation types, including:
MUNICIPAL COUNCIL IN THE INDIAN STATE OF KARNATAKA. IT IS ALSO THE Deciduous forests: These forests are found in the hills and valleys of the district. The
OPPORTUNITIES:
trees in
HEADQUARTERS OF RAMANAGARA DISTRICT.THE TOWN WAS KNOWN AS LARGE SPACE HENCE ROOM FOR SUTURE EXPANSION
these forests lose their leaves during the dry season. Some of the common tree species
SHAMSERABAD AT THE RULING TIME OF TIPPU SULTAN. IT WAS THEN CALLED
found in deciduous forests include teak, rosewood, and sandalwood.
CLOSEPET, AFTER SIR BARRY CLOSE (1756–1813) IN PRE-INDEPENDENCE TIMES. IT USE OF NATURAL FEATURES PRESENT IN THE SITE.
Thorn forests: These forests are found in the drier parts of the district. The trees in
WAS RENAMED RAMANAGARA BY THE FORMER CHIEF MINISTER OF KARNATAKA these PROVIDES FOR BUILDING FORM.
STATE MR. KANGAL HANUMANTHAYYA. MR. KEMPE GOWDA IS A ARCHITECT, forests have thorns to protect them from herbivores. Some of the common tree species
BUILDER AND A GUIDE FROM MAGADI TALUK OF RAMANAGAR DISTRICT. found
RAMANAGARA DISTRICT, PART OF THE RURAL DISTRICT OF BANGALORE, WAS SPLIT in thorn forests include acacia and babul.
IN 2007 AND REBUILT THE DISTRICT HEADQUARTERS IN RAMANAGAR TALUK WITH Scrub forests: These forests are found in the most degraded areas of the district. The
THREE OTHER TALUKAS, CHENNAPATNA, KANAKAPURA AND MAGADI. trees in THREATS:
these forests are stunted and have sparse foliage. Some of the common tree species HEAVY RAINFALL CAN WASH OFF FROM THE
RAMANAGARA DISTRICT HAS A POPULATION OF 10,82,739 IN 2011, ABOUT 50 KM
found ROAD INTO
FROM BANGALORE AND BANGALORE-MYSORE STATE HIGHWAY NO.17.
in scrub forests include lantana and euphorbia. THE SITE CAUSING FLOODING

macro climate analysis TOPOGRAPHY

Rainfall: Ramanagara District receives an average of 1,000 mm
of rainfall annually, with
THE SITE GETS GRADUALLY LOWER TOWARDS THE SOUTH EAST DIRECTION WITH THE LOW STRENGTHS:
POINT OF 2.5 TO 4.5M FROM ROAD LEVEL. SITE PROVIDES ROOM FOR FUTURE GROWTH AS
most of the rainfall occurring during the southwest monsoon season THEREFORE SERVICES SUCH AS WASHROOMS TO BE PLACED WELL AS PROVISION
(June-September). AT THIS AREA. FOR URBANIZATION
Temperature: The average temperature in Ramanagara District TO BE EASILY DRAINED OFF.
ranges from 22°C to 32°C. VIEWS TOWARDS THE SOUTHWEST AS WELL AS
The hottest months are May and June, while the coolest months are NORTH
December and January.
man made features
Humidity: The average humidity in Ramanagara District is high, THE LARGE TREE AT THE CENTER OF THE
SINCE THE SITE USED TO BE AN OLD BRICK FACTORY,
ranging from 60% to 80%. REMNANTS OF A BRICK KILN CAN BE SEEN AT THE EAST SITE COULD PROVIDE
The highest humidity levels occur during the monsoon season. OF THE SITE PROVISION FOR OPEN COURTYARD OR
Winds: The prevailing winds in Ramanagara District are from the TEMPORARY STRUCTURES
southwest during the
monsoon season and from the northeast during the winter season. LARGELY QUITE DEEPER INTO THE SITE.
Tropical monsoon climate in Ramanagara District
CIRCULATION AND ACCESS:
PRIMARY ACCESS INTO THE SITE IS FROM THE MAIN ROAD WITH NO SIDE SIDE ROADS INTO THE
Agriculture: The tropical monsoon climate is ideal for
SITE.
agriculture, and Ramanagara District is a MOST TRAFFIC AT THE MAIN ROAD IS DURING THE DAY TIME
major producer of rice, sugarcane, and vegetables. BEST ACCESS INTO THE SITE IS IN FROM THE MAIN ROAD WEAKNESS
Tourism: The beautiful scenery and pleasant climate make NOISY TOWARDS THE ROAD AND THE NORTH
Ramanagara District a popular tourist WEST HENCE AVOID
destination.
SURROUNDING CONTEXT: SPACES AT THOSE AREAS
Infrastructure: The high humidity and rainfall can damage ACCESS ONLY FROM THE MAIN ROAD SO
(VIEW G) SHOWS A COCONUT GROVE JUST OUTSIDE THE SOUTH WEST OF THE SITE.
infrastructure, such as roads and (VIEW E) SHOWS A TRACTOR WORKSHOP. AVOID PLACING PRIMARY STRUCTURE NEAR THIS SIDE PROVISION FOR
bridges. Impact of the tropical monsoon climate on Ramanagara Distric MOST NOISE FROM MAIN ROAD THEREFORE AVOID PLACING STRUCTURES THERE EXITS ARE NONEXISTANT
HOUSES PLACED ON THE EAST CORNER HENCE AVOID PRIMARY STRUCTURES

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 CONCEPT

MY CONCEPT WAS BIO-MIMICRY ARCHITECTURE, AND I WANTED TO MIMIC A SILK WORM OR A CATTERPILLAR.

BIO-MIMICRY ARCHITECTURE:
Biomimicry, a compound of the Greek words bios, meaning life, and mimesis, meaning imitation, is a design methodology that seeks to solve human problems by emulating nature’s time-
tested patterns and strategies. In architecture, biomimicry manifests itself in the creation of structures and urban layouts that mirror the adaptability and efficiency of natural
systems, promising improved energy efficiency, resilience, and sustainability.
IN THE PREVIOUS SEMESTERS I HAVE TRIED MIMICING A DRAGON FLY FOR A BACKPACKER’S HOSTEL PROJECT. AND THAT SEEMED A LOT MORE FUN, SO THIS IS MY APPROACH TO THIS PROJECT ABOUT A TEXTILE MUSEUM IN THE SILK
CITY- RAMANAGARA
SITE PLAN
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GROUND FLOOR PLAN
OR
MASTERPLAN
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FIRST FLOOR PLAN
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BASEMENT PLAN
SCALE 1:200
SITE SECTION 03
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SITE SECTION 04
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SITE SECTION 01
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SITE SECTION 02
SCALE 1:200
 02
01
GALLERY BLOCK
NO.1
THE GROUND FLOOR PLAN
IT CONSISTS OF THE MAIN GALLERY WHICH SHOWCASES ALL THE
FAMOUS DIFFERENT TYPES OF TEXTILESAND SAREES ALL AROUND THE
COUNTRY ESPECIALLY FOCUSSING MORE ABOUT OUR STATE KARNATAKA.
IT ALSO HAS A CENTRE SPACE FOR SHOWCASING A ART WORK OR
SCULPTURE RELATED TO TEXTILE.
NO.2
THE FIRST FLOOR PLAN
IT CONSISTS OF THE CAFE AND WALK THROUGH GALLERY.
THE WALK THROUGH GALLERY CAN ACT AS THE SECONDARY
TEMPORARY EXHIBITION SPACE WHERE ARTISTS CAN RENT THE PLACE
OUT TO DISPLAY THEIR ART.
THE WALK THROUGH GALLERY IS SURROUNDED WITH GLASS ALL AROUND
WHICH GIVES THEM A VIEW OF THE ENTIRE MUSEUM AND SURROUNDING
AROUND THEM
NO.3
BASEMENT PLAN
THE GALLERY CONSISTS OF THE BASMENT WHICH HOUSES THE
AUDITORIUM WITH A SEATING SPACE FOR 170 PEOPLE TO EXPEIERNCE
LIVE SHOWS OR ANY DIGITAL ART WORKSHOPS
03 GALLERY DIA 30500 MM
AREA=700 SQ.M.
WITH COLOUMN OF DIA
400MM
CAFE SPACE RADIUS
12000MM
CAFE AREA=340 SQ.M.
WITH WALK THROUGH
GALLERY AROUND WITH A
WIDHTH OF 4000M
AUDITORIUM RADIUS 15500
MM
WITH 170 SEATS
AND COLOUMN OF DIA
700MM
WITH RETAINING WALL OF
WIDTH 500MM (REQUIRED
GALLERY 450MM TO 550MM)
SECTION
 01 02
NO.01
ADMIN GROUND FLOOR PLAN
AMIN BLOCK SECTION THIS HOUSES THE OFFICE SPACE FOR THE WROKERS IN FINANCE
MANAGEMENT AND ADMINISTARATION.
NO.02
THIS IS THIS ADMIN FIRST FLOOR PLAN WHICH HOUSES THE PANTRY
FOR THE WORKERS AND THE ARTISTS WHO SETUP THE TEMPORARY
ART SPACES, A CONFERENCE ROOM AND ALSO HAS A
SIT-OUT BALCONY.
THE FACADE FOR THIS IS ALL GLASS
THE RADIUS OF THE ADMIN BLOCK IS 7850MM
WITH THE AREA BEING 200 SQ.M
THIS BLOCK CONSISTS OF A SPIRAL STAIRCASE
 VIEW 1:
THIS IS THE ENTRY
VIEW WHICH SHOWS
THE MUSEUM SHOP
AND THE DROP OFF
POINT

VIEW 3: VIEW2:
THIS SHOWS A SHOT OF WHAT THIS SHOWS AN ARIAL SHOT
POEPLE SEE WHEN THE WALKING OF THE WHOLE MUSEUM,
TOWARDS THE MUSEUM AFTER WHICH ALSO SHOWS THE
THE DROP OFF POINT. FEATURE WALL WHICH HAS
THIS VIEW ALSO SHOWS THE BEEN ADDED TO ISOLATE THE
SCULTURE GARDEN PLACED AT PEOPLE IN THE MUSEUM AND
THE ENTRY. THE ROAD AND ENTRY

VIEW 04:
THIS VIEW SHOWS INSIDE THE FACINITY OF THE MUSEUM IN
FORNT OF THE TEMPORARY GALLERY.
THE TEMPORARY ART GALLERY IS A TENSILE STRUCTURE OF
HEIGHT 5M.
THE TEMPORARY STRUCTURE WILL HAVE OLD SAREES WHICH
ARE REUSED WILL BE STUCK IN THE IINTERIOR OF THE TENSILE
STRUCTURE.

VIEW 5:
THIS VIEW SHOWS A
VIEW OF THE GALLEY
AND THE WALK THROUGH
GALLERY

VIEW 6:
THIS VIEW SHOWS THE INTERIOR
OF TEH CAFE WHICH HAS A
INTERNAL ART WORK DISPLAY,
WHICH IN THIS CASE IS TEXTILE
TREE.
THE CAFE HAS A SKY LIGHT TOO

VIEW 7 NAME: VISHAAKH.P

THIS VIEW SHOWS A VIEW OF THE WALK THROUGH GALLERY.
THE WALK THROUGH GALLET HAS GLASS COVERED ALL AROUND IT USN: IBQ21AT070
FOR THE VIEWS OF THE MUSEUM.
AND ROLLER SHUTTER WILL BE INSTALLED ON TOP SO THAT WHEN BMS SCHOOL OF ARCHITECTURE
THE SUN IS HARSH THE SUTTER PULLS OUT ELECTRICALLY TO SHADE
THE WALK THROUGH