CASE STUDY

NATIONAL CRAFTS MUSEUM

AT PRAGATI MAIDAN - NEW DELHI

R.KEERTHANA- 311213251037
V-YEAR STUDIO A
MIDAS
INTRODUCTION:

The institution of the museum, aimed at housing

objects of antiquity, is of Western origin. Indians
themselves did not have a tradition of setting up
museums of fragmented sculptures, rusted swords and
out-of-context paintings. Broken images were
immersed in holy water, worn-out objects were left to
decay and merge with the very earth from which they
were created. It is due to this continuous process of
abandonment of the old and reproduction of the new
that the traditions of craftsmanship have formidably
survived in India
The above collection is displayed in five galleries as
mentioned in the classified information. Moreover,
there is a reference collection, comprising about
15,000 objects, which can be used by scholars,
designers, craftsmen and interested, public for study
and research. While brief captions provide basic
information about the displayed objects, for further
information the Museum's catalogue could be
consulted in the Library.
CONCEPT:
An Indian village street
affable,accomadative and active
organized around a central pathway,
going from the village to the temple to
the palace.
ZONING:
The museum complex includes:
 Demonstration area
 Museum
 Village complex
PLANNING:
This professional unfolding of spaces
arranged around a succession of courtyards
makes complex and subtitle references to
local Indian traditions and is perhaps the
only device by which space can retain
its own integrity and ambience.
Exhibits such as in the village court and
the temple court lie along the path in
the connected courtyards, off these
courts are particular exhibits such as
village crafts etc.
The exhibits may be viewed and
individually or seen as unfolding of
events along the way.
The sequence ends with the exit via roof
garden which forms an amphitheatre for
the folk dance as well as an open air
display of large terracotta horses and
other handicrafts.
ENTRANCE:
Entry not very prominent height and
the initial tunnel like space leads
visitors in creates anticipation
CIRCULATION:
The visitormoves through a series of
courtyard
All the galleries lead off courtyard
A walk through the museum leads
on ethrugh a series of semi open and
closed spaces
The whole museum is divided into small separate galleries which reduce the problem
of circulation
The individual galleries are designed to led the visitor from one space to another
verandhas around the courtyard are used for display
Entrances to and exits from each sections are easily discernable as they always occur
in the sheltered space under the overhead bridges.
THE COLLECTIONS:

The core collection of the crafts museum was put

together to serve as a reference material for the
craftsmen who are increasingly losing touch with
their own traditions.
There are more than 25000 items of the folk and Budha sculpture gallery
tribal arts, crafts, and textiles in the permanent
collection less than half of the total floor area of
5500 sq.m is open to the public the rest of the
collection is stored in special areas for the use of
the very finest craftsmen who are selected from all
over India to come and study these activities

Temple gallery

Courtly craft gallery Textile gallery Exhibition space

DEMONSTRATION SPACE:

The demonstration program provides an

opportunity to see their craft creation
unfold before him.
The architect has brought about running in
the complex by use of mud and covered
with plastered walls, bricks paved flooring
and by getting the structure built in their
respective authentic style the en walls
within and outside the building is
prominently outlined by terracotta tile
roofed giving it a rustic ambience.

THE VILLAGE COMPLEX:

The museum’s village complex is a

remnant of temporary exhibition on
theme of rural set up in 1972.
The village complex comprises of
structures representing
villagedwellings courtyards and
shrines are built regional construction
materials and by the respective
village masons artists etc. items of day
to day life are displayed in order to
give a glimpse of wider cutural
context.
ANALYSIS:
LAOUT LEVEL:
The craft museum is organized around a central pathways one travels down this spine
punctuated by the village court, temple court, darbar court and other open spaces one
catches glimpses of exhibits that lie on either side.
One can progress through all the sections in a continuous sequence.
The end of the sequence is the amphitheatre spaces arranged in an organic pattern
similar to traditional village settlement patterns.
Spacial layout attempts to integrate cultural context to space and movement by
avoiding rigid and formal spaces.
Centripetal spaces draws visitors attention and divert it to the galleries adjacent to it
Well maintained and well connected spaces
BUILDING LEVEL:

All huts, courtyards and shrines are built in

accordance with regional construction and
materials
Use of dark colors to create rural ambience
causes negative feeling and visitor wishes to
move on.
Various sections demarcated by varying floor
levels
Village complex often left out of circulation
due to low activity.
Variation in nature and treatment avoids
monotony.
No elements highlighted thus no hierarchy of
spaces causing wandering
Hierarchy in courtyards spaces evident – scale
and hierarchy of courts emphasized by scale
of elements within it
OSERVATIONS:

TRANSITITIONAL SPACES:
Raiseed level at entrance- bridge level
Descending from the bridge transforms to anatural rural environment on seing the heavily
decorated wall of the souvenirshop
Starting point – Tulsi plant and temple chariotcal transition mythical world resting space
providedaround the courtyard spaces casually revealed

FACADES:
Facades used to reflect a geographical area as well as portray household activity
Only the public area is exposed
Clusters put to look like whole unit by use of doors and plantation beyond

CORNERS:
To exhibit artifacts and large exhibits carefully put along lines of
monument
The entire museum is organized around a central pathway,
revealing a sequence of spaces, it is a walkthrough open and semi
open passages covered with sloping tiled roofs and lined with old
covered wooden jharakas perforated iron screens, courtyard
having domed pigeon houses adorned with arches and lattice
work panels massive temple chariots etc
The progression of built form is so spontaneous that it is
comparable of any traditional settlement which grows without any
forma planning almost like an organic growth scale and proportion
creating each view and angle appear naturally composed
WORK SPACE:

Individual semi-enclosed work spaces

divided according to region and craft
Group spaces where group efforts are
essential e.g. puppeteers , madhubani
painters , concrete cubes serve as
seating for customers.

LIBRARY:

The museum has a specialized library

of more than 10000 books and
periodicals pertaining traditional,
rural and tribal arts and cultures.
SCULPTURE PARK

PRADHI MAIDAN CAFÉ LOTA - RESTAURANT