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Toa Ngma Final

The National Gallery of Modern Art in New Delhi originated from the need for a national art gallery after Indian independence. It was first established in 1954 at Jaipur House in New Delhi. In 1984, a new larger wing was added to increase display space and facilities, designed to complement the original 1930s building while maximizing interior space. The new wing uses similar sandstone cladding and architectural elements to integrate with the original structure.

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406 views7 pages

Toa Ngma Final

The National Gallery of Modern Art in New Delhi originated from the need for a national art gallery after Indian independence. It was first established in 1954 at Jaipur House in New Delhi. In 1984, a new larger wing was added to increase display space and facilities, designed to complement the original 1930s building while maximizing interior space. The new wing uses similar sandstone cladding and architectural elements to integrate with the original structure.

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bandhuarushi
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© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
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The India Gate is surrounded by a hexagon

which consists of Large Sites, which


belonged to kings of various states. These
primarily Included Bikaner, Jodhpur, Jaipur,
Patiala, Baroda and Hyderabad.
With the dawn of Indian Independence the
need for a National Gallery of Modern Art
was felt for the first time and in the Art
Conference held in Calcutta in 1949, the idea
was first mooted and recommended. As a
result, the National Gallery of Modern Art
was inaugurated on March 29, 1954, at
Jaipur House in New Delhi.

RAJPUT (16001700)

JAINA STYLE

PERSIAN INFLUENCE

RADHAKRISHNA

COURT SCENES
ILLUSTRATIONS
OF TEXT

MIX OF EAST
AND WEST

WESTERN
IMPACT

19th CENTURY ONLY


BRIDGE BETWEEN THE
OLD CLASSICAL AND
MODERN STYLE
RAVI VERMA MIX OF
SOUTH INDIAN AND
WESTERN INFLUENCE
NEW ART
MOVEMENT ON
HORIZON
JAIPUR HOUSE

BIKANER HOUSE

HYDERABAD
HOUSE

BARODA
HOUSE

BENGAL
SCHOOL OF
ART

PATIALA
HOUSE

NEW BUILDING

NG
I
RK
A
P

CE
CO NTR
U R AL
T

RK
PA
IN

MATIONAL STADIUM

SHERSHAH SURI MARG


30-40 VEHICLES/MINUTE

OL
D
EN
LA TRA
W
N NCE

BU
IL

DI
NG

SIDE LAWN

PARKING

PARKING
DR. ZAKHIR HUSSAIN MARG (30M WIDE ROAD)

DELHI HIGH COURT

JODPUR HOUSE

C HEXAGON (40M WIDE ROAD)

INDIA GATE LAWNS

C HEXAGON
75-80 VEHICLES/MINUTE

DR. ZAKHIR HUSSAIN MARG


40-45 VEHICLES/MINUTE

The National Gallery of Modern Art is surrounded


by 4 roads, with Entry Gates at Shershah Suri Marg
and Dr. Zakhir Hussain Marg.
There is a continuous flow of wind along the open
Central Court. Also, the court is free of direct
sunlight because it mostly remains in shade, due
to the New Wing.
Building Facades are treated with Buff and Red
Sandstone, recessed windows and Jaaali work:
Elements related to Jaipur
and Rajasthani
Architecture.

JAIPUR HOUSE (OLD WING)


Jaipur
house
is
located
diametrically opposite Hyderabad
house.
British architect Arthur Blomfield,
designed the building.
It was designed in a mix of neoclassical and art deco style.
The butterfly shaped building has
2 symmetrical wings radiating
from the central court.
The structure is clad in red and
yellowsandstone.
Inside
is
the
main
hall
underneath the central dome,
with a large spiral staircase
leading to the upper floor.
Two similar wings radiate towards
the back facing the gardens. The
facade of this comparatively
austere palace is marked by two
levels of small, vertical, slit like
windows.
A continuous sunshade or chajja
in red sandstone caps the entire
facade. the building has arched
openings
framed by
Rajput
columns.
NEED OF A NEW BUILDING
In 1984 a new building was needed which would increase display
space and supporting ancillary facilities to the museum. As a result
on the 3.15 hectare site a new wing which was 6 times the size of the
older palace building was added.
This building was designed by A. R. Ramanathan, Anurag Gupta, and
Snehanshu Mukherjee.
The challenge posed was to design a distinctive new wing for the
NGMA that would share the site comfortably with the original 1930s
Art-Deco palace of the Maharaja of Jaipur, designed by the British
architect Charles Blomfield.

VEHICULAR

SPACE BETWEEN TWO


BUILDINGS WITH
LANDSCAPE AND SEATING

BU
IL

EN
TR
AN
CE

DI

LA
WN

AX
I

PARKING

G
IN
RK
PA

OL
D

FAADE OF THE NEW


BUILDING

NEW BUILDING

ING
K
R
PA

RIGHT WING OF OLD


BUILDING

CENTRAL
COURT
(MAXIMISED
SPACE)

NG
PARKING

MAIN ENTRY GATE

EXTERNAL FAADE: NEW


BUILDING

CONCEPT AND DESIGN APPROACH

OLD BUILDING: FRONT


FAADE

SURFACE PARKING

TO CREATE A BUILDING WHICH ACT AS A BACKDROP WITHOUT DISTURBING A


VISITORS SERIOUS STUDY OF ART.
BUILDING ALIGNED TO THE REAR SETBACK TO MAXIMISE SPACE BETWEEN THE
OLD AND NEW BUILDING.
CENTRAL COURT PEDESTRIANISED .
GEOMETRY MAINTAINED WITH LANDSCAPE AND FALSE COLONNADE.
VEHICULAR PATHS WERE TO BE KEPT TO THE SETBACK WITH ONLY PEDESTRIAN
MOVEMENT IN THE INTERIORS

VEHICULAR

AN AERIAL VIEW OF THE


PEDESTRIANISED CENTRAL
COURT

The external walls of the New Wing are clad in sandstone of


a colour similar to that of the existing building. The pattern
of red and buff sandstone bands at the base of the older
Jaipur House have been carried through to the new buildings,
though here only red sandstone has been used.
The layered facades generate the impression of generous
verandahs and porticos typical of the older institution
buildings that form a part of the Central Vista. The use of
columns in rhythm to establish scale and monumentality is,
in certain respects, a universal device and may be seen in
examples of classical architecture from across the world. The
use of similar colonnades is therefore seen in such diverse
cultures as the Buddhist temples at Sanchi, the Greek
temples of the Acropolis or the Temple of Hatsepsuth in
Egypt.
The landscape proposal for the new wing follows a very
simple concept: an endeavour to retain and create as much
of the green as possible and to integrate its landscaping with
the existing building. We propose retaining the 60 or so large
trees and planting 44 new ones. Large unhindered green
spaces and simple lines defining
the hard (paved)
area from
PERMANENT
SPECIAL
PERMANENT
EXHIBITION
the green,EXHIBITION
provide an unobtrusive
background EXHIBITION
for any kind
nd
rd
(Block-1
All floors)
(Block-2 2 & 3
of
museum
display.
(Block-2 Ground
floor)

floor)

TICKET WINDOW
(Block-1)
ADMINISTATION
(Block-3)

CENTRE COURT

Display area :44.5%


Art storage :9.65%
Administrations & workshops :- 16.5%
Service & circulation :11.14%
Underground parking :- 5.13%
Total area of plot (Jaipur house) :- 31674 sq.
m.
Existing building total area :4620 sq. m.
NEW WING
Display area :12000 sq. m.
Art storage :2600 sq. m.
Conservation lab :600 sq. m.
Cafeteria(100 covers) :-450 sq. m.
Library :600 sq. m.
Auditorium(200 seats) :750 sq. m.
Preview theatre(90 seats) :- 150 sq. m.
General store :950 sq. m.
Administration :4443 sq. m.
Service and circulation :3000 sq. m.
Underground parking :- 1383 sq. m.
Total Area :-

26926 sq. m.

Parking
Underground Parking :- Not in use
Surface parking :264 cars
50 Two Wheelers
Footfall
Weekend :300 ppl/daily
Weekday :100-150 ppl/daily
Total no. of books (library) :24000(approx.)
Paintings :17000(approx.)

An exhibition is a place where one can actually see and feel, the
products on display. Exhibition design is looked upon as specific
application, governed by the principles space usage, with the
idea of "communicating sales. It combines space planning,
product design and graphics with an understanding of structure
and materials.

LAYOUT DESIGN
LAYOUT OF THE
EXHIBITION IN A
GIVEN SPACE.
The factors areSEQUENCE OF
PATTERN.

THE

STALLS

AND

SINGLE
LAYOUT

Factors areACCESSIBILITY
There are various types of axis points and these depends on
space available.

MOVEMENT

THE BUILDING PLAN AND FORM.


Most important physical factor that governs the
interior plan which allots the space to be treated.

CIRCULATION PATTERN
Designer should ensure that people do not get lost, confused or
bored in the design scenario. Circulation therefore determines
the sequence of the exhibits.

THE EXHIBITS.
The display system changes the character of the
layout design and hence layouts determined by
prefabricated units, standardized systems are
unique.
All factors do simultaneously affect the layout
design however often one of these factors is more
dominating. The constraints and thus tackle them to
the exhibitions best advantages.

STAND

DIFFERENT WAYS OF DIVING UP EXHIBITION SPACE

ANTHROPOMETRICS
The spectator is always moving. The physical action of walking,
stopping and again walking is a process that is unavoidable since
the translation of exhibition design is always translated in
movement.
Exhibitions are 70% a visual experience and so the relationship
to the human
eye is important, a situation where least
exertion for the eye and at the same time maximum input for
brain is ideal.

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