DEFINING OF MEMORIAL

While dealing with memorial architecture we tend to come across various

terms which better describes the memorial architecture.

DEATH
The first and the foremost word that we come upon is death. As
defined by Oxford dictionary death is the ending of life and also the
destruction or permanent cessation of something.
TIME
Another thing which we come across in memorial is time.
The events or happenings which the memorial tries to depict are the
incident that happened in some period of time.
MONUMENTALITY
Monumentality in architecture may be defined as a quality, a
spiritual quality inherent in a structure which conveys the feelings
of its eternity, that it cannot be added or changed.
MEMORY
Memory is the faculty by which things are recalled to or kept in the
mid or a recollection or remembrance.
It is the memory which triggers the construction of a memorial.
For eg. Pyramids
 cAsE sTUDY
MEMORIAL cUM MUsEUM
 Background
The museum celebrates 500 years of theSikh
historyand the 300th anniversary of thebirth of
Khalsa.
worked since 1999-2011
Khalsa heritage complex showcase Punjabs rich
cultural heritage and history to outside world.
Besides major destination for tourist, it is a new
benchmark for museum design, development and
management
Location
Virasat-e-Khalsa is a museum ofSikhism, located in the holy
town,Anandpur Sahib, nearChandigarh, the capital of the state
ofPunjab.
Situated in foothills of Shivalik
Popularly known as Ajooba
Site is on plateau formed by a series of sand cliff headland facing
small ravine
approach
Vehicular approach -
Pedestrian approach -
ConCept In Moshe Safdie's own words, "a building cannot be
experienced as independent of the land in which it is rooted."
rooted

The design has woven threads of the vernacular aesthetic into the very fabric of the
Museum's visual language to highlight a robust, living culture.
A narrative museum that endeavors to tell a story that is deeply spiritual, and filled with
stirring emotion.
The design approach relies on the creation of unique scenographic environments that effectively
engages multiple media to present a truly immersive experience for all audience types.
types
To create an experience of this scale, the spoken word will play a role of greater significance
over the written one. Thus, a trigger based audio guide serves as a seamless overlay on the
scenographic exhibit environments as the visitor moves from one exhibit and gallery to the
other.
In this case, the simple use of objects and artifacts will not capture the narrative and its
contexts, nor will the images and text.

Arranged in groups of five,

five the galleries reference
the Five Virtues, a central tenet of the Sikh faith.
faith
The symbolic themes of earth and sky, mass and
lightness, and depth and ascension are represented
by the museum's sandstone towers and reflective
silver roofs, and are further echoed inside the
museum's galleries.
 ZonInG

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The museum campus is composed of two functional sets of buildings i.e.

complex A & C,C connected together by a foot bridge.
bridge
The western complex (A), forming a gateway to Anandpur Sahib, houses
exhibition galleries; a two-level library centered around a grand reading room
that overlooks water gardens; a facility for storing rare archival materials; and a
400 seat auditorium.
A 540-foot bridge from the western complex crosses a network of reflecting
pools, providing access to the eastern complex (C), which houses permanent
exhibitions presenting Sikh history, and culture.
DrawInGs

COMPLEX A

SITE PLAN

SECTION THROUGH BUILDING

COMPLEX B

COMPLE X C
SECTION THROUGH BUILDING
MATERIAL USED
Clad with local sandstone and evoking the fortress cities of Rajasthan,
Gwalior, and Punjab, the Centre acknowledges the Sikh's history as
celebrated warriors.
The upwardly curving roofs of the museum's tower like galleries are covered
in stainless steel,
steel designed in counterpoint to the rich tradition of gold
domes that crown sacred Sikh buildings such as the Golden Temple in
Amritsar.