Mahasthangarh

Archaeology Museum
Complex and Research Institute

Bogra, Bangladesh

TAMJID SARKER
REG: 10204007
UNIVERSITY OF ASIA PACIFIC
DEPARTMENT OF ARCHITECTURE
CONTENTS
Acknowledgement………………………………………………………………………………………………….…………………………2

CHAPTER-1 INTRODUCTION
1.1. Prolouge: ............................................................................................................................................................................ 3
1.2 Research Topic………………………………………………………………………………………………………………..………....3

1.2.1 Statement of the problem

1.2.2 Objective of the study

1.3 Scope of work…………………………………………………………………………………………………………………………….4

1.4 Project rationale………………………………………………………………………………………………………………………….4

CHAPTER-2 SITE INFORMATION

2.1 Site Location……………………………………………………………………………………………………………………………...5

2.2 Road network…………………………………………………………………………………………………………………………….6

2.3 Existing site…………………………………………………………………………………………………………………………….7-8

2.4 Changing the site………………………………………………………………………………………………………………………...9

2.5 Climatic condition…………………………………………………………………………………………………………………….9-11

CHAPTER-3 LITERATURE STUDY 12-19

CHAPTER-4 CASE STUDY

4.1 Local study

4.1.1 Mahastangarh museum………………………………………………………………………………………………….20-22

4.1.2 Mainamati museum………………………………………………………………………………………………………23-25

4.2 International study

4.2.1 New Acropolis Museum, Athens, Greece ………………………………………………………………………….…26-30

4.2.2 Oman Archaeological Museum, Oman………………………………………………………………………………...31-33

4.2.3 Ptuj Archaeological Museum, Ptuj, Slovenia……………………………………………………………………….…34-37

CHAPTER-5 PROGRAM ANALYSIS 38-40

5.1 Program ratio…………………………………………………………………………………………………………………………....41

5.2 Functional zoning & flow chart………………………………………………………………………………………………………...42

5.3 List of Antiquities and Required Area for Display…………………………………………………………………………………...43

CHAPTER-6 STANDARD ANALYSIS 44-49

CHAPTER-7 DESIGN DECISIONS 50-60

References……………………………………………………………………………………………………………………………………...61

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Acknowledgement
At first I would like to thanks my design teacher Architect Shamsul Wares for giving me
the opportunity to work on this project and guide me through all over the semester.
I would also like to thanks all my course teachers for guiding me throughout this thesis
project. Their guidance has been a blessing for me and it helped me immensely to
complete this project.
I would also like to mention all my senior and junior brothers and sisters who support
me to complete my thesis project. Without all the people mentioned above it would not
have been possible.

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 CHAPTER-1

INTRODUCTION

1.1. Prolouge:

The report is about the thesis project in where the whole project scenario can be described by analyzing
every single part and chapters of the report. And this report can give some useful information for the
project. Briefly to say, by this thesis report one can understand the whole work progress, the
understanding of the project and most important is design guidance can be found. Name of the project is
Mahasthangarh Archaeology Museum Complex and Research Institute. Categorically this is a museum
type project. So the analysis should be based on museums and archaeological subjects where to
combine this two parts and create an architecture by considering both. Based upon some references,
some literature survey, some design philosophies is the main issue for this thesis report.

1.2 Research Topic :

Mahasthangarh Archaeology Museum Complex and Research Institute, Bogra, Bangladesh.

Client/ Project authority : Bogra Archaeology Department

Funding agency : Bogra Archaeology Department

Project Category : Museum Complex & Research Institute

Site Area : 7.8 acres

1.2.1 Statement of the Problem:

An archaeology museum not only just a museum in larger scale but also it‘s a national symbol for a
country. To represent the past by collecting all the information in a same place and to show it to the
learners among the world is the biggest duty of a museum. Every country which is rich by its history and
knowledge has their own museum to represent and preserve the memory through the decades. This
process needs to have a museum related to the heritage preservation and keep it safe from getting decay
over the time. To solve this problem they built their own archaeology museum.

1.2.2 Objective of the study:

The objective of the study for this project is to keep our past safe and to show it to the world that how
much rich our past was. This also allow the new learners and researcher to came across from the
distance and learnt the away of our past. Past to future is the away to make the bond of culture. Cultural
learning is imminent by visually involved in the past. So the history and the cultural vibrancies can be
represent by a museum.

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 1.3 Scope of work:

The complexity and program volumes gives opportunity to develop the versatile design ideas. And help to
build a conscious decision maker to skillfully thought out the problems and its solutions. The scope allows
the student to merge himself to the project as his own life. Cause to know the philosophy of our ancestors
and to preserve their memories is our duty. And creating opportunity by this type of project can help one
to understand the context and go beyond the thoughts.

1.4 Project rationale:

a. The project importance is in Regional level. But respecting the actual context and as an international
tourist spot the value of the project goes to international level.

b. As an undergraduate thesis project this particular project requires thesis based research options, which
is more accurate for an undergraduate student. These project can guide a student to understand the
national heritage and its value to the locality. To preserve the past by not destroying its components
rather conserve it precisely to create an alternative design procedure and connect it to the environment. A
heritage of a place indicates the history which can be the identity of the place. Not only identity but also it
can focus the accessibility of human from every region. These type of projects create an opportunity to
the young generation to visit the place and learned the way of our pre historic settlements. So as an
undergraduate student of architecture discipline will let the student to understand the value of the projects
and its potentiality through the context.

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 CHAPTER-2

SITE INFORMATION

2.1 Site location:

Site is on the side of our heritage Mahasthangarh. And it's a museum complex. so the connection
between main town and airport should be necessary.

Figure 1: Site Location

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 2.2 Road Network:

Site is in the Bogra district and connected with the Rangpur-Bogra highway. Closely near to the Korotoa
river. There is only one 40' wide road in the eastern part of the site.

Bogra
Dhaka - Bogra
Highway
Dhaka

Bogra District

Rangpur - Bogra
Highway

Bogra town

Page no. 02

Figure 2: Road network

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 2.3 Existing Site:

Fig: Site Fig: Museum

Fig: Residence for officer Fig: Administration

Fig: Ticket counter

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 Museum: There is a exiting museum building, which is one storied building of 60'X30' with a
floor height of 15'.

 Preservation & Storage: There is one story building for preserving the sculptures behind the
main museum building.

 Administration: There is a single storied administration building .

 Residence for Officers: There is a dorm for only one officers.

 Rest House: There is a rest house for the France archeologist

 Canteen: There is a very small canteen for the visitors outside of the museum

 Ticket Counter: There is a ticket counter beside the entry gate.

Existing Museum
250M

40‘ WIDE ROAD

Proposed
Site
GOVINDHO VITA

Mahastangarh Citadel
250M

EXISTING SITE

KOROTOA RIVER

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 2.4 Changing the site:

Due to the heritage restriction law no building should be permissible to build in the 250m of the
archeological places. Because of larger excavation should be attempted in those 250m radius. So it is
better not to build in 250m. And from the reference of the Head of the Archeology Department of
Bangladesh any kind of construction can be attempted wheather the site is in the another side of the
Korotoa river.

2.4.1 Site Forces:

-Mahasthanghar: Large Archeological Site.

-Korotoa river: 120' wide river

-Govindho vita: Small Archeological Site

-Lake: Just side by the southern part of the site.

2.4.2 Connectivity:

•It is situated near Bogra-Rongpur high way.

•Only 5 minutes away from the highway and 25 minis away from Bogra town .

2.5 Climatic condition:

Weather:

Annual average temperature of this district is maximum 37.8°C, minimum 11.2°C. Annual rainfall is 1862
mm.

Weather condition:

The main weather of Varendra is basically hot dry & humid. The southern part of Varendra is humid & the
northern part nearest Himalayan is more hot & dry.

Mainly three types of weather are in varendra area.

1. Previous monsoon ( march-may):air flow form south & south east.

2. Monsoon (june –oct) : loo air from west.

3. After monsoon ( nov-feb): cold air from north.

Rainfall :

Average rainfall 1971mm (about 66 inch)

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Temperature:

From 25 c( low)- 46 c (high)

Climate and Rainfall

Rajshahi falls into the western dry zone, one of the seven climatic zones into whichBangladesh can be
divided, and has a mean annual rainfall of below 1524 mm compared to a national average of 2540 mm
(BBS 2005).

Rajshahi District also covers five of the 30 agro ecological zones that Bangladesh has been divided into.
Predominant soil textures are Loamy and Clayey and soil pH varies from pH 4.5 to pH 7.9; organic matter
contents in thesoils are low or medium.

The rainfall pattern in Rajshahi is uni-modal with 70% of the annual rainfall occurring between June and
September (BBS 2005d). The average monthly rainfall data from the Rajshahi rainfall monitoring station
shows some monthly variation between years but clearly shows that November to March are months of
very low rainfall.

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The minimum temperature varies from year to year from between 10oC to 27oC and the maximum
temperature varies between 24oC to 36oC. During April and May Rajshahi experiences the highest
temperature.

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 CHAPTER-3

LITERATURE STUDY

Museum Literature:

A museum is a building or institution that houses and cares for a collection of artifacts and other objects
of scientific, artistic, or historical importance and makes them available for public viewing through exhibits
that may be permanent or temporary. Most large museums are located in major cities throughout the
world and more local ones exist in smaller cities, towns and even the countryside. An important
addendum to the preceding definition: the continuing acceleration in the digitization of information,
combined with the increasing capacity of digital information storage, is causing the traditional model of
museums (i.e. as static and ponderous "collections of collections" of three-dimensional specimens and
artifacts) to expand to include virtual exhibits and high-resolution images of their collections for perusal,
study, and exploration from any place with internet connectivity.

Early museums began as the private collections of wealthy individuals, families or institutions of art and
rare or curious natural objects and artifacts.

The museums of ancient times, such as the Museum of Alexandria, would be equivalent to a modern
graduate institute

Etymology:

The English "museum" comes from the Latin word, and is pluralized as "museums" (or rarely, "musea"). It
is originally from the Greek Μουσεῖον (Mouseion), which denotes a place or temple dedicated to the
Muses (the patron divinities in Greek mythology of the arts), and hence a building set apart for study and
the arts, especially the Museum (institute) for philosophy and research at Alexandria by Ptolemy I Soter
about 280 BCE. The first museum/library is considered to be the one of Plato in Athens. However,
Pausanias gives another place called "Museum", namely a small hill in Classical Athens opposite the
Acropolis. The hill was called Mouseion after Mousaious, a man who used to sing on the hill and died
there of old age and was subsequently buried there as well.

Museum History:

Early museums began as the private collections of wealthy individuals, families or institutions of art and
rare or curious natural objects and artifacts. These were often displayed in so-called wonder rooms or
cabinets of curiosities. Public access was often possible for the "respectable", especially to private art
collections, but at the whim of the owner and his staff.

The oldest public museums in the world opened in Rome during the Renaissance. However, many
significant museums in the world were not founded until the 18th century and the Age of Enlightenment:
The Capitoline Museums, the oldest public collection of art in the world, began 1471 when Pope Sixtus IV
donated a group of important ancient sculptures to the people of Rome.

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· Vatican Museums, the second oldest museum in the world, traces its origins to the public displayed
sculptural collection begun in 1506 by Pope Julius II

· The Royal Armories in the Tower of London is the oldest museum in the United Kingdom. It opened to
the public in 1660, though there had been paying privileged visitors to the armouries displays from 1592.
Today the museum has three sites including its new headquarters in Leeds.

· The British Museum in London, was founded in 1753 and opened to the public in 1759.[Sir Hans
Sloane's personal collection of curios provided the initial foundation for the British Museum's collection.

The First Truly Public Museum:

The first truly public museum was the Louvre Museum in Paris, opened in 1793 during the French
Revolution, which enabled for the first time in history free access to the former French royal collections for
people of all stations and status. The fabulous art treasures collected by the French monarchy over
centuries were accessible to the public three days each "decade" (the 10-day unit which had replaced the
week in the French Republican Calendar). The Conservatoire du museum national des Arts (National
Museum of Arts' Conservatory) was charged with organizing the Louvre as a national public museum and
the centerpiece of a planned national museum system. As Napoleon I conquered the great cities of
Europe, confiscating art objects as he went, the collections grew and the organizational task became
more and more complicated. After Napoleon was defeated in 1815, many of the treasures he had
amassed were gradually returned to their owners (and many were not). His plan was never fully realized,
but his concept of a museum as an agent of nationalistic fervor had a profound influence throughout
Europe.

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Fig: Museum planner survey chart

Fig: Different types of museum

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Museum Planning:

The design of museums has evolved throughout history. Interpretive museums, as opposed to art
museums, have missions reflecting curatorial guidance through the subject matter which now include
content in the form of images, audio and visual effects, and interactive exhibits. Museum creation begins
with a museum plan, created through a museum planning process. The process involves identifying the
museum's vision and the resources, organization and experiences needed to realize this vision. A
feasibility study, analysis of comparable facilities and an interpretive plan are all developed as part of the
museum planning process.

Fig: Plans & Functional flow in different museums

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Management:

The museum is usually run by a director, who has a curatorial staff that cares for the objects and
arranges their display. Large museums often will have a research division or institute, which are
frequently involved with studies related to the museum's items, as well as an education department, in
charge of providing interpretation of the materials to the general public. The director usually reports to a
higher body, such as a governmental department or a board of director.

Fig: Plans & Functional flow in different museums

Exhibition Design:

Most mid-size and large museums employ exhibit design staff for graphic and environmental design
projects, including exhibitions. In addition to traditional 2-D and 3-D designers and architects, these staff
departments may include audio-visual specialists, software designers, audience research and evaluation
specialists, writers, editors, and preparators or art handlers. These staff specialists may also be charged
with supervising contract design or production services. The exhibit design process builds on the
interpretive plan for an exhibit, determining the most effective, engaging and appropriate methods of
communicating a message or telling a story. The process will often mirror the architectural process or
schedule, moving from conceptual plan, through schematic design, design development, contract
document, fabrication and installation. Museums of all sizes may also contract the outside services of
exhibit fabrication businesses. Predator Exhibits, located in Ontario, Canada, is one such business.

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Fig: Different types of exhibition spaces

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Museum Education:

A museum's collection can be used to support education in a variety of ways. For example, many
museums produce teaching kits to aid school teachers in using their education resources, often in
association with a school trip to the museum. In supports of its educational activities, a museum may
have an education officer an education department (e.g., see), or even an education center, depending
on its size the importance attached to its educational role.

Publications

The Journal of Museum Education (JME) is a journal covering the theory, training, and practice of the
museum education field from the Museum Education Roundtable. Articles are written by museum,
education, and research professionals.

A major part of museum attendance is through organized school trips to a museum where a structured
visit with be used to augment and enhance the curriculum, under the direction of a school teacher, often
with the help of museum staff. Typically there is some preparation for the visit beforehand and school
work building on the trip afterwards.

Some schools have a special affiliation with museums, for example the New York City Museum School in
the USA and The Langley Academy in the UK.

Guided tours

Many larger museums provide guided tours, possibly in several languages. Audio tours are also available
in many museums, using a hand-held listening device. This has been generalized to the concept of a
multimedia electronic museum guide. Cell phone tours are possible if the pricing in a particular country is
suitable for extensive cell phone usage.

Fig: museum education

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Archaeology Museums:

Archaeology museums specialize in the display of archaeological artifacts. Many are in the open air, such
as the Acropolis of Athens and the Roman Forum Others display artifacts found in archaeological sites
inside buildings. Some, such as the Western Australian Museum, exhibit maritime archaeological
materials. These appear in its Shipwreck Galleries, a wing of the Maritime Museum. This Museum has
also developed a 'museum-without-walls' through a series of underwater wreck trails.

Example : Gold Museum, Bogota

The Gold Museum (Spanish: El Museo del Oro) is a museum located in Bogotá, Colombia. It displays an
extraordinary selection of its pre-Hispanic gold work collection - the biggest in the world - in its exhibition
rooms on the second and third floors. Together with other pottery, stone, shell, wood and textile
archaeological objects, these items, made of what to indigenous cultures was a sacred metal, testify to
the life and thought of different societies which inhabited what is now known as Colombia before contact
was made with Europe.

In 1939 the Bank of the Republic began helping to protect the archaeological patrimony of Colombia. The
object known as Poporo Quimbaya was the first one in a collection. It has been on exhibition for 65 years.

Protecting Archaeological And Historical Sites And Artifacts: Things we should know: It is against the
law in Nova Scotia to dig artifacts without a permit. You must have a Heritage Research Permit before
disturbing any place where things such as stone tools, pottery shards or other artifacts are found. This
protection for Nova Scotia's heritage resources is part of the Special Places Protection Act originally
passed in 1980. The Act covers historical, archaeological and paleontological sites and remains, including
those under water. Why should we protect sites and artifacts? If time-travel were easy as hopping on a
bus, wouldn't you buy a ticket to the past? We don't have time-machines, but we do have artifacts.
Artifacts let us reach back into time for real clues to the mysteries of ancient worlds and people. What
stories a stone arrowhead can tell! Feel its edge, still sharp after centuries in the earth, and imagine the
skill of an ancient craftsman using only stone and bone for tools. A geologist notices that it is made of a
kind of rock found thousands of miles from here, and wonders how it came to Nova Scotia. A chemist
analyses invisible traces of blood and discovers the hunter's prey was caribou, an animal now gone from
Nova Scotia. Another scientist measures the arrowhead's age - perhaps 10,000 years old, from the time
the great Ice Age finally ended and forests returned to this land. One of the first specimens ever given to
the Museum is a big fossil Mastodon bone, 30,000 years old. It was donated in 1835, and several million
museum visitors have marveled at it. In our time, this fossil bone has caused new excitement. An
archaeologist noticed little gouges that might have been made by stone tools during butchering. Is this
fossil bone really a clue to Nova Scotia's first people, or were the gouges just made by the blade of a
pioneer's plow? Only the fossil itself and the scientist's instruments can give us the answer.

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 CHAPTER-4

CASE STUDY

4.1 Local case study

4.1.1 Project Name: Mahasthangarh Museum

Location: Mahasthangarh, Bogra.

Museum Type: Archeology Museum.

Museum Size: 5000 sft

Store: 1000 sft

•The museum is open for all but it has a control with ticket system

•There basically 3 types of exhibition in the museum:

1.Out door exhibition

2.Indoor open exhibition

3.Indoor close exhibition

Out door exhibition:

There are almost 30-40 sculpture, placed in the out door landscaped area, and also there are
four historical gate also placed to denote the circulation.

And the other 30-40 sculptures are placed in green with there description, and sculpture are
open for photography.

Indoor open exhibition:

There are almost 10-15 sculpture are placed at the museum, between the circulation.

They are different in size and type, some are sculpture ,some are historical furniture etc.

Indoor close exhibition:

There are 44 glass box of 3'*3' with a depth of 1'6 in the east and west wall of the museum.

This 44 glass box contain different types of archeological findings.

Museum's store:

Museum buildings has two almost equal part.

One is exhibition area, another is store57

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Findings:

Positive side:

Landscape is very much interesting

The idea of out door exhibition is very good

Pedestrian axis was very interesting

Negative side:

 Insufficient Space For Indoor Exhibition

Indoor circulation is very not in a planned way

No special consideration as a archaeology museum

Insufficient store facilities

No lab facilities

Information about the archeology site

There is no facilities for visitors

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4.1 Local case study

4.1.2 Project Name: Mainamati Museum

Location: Kotbari, Comilla.

Museum Type: Archaeology Museum

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Plan Analysis & Findings:

 The extension built in 1970-1971 in south given the building a T-Shape.

 There are total 42 receptacles for display.

 There are varieties of antiquities, bead, motif, seal etc.

Fig:Findings on Mainamati Shalban Bihara

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4.2 INTERNATIONAL CASE STUDY:

4.2.1 Project name: New Acropolis Museum, Athens, Greece

Bernard Tschumi Architects Photo: Bernard Tschumi Architects Located in Athens's historic area of
Makryianni, the New Acropolis Museum stands less than 1,000 feet southeast of the Parthenon, at the
entrance of a network of pedestrian walkways that link the key archaeological sites and monuments of the
Acropolis. This location was carefully selected to enable a dialogue between the Museum's exhibition
spaces and the Acropolis buildings.

Architects Statement:

"The challenges of designing the New Acropolis Museum began with the responsibility of housing the
most dramatic sculptures of Greek antiquity. This collection of objects shaped the program even before a
site was chosen. The building's polemical location added further layers of responsibility to the design.
Located at the foot of the Acropolis, the site confronted us with sensitive archeological excavations, with
the presence of the contemporary city and its street grid and with the Parthenon itself, one of the most
influential buildings in Western civilization. Combined with a hot climate in an earthquake region, these
conditions moved us to design a simple and precise museum with the mathematical and conceptual
clarity of ancient Greece.

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Architects Statement

We first articulated the building into a base, middle and top, which are designed around the specific
needs of each part of the program. The base of the museum floats on pilots over the existing
archeological excavations, protecting and consecrating the site with a network of columns placed in
careful negotiation with experts so as not to disturb the sensitive work. This level contains the entrance
lobby as well as temporary exhibition spaces, an auditorium, and all support facilities. A glass ramp
overlooking the archeological excavations leads to the galleries in the middle, in the form of a spectacular
double-height room supported by tall columns. This level accommodates displays from the Archaic period
to the Roman Empire.

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Architects Statement:

The top, which is made up of the rectangular Parthenon Gallery arranged around an indoor court,
rotates gently to orient the marbles of the Frieze exactly as they were at the Parthenon centuries ago.

Its transparent enclosure provides ideal light for sculpture in direct view to and from the Acropolis using
the most contemporary glass technology to protect the gallery against excessive heat and light.

This new setting will offer an unprecedented context for understanding the accomplishments of the
Acropolis complex.

One of the goals of the top gallery is to reunite the Parthenon Frieze, currently dispersed in several
world museums.

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Architects Statement:

Statues from the Porch of the Caryatids welcome visitors. A circulation route narrates a rich spatial
experience from the city street into the historical world of the different periods of archeological inquiry.

The visitor's route through the museum forms a clear three-dimensional loop, affording an architectural
and historical promenade that extends from the archeological excavations, visible through a glass floor in
the entrance gallery, to the Parthenon Frieze in a gallery with views over the city, and back down through
the Roman period.

Movement in and through time is an important aspect of architecture, and of this museum in particular.
With more than 10,000 visitors expected daily, the movement sequence through the museum artifacts is
designed to be of the utmost clarity.

Findings:

•The museum is on a archaeology site and is the most interesting things about the museum

• Architect's decided to give a view of the archaeology site in the entry of the museum

• This museum's also have lts of special consideration of structure to not hamper the existing artifacts

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 4.2.2 Project name: Oman Archaeological Museum

Oman – a fascinating country full of treasures revealed and concealed; celebrated and yet to be
discovered places, cultures and secrets. Among the world in which we live is another, hidden world, a
world under our feet – a secret archive waiting to be discovered.

Archaeology reveals this forgotten world, linking our heritage with the present, and providing an outlook
on the future: ―Where past meets future‖ is therefore the guiding principle of all planning and presentation
of the new OAM – OMAN ARCHAEOLOGICAL MUSEUM.

This offers the opportunity to revive the life and achievements of our ancestors in a personal and exciting
way; responding to the current growing public awareness and interest in this field. This study evaluates
the feasibility of an Oman Archaeological Museum (OAM).

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 Innovative ideas

Salut Castle is one of the most suitable location to

establish a central repository for Omani ancient
cultural heritage. The Castle is one of the most
significant sites in Omani history, however it is still
not accessible to the public — thus the
development of this site into an Archaeological
Park allow both the values of the site, as well as
Oman‘s long-standing traditions and successes in
archaeological field work to be interpreted to the
general public.

OAM – Conceptual Model Animation

To achieve and celebrate this goal the design of the OAM becomes one of Oman‘s most innovative and
sustainability driven architectural projects, making it the most important archaeological museum in the
Arabian Peninsula.

The building itself appeals like a ›shrine‹, the main exhibition combines iconic objects and a place-bound
contextualisation. It brings the diversity of Oman history and archaeology to the fore. The holistic aim of
the OAM is to visualise and explain the development of Oman‘s history from the dawn of mankind to the
visible recent past under one single roof. The visitors get to know the country and all aspects of Oman‘s
cultural history in a diverse and fascinating tour through times, ages and places illustrated by important
archaeological and historical sources.

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The vision to aesthetically blend architecture with the natural landscape is illustrated with dramatic clarity.
The design links traditional Islamic architecture with organic forms; connecting the building with Oman‘s
cultural traditions, the surrounding natural landscape and the ‗archaeological concept‘ of discovering and
excavating things that are found in the ground.

With unique objects, vivid and emotional pictures and stories, and with cutting edge high tech, the exhibits
of the OAM transport visitors on an extraordinary journey into former times. Visitors can experience at
close hand, a wide range of periods and themes presented in an innovative way that sets the main focus
on real experiences of the past. The generously sized exhibition rooms and adjacent spaces for
temporary exhibitions cover an area of about 5,000 sqm. The OAM also accommodates a Science Wing
for the aims of scientific research and an auditorium for scientific and public communication.

A key part of the OAM concept is to create an extensive park that embraces and connects the main
archaeological features and that can be reached by a variety of personal and guided mobility systems. Its
infrastructure and the correct protection of all of these historical elements will be carefully designed to
meet the UNESCO World Heritage Guidelines.

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 4.2.3 Project name: Ptuj Archaeological Museum, Ptuj, Slovenia

Architects: Enota
Location: Ptuj, Slovenia
Client: Municipality of Ptuj
Type: Commission
Year: 2011
Status: In progress
Size: 6,720 sqm

The Ptuj Archaeological Museum, design my Enota, fills the gap in the natural edge of the town and
recreates the green belt along the entire northern edge of the town. The establishment of the contiguous
green belt articulates the transition from the old town core by creating a clear divide between the historical
and the later urban structure. The building of the museum of archaeology is placed on the very edge of
the former medieval city walls and is dug in as much as the conditions permit it. This way, a view of the
renovated complex of the Dominican monastery opens over the new building from the north side, allowing
the monastery to re-assume its role as the city‘s dominant. The recreation of the monastery‘s north
courtyard with its original outline further returns the monastery to its former spatial boundaries. More
images and architects‘ description after the break.

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The site of what is today the town of Ptuj has been settled since prehistory. The architectural heritage
from the later Roman period is particularly rich with the extent of settlement in those times having been
surpassed only recently. After the fall of Rome, the town‘s development exhibits a slowdown but sustains
until the present day and results in an abundance of archaeological findings. On the one hand, this
means an incredibly rich archaeological collection and vivid archaeological activity, but also problems with
any construction or infrastructural intervention done below ground level.

In order to recreate the town‘s green belt, the roof is fully greened. Since the growth on such roofs – as
opposed to terrain containing vegetation – is relatively low, the roof surface is raised along the edges in
several places. By the monastery, the edges rise to the height of the erstwhile walls, thus establishing
historical relations in the space.

P a g e | 35
From this diagrams it is clearly visible that the understatement of the project came through the urban
decisions and existing condition. Like if the site is too much near to the heritage building then design must
be guided through that point. Then it will be effective both in socially and economically.

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The organic, bowl-shaped roof allows the green surface to be seen from all directions and renders it
comparable with the rest of the green surfaces. Though the ―slit‖ between the surrounding terrain and the
edge of the ―floating green roof‖, the passers-by enjoy a direct view of the archaeological collection while
the interior is supplied with natural clerestory lighting. Designed in such manner, the museum building is
surprisingly reminiscent of the archetypal archaeological site where the excavation is protected from the
sun and precipitation with a simple tarpaulin roof on an improvised construction.

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 CHAPTER-5

PROGRAM ANALYSIS

Antiquity Display Galleries

Name Occupancy Lighting Ventilation SQFT

Condition
Temporary gallery Controlled Controlled 30000
Outdoor Exhibition
Natural Natural 20000
Space
Lobby Natural Natural
Reception &
2 Natural Natural 350
Information counter
Sales counter &
2 Natural Natural 1000
souvenir shop
Preparation of exhibit Controlled Controlled 1000
Reserve Collection
Controlled Controlled 8000
room
TOTAL
80650
With 30% circulation

Regional and Site Office for Archeology Department

Name Occupancy Lighting Ventilation SQFT

Condition
Lounge and lobby Natural Natural 350
Complex
1 Natural Natural 300
Superintendent
General office
-Custodian 3 Natural Natural 800
-Assistant Custodian
Public relation officer 1 Natural Natural 200
Accounts officer 1 Natural Natural 200
Publication 1 Natural Natural 300
Meeting &
10 Controlled Controlled 1500
Conference room
Office storage Controlled Controlled 350
Tea room Natural Natural 100
TOTAL
6700
With 30% circulation

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Seminar & Multipurpose

Name Occupancy Lighting Ventilation SQFT

Condition
Multipurpose hall Controlled/ Controlled/
200 8000
Natural Natural
TOTAL
9800
With 30% circulation

Archaeological Research Laboratory

Name Occupancy Lighting Ventilation SQFT

Condition
Reception &
2 Natural Natural 350
Information counter
Lab attendant room 1 Natural Natural 250
Researchers room 2 Natural Natural 250
Laboratory
-Initial Lab
 Wet Lab Controlled Controlled (1500+1500)=3000
 Dry Lab
Restoration &
Controlled Controlled 2500
Conservation Lab
Reserve Collection
Controlled Controlled 6000
room
TOTAL
15155
With 30% circulation

Library

Name Occupancy Lighting Ventilation SQFT

Condition
Space for Book 30000
Controlled Controlled 2000
Collection volume
Reading Area Controlled/ Controlled/
200 2000
Natural Natural
Staff Work Space Natural Natural 600
Media Center Controlled/ Controlled/
500
Natural Natural
Browsing Room Controlled/ Controlled/
600
Natural Natural
Lecture Gallery 150-200 Natural Natural 2000
Lobby & Lounge Natural Natural 500
Toilet 400
TOTAL
15246
With 30% circulation

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Recreational and Tourist Facilities

Name Occupancy Lighting Condition Ventilation SQFT

Restaurant 100 Natural Natural 2000
Snacks Corner Natural Natural 500
Kitchen Natural Natural 800
Pantry Natural Natural 300
Sitting Indoor Natural Natural 2500
Sitting Outdoor Natural Natural 1500
TOTAL With 30% circulation 9280

Guest House

Name Occupancy Lighting Ventilation SQFT

Condition
Guest Room 40 Natural Natural 10000
Lobby & Reception Natural Natural 300
Office Natural Natural 500
Toilet Natural Natural 100
Kitchen Natural Natural 180
Canteen Natural Natural 500
Store Natural Natural 200
Laundry Natural Natural 200
Linen Store Natural Natural 100
TOTAL
14204
With 30% circulation

Grand Total: 1,51,035 SQFT

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5.1 Program ratio:

Built Area Open Space

Dormatory Exibition Laboratory

Administration Tourist Facility Library

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5.2 Functional zoning and flow chart

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5.3 List of Antiquities and Required Area for Display

Required
SI No Name Quantity Average size
environment
1 Monolithic Stone Column 28 6 ft x 2 ft Natural
2 Terracotta Pot 03 4 ft x 4 ft Controlled
3 Cast Coins 70 1 in x 1 in Controlled
4 NBP Ware 25 4 in x 3 in Controlled
5 Stone Fragment Ring 19 5 in x 4 in Controlled
6 Terracotta Head 12 6 in x 5 in Controlled
7 Terracotta Bowl 06 13 in x 12 in Natural
8 Stone Pestles 09 4 in x 2 in Controlled
9 Terracotta Shivlinga 06 12 in x 6 in Controlled
50 2 in x 2 in Controlled
10 Ornament Clay Balls
25 4 in x 3 in Controlled
11 House Hold Pottery 22 8 in x 6 in Controlled
12 Stone Mould Ornaments 12 4 in x 3 in Controlled
Beads and Baton of Semi
13 04 12 in x 10 in Controlled
Precious Stone
14 Stone Head Statue 11 8 in x 6in Natural
15 Iron Weapon 45 12 in x 6 in Controlled
16 Stone Statue 03 8 ft x 2 ft 6 in Natural
17 NBP Ware 11 14 in x 7 in Controlled
18 Clay Oven 01 18 in x 1 8in Controlled
19 Terracotta Plaque 14 2 in x 15 in Controlled
20 Stone Statue 16 4ft x 2ft 6in Natural
6 ft 6 in x 3 ft 6
21 Wooden Door 03 Natural
in
22 Small Terracotta Object 80 8 in x 4 in Controlled
23 Gold and Silver Coin 50 1 in x 1 in Controlled
24 Bronze Statue 07 3 ft x 2 ft Controlled
25 Stone Statue 11 3 ft x 1 ft 6 in Natural
26 Terracotta 07 5 in x 3 in Controlled
27 Terracotta Pinnacle 06 18 in x 6in Controlled
28 Terracotta Plaque 05 2 ft x 1 ft 8 in Controlled
29 Stone Statue 08 2 ft 6 in x 2 ft Natural
30 Terracotta Plaque 12 2 ft x 1 ft Controlled
31 Bronze Statue 10 5 in x 3 in Controlled
32 Terracotta Statue 13 2ft 6in x 2ft Controlled

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 CHAPTER-6

STANDARD ANALYSIS

Museum's standards:

Museum is a special type of building, so it has some special types of treatment and this treatment has
some standards those standards are given below.

Gallery space need to connect connection to lobby, office and store.

Different encountered in viewing details more than 8' below or 1' above one's eye level.

There are different types of viewing standards for adult and under six year person.

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There are two types of exhibition room or gallery.

•Indoor

•Outdoor Again, exhibition room can be-

•Temporary

•Permanent

Fig: Different ways of circulations & dividing up exhibition spaces

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Guests room (Standards):

Library standards:

•Formula for percentage of student for whom seating accommodation are suggested are shown in the first
chart

•The standard of suggested working surface area for each person are shown in 2nd chart

•Two different types of sitting arrangement are shown with standard dimension in this two figer

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Standard measurement of administrative area & official work area

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Standard measurement of administrative area & official work area

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Cafeteria Standard:

Restaurant standards:

In a restaurant the sitting arrangement and the clear circulation is very much Needed things, and there
lots of standard's of designing this type of space the

•A single table dimension standards are shown in this figure 3

•Square feet of kitchen space per meal for food facilities of different types and sizes are shown in table 3

•Detail dimension for a sitting unit, the distance to wall ,distance to another unit,

Fig: Different ways of sitting and ergonomics of Restaurant.

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 CHAPTER-7

DESIGN DECISIONS

Trying to create some interlocked spaces within masses and structures. And due to climatic consideration
‗courtyard‘ could be a very functional element.

But lacking of proper orientation phases are keep changing. Orientation is a must for this particular type of climatic
consideration.

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 The Material was selected by the influence of the

existing architecture of Mahastangarh. And so

characterize brick architecture the form of the

building took some modular but irregular shape to

dominate its existing pattern.

Going through lots of trial and error at the end the whole plan was organized in a simple way. Creating
modular effect and sort of breaking condition to highlight the archaeological influence through the
architecture. Strong structural walls to represent the dominance of wall to the ancient buildings. Museum
is one kind of representation of the things to the society. So visually connecting is an important matter for
a museum.

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 D C

B B

A A

Fig: Plan at 7‘ level

Fig: Plan at 17‘ level

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Fig: Plan at 27‘ level

Fig: Plan at 37‘ level

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Section AA

Section BB

Section CC

Section DD

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P a g e | 55
P a g e | 56
P a g e | 57
 From the influence of great citadel of
Mahasthangarh and its surrounding
heritage places create some strong
influence to the design decisions.

So context model helps to

understand the surrounding context
and its dominance into the site.

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After analyzing the context
design decisions guided
through its dominant character
and its basic structural
configuration which can be a
huge influence for the design.

P a g e | 59
P a g e | 60
References

BOOKS AND PUBLICATIONS

 Joseph de chira & John cllender, Time Saver Standards (Buildings types)
 Van Nosterand Reinhold, Design Process, San F Miller- AIA
 Berger k, Climate and design
 John Ormsbee Simonds, Landscape Architecture
 Francis D.K Ching,Architecure: From, Space and Order. ( New york: Van Nosterand and
Reinhold Company,1979)
 Christopher Alexander,The Nature of order ( New York: Oxford University Press, 1997)
 Architecture-eBook-Richard-Meier-Architect-Eng
 The Japan Architect
 Tadao Ando Architect of Light
 The Archaeological Hinterlands of Mahasthangarh Observation and Potential for Future
Research, Monica L. Smith

WEBSITES

 www.wikipedia.org
 www.hotfrog.co.za
 www.greatbuildings.com
 www.archdaily.com
 www.archdigest.com
 www.bogra.org/history
 bd.geoview.info/mahasthangarh_museum_bogra_bangladesh

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