Virasat e-khaalsa museum

Detailed Case study of Virasat e khaalsa museum

1. VIRASAT -E -KHALSA
PRESENTED BY:
SAKHI BAHETI 1803
ANKITA DHANKE 1820
PUSHPAK GAIKAR 1824
MEENAL GAJBHIYE 1825
GARIMA JHAWAR 1833
GAURAV KARKANDE 1837

2. INTRODUCTION
LOCATION :
AnandpurSahib,
District:Rupnagar
Punjab.
Siteisonplateauformedbya
seriesasandcliffheadland
facingsmallravine.
ARCHITECT:
MosheSafdieandassociates
MUSEUM DESIGN:
NationalinstituteofDesign,
Ahmedabad
AREA:
23,225sqm
(250,000sqft)
COST:
1,700millionrupees
(US$33.1million)
COMPLETION:
2011

3. Themuseumwasconceivedby
theGovernment ofPunjabin
1999tocommemorate the
TercentenaryyearoftheBirth
oftheKhalsa.
TheKhalsaHeritageComplex
nowknownasVirasat-e-Khalsa
atAnandpur Sahibasan
inspiringtributetotheheroic
andpoignantsagaoftheSikhs
andthePunjab.
Themuseum celebratesfive
hundredyearsofSikhhistory
and thethreehundredth
anniversaryoftheKhalsa—the
bodyofpeoplewhomakeup
the Sikh faith—and the
scripturescompleted bythe
tenthandlastguru,Gobind
Singh.
INTRODUCTION

4. ●Thisareawasoriginallytheruinsofanancient
placeknownasMakhowalnamedaftertheDemon
makho.
●ItwaslaterShriGuruTegBahadurpurchasedthis
placeandrenamedAnandpurin1664.
●GuruGobindSinghjisucceededGuruTegBahadur
andestablishedAnandpurfortandStayedherefor
25years.HeConstructednumberoffortodefend
people.They were keshgarh, Anandgarh,
Fatehgarh,Lohgarh.
●AnandpurSahibissandwichedbetweenKiratpur
SahibanothersacredtownshipoftheSikhsand
NainaDevi-aplaceforpilgrimageforpunjabi,
hindus.
●Hencethisareaisheldsacredbyallpunjabis.
WhereasAnandpurSahibisanaturalhaltingfor
pilgrimsgoingtotheirpilgrimagetoKiratpursahib.
HISTORICAL SIGNIFICANCE

5. Primary Road
Secondary Road
Tertiary Road
Pedestrian Road
ACCESSIBILITY

6. ●InspiredfromthehistoricGoldenTempleandtherichHeritageof
thesurroundingGurudwara-AnandpurSahib,itsnaturalvalley,
hills,fortandglory.
●Evolutionofformisrootedfromanalogyof17thCenturyFort
Architecture.Symbolicthemeofearthandsky,massand
lightness,depthandascensionarerepresentedbythefive
sandstonetowers.
●Arrangedinfive,wherethegalleriesshowsfivevirtuesofSIKHISM.
Thespatialorganizationdisplaysbold,directandsentimental
approachtothecontext.
●15TH century punjab
●The journey
●The origin of sikhism
●Growth of sikhism
●Creation of amritsar
●The sacrifice of gurus and and formation of
khalsa
●The eternal guru
●Sikh misls (sovereign states of the Sikh
Confederacy)
●Maharaja ranjit singh and his leadership
ARCHITECTURE OF THE PLACE

7. DESIGN APPROACH
1.DesignfortresstheArchitectureofvillageformsadramaticsilhouetteagainstthesurroundingcliffterrain.
2.DesignhaswoventhreadsofVernacularaestheticsintegratedintomuseum’slanguagetohighlightthelivingculture.
3.Tocreateanexperienceofthishugescale,wheredesignapproachreliesoncreationofscenographyenvironment.
4.TheincisivestandtakenonbehalfofTruthbytheGurusoftheSikhfaithandthegrandeurofitshistory.

8. VIEW

9. COMPLEX –A
COMPLEX –B
COMPLEX –C
PEDESTRIAN
ENTRANCE
VEHICULAR DROP
OFF
VEHICULAR
ENTRANCE`
PARKING
OPEN
AMPHITHEATRE
ENTRANCE TO OPEN
AMPHITHEATRE
SITE PLAN

10. SITE PLAN
COMPLEX –A
●Auditorium
●Library
●Temporary exhibit gallery
●Meeting Rooms
●Mechanical Rooms

11. SITE PLAN
COMPLEX –B
●Cafeteria
●Kitchen

12. COMPLEX –C
●Permanent Exhibit
Building
●Heritage Building
●Petal Building
●Office Areas
●Stores
SITE PLAN

13. ●Thewesterncomplex formsthe
gatewayfromthetownofAnandpur
sahibtothemuseum.
●Thenorthwingbridgesasecond
ravineandaccommodates changing
exhibitiongalleriesandmeeting
rooms.
●Thearcadealongtheinsideor
easternfaceofthecomplexleadsto
theauditoriumbuilding.
●Ontheothersideofthepiazzaisa
twolevellibrarybuilding.
COMPLEX A
KEY PLAN
COMPLEX A

14. ●Itmainlyconsistofpedestrianbridge,
cafeteriaandkitchenblock
●The165mlongandwidepedestrian
bridge,whichisconnectingcomplex
A&C,primarilyconsistsoffour
independentlytiedarches(three33m
longandone27mlong).
●Cafeteriaandkitchenblocksconsist
ofcafeteriaofcoveredareaas1424
sqm.Thefounding levelofcafé
diningis316.4m.
COMPLEX B

15. ●Permanent,exhibitbuildingwhichisalso
calledcrescentbuilding,heritagemuseum,
mediaexhibiti.ethepetalshapebuilding
andentrancelobby
●Thecoveredareaforthebuildingis17,151
sqm.
●Foundationlevelis311.5mandtoplevelof
highestroofis356.15m.
●Thiscomplexhasatotalno.of3lifts.
COMPLEX C
1.PERMANENT EXHIBIT
GALLERY
2.MULTI MEDIA GALLERY
3.HERITAGE MUSEUM
4.PORCH
5.ENTRY PLAZA
6.ENTRANCE
7.BRIDGE
LEGEND

16. ●ThejourneytheninitiatesfromBoat
Buildingcomprisingofalargesthand
painted360degreemural,Panjpaaniislike
adeepwellcomprisingofadornedwalls.
●Variousstorieshavebeendepictedall
around withcentralpathway ramps
providingmovementwithin.
●Thepedestrianbridgedesignedbyplacing
thecanopyontheopposingdirectionofthe
southernsunlight.
●Whilewalkingonthebridge,70%ofthe
complex isclearlyseenand30%is
obstructedbythecanopy.
BRIDGE
BOAT BUILDING

17. ●Thefirstpetalhighlights
storiesrelatedtoGuruNanak
Dev with strong visual
appearance leading to
enricheduserexperiences.
●Theelementslikefloor,walls
andceilingcontributeequally
tocreate an enclosure
resultinginpleasantimpacton
user’smind.
●Ambienceofspacehasbeen
keptminimal,demonstratedin
white,beingfocusedthrough
artificiallights.
GURU NANAK DEV

18. ●GuruAngadWalkwayinitselfis
apartofsubsequentgalleries
whichhasbeensegregated
intotwowiththehelpofa
virtual‘baoli’.
●Colourisdependent onthe
auraofspacecreatedby
artificiallightswhichkeep
usersengaged innoticing
activities.
●Theformhasderivedfrom
verticalelements;varying
enclosuresarecreatedwithin
movement
GURU ANGAD DAS

19. ●GuruAmardasWalkwayinitself
isapartofsubsequent
gallerieswhichhasbeen
segregatedintotwowiththe
helpofavirtual‘baoli’.
●However, elements here result
in feeling of mystery by
providing surprising facts
throughout movement.
GURU AMAR DAS

20. ●Tohighlighteffortsmadeby
Guru Ramdas during
establishment ofcityof
Amritsarandconstructionof
cityRamdaspur,fourthgallery
showcases him through
narrationofevents.
●Thespacecanbeperceived
through dramatic colours
beinggovernedbyartificial
lights.
GURU RAMDAS

21. ●Fifth gallery represents Guru
Arjan Dev and reflects efforts
made by him in his entire life.
●Walls and floor play a major
role in resulting space quality
creating a feeling of grandeur.
●Floor acts as a major
transition element between
spaces along with four arched
gateways creating a distinctive
essence.
GURU ARJAN DEV

22. ●ThegallerydepictingGrowthof
Sikhism and creation of
Amritsarhasbeendesignedto
promoteunityinsistedbyGuru
Hargobind Singh during
militarizationforSikhism.
●Thefloordirectsmovement
withinspacebeinggoverned
bydisplayswhichhavebeen
placedalongthemovement.
●Itisanintegrationofvarietyof
colourswhichcanbeperceived
throughdisplayswhilekeeping
usersindulged inoverall
spatialcharacter.
GROWTH OF
SIKHISM

24. SECTIONS
●Arranged in groups of five,
the galleries reference the
Five Virtues, a central
tenet of the Sikh faith.

25. SECTIONS
●It consists of a ramp which start
from 321m and goes up till
327.60m

26. •Visitorsenteringthemuseum by
crossingthebridgemayspendsome
timeinasmallopen courtyard
dottedwithhumanscalemanikins
withembeddedsoundthatprovidea
glimpseintothelivesofthesikh
Diasporaacrosstheglobe.
•Thefoyer,openonallsides,isthe
hubofthearrivinganddeparting
visitors.
•Large plasma screens orient
visitors in three languages on how to
derive the maximum benefit from
the museum.
•The information centre here is a
pivotal point to orient visitors to the
museum complex.
•It also provides various facilities
such as multilingual audio and
printed gallery guides.
MULTI MEDIA
GALLERY

27. Level 330M
Level 324M
Level 319M
The structure consists of :
●arcade
●receiving dock
●mechanical/electrical
room
●reception
●storage space
●workshops
●labs
●lecture
●Heritage museum, also known as boat building has plan area
1780 sqm
●The 400 seater auditorium having covered area 1980 sq.m
split into three levels.
●The long span of the building shall be filled with water to get
the reflecting effect.
●Thefoundation lvl is 308.5 mand the top of roof is 330.6 m.
●The library having a covered area of 2230 sq.m
●Theorganizationwhowanttoputuptheirexhibitionsfor
shortdurationsshallbeofferedspaceintemporaryexhibit
galleryhavingacoveredareaof1373sq.m
●meeting space
●book store
●gift shops
●offices
●toilets
●exhibit galleries
●planters
●grand stairs
●meeting space
STRUCTURE AND
DETAILS

29. TECHNICAL DETAILS
●Columns and beams -fair faced concrete casted
in single.
●Columns-no shuttering joints.
●Electricity from 132 kv sub station of PSEB
●The structure of the complex is made up of
concrete bearing walls and vierendeel trusses.
●The structure is RCC shear wall with inside ramp
of prestressed concrete.

30. LANDSCAPING
●Water has been incorporated as a major
element in the landscaping scheme.
●The floor of the ravine forms the centerpiece
of the complex.
●As far as possible, the natural landscape and
topography has been maintained.
●The sand cliffs facing the town, terrace gently
towards the ravine forming a series of
terraced gardens and arcades towards the
water.
●The concept behind giving water body on the
ground floor level is that it will be reflected in
the ceiling which is made of glass thus making
a visitor clueless about the actual height of
the building.

31. ●The upwardly curving roofs of the museum's
tower like galleries are covered in stainless
steel, designed in counterpoint to the rich
tradition of gold domes that crown sacred
Sikh buildings such as the Golden Temple in
Amritsar.
●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 walls ascending from the ravine level
also clad with weather resistant sandstone.
MATERIALS USED

32. SPACES AND ITS CHARACTERISTICS
The museum campus is composed of two functionally sets of buildings.
1.The western complex, forming a gateway toAnandpur Sahib, houses exhibition galleries
2. A two-level library centeredaround a grand reading room that overlooks water gardens; a facility
for storing rare archival materials.
The symbolic themes of earth and sky, mass and lightness,
and depthand ascensionare represented by the
museum's sandstone towers and reflective silver roofs, and
are further echoed inside the museum's galleries.
●Visitor-friendlyand interactive
●multimedia exhibits and compelling
storytelling
●crafting of the finest sensibility and aesthetic

33. PARAMETER VIRASAT-E-KHALSA
Elements of Space-Making Permanent elements don’t have much role to play in space
quality.
Association to the place Association to a religion, attracts more footfall.
Experiences Spatial, visual and audible experiences
Colours Being accommodated with the help of artificial lights.
Lights Mainly artificial light.
Buffer Zones No buffer zones, no rest spaces
Movement Guide & Directionality The floor mainly acts as movement guide; proper directionality.
Volumes/ Enclosures Not much variation in volumes; Interior space as a focal element.
Streetscape Not taken into consideration.
Form Varying forms can be seen in layout; interior forms are alike
mainly.

34. INFERENCES
1. The museum is a splendid example of Regional Architecture.
2. It very well depicts the natural richnessand architectural heritageof Sri Anandpur Sahib and the site.
3. The gigantic volumeshows the amount of power in Sikhism.
4. The response of structure to its context (site) is magnificent.
5. The structure stands as a Landmark.
6. Though the forms derived are contemporary but the vernacular essencein kept intact.
7. The overall site becomes a comprehensive tourist destination.
8. The complex has served Sikhsdeeply with their roots.

35. INFERENCES
9. Design focuses more on interior qualityof space which can be foreseen in the form of artificial
lights, colours and various interior elements.
10. To make it more associative, volumes have been kept somewhat alike with changing spatial
qualityin terms of interiors.
11. The depiction of stories, events, struggleshas been done magnificently so that one can relate to
it so easily without guide.
12. The permanent elements of built-environment don’t have much contribution to space quality
since the displays seek all attention of users.
13. Overall, museum seems to have proper directionalityas it has been intended to serve as a
journey which in fact results in interactive experiences of users.

36. EXHIBIT GALLERY
15th CENTURY PUNJAB 360 WALL MURAL BY ORIJIT SEN GURU NANAK GALLERY PRAKASH STHAL THE ETERNAL GURU
IK-ONKAR LIGHT INSTALLATION
THE MARTYRDOM OF GURU ARJAN DEV
THE BAOLI GURU HARGOBIND GALLERY

37. INSIDE VIRASAT E KHALSA

40. REFERENCES
https://www.slideshare.net/ShahnazSandhu/virasat-ekhalsa-memorial
https://www.irjet.net/archives/V6/i5/IRJET-V6I599.pdf
http://architectnitin.blogspot.com/2016/
https://shreyawadekar.wordpress.com/2018/03/20/virasat-e-khalsa-a-case-study/
https://www.scribd.com/document/336155299/6-virat-e-khalsa-pdf
https://www.theheritagelab.in/virasat-e-khalsa/
http://www.jetir.org/papers/JETIR2006547.pdf

41. THANK YOU
1803 | 1820 | 1824 | 1825 | 1833 | 1837
https://www.youtube.com/watch?v=gPzSKCVC1HE