State-of-Art interactive Music Museum by Manoj Ladhad, Architecture Paradigm

just to give you a background of the location of the museum , it is part of a gated community one of the first gated communities on a large scale that was thought over in 1998 by the big head group and it formed a large apartment complex and had many interesting buildings which are part of the competition .

so the day that we designed was the ca site , which is a civic-based site , which came back to them after 10 years .

and the vision of the project was by the cmd of brigade group , krish deshankar , who wanted a museum on dedicated music , indian music in primary objective .

so he called for a competition .

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he called in for the competition where there were four invaded architects to take part in it and it showed up in our design 1d competition for some of the aspects that i'm going to discuss today with you .

so this is the site , it was a rather tricky site with a wedge shape and a very challenging footprint in terms of dealing with the setbacks and the bylaws and how do you look at the context of the site and also presence of well-grown trees inside .

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that kind of gives you a volumetric approach of how the museum was looked at .

we looked at the front of the building that can be built after the bylaws .

then we scooped out the areas by saving the trees that were there in the site .

and then we looked at how do you create a response towards the publicness of this particular building .

so the whole idea was how do you know the ground plan which kind of interacts with the community and interacts with the people who come to use it .

so the unbuilt kind of became an important part of the whole development .

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so this is a basic simple diagram , which kind of shows you how we can have in terms of volumetric quality in some section and basic plants , that we looked at the lower plains to become the imbibitation plazas , where an open sound garden kind of comes into play .

and when the general public can just come and relax and enjoy the care that's around .

and not even get to the main museum space , but we enjoy the space on a day-to-day basis .

and there's a part of the basement that we created , which housed a school of music .

and the essential program of the museum was in three parts .

there was a small school of music to be done , a small auditorium space , and a majority of those gallery spaces dedicated for music .

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so the way the plans kind of turned out after saving the footprint of the trees and the allowable footprint as per the law , we looked at ground plus three kind of a structure , not making it very tall , at the same time making it very easy .

and the form was very interesting in the way it turned out to be like it became like a scuttle wrap around the building .

and it almost looked like a music instrument .

so the way the program kind of worked is that the lowest level was a music store where you exit out into the museum , or you can use it on the ground plane .

and then the sound garden , which is the open public plaza , which were used for before you get into the main museum by after ticketing and checking into your luggage and things like that .

so you get introduced into the theatre , which is on the right hand corner .

and then we had the upper-level galleries , which were more dedicated for temporary museum and permanent museums .

the idea of the museum was to kind of keep it non-fixed to a large extent , where it could rotate this place and installation over a period of five to six years .

and again , you repeat kind of a thing .

so the whole aspect of installation was kind of very intense in terms of research .

we were the architects for the building part of it .

we had gallagher and assos from new york doing the installation interiors of the museum .

and they were one of the leaders in museum exhibition designs .

so then the whole idea of the research began where you start collecting right from the history of music to artifacts and cd players and tape recorder players , ld players , some musicians kind of donating their instruments to be displayed here .

so all that exercise took about five to six years in collecting each of those .

and then the whole exercise of the interior installation started .

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so that's the exterior view of the museum , which i mean , museum is not about not having direct daylight , but wherever possible , the power spaces , the open spaces , and the space that not meant for exhibit were all daylit .

the rest of it is all like a solid , so the whole expression was like solid , exposed concrete surfaces .

and the entire structure was kind of part of the entire ...

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yeah , so these are some isometric blown up , the way to explain how the whole museum worked like .

so the yellow that you see is the plaza and the sound garden which kind of directly interacts with the community and then you enter into the upper the ground floor level which would be the theater space where you get the introduction of the museum and the orientation for the museum .

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so that's the view of the sound garden .

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spaces .

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that's the view from the , within the gallery looking onto the plaza and surrounding spaces .

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yeah , so the whole idea of the museum is about the circulation and how do you kind of make sure that we don't miss out any exhibit or any galleries .

so the whole circulation is driven by the idea of you take a bottom approach or a top down approach .

so here with the help of gallagher and suzy we kind of looked at the top-down approach where you only get the introduction and the basics happening the ground level and you straight go up into the topmost level and then you come you come down you know in the diagram that's shown as a continuous part which is like a series of exhibit spaces of different different variety of galleries .

so that's the basic diagram .

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yeah , so that's the view of the museum from the roadside .

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you're going too fast .

you went too fast .

can you go back please ?

yeah , next slide .

yeah , yeah , just hold on .

yeah , so this is the one of the , some of the displays that we've done with the help of gallagher associates at the museum , where there are different modes that are created for different time periods and different type of music and different genre of music , including the , just for example , like the evolution of recording of music was done through display of physical ld players to cd players and blu-ray players , including the tapes themselves were displayed on the thing with the timeline .

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can i have the next slide please ?

hello .

yeah , so that's a display of all the engine instruments .

yeah , that's largely the music part .

thank you .