GATEWAY COLLEGE OF ARCHITECTURE AND DESIGN

SONIPAT

THESIS
May 2025

NATIONAL MARITIME MUSEUM IN LOTHAL,

GUJARAT

Author: Thesis Supervisor:

Isha Saraf (GCAD/20/212) Prof. Manoj Mathur
© 2025 Isha Saraf All rights reserved.
 National Maritime Museum in Lothal, Gujarat

Chapter 1

Introduction

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 Chapter 1

1.0 Introduction
The intersection of history and contemporary architectural intervention presents a unique
challenge in the design of cultural institutions, particularly when the physical context that
once defined a place has been lost to time. The National Maritime Museum at Lothal
emerges as a critical architectural investigation into this paradigm, where the design must
bridge a 5000-year temporal gap while creating a meaningful dialogue between past and
present.
Lothal, meaning "Mound of the Dead" in Gujarati, represents one of the most significant
archaeological discoveries of the Indus Valley Civilization. The site's most remarkable
feature was its dock - the world's oldest known artificial dockyard, dating back to 2400 BCE
(Rao, 1979). This marvel, measuring 37 meters from east to west and 22 meters from north
to south, showcased advanced understanding of tides, hydraulics, and maritime architecture
However, the present-day site presents an architectural paradox: designing a maritime
museum in a location where the very element it celebrates - water - has receded kilometres
away, leaving behind only archaeological traces and a transformed landscape.
The challenge is further amplified by the site's current context in Saragwala village, Gujarat,
where the maritime character that once defined Lothal has been replaced by an arid
landscape (WAPCOS, 2023). This presents a fundamental architectural question: How does
one design a maritime museum that authentically represents and interprets naval heritage in
an environment that has lost its maritime identity? The answer lies not just in the creation
of spaces for artifacts and exhibitions, but in the architectural narrative itself becoming an
instrument of temporal and spatial connection.
The proposal for the National Maritime Museum (NMM) as part of the larger National
Maritime Heritage Complex (NMHC) represents India's first comprehensive attempt to
create a repository of its maritime legacy (Ministry of Shipping, 2023). The museum's
significance extends beyond its role as a container of artifacts; it must serve as a bridge
between the tangible and intangible heritage, connecting visitors to maritime narratives
through architectural experience. The design challenge is intensified by the need to create
an environment that not only houses maritime artifacts but also evokes the essence of
maritime culture in a location that has been disconnected from its aquatic past for millennia
(Ray, 2021).
This architectural intervention aims to transcend traditional museum typology by creating
an immersive educational environment that celebrates India's maritime legacy while
acknowledging the site's transformed context (Tzortzi, 2021). Through careful
consideration of spatial narratives, environmental responses, and technological integration,

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 National Maritime Museum in Lothal, Gujarat

the project seeks to establish a new paradigm for contextual architecture where the original
context exists only in archaeological records (Pallasmaa, 2020).

1.1 Project Description

Phase 1A of NMHC focuses on the development of a 25,000 square meter museum building
and associated recreational zones (13,313 sq.m). The museum employs state-of-the-art
technology to create immersive experiences narrating India's maritime journey, featuring
six thematic galleries, support facilities, and a recreated Harappan settlement.

1.2 Intent of Choosing the Topic

The project seeks to investigate the architectural possibilities of recreating maritime
spatial experiences in a historically significant yet contextually transformed site, exploring
how contemporary design can bridge temporal gaps while creating meaningful
connections to lost maritime heritage.

1.3 Validity of the Project

The project has been officially sanctioned by:
• Ministry of Shipping, Government of India
• Archaeological Survey of India
• Gujarat Maritime Board
• Environmental Clearance

Fig 1 Floated Tender for National Maritime Heritage Complex

Source: https://pbs.twimg.com/media/FA5gSgXUcAUB34p.jpg:large

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 Chapter 1

1.4 Aim and Objectives

To create an architectural narrative that reestablishes maritime connections through
contemporary design intervention, serving as a catalyst for maritime education while
addressing the paradox of a maritime museum in a de-maritimized context.
Objectives:
• To develop spatial sequences that reinterpret maritime experiences in a non-maritime
context
• To create an architectural language that bridges the temporal gap between ancient and
contemporary maritime narratives
• To integrate exhibition spaces that effectively communicate the maritime heritage
• To establish a dialogue between archaeological remains and new architectural
interventions

1.5 Scope and Limitations

The architectural intervention encompasses the detailed design of a 25,000 square meter
museum building with six galleries and associated facilities, focusing on creating a
contemporary maritime experience in a historically maritime but currently inland context.
Limitations:
• Absence of original maritime context requiring architectural reinterpretation
• Archaeological sensitivity limiting subsurface interventions
• Climatic challenges of an arid region for maritime conservation
• Heritage conservation guidelines restricting design possibilities
• Technical requirements for artifact preservation in non-maritime conditions

1.6 Client’s Brief

• Project Type: Maritime Museum and Heritage Complex (Phase 1A)
o Built-up Area: 25,000 sq.m
• Client: Ministry of Shipping, Government of India in collaboration with:
o Indian Port Rail & Ropeway Corporation Limited (IPRCL)
o Gujarat Maritime Board
o Ministry of Culture
• Location: Saragwala village, Lothal, Gujarat
o Site Area: 375 acres (Total NMHC)
o Phase 1A area: 35 acres

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 National Maritime Museum in Lothal, Gujarat

o Area allocated for Museum Building and other amenities: 53912 sq. m (13.3
acres)
• Facility Requirements:
o Exhibition Spaces (Galleries) - 12000 sq. m
▪ Orientation and Oceanic Mythologies
▪ Harappan’s- The Pioneer Seafarers
▪ Post Harappan Trajectories: Impact of Climate Change
▪ India’s Contact with the Greco- Roman World
▪ Special Exhibitions Gallery
▪ Evolution of Indian Navy and Indian Coast Guard
o Educational Facilities- 3500 sq. m
▪ Maritime Research Centre
▪ Digital Library
▪ Documentation Centre
▪ Lecture Halls
▪ Workshop Spaces
o Public Amenities- 4000 sq. m
▪ Reception and Ticketing
▪ Seafarer’s Shop
▪ Seafarer’s Café
▪ Rest Areas
▪ Public Facilities
o Administrative Zone- 2000 sq. m
▪ Director’s Office
▪ Staff Rooms
▪ Meeting Rooms
▪ Admin offices
▪ Staff Facilities
o Technical and Support- 3500 sq. m
▪ Conservation Lab
▪ Artifact Storage
▪ Loading/Unloading Bay
▪ MEP rooms
▪ Security Control Rooms

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 Chapter 1

1.7 Methodology

Problem Statement: A maritime

museum in a de-maritimized
context

Literature Review

Methodology

Deduced Data Induced Data

Historical Research Case Studies Research Papers Site Analysis

Understanding the Primary- Transports Understanding

maritime narrative Expert Interviews
Museums museum designs

Contextual
Background of Secondary- Foreign
maritime museums Architecture and Site Documentation
maritime museums
Cultural Heritage

Data Analysis

Synthesis

Conceptual
Framework

Fig 2 Methodology

Developed by the Author

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 National Maritime Museum in Lothal, Gujarat

Chapter 2

Background of Maritime Museums

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 Chapter 2

2.1 History and Background Study

The evolution of maritime museums represents a significant transformation in cultural
institution development, reflecting changing societal relationships with maritime heritage
and museum pedagogy. The genesis of maritime museums can be traced to the late 18th
century, emerging from the naval traditions of European maritime powers. The Naval
Museum in Madrid, established in 1792, represents one of the earliest dedicated maritime
museums, setting a precedent for naval heritage preservation. These early institutions
primarily functioned as repositories for naval artifacts and symbols of maritime power,
reflecting the geopolitical significance of naval supremacy in the colonial era.
During the 19th century, maritime museums began evolving beyond their initial role as
naval trophy houses. The National Maritime Museum at Greenwich, founded through the
National Maritime Museum Act 1934, marked a pivotal shift in maritime museum
philosophy (National Maritime Museum, 2019). The institution pioneered the integration
of public education with heritage preservation, establishing new paradigms for maritime
museum development. This transformation reflected broader changes in museum
philosophy, moving from collection-centred to visitor-centred approaches.

Fig 3 National Maritime Museum at Greenwich

Source: David Dennis.

https://mainlymuseums.com/images/posts/992/Original-NMM%207.jpg

The post-war period witnessed a fundamental reimagining of maritime museum purpose

and design. Maritime museums began expanding their scope beyond naval history to
encompass broader aspects of maritime heritage, including merchant shipping, fishing
communities, and maritime industries. The creation of the Norwegian Maritime Museum in
1914 and its subsequent transformations exemplify this shift, incorporating diverse

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 National Maritime Museum in Lothal, Gujarat

maritime narratives and community histories (Norwegian Maritime Museum Archives,

2018).

Fig 4 Norwegian Maritime Museum

Source:
https://assets.simpleviewcms.com/simpleview/image/fetch/c_fill,h_1080,w_1920/f_jpg/q_65/https://media.newmind
media.com/TellUs/image/%3Ffile%3DMaritimt-
Museum_2020_utstilling_c_Maritimt_Museum_117497042.jpg&dh%3D600&dw%3D800&cropX%3D218&cropY
%3D0&cropH%3D2459&cropW%3D3278&t%3D4

Contemporary maritime museums have evolved into complex cultural institutions that serve
multiple functions. These institutions now balance traditional artifact preservation with
innovative interpretative techniques, incorporating digital technologies and interactive
experiences. This evolution reflects broader changes in museum practice, where education
and public engagement have become central to institutional mission. The Australian
National Maritime Museum, established in 1991, demonstrates how modern maritime
museums integrate multiple narratives through varied interpretative strategies (Australian
National Maritime Museum, 2020).

Fig 5 Australian National Maritime Museum

Source: https://cms-
web.seamuseum.net/sites/default/files/styles/xl/public/fotoweb/2024
-08/Pavillion_Sat110.tif.png?itok=m9bUouOP

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 Chapter 2

The technological revolution has further transformed maritime museum design and
programming. Museums now employ advanced conservation techniques, digital archives,
and interactive exhibits to enhance visitor engagement while ensuring artifact preservation.
This integration of technology has enabled maritime museums to present complex historical
narratives in accessible and engaging ways, while maintaining scholarly integrity.
Looking toward the future, maritime museums continue to evolve, addressing contemporary
challenges such as environmental awareness, cultural inclusivity, and digital accessibility.
These institutions increasingly serve as forums for discussing current maritime issues, from
ocean conservation to global trade, while maintaining their core role as preservers of
maritime heritage.

2.2 User Profile and Activity Analysis

The relationship between visitors and maritime museum spaces operates through a complex
interplay of physical and psychological factors. At its core lies what UNESCO (1974)
identifies as a fundamental tension between human nature and museum objects - where
conservation requirements must be balanced with visitor engagement needs. This dynamic
forms the foundation for understanding how people interact with maritime heritage in
museum settings.
Museum spaces generate distinct patterns of visitor movement and engagement. The
relationship between visitors and exhibits follows what UNESCO terms "identification and
place of movement," where spatial configuration directly influences visitor behaviour and
experience. This understanding becomes crucial in maritime museums where large artifacts
and complex narratives require careful consideration of viewing distances and circulation
paths.

2.2.1 Visitor Demographics

Recent studies by the International Council of Maritime Museums (ICMM, 2023)
indicate:
• Primary age group: 25-45 years (42%)
• Family groups: 35%
• Educational groups: 15%
• Individual visitors: 8%

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 National Maritime Museum in Lothal, Gujarat

2.2.2 Activity Analysis

The entrance and transitional zones serve as critical areas for social conditioning
and preparation. These spaces, according to UNESCO's guidelines, should provide
three distinct phases of engagement:
• Initial orientation
• Social decompression
• Exhibition preparation

Fig 6 Functional scheme of a museum

Source; Neufert Architect’s Data 4th Edition

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 Chapter 2

Table 1 Categorization of functions, spaces and users

S.
Functions Space Required Primary User
No.
Conservation specialists,
Conservation
Research scholars,
Laboratory
Museum curators
Researchers, Academic
Research Facilities
Maritime visitors, Curatorial staff
Collection Archivists, Research
Documentation
Management staff, Documentation
Center
team
Curatorial
1. Restoration experts,
Functions Restoration
technical staff,
Workshop
Conservation team
Climate-Controlled Collection managers,
Storage Conservation staff
Naval Equipment Technical staff,
Artifact Storage
Storage Maintenance team
Archive Storage Archivists, Research
staff
Orientation and
Oceanic
Mythologies
Harappan’s- The
Pioneer Seafarers
General public, School
Post Harappan
Exhibition Permanent groups, Researchers,
2. Trajectories: Impact
Functions Galleries Special interest groups,
of Climate Change
Maritime enthusiasts
India’s Contact with
the Greco- Roman
World
Special Exhibitions
Gallery

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 National Maritime Museum in Lothal, Gujarat

Evolution of Indian
Navy and Indian
Coast Guard
Temporary Flexible Exhibition
Galleries Space
Maritime Research
Researchers, Students,
Educational Center
3. Learning Spaces Academic staff,
Functions Digital Library
conference attendees,
Lecture Hall
Entry & Main Lobby
Orientation Information Centre
Seafarer's Café General public,
Public
4. Museum Shop Students, Tourist groups,
Functions Visitor
Lobby and waiting Staff
Amenities
Cloakrooms and
washrooms
Director, Senior staff,
Director's Office
Administrative Official visitors
5. Offices
Functions Administrative Administrative staff,
Offices Support staff
Main Store
Housekeeping Service Pantry per Cleaning staff,
Housekeeping
6. floor housekeeping staff,
services
Waste Waste Collection supervisors
Management Point
Service Entry Loading staff,
Loading-
7. Loading Dock Maintenance staff,
Unloading Service Corridor
Security
HVAC Plant Room
Main Substation
Building Maintenance staff,
Technical Pump Room
8. Services Service engineers
Functions WTP
STP
Control Rooms

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 Chapter 2

Building Equipment Room Security staff, Technical

Management Workshop Staff
Developed by the Author based on the adaptation from Time Saver Standards for Building Types

Fig 7 User-space matrix

Developed by the Author

2.3 Social-Psychological Aspects

2.3.1 Social Dimension
Maritime museums serve as crucial nodes in the cultural fabric of society,
transcending their traditional role as repositories of naval artifacts. Such institutions
function as dynamic social catalysts, fostering community engagement through
multiple channels of interaction. The International Council of Museums' report on
Maritime Heritage (ICOM, 2022) demonstrates that successful institutions create
what they term "cultural bridges" - spaces where historical narrative intersects with
contemporary social discourse.

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 National Maritime Museum in Lothal, Gujarat

The social experience of museums varies significantly based on group composition

and size. UNESCO's research identifies three primary visitor configurations, each
with distinct spatial needs:
• Individual visitors require closer proximity to exhibits for detailed
examination, typically maintaining what is termed the "zone of
apperception" - an optimal viewing distance that allows for both detailed
observation and emotional connection with artifacts.
• Small groups (2-5 people) create what UNESCO describes as "round-table"
discussion environments, requiring space for both observation and
interaction among group members.
• Large groups necessitate broader viewing angles and greater distances from
exhibits, fundamentally altering the spatial requirements and circulation
patterns.

2.3.2 Psychological Dimensions

According to UNESCO's architectural guidelines, when someone visits a museum,
there exists a fundamental tension between human nature and the object. The
physiological and psychological aspects are closely linked, functioning according to
the principle of biological balance. This manifests in rhythmical wave movements
that affect visitor engagement patterns. While psychology leaves room for
interpretation, physiology remains an exact science, necessitating precise
environmental controls. A critical consideration in maritime museum design is the
phenomenon of visitor fatigue. Excessive warmth provokes lassitude, while cold
temperatures reduce powers of concentration. The appropriate relationship must be
maintained with the hygrometric level, which varies according to climatic area and
season. Of particular importance is the relationship between light and temperature,
as these factors directly impact visitor comfort and engagement levels.
Museum visitors are always in the position of recipients, with limitations imposed
on their motor functions leading to physiological constraints.
• Passive relaxation opportunities
• Intellectual assimilation spaces

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 Chapter 2

• Areas for spontaneous activity

Fig 8 Areas for relaxation for short duration

Source: UNESCO. 1974. Museum Architecture.

These elements must be integrated to re-establish the biological balance disturbed

by concentrated viewing

The cognitive processing of museum content in specialized institutions like

maritime museums presents distinct challenges in exhibition design. Visitors tend to
experience varying levels of attention and engagement throughout their journey,
suggesting that information absorption occurs in phases. This pattern of engagement
and fatigue indicates the need for thoughtful pacing in content presentation. When
designing exhibition spaces, consideration should be given to these natural attention
cycles by incorporating strategic pauses and rest points within the visitor's journey.
This understanding can inform the spatial organization of exhibits, where more
complex or detailed information might be balanced with areas that allow for mental
recovery and reflection. The arrangement of content and space should therefore
accommodate both active learning periods and moments of cognitive rest, enhancing
the overall visitor experience and information retention.

2.4 Key Understanding

The historical evolution from collections-focused institutions to experience-centred cultural
spaces suggests a fundamental shift in how these buildings should perform. This
transformation demands architecture that can adapt to evolving exhibition strategies and
technological integration while maintaining the core function of maritime heritage
preservation. Effective museum architecture must support both the technical requirements
of conservation and the experiential qualities that engage visitors.

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 National Maritime Museum in Lothal, Gujarat

Understanding visitor behaviour patterns and needs emerges as a crucial factor in

architectural design. The museum must accommodate multiple visit patterns, from brief
encounters to extended study, while serving diverse user groups simultaneously. This
requires an architectural solution that provides clear orientation cues while enabling both
guided and self-directed exploration. The spatial organization must support varied learning
styles and engagement levels, from casual observation to in-depth research. The challenge
lies in translating these insights into spatial solutions that serve both the practical demands
of museum operation and the broader cultural mission of maritime heritage preservation
and interpretation.

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 Chapter 2

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 National Maritime Museum in Lothal, Gujarat

Chapter 3

Standards and Norms

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 Chapter 3

3.1 Standards to be Referred

Table 2 Standards and Norms to be Referred while designing Maritime Museum in Lothal, Gujarat

Category Standards/Norms
Archaeological ASI Guidelines, UNESCO World Heritage Guidelines
Building Byelaws Gujarat Development Control Regulations
Building Codes National Building Code (NBC 2016), BIS Standards
Museum Design ICOM Guidelines, Artifact Conservation Standards
Tourism Ministry of Tourism Guidelines, Safety and Security Standards
Environmental EIA, CRZ Norms, Waste Management Systems
Developed by the Author

3.2 Design Standards

3.2.1 ASI (Archaeological Survey of India)
• Buffer zone requirement: 100m from protected monument
• Regulated zone: 200m beyond buffer zone
• No construction allowed in 'prohibited area' (0-100m)
• Height restrictions: Maximum 15m in regulated area
• Ground coverage: Not exceeding 50% in regulated area

3.2.2 GDCR (Gujarat Development Control Regulations)

• Building Height
o For road width of 18.0m to 40.0m: 45m height permitted
• Setbacks
o Front: 9m from road
o Sides and rear: 6m
• Ground Coverage: Maximum ground coverage permitted is the area remaining
after providing required margins, common plot and other regulations
• FSI (Floor Space Index): 1.8
• Parking Requirements
o 50% of Total Utilised FSI (20% of the required parking shall be provided
as visitors parking)

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 National Maritime Museum in Lothal, Gujarat

3.2.3 NBC (National Building Code of India) 2016

Assembly Buildings (Subdivision D-3)
• Fire Safety
o Fire resistance rating: 2 hours
o Maximum travel distance to fire exit: 30m
o Minimum corridor width: 2m
o Emergency exits: Minimum 2 per floor
o Fire tender movement: 6m clear width
• Services
o HVAC requirements: 23±2°C
o Fresh air: 15 cfm/person
o Lighting: 300-500 lux in galleries
o Power backup: 100% essential services
• Accessibility
o Ramp gradient: 1:12 maximum
o Door width: Minimum 1000mm
o Corridor width: Minimum 1800mm
o Toilet provision for disabled

3.2.4 ICOM Standards (International Council of Museums)

• Exhibition Spaces- environmental controls
o Temperature: 20±2°C
o Relative Humidity: 45-55%
o Air filtration: MERV 13
o UV protection: Maximum 75 microwatts/lumen
• Gallery Requirements
o Ceiling height: Minimum 4.5m
o Exhibition lighting: 50-250 lux
• Conservation Facilities
o Separate HVAC zones
o Clean room standards
o Storage requirements

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 Chapter 3

3.3 General Design Principles

3.3.1 Parking Facilities

Fig 9 Standard car dimensions and car turning radius

Source: Neufert Architect’s Data 4th Edition

Fig 10 Various parking possibilities

Source: Neufert Architect’s Data 4th Edition

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 National Maritime Museum in Lothal, Gujarat

3.3.2 Washrooms

Fig 11 Generic layout of washrooms and standard dimensions of water closets and urinals

Source: Neufert Architect’s Data 4th Edition

According to NBC 2016, museums require carefully calculated sanitary

provisions based on peak visitor loads (per 100 visitors):
o Male: 3 WCs, 4 Urinals, 2 Washbasins
o Female: 4 WCs, 3 Washbasins
o Drinking Water: 1 station per 100 visitors

3.3.3 Café

Fig 12 Seating arrangement in a café

Source: Neufert Architect’s Data 4th Edition

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 Chapter 3

3.3.4 Shop

Fig 13 Typical sales area

Source: Time-Saver Standards for Interior Design & Planning

3.3.5 Library

Fig 14 Optimum shelving conditions

Source: Time-Saver Standards for Building Types 2nd Edition

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 National Maritime Museum in Lothal, Gujarat

Fig 15 Minimum clearances lor people and equipment in reading rooms

Source: Time-Saver Standards for Building Types 2nd Edition

As a specialized knowledge repository focusing on maritime history, archaeology,

and naval heritage, its location within the museum complex should facilitate easy
access for researchers, students, and general visitors. The library's placement should
consider circulation patterns that connect to primary exhibition spaces while
maintaining sufficient acoustic separation. The library should be situated to enable
efficient movement of archival materials and integration with digital resource areas,
while providing clear sightlines for staff supervision. This central positioning will
maximize the library's utility as both a research facility and an educational resource
that will complement the museum's maritime narrative.

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 Chapter 3

3.3.6 Lecture Hall

Fig 16 Seating arrangement in a lecture hall

Source: Neufert Architect’s Data 4th Edition

Fig 17 Layout of projector in lecture hall

Source: Neufert Architect’s Data 4th Edition

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 National Maritime Museum in Lothal, Gujarat

3.3.7 Research lab

Fig 18 Research lab layout with additional practical spaces like

weighing and measurement rooms, centrifuge and autoclave rooms,
rinsing kitchens, air-conditioned and cold storage rooms with
constant temperature, photographic/dark rooms, etc.

Source: Neufert Architect’s Data 4th Edition

3.3.8 Restoration and Conservation

Similar to a clean-room lab, this lab must be located away from public circulation
but maintain efficient connections to storage and exhibition areas. The lab should be
situated at grade level with dedicated service access to facilitate movement of
artifacts. The space must be environmentally controlled with specialized ventilation
systems and stable temperature conditions.

Fig 19 Clean room lab layout

Source: Neufert Architect’s Data 4th Edition

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 Chapter 3

3.3.9 Artifact storage

Fig 21 Storage systems for large objects

Source: UNESCO. 1979. Museum Collection Storage

Fig 20 Comparison between fixed storage system and high-density

mobile storage system

Source: UNESCO. 1979. Museum Collection Storage

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 National Maritime Museum in Lothal, Gujarat

3.4 Museum Design

3.4.1 Exhibition Layouts
3.4.1.1 Orientation of Spaces
According to Buxton's "Metric Handbook" (2024), exhibition layouts can be
categorized into distinct typological arrangements, each serving specific
interpretive purposes.

Fig 22 Possible layout of spaces. a Open plan; b Core + satellites;

c Linear procession; d Loop; e Complex; f Labyrinth

Source: Metric Handbook: Planning and Design Data

a. Linear Progression creates a sequential journey through exhibition

spaces, moving from a defined beginning through the middle to a clear
endpoint. This arrangement works particularly well for chronological
narratives or step-by-step story progression.
b. Circular Configuration guides visitors through a continuous loop that
naturally returns to the starting point, creating an unbroken narrative
flow. This layout effectively connects the end of the exhibition back to
its beginning, reinforcing cyclical themes or evolutionary narratives.
c. Core-Satellite Organization positions a central orientation space as the
primary hub, with themed exhibition spaces radiating outward like
spokes. Visitors return to this central core after exploring each satellite
space, providing clear orientation and thematic organization.

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 Chapter 3

d. Hybrid Composition combines linear paths, loops, and satellite spaces

into a complex but organized system that can support multiple narrative
threads simultaneously. This versatile arrangement allows for both
structured progression and flexible exploration, accommodating diverse
collection relationships and interpretive needs.
e. Labyrinthine Structure offers a flexible network of interconnected spaces
that can be reconfigured through circulation management, allowing the
museum to adapt its spatial relationships for different exhibitions. This
dynamic layout enables creative curatorial approaches while maintaining
controlled visitor flow patterns.

3.4.1.2 Exhibits and Display

Contemporary museum exhibitions employ an increasingly sophisticated
array of interpretive media to enhance visitor engagement. These range from
traditional graphic displays and audio-visual installations to more advanced
technologies such as computer graphics, digital media platforms, and
animatronic displays. Environmental reconstructions and interactive
exhibits further enrich the visitor experience by providing immersive and
participatory learning opportunities.
Each exhibit type requires consideration of five fundamental elements:
• Collection interface
• Structural support
• Conservation elements
• Illumination systems
• Interpretive components

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 National Maritime Museum in Lothal, Gujarat

Fig 23 Exhibit installations. a, b, c Hanging or wall mounted; d, e Free-

standing and open exhibits; f, g, h Contained exhibits and display cases

Source: Metric Handbook: Planning and Design Data

3.4.1.3 Field of View of Display Objects

The field of vision in museum display design represents a critical factor in
visitor engagement and object comprehension. According to Neufert's
Architects' Data (2012), the optimal viewing angle for museum objects lies
between 27° above and 30° below the horizontal sight line, creating a
comfortable viewing cone that determines effective display heights.
Museum objects placed at eye level, typically ranging from 1.60m to 1.70m
for standing adults, achieve maximum visibility and engagement. This
positioning aligns with what Neufert identifies as the "zone of easy eye
rotation," where visitors can observe objects without physical strain. For
detailed examination of artifacts, the optimal viewing distance should be
approximately 1.5 times the largest dimension of the displayed object.

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Fig 24 Field of View for display objects

Source: Neufert Architect’s Data 4th Edition

Fig 25 Optimum distance of viewer from object in relation to size of object

Source: UNESCO. 1974. Museum Architecture.

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3.4.1.4 Lighting
Museum lighting represents a critical intersection between visitor experience
and artifact preservation. The strategic control of both natural and artificial
light sources becomes fundamental to museum design, particularly in
institutions housing sensitive collections. Direct sunlight must be completely
eliminated from collection areas, with specific attention paid to UV radiation
control due to its potential to initiate chemical changes in vulnerable
materials.
The human eye's adaptation capabilities must be considered when designing
museum lighting schemes. Sudden transitions between different lighting
levels should be avoided to prevent visitor discomfort and ensure optimal
viewing conditions. While maintaining conservation standards, sufficient
contrast must be preserved to prevent what museum professionals’ term the
"dull effect," which can impair visual accommodation in low-light
conditions.

Fig 26 Recommended maximum light dosages

Source: Reprinted Table 29-2 from Metric Handbook: Planning and Design Data

3.4.1.5 Risks and Hazards

a. Fire Hazard: Maritime museums require particularly rigorous fire
protection systems owing to the presence of large wooden vessels,
petroleum-based preservation materials, and historic textiles. The
combination of these materials, along with modern electronic display
systems and preserved marine equipment, creates a complex fire safety

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environment that demands specialized detection and suppression

systems.
b. Conservation Hazard: Salt-laden coastal air poses a particular threat to
metal artifacts, while organic materials require carefully controlled
environmental conditions. These conservation requirements must be
integrated into the building's environmental control systems from the
earliest design stages.
c. Structural Hazard: The display of heavy naval equipment and vessels
demands careful attention to floor loading capacities and support
structure stability.
d. Security Hazard: Modern museum security extends beyond traditional
physical protection to encompass digital security and public safety. A
layered approach to security design, integrating surveillance systems,
access control, and emergency response capabilities must be seamlessly
incorporated into the architectural design while maintaining an
welcoming atmosphere for visitors.

3.4.2 INS Nishank (Veer Class Corvette)

Specifications:
o Length Overall: 56.2 meters
o Beam (width): 10.2 meters
o Draft: 2.3 meters
o Height (from keel to mast): ~20 meters
Display Requirements:
• Base Platform
o Minimum platform size: 65m x 15m
o Load bearing capacity: 400 tons minimum
o Surface treatment: Anti-corrosion, weather-resistant
• Access Requirements
o Perimeter walkway: 3m minimum width
o Viewing distance: 5m minimum from vessel edge
o Total display footprint: 75m x 25m

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 National Maritime Museum in Lothal, Gujarat

Fig 27 INS Nishank

Source: https://akm-img-a-
in.tosshub.com/indiatoday/images/story/202206/ins_nishank_1200x768.jpeg?Version
Id=nGDU7SWgjcl8W7E3RaHB0SKBoiR25OQk

3.4.3 IL 38 SD Aircraft
Specifications:
o Length: 40.1 meters
o Wingspan: 37.4 meters
o Height: 10.2 meters
o Empty Weight: 35,000 kg
Display Requirements:
• Exhibition Space
o Minimum clear area: 45m x 42m
o Height clearance: 12m minimum
o Floor loading: 40 tons minimum
• Viewing Area
o Circumferential clearance: 5m minimum
o Total display footprint: 55m x 52m

Fig 28 IL 38 SD Aircraft

Source: Szabo Gabor. 2009.

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3.4.4 Sea Harrier

Specifications
o Length: 14.2 meters
o Wingspan: 7.7 meters
o Height: 3.71 meters
▪ With landing gear down: 3.71m
▪ With landing gear up: 2.95m
Display Requirements
• Display Platform
o Minimum platform: 16m x 9m
o Height clearance: 4.5m
o Load capacity: 10 tons
o Surface finish: Non-slip, weather-resistant
• Viewing Space
o Perimeter clearance: 3m minimum
o Total display area: 22m x 15m

Fig 29 Sea Harrier

Source: https://nmhc.in/naval-warship-and-aircrafts/#sea-harrier

3.4.5 Ancillary Requirements

3.4.5.1 Services
Based on Time Saver Standards for Building Types:
• HVAC Plant Room
o Area: 8-10% of total built-up area
o Clear height: 4.5m minimum
o Access: Direct service vehicle approach

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 National Maritime Museum in Lothal, Gujarat

• Electrical Services
o Main panel room: 40 sq.m minimum
o Transformer yard: As per electrical load
o DG set area: For 100% backup
o UPS room: 25 sq.m minimum
• Storage Facilities
o General storage: 10% of exhibition area
o Conservation storage: 5% of exhibition area
o Temporary exhibition storage: 100 sq.m minimum
o Documentation center: 50 sq.m minimum

3.4.5.2 Basement
• Clear height: 2.4m minimum
• Fire escape: Every 15m
• Ramp gradient: 1:10 maximum

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 National Maritime Museum in Lothal, Gujarat

Chapter 4

Literature Study

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 Chapter 4

4.0 Categorization of Literature

S. Literature Name of Author(s) Publisher Pages Topic of

No Category Literature of discussion
interest
Lothal: A
History of
Book Harappan S.R. Rao
1. Lothal town
Port Town
Museums for Friedrich
a new Achleitner Understanding
Munich;
millennium: (Editor: 10-27, Museum
Book New York:
2. concepts, Vittorio 76-83 design
Prestel
projects, Magnago narrative
buildings Lampugnani)
India’s
Ancient Maritime
Book Lotika
3. Maritime history of India
Varadarajan
Heritage

4.1 Synopsis of Literatures

4.1.1 Lothal: A Harappan Port Town (Vol 1)
In his comprehensive archaeological study, Rao presents an exhaustive
documentation of Lothal that proves indispensable for understanding the site's
historical significance and architectural heritage. His meticulous analysis of the
world's oldest known artificial dockyard reveals sophisticated understanding of
hydraulic engineering and urban planning that was remarkably advanced for its time.
The detailed documentation of spatial organization, construction techniques, and
environmental adaptation strategies provides crucial insights for contemporary
architectural intervention.

4.1.2 Museums for a New Millennium: Concepts Projects Buildings

Lampugnani's authoritative examination of late 20th-century museum architecture
provides a critical framework for understanding the evolution of cultural institutions

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 National Maritime Museum in Lothal, Gujarat

in contemporary society. His analysis meticulously examines how architectural

innovation has responded to changing societal demands, particularly focusing on the
integration of technology, spatial narrative, and visitor engagement. Through
detailed case studies and theoretical analysis, Lampugnani demonstrates how
modern museum architecture must balance conservation requirements with
increasingly sophisticated public expectations.

4.1.3 The Smithsonian Instituition

Oehser and Heskett's scholarly examination of the Smithsonian's architectural
evolution presents insights into institutional museum planning and operation. Their
analysis extends beyond mere historical documentation, revealing how architectural
decisions fundamentally shape visitor experience and institutional functionality. The
authors' detailed study of the relationship between architectural form and museum
function establishes enduring principles for museum campus planning and
exhibition space design. Their work particularly illuminates how large-scale cultural
institutions can successfully integrate multiple narratives while maintaining
coherent visitor experiences.

4.2 Collating literature learnings: A key understanding

4.2.1 Historical Context
The archaeological excavations at Lothal, meticulously documented by Rao (1979),
reveal a sophisticated maritime settlement that functioned as a vital trade hub during
the Harappan civilization. The site's strategic location at the head of the Gulf of
Cambay positioned it as a crucial interface between the inland resources of the Indus
Valley and maritime trade routes extending to Mesopotamia, Africa, and the Arabian
Peninsula.
Lothal's maritime infrastructure, particularly its dock-yard measuring 37 meters by
22 meters, represents the world's oldest known artificial dock. This engineering
marvel incorporated sophisticated features for controlling tidal variations, with
evidence suggesting water depths sufficient for vessels of considerable size. The
dock's construction demonstrates advanced understanding of hydraulic principles,
employing a system of inlet and outlet channels regulated by wooden breastworks,
as revealed through archaeological evidence of brick-lined drainage channels and
subsequent silting patterns.

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 Chapter 4

The settlement's warehouse complex, situated immediately adjacent to the dock,

presents compelling evidence of Lothal's role in maritime commerce. These
structures, characterized by their massive brick platforms and strategic positioning,
facilitated the storage and transfer of goods between maritime and inland trade
routes. Archaeological findings including seal impressions, weights, and measures
indicate standardized trading practices that aligned with other major Harappan
centres.
Maritime trade activities at Lothal encompassed a diverse range of commodities.
Archaeological evidence suggests extensive trade in beads, with the discovery of a
bead-making factory indicating industrial-scale production. The presence of Persian
Gulf seal impressions, Mesopotamian ceramics, and African artifacts substantiates
Lothal's position within a broader maritime trade network spanning the Indian
Ocean region.
The urban planning of Lothal reflects its maritime orientation, with the settlement's
layout demonstrating careful consideration of functional relationships between
residential areas, industrial zones, and maritime facilities. The acropolis, elevated
on a substantial platform, housed administrative functions overlooking the lower
town and dockyard, establishing a clear hierarchy of spaces that facilitated efficient
management of maritime trade operations.

Fig 30 Site plan of Lothal

Adapted from Lothal 1955-1962: A Harappan Port Town (Vol. I, Plate XXXVIII), by S.
R. Rao, 1979, Archaeological Survey of India.

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 National Maritime Museum in Lothal, Gujarat

4.2.2 Spatial Organization and Circulation

The synthesis of historical spatial patterns with contemporary museum requirements
emerges as a fundamental consideration in museum design. Rao's (1979)
archaeological documentation reveals Lothal's sophisticated understanding of
spatial hierarchy and circulation, evident in the clear delineation between public and
private spaces, and the careful integration of maritime infrastructure with urban
functions. This historical wisdom finds resonance in contemporary museum design
principles, as Lampugnani (1999) demonstrates through his analysis of modern
circulation patterns that prioritize visitor orientation and narrative comprehension.
Museum spatial organization has evolved significantly from traditional linear
arrangements to more complex circulation patterns. As von Moos (1999) identifies,
there are three fundamental approaches:
• The museum as a universal monument
• The open museum (loft or Kunsthalle)
• The museum with traditional enfilades
These typologies reflect different philosophical approaches to visitor engagement
and collection presentation.
The Smithsonian model, as detailed by Oehser and Heskett (1983), provides
valuable insights into how large institutions can manage complex spatial programs
while maintaining clear visitor circulation. Their analysis of the sequential discovery
principle, where architecture guides visitors through historical narratives while
providing moments of rest and reflection, proves particularly relevant for the
Maritime Museum at Lothal, where the narrative spans several millennia of
maritime heritage.

Fig 31 Map of Smithsonian buildings

Source: Oehser, P. H., & Heskett, L. (1983). The Smithsonian Institution (2nd ed.)

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4.2.3 Exhibition Design and Narrative Space

Contemporary museum architecture must negotiate the complex relationship
between spatial design and curatorial narrative. Modern museums have transcended
the limitations of traditional gallery sequences through spatial dramaturgy- the
careful orchestration of spaces that guide visitors through both physical and
intellectual journeys. This approach manifests in varying ceiling heights, strategic
sight lines, and carefully positioned rest points that create rhythmic progression
through exhibition spaces.
Lampugnani's examination of recent museum projects reveals how digital interfaces
and interactive elements can be seamlessly incorporated into architectural space
without compromising the primacy of physical artifacts. This technological
integration requires invisible infrastructure- architectural solutions that support
complex technical requirements maintaining visual clarity. Light manipulation
stands as a fundamental tool in exhibition design, shaping both spatial perception
and artifact presentation.
Flexibility in exhibition spaces has become increasingly crucial as museums adapt
to changing curatorial needs. Modern museum architecture must accommodate
programmatic uncertainty - the need for spaces that can be reconfigured for different
exhibitions while maintaining architectural integrity. This flexibility extends beyond
simple spatial adaptation to include integrated systems for varying environmental
conditions, lighting requirements, and technological support.

Fig 32 The Smithsonian African American museum

Source: Swall Lexey. 2016. New York Times

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 National Maritime Museum in Lothal, Gujarat

The relationship between circulation and narrative emerges as a key consideration

in exhibition design. Contemporary museums employ carefully planned circulation
patterns that support both linear and non-linear narrative experiences. This approach
allows visitors to engage with exhibitions at varying levels of depth while
maintaining clear orientation.

4.2.4 San Francisco Museum of Modern Art - Mario Botta

Fig 33 View from east of San Francisco Museum of Modern Art

Source: Lampugnani, V. M., & Sachs, A. (Eds.). (1999). Museums for a New Millennium:
Concepts, Projects, Buildings (p. 76).

Botta's design demonstrates what Frampton terms "archaic revisitation," where

modern architectural expression draws strength from fundamental architectural
principles. The museum's sophisticated handling of natural light, carefully
orchestrated circulation sequence, and integration of public spaces provides
valuable lessons for contemporary museum design.

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 Chapter 4

Botta's manipulation of natural light resonates with both historical and

contemporary museum design principles. His statement that "the use of natural
overhead light gives the gallery space a special character that is linked to the climate
and light of a specific place" parallels the sophisticated environmental
understanding evident in Lothal's original architecture (Rao, 1979).

Fig 35 Preliminary studies for skylight of SFMoMA

Source: Lampugnani, V. M., & Sachs, A. (Eds.). (1999). Museums

for a New Millennium: Concepts, Projects, Buildings (p. 80).

Fig 34 Preliminary studies for main façade of SFMoMA

Source: Lampugnani, V. M., & Sachs, A. (Eds.). (1999). Museums for

a New Millennium: Concepts, Projects, Buildings (p. 76).

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 National Maritime Museum in Lothal, Gujarat

The circulation strategy, particularly its use of what Frampton describes as an

"honorific public stairway," demonstrates how architectural elements can enhance
visitor experience through carefully choreographed movement. This approach to
spatial sequencing finds parallels in the Smithsonian's principles of visitor
circulation, where architecture guides the educational experience (Oehser &
Heskett, 1983).

Fig 36 Floor plans in chronological order- 6th, 5th, 4th, 3rd,

ground floor plan and exhibition space (from top)

Source: Lampugnani, V. M., & Sachs, A. (Eds.). (1999). Museums

for a New Millennium: Concepts, Projects, Buildings (p. 82).

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 Chapter 4

Botta's ability to create what he terms "a specific character linked to the climate and
light of a specific place" while accommodating modern museum requirements
demonstrates how contemporary architecture can respond to local context while
meeting international museum standards. This balance between local identity and
global standards becomes particularly relevant when considered alongside Lothal's
historical significance and the need to create a contemporary cultural institution.

4.2.5 Smithsonian National Air and Space Museum

Fig 37 Smithsonian National Air and Space Museum

Source: https://www.si.edu/sites/default/files/newsdesk/photos/web11495-2010h.jpg

The National Air and Space Museum (NASM), as documented by Oehser and
Heskett (1983), represents a significant evolution in museum architecture,
particularly in its approach to large-scale artifact display and visitor circulation. The
building, completed in 1976, demonstrates innovative solutions to the unique
challenges of aviation exhibition, incorporating dramatic spatial sequences that
enhance the visitor's understanding of flight and space exploration.

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 National Maritime Museum in Lothal, Gujarat

The NASM's approach to managing scale relationships between architecture and

artifacts offers crucial insights for maritime museum design. The building's main
galleries, featuring dramatic height variations and carefully orchestrated sight lines,
create what Oehser and Heskett term "moments of technological sublime" - spaces
where architectural scale enhances artifact appreciation. The museum's
sophisticated use of natural light demonstrates how environmental considerations
can enhance exhibition design. Large clerestory windows and carefully positioned
skylights create dramatic lighting effects that highlight aircraft while protecting
sensitive artifacts from damaging UV radiation.

Fig 38 Collections at NASM

Source: https://airandspace.si.edu/sites/default/files/styles/hero_lg/public/2024-02/NASM2018-
00734%201700%20pixels_0.jpg?h=d7fc1a67&itok=6h3xFAUo

The circulation strategy effectively manages large visitor numbers while

maintaining clear narrative progression. The building's organization around a central
spine with radiating galleries creates intuitive wayfinding - allowing visitors to
orient themselves while moving between exhibitions. The incorporation of
educational spaces within the exhibition sequence offers important lessons for
museum programming. Interactive zones, demonstration areas, and educational
facilities are seamlessly integrated with artifact displays, creating what Oehser and
Heskett call environments of discovery.

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References

i. Stenglin, M. K. (2019). Making meaning: A systemic functional approach to museum

space. Museum Management and Curatorship, 34(1), 88-107.
ii. UNESCO. (1974). Museum Architecture [Images 1-12]. In Museum Organization:
Architectural Programming (pp. 180-192). UNESCO Publishing.
iii. Buxton, P. (Ed.). (2024). Metric Handbook: Planning and Design Data (7th ed.).
Routledge. Chapter 29: Museums and Galleries, pp. 29-7.
iv. Neufert, E., Neufert, P., & Kister, J. (2012). Architects' Data (4th ed.). Wiley-Blackwell.
pp. 477-479.
v. Sr Lampugnani, V.M. (1999). Museums for a New Millennium: Concepts, Projects,
Buildings. Prestel.
vi. Oehser, P.H., & Heskett, L. (1983). The Smithsonian Institution (2nd ed.). Smithsonian
Institution Press.
vii. Rao, S.R. (1979). Lothal: A Harappan Port Town (1955-62), Vol. 1. Archaeological Survey
of India.
viii. Ratnagar, S. (n.d.). The story of an ancient dock: Lothal in the history of the Indian Ocean.
The Oxford Research Encyclopaedia.

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