CONSERVATION MANAGEMENT

PLAN FOR GOVERNMENT

MUSEUM AND ART GALLERY,
CHANDIGARH

This report is made possible through a grant from the Getty

Foundation through its ‘Keeping It Modern’ initiative.
 CONSERVATION MANAGEMENT PLAN FOR
GOVERNMENT MUSEUM AND ART GALLERY,
CHANDIGARH

February 2020

Submitted to:
Punjab Engineering College
(Deemed to be University)
Chandigarh

Prepared By:
Development and Research Organisation for Nature,
Arts and Heritage
PROJECT TEAM

PUNJAB ENGINEERING COLLEGE ASSOCIATE CONSULTANTS PRINCIPAL CONSULTANT:

AND MUSEUM TEAM DRONAH

Prof. Manoj Arora, Director, Niyati Jigyasu, Risk Shikha Jain, Director,
Punjab Engineering College Management Consultant Preservation and Community
Design, DRONAH and Principal
Co-ordinator
Sangeeta Bagga, Director, Rohit Jigyasu, Risk
Chandigarh College of Management Consultant
Architecture, Panjab University Suchandra Bardhan, Director,
Landscape; Professor, Jadavpur
Plant Engineering & Geomatic University
Seema Gera, Deputy Curator, Services, 3D LiDAR Scanning
Govt. Museum and Art Gallery
Bhawna Dandona,
Absolute Testing & Consultants, Conservation Consultant for
Roshan Lal, Professor, Punjab Sample Analysis Consultant Condition Assessment
Engineering College

Sophisticated Analytical Jerrin George, Conservation

Siby John, Professor, Punjab Instrumentation Facility, Architect
Engineering College Punjab University, Sample
Analysis Consultant
Nitya Bali, Architect
Har Amrit Sandhu, Professor,
Punjab Engineering College INTACH Conservation Institute
(Research Wing), Sample Ravi Sandhu, Station Architect
Analysis Consultant

Aditi Kumar, Architect

Apurva Sinha, Collection

Management

Satyajith Ibn, Collection

Management and Exhibition
Display Design
CONTENTS

EXECUTIVE SUMMARY 1
AMENDMENT SHEET 4

1. INTRODUCTION

1.1 Keeping it Modern : The Getty Foundation 5

1.2 Vision, Goals and Objectives of the Conservation Management Plan 7
1.3 Preparing the Plan : Methodology 8

2. CONTEXT

2.1 Modernism: A Global Movement 13

2.2 Modernism: India and Chandigarh 14
2.3 Modern Museums in the 20th Century 15
2.4 Modern Museums in India 28
2.5 Government Museum and Art Gallery, Chandigarh 30

3. CONCEPT

3.1 Vision of Le Corbusier for Government Museum and Art Gallery 38

3.2 Landscape 40
3.3 Form, Structure and Proportions 50
3.4 Materials and Construction Technology 60
3.5 Exhibition Display and Furniture 66
3.6 Museum Collection 71
3.7 Climate Responsive Systems 77

4. ESTABLISHING SIGNIFICANCE

4.1 Recognizing Modern Heritage 81

4.2 Statutory and Policy Framework 82
4.3 Establishing Cultural Significance 83
4.4 Values 88
5. SURVEYS AND ASSESSMENTS

5.1 History of Interventions, Repairs and Alterations 91

5.2 Landscape Condition Assessment 108
5.3 Building Condition Assessment 115
5.4 Use and interpretation 133
5.5 Display and Furniture 134
5.6 Museum Collection 135
5.7 Lighting 138
5.8 Risk assessment 140
5.9 Environmental Impact on the Building 150

6. POLICIES

6.1 Overarching Objectives 151

6.2 Policies to Retain Architect’s Vision 152
6.3 General Conservation Policies 153
6.4 Site Planning and Landscape Conservation Policies 153
6.5 Conservation Policies for Building Exterior 154
6.6 Conservation Policies for Building Interior 155
6.7 Policies for Use and Interpretation 156
6.8 Conservation Policies for Exhibition Display, Furniture and In-situ Artworks 157
6.9 Conservation Policies for Museum Collection 158
6.10 Policies for Lighting 159
6.11 Policies for Archival Resources 160
6.12 Policies for Risk Management 161

7. CONSERVATION MANAGEMENT

7.1 Landscape Conservation Plan 162

7.2 Building Conservation Plan 163
7.3 Use and Interpretation Plan 168
7.4 Lighting Plan 184
7.5 Risk Management Plan 185
8. IMPLEMENTATION AND PHASING

8.1 Implementation and Phasing 193

8.2 Budget and Funding Opportunities for Government Museum and Art Gallery 193
8.3 Monitoring Indicators 193
8.4 Phasing and Updating the Plan 194

9. BIBLIOGRAPHY AND ARCHIVES

9.1 Books and Publications 195

9.2 Journals and Magazines 195
9.3 Charters, Plans and Policy Frameworks 196
9.4 Reports and Conference Proceedings 196
9.5 Archives 197

List of Figures 198

List of Tables 203

ANNEXURES

A. Oral Histories 204

B. Assessments and Material testing:
B.1 Glossary of Conditions for Building Assessment 220
B.2 Sample Location for Material testing 236
B.3 Schedule of Material Tests 238
B.4 Material Test Results 240
B.5 Inventory of Original Museum Furniture 295
C. Proposed Strategies
C.1 Recommended Strategies for Tree Pruning 304
C.2 Building Conservation Proposal Matrix 306
D. Drawings of Government Museum and Art Gallery:
D.1 Archival Drawings
D.2 Documentation Drawings
D.3 Condition Assessment Drawings
D.4 Proposal Drawings
 Conservation Planning for Government Museum and Art Gallery, Chandigarh

EXECUTIVE SUMMARY

The Conservation Management Plan (CMP) for the Government Museum and Art Gallery is prepared by
DRONAH for the Punjab Engineering College (PEC), with support from the Getty Foundation through its
“Keeping It Modern” initiative. The Government Museum and Art Gallery was proposed for the planning
grant since it suits the evaluation criteria set by the Getty Foundation. The ‘Keeping It Modern’ Initiative
announced by the Getty Foundation was seen as an advantageous opportunity by the Government
Museum and Art Gallery and PEC. The project proposal submitted to the Getty Foundation highlighted
the potential of this initiative to raise the profile of this twentieth century heritage as well as develop
sound methodologies for its conservation. The PEC was awarded a grant under this scheme in 2017 to
develop a research based Conservation Management Plan for the Museum and an MoU was drawn
between PEC and DRONAH to prepare the same.

The CMP is an integrated and sustainable plan for the future management of the building, based on
extensive background research, testing of materials, and technical analysis by a multidisciplinary team.
The project undertook the following phases:

1. Documentation, surveys, background research and establishing significance of

Government Museum and Art Gallery
2. Assessment of physical condition and material studies, environmental impact studies on the
building material, identification of threats to the building, issues of services, site management
and testing of materials
3. Collecting data for Climate Control in various seasons to understand behaviour and impact on
the building (to be undertaken by GCI during 2020-2021 and included in the CMP on completion)
4. Developing conservation strategies and guidelines
5. Conservation planning and management
6. Training and capacity building of staff
7. Final Conservation Management Plan with implementation and phasing

The statement of significance established for the Government Museum and Art Gallery is as follows:

“The Government Museum and Art Gallery, Chandigarh, is an exceptional national example of modern
architecture in India. It simultaneously illustrates formal, technological and material innovation in
modernism to reflect post-independence ideals of nation building along with new ideas in museum
design. Additionally, it is part of an ensemble of outstanding modern architecture of Chandigarh that
marks the transnational exchange of architectural ideas and its subsequent impact on Indian and
Western architecture, which lasted for more than three decades. It is an iconic modern museum building
designed by Le Corbusier as the final realization of his concept for the Museum of Unlimited Growth”

The conservation of the building seeks to address its cultural, historic and aesthetic significance.
The established significance of the museum and detailed assessment has helped in charting out the
proposals for building conservation treatments, landscape redevelopment solutions, display exhibition
design and risk management plan. All these plans supported by specific policies for each, address
specific issues and enhance the overall cultural significance of the site. Detailed technical drawings for
the entire site are prepared as a part of the proposed project, after reviewing the on-site conditions.
These are presented as a reference set of documents to be used in all implementation works on site.

Prepared by DRONAH for PEC, with the support from the Getty Foundation through its Keeping It Modern initiative 1
 Conservation Planning for Government Museum and Art Gallery, Chandigarh

The proposed building conservation and repair treatments take into account the understanding of
possible causes of building decay and extrapolation of how the building may behave in the future.
Current conservation techniques for modern materials suitable to the context in which the building is
present is proposed to be employed for the Museum building.

The proposals for the use, interpretation and upgradation of the museum intend to remove all earlier
conflicts due to alterations and interventions made to the building since its inauguration. The aim of
the proposal is to recapture Le Corbusier’s vision for the Government Museum and Art Gallery. It also
proposes reorganisation of functions of certain spaces that were observed to be in despair or presently
inoperative. The decisions to retain or remove elements from the current layout were informed by the
understanding and weighing of the values attached to various elements of the building and its design.
The choices remain unbiased towards the designers – Le Corbusier as the architect or Ratna Fabri as
the interior designer, and also gratify the present and future needs for the wholesome functioning of
the Museum.

The report also suggests proposals for security and surveillance equipment, fire extinguisher equipment,
and storage of material like compactors, racks, office furniture, proposed for the better management
of the Museum.

The implementation of this CMP is envisaged to be undertaken in two phases as outlined below:

S.No. Description of Work to be Undertaken PHASE 1 PHASE 2

1 Landscape conservation and redevelopment
2 Building Conservation
a. Concrete repair of terrace elements, drains
and other areas requiring immediate
attention, Waterproofing, False ceiling
b. Cleaning exterior and interior surfaces, Repair
flooring, etc.
3 Interior works and Exhibition design
4 Visitor Amenities
5 Lighting and Services
6 Surveillance and security, Fire safety
7 Collection storage
8 Collection conservation

The implementation of the CMP for the Museum is dependent on the availability of funds from the
UT Government. The Museum will also apply for the Museum Upgradation Grant from the Ministry of
Culture to support the implementation of the Phase 1. A preliminary estimate was drawn up to source
funding for the proposed works at the Government Museum and Art Gallery. The work is estimated at
14 Crore INR.

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 Conservation Planning for Government Museum and Art Gallery, Chandigarh

The identified issues and threats to the building have been detailed in this report. A monitoring
schedule indicating parameters which need to be observed by the Museum personnel to ensure the
health of the Museum is given below:

ELEMENT OF SIGNIFICANCE DETERIORATION LEVEL MONITORING PERIOD MONITORING AGENCY

LANDSCAPE
Pools Low Per month UT Engineering/
Vegetation Every 6 months Architecture
Department
Piazza
Urban Furniture

BUILDING EXTERIOR
Brick tile cladding Moderate Every 6 months UT Engineering/
Gargoyles High Every 3 months Architecture
Department
Concrete drains
Clerestory and Fins
Terrace waterproofing High Every 3 months

BUILDING INTERIOR
Fibreboard ceiling panel High Every 3 months UT Engineering/
Terrazzo floor Moderate Every 6 months Architecture
Department

COLLECTION
Museum Collection in galleries Moderate Every month Museum staff
Reserve Collection

MOVABLE AND IMMOVABLE FIXTURES

Display furniture Low Every 3 months Museum staff
Furniture

SERVICES
Lighting (Original) Low Every month UT Engineering/
Lighting (New) Architecture
Department
Plumbing High

The Conservation Management Plan is a dynamic document which should be reviewed and updated
every three years along with proper record and communication of the suggested changes to all concerned
parties. All identified issues and threats need to be reviewed periodically, along with adaptations in the
primary and secondary plans to accomodate the future growth and changes in site. The next update
for this plan should be undertaken after the macroclimate study by the Getty Conservation Institute is
completed in 2021.

Prepared by DRONAH for PEC, with the support from the Getty Foundation through its Keeping It Modern initiative 3
 Conservation Planning for Government Museum and Art Gallery, Chandigarh

AMENDMENT SHEET

Date of Amendment Section Updated

February 2020 CMP submitted.

January 2021 Chapters to be updated by GCI after completion of building

environment monitoring and assessment:

5.7 Lighting
6.7 Policies for Use and Interpretation
6.8 Policies for Lighting
7.3 Use and Interpretation Plan
7.4 Lighting Plan

Prepared by DRONAH for PEC, with the support from the Getty Foundation through its Keeping It Modern initiative 4
1. INTRODUCTION
 Conservation Planning for Government Museum and Art Gallery, Chandigarh

1.1 Keeping It Modern: The Getty Foundation

Launched in 2014, Keeping It Modern is a grant initiative of the Getty Foundation focused on the
conservation of significant twentieth-century architecture worldwide. Grants support the creation
of conservation management plans that guide long-term maintenance and conservation policies, the
thorough investigation of building conditions, and the testing and analysis of modern materials. As
a service to the field, technical reports from grant projects are made freely accessible online on the
Foundation’s website through the Keeping It Modern Report Library. The Foundation created Keeping
It Modern to complement the Getty Conservation Institute's Conserving Modern Architecture Initiative
(CMAI).

The Punjab Engineering College applied for a grant under this scheme in 2017 for the conservation
management planning of one of India’s most iconic museum buildings, the Government Museum and
Art Gallery designed by the Modernist master Le Corbusier. The grant was awarded to the Punjab
Engineering College in 2017 to develop a research based Conservation Management Plan for the
Government Museum and Art Gallery.

Fig. 1: Government Museum and Art Gallery, Chandigarh. Source: DRONAH

The Punjab Engineering College (PEC) University of Technology is a deemed University in India providing
undergraduate and post-graduate programmes in various disciplines of engineering and technology
and doctorate programmes supporting teaching and research in engineering, science, management,
humanities and social sciences. The University’s inception dates back to 1921 at Lahore (Pakistan), and
later shifted to Chandigarh post-Independence in 1953. The Punjab Engineering College has 9 academic
departments and 2 centres of excellence in a campus extending over 146 acres in Sector 12, with its
own housing, administration and public facilities. The campus also houses the Chandigarh College of
Architecture, which was designed modeled on the Government College of Art which is part of the

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 Conservation Planning for Government Museum and Art Gallery, Chandigarh

Cultural Core of Chandigarh designed by Le Corbusier. The ‘Keeping It Modern’ Initiative announced
by the Getty Foundation was seen as an advantageous opportunity by the Government Museum and
Art Gallery and the Punjab Engineering College. An MoU was drawn between the Punjab Engineering
College and DRONAH to prepare a Conservation Management Plan for the Government Museum and
Art Gallery.

The Government Museum and Art Gallery, inaugurated in 1968, is governed by the Chandigarh
Administration and is headed by a government appointed Director to the Museum. The day-to-day
running of the museum is taken care of by the Deputy Curator and the Curatorial Assistant. The
Museum Librarian is incharge of the library which houses a large collection of books related to history,
art, architecture and other related studies.

DRONAH is a multi-disciplinary organization that looks at developing cohesive strategies for

conservation, management, adaptive re-use and interpretation for historic sites. DRONAH has had
previous experience in large collaborative projects that aim to develop benchmarks in the field.¹
Established in 2003, DRONAH has steered several cultural heritage works at national and international
levels for India. Previously, under the Keeping It Modern Initiative, DRONAH has worked with the grant
awardee, the Punjab University to develop a Conservation Management Plan for the Gandhi Bhawan
in Chandigarh. It has also successfully completed projects funded by the Getty Foundation in the past,
namely, the Conservation Master Plan for the City Palace Complex, Udaipur for the Maharana Mewar
Charitable Foundation (MMCF), funded in 2007 and then again in 2009 through Architecture Planning
Grants of the Foundation.

The Government Museum and Art Gallery was proposed for the planning grant since it suits the
evaluation criteria set by the Getty Foundation. It is a heritage building with architectural, scientific
and cultural values, as well as being symbolic of the structures that represent the extensive nation
building exercise undertaken in the 1950’s and 60’s in India. The Government Museum and Art Gallery
is a building associated with several key historic moments in post–independence history of the country.
The project proposal submitted to the Getty Foundation highlighted the potential of this initiative to
raise the profile of this twentieth century heritage, as well as develop sound methodologies for its
conservation.

This comprehensive Conservation Management Plan for the Government Museum and Art Gallery will
serve as a pilot for conservation of modernist architecture in the country. The plan emerges from the
combined efforts and expertise of the large inter-disciplinary team from DRONAH, and other associate
experts along with the in-house expertise of Punjab Engineering College and the Government Museum
and Art Gallery, to ensure a scientific and sustained approach towards conservation of modernist
architecture in India.

1. For further details on DRONAH’s organizational structure, activities, projects and approaches, please visit
www.dronah.org

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 Conservation Planning for Government Museum and Art Gallery, Chandigarh

1.2 Vision, Goals and Objectives of the Conservation Management Plan

The conservation of modern heritage is a recent phenomenon in India and there are precious few
examples of conservation of the same in the country. However, the inscription of the Capitol Complex,
Chandigarh as a UNESCO World Heritage site, indicates a growing awareness of Modern Heritage and its
conservation in India. The conservation of concrete would before long be considered a major discipline
to undertake works in modern structures in the near future. The conservation planning of Government
Museum and Art Gallery at this stage can serve as a role model for the city and the nation. At the outset
of the project, the museum appears to be in good physical and structural condition and has undergone
maintenance and repairs in the past to address issues of weathering and aging. However, considering
the limited years of concrete life, there are sections of the building that have started showing material
deterioration. The conservation planning of Government Museum and Art Gallery at this stage to
address its material deterioration, long-term maintenance and appropriate use of interior spaces will
be a benchmark initiative in conservation of modern heritage in India. This document will subsequently
guide the implementation works to be undertaken.

The vision for Government Museum and Art Gallery is:

“The Government Museum and Art Gallery, Chandigarh, is an exceptional national example of modern
architecture in India. It simultaneously illustrates formal, technological and material innovation in
modernism to reflect post-independence ideals of nation building along with new ideas in museum
design. Additionally, it is part of an ensemble of outstanding modern architecture of Chandigarh that
marks the transnational exchange of architectural ideas and its subsequent impact on Indian and
Western architecture, which lasted for more than three decades. It is an iconic modern museum building
designed by Le Corbusier as the final realization of his concept for the Museum of Unlimited Growth”

The Project is conceptualized in the following stages:

1. Documentation, research and establishing significance of Government Museum and Art Gallery
2. Assessment of physical condition, use, services, management and testing of materials
3. Collecting data on Climate Control in various seasons to understand behavior and impact on
building. (to be undertaken by GCI during 2020-2021 and included in the CMP on completion)
4. Developing conservation actions and strategies
5. Detailing of individual proposals, secondary plans for the building and site and expanding on the
implementation strategy
6. Training and capacity building of staff
7. Submission of plan after consultation with stakeholders and experts on Modern Architecture in
India and technical experts on conservation of concrete

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 Conservation Planning for Government Museum and Art Gallery, Chandigarh

1.3 Preparing the Plan: Methodology

The work on conservation planning for the Government Museum and Art Gallery began in November
2017. The Phase 1 of the work plan comprised of historical and archival research, followed by
documentation of the building. The team read the design evolution of the museum as intended by Le
Corbusier through archival documents received from the Fondation Le Corbusier, Paris. Drawing upon
the architectural and landscape history and the history of repairs and alterations to the building, the
team traced the evolution of the building to its present. Most of the records were sourced from the
Fondation Le Corbusier Paris, Department of Urban Planning- Chandigarh Administration office and
the Government Museum office. These included archival photographs, sketches and documentation
drawings dated 1957-2006. However, ownership of all original documents lies with the above mentioned
sources and access was only limited to their scans and copies. All archival drawings have also been
digitized by the team of consultants for later reference.

The initial archival research has assisted

in establishing the concept behind site
planning, physical setting of the building and
its orientation, surface treatment and water
management applications as part of the Phase
1 of the Conservation Plan. The position of the
museum within the larger framework of Le
Corbusier’s plan for the city and its component,
the Cultural Core, was explored. The team
interviewed architect Mr. S.D. Sharma and Mr.
S.M. Dhami who worked with Le Corbusier
during the execution. They gave valuable
insight into the context of the project and the
conceptual evolution of the building.
Fig. 2: Archival drawings from 1962 showing development of
museum plan. Source: FLC Archive
The participation in the international
workshop on Le Corbusier’s Three Museums
organized by the Getty Conservation Institute
in February 2018 initiated dialogues regarding
the significance of the ensemble of Modernist
buildings and discussed policies regarding
governance and funding, site planning and
landscape, strategies for building conservation
and policies for collection management and
archives. The discourse at the workshop has
helped inform the Conservation Management
Plan process, with regard to establishing
significance and preliminary assessment of
issues related to the Government Museum and
Fig. 3: Laser scanning team on site. Source: PEGS
Art Gallery, Chandigarh.

Site analysis and scientific, historic and architectural survey such as total station surveys, laser scanning,
and photographic survey were completed in Phase 1. Laser scanning was employed to create as-built
drawings of the building along with developing virtual three-dimensional models.

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 Conservation Planning for Government Museum and Art Gallery, Chandigarh

The Phase 2 involved a detailed assessment of physical threats, structural and surface issues, assessing
management issues, maintenance and upkeep lapses and current approaches towards the building
use and management. A team of onsite conservation architects and architects carried out exhaustive
surveys to confirm visual inspection of the condition of the building and its interiors. This process also
included inspection of each concrete panel, brick tile and terrace elements through sound testing. The
team of experts from Punjab Engineering College assisted by other consultants conducted scientific
testing processes, and sampling of materials for analysis of strength, composition, mechanical and
physical behaviour. Assessment of services, landscape and issues of maintenance of exteriors and
interiors, furniture and fittings was also reviewed in detail.

Based on visual inspection and initial scientific investigations, it was established that the structure
of Government Museum and Art Gallery is in no immediate danger and is showing no visible signs
of structural distress. However, the terrace elements and the concrete drains show considerable
deterioration requiring immediate conservation intercession. The project team investigated and
assessed the building’s current conditions, which have been recorded on documentation drawings
created by laser scanning. A number of techniques have been adopted including visual and mechanical
surveys to identify the issues, which have been translated into drawings and descriptions. A sounding
survey was undertaken of all the accessible areas of the building façade and of the terrace elements.
This technique involved tapping the surface of a concrete section with a dead blow hammer or a mallet
and evaluating the vibrations generated to detect planes of delamination. The differences in the sounds
emitted during the percussive investigation enabled the surveyor to determine locations where the
concrete is detaching. The conditions were recorded on the schematic elevations produced during laser
scanning.

The survey has revealed some patterns that help in understanding the possible causes of decay as well as
help in extrapolating how the building might behave in the future. The current conservation techniques
for modern materials were analyzed in detail. An overview of these techniques and understanding of
probable causes and current conditions will help in recommending treatments for museum building.
Further details of the condition assessment are available in Chapter 5 of this plan and the material
testing and analysis report is included as Annexure B to this document.

A survey of the building environment is being conducted by the Getty Conservation Institute by installing
equipment to monitor the internal climate of the museum galleries and the reserve collection storages
since January 2020. The observation and monitoring for relative humidity, temperature fluctuations,
air quality, dust etc. undertaken on a regular basis for a period of atleast 12 months can determine the
climatic effect on the built fabric as well as the collection housed within. The environmental studies
will subsequently inform the implementation works to be undertaken to provide a non-intrusive and
compatible condition within the spaces for the benefit of the building and its collections. This aspect
and its subsequent findings may be incorporated later in this CMP by 2021.

Critical evaluation and condition assessment studies of the landscape environs of the Government
Museum and Art Gallery have been conducted as part of the Conservation Planning project. The
basic premise of approaching the condition assessment exercise for the museum was to consider the
building as a part of a larger landscape where both the site and its setting lends meaning to the built
form and plays an important role in understanding the building in its wider context. The methodology
includes appropriate scoping of the studies and understanding the landscape elements of the core
site as well as its surroundings in the context of the museum’s physical setting within the cultural core
of Chandigarh city. Information for condition assessment were collected through site/building plans,
archival photographs, visual inspection and inputs on maintenance and repair records. The natural and

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 Conservation Planning for Government Museum and Art Gallery, Chandigarh

man-made components of the designed landscape that were identified for the studies were vegetation,
water features, landscape services, light sculpture and surrounding concrete flooring.

The Phase 3 involved devising policies and guidelines for the conservation and management of different
aspects of the building. The established significance of the Government Museum and Art Gallery and
detailed assessment of the building and its surroundings has helped in charting out the policies for
future conservation and use of the building. Policies for the conservation of the building envelope
and its interiors, landscape, furniture and services were developed. It stresses that the architect’s/
designer’s vision is to be retained in full measure. Policies pertaining to risk management, building use
and visitor management were also articulated.

The Phase 4 involved defining specific proposals and action plans for the building conservation, lighting,
landscape, environment and climate control, furniture, museum planning, conservation lab, etc. The
treatment plans and action strategies along with a monitoring plan was derived, informed by the
detailed assessment and testing programme conducted on site. The conservation management plan of
Government Museum and Art Gallery includes the following:

1. Conservation Plan for Building and Interiors: Incorporates conservation strategies for the building and
further provide specifications for conservation work, detailed conservation and maintenance strategies
for the structure, interiors, furniture and finishes. It also provides interior layouts and drawings and
feeds the technical drawings for conservation works to determine the level of intervention required in
each space.

2. Landscape Plan: Outlines recommendations regarding application of energy efficient methods in

lighting, landscaping, and other functions around the building as well as broad recommendations for
internal and external environment of the site.

3. Lighting: Outlines recommendations regarding lighting requirements for future use and functionality
of the building while considering the aesthetics of the spaces.

4. Use and Interpretation Plan: Provides information regarding future use of spaces and for expansions
developed in coherence with the concept for the museum design of unlimited growth. Outlines means
for interpretation of building and collection through various media to communicate to all visitors and
intends at enhanced visitor experience.

5. Risk Management Plan: Integrates concerns of disaster risk reduction through identification of
natural and human induced hazards that may cause risks to the site and provides proposals for reducing
and managing risks to both life, collection and the identified values of the site.

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 Conservation Planning for Government Museum and Art Gallery, Chandigarh

PRIMARY PLAN

CONSERVATION MANAGEMENT PLAN

(Nov 2017 - Feb 2020)

History, Documentation, Significance, Condition Assessment, Issues, Threats and Policies

Museum Collection Conservation and

Management Plan
(Government Museum and Art Gallery)

Environmental Monitoring
(In association with Getty Conservation Institute)

Conservation Plan Landscape Lighting Plan Interpretation and Risk

for Building and Plan Use Plan Management
Interiors (inputs from GCI) Plan

SECONDARY PLAN
Including Technical Drawings, Estimates and Implementation Strategy

Fig. 4: Components of the Conservation Management Plan for Government Museum and Art Gallery

All these plans address specific issues and enhance the overall cultural significance of the site. These
will also serve as important resources for future reference as well as for future fundraising for the
building and other structures within the site. The detailed technical drawings for the entire site are
prepared as a part of the proposed project, using the documentation in the conservation plan as a base,
and reviewing the onsite condition. These are presented as a reference set of documents to be used in
all implementation works on site. The models generated through LiDAR scanning was used to prepare
rendered views and 3D walk-thru to reflect the proposals for the Museum.

The Phase 5 details out the bill of quantities and estimates prepared as per the technical drawings
and will be used for tendering works on site during the implementation stage. It also explores funding
opportunities for the implementation of the Conservation Management Plan.

This project intends to go beyond the preparation of a conservation management plan and serve as a
pilot case for conservation of Modern architecture and Museums in India promoting aspects of Climate
Control and Preventive Conservation. Very little scholarship and scientific data exists on the subject
presently and it is expected that the documentation and research that emerges as a result of this
project will be widely disseminated in the professional and academic field for future initiatives in the
country.

The value-based methodology for the making of the Conservation Management Plan for Government
Museum and Art Gallery is demonstrated by the flow chart below.

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 Conservation Planning for Government Museum and Art Gallery, Chandigarh

Identifying Objectives

Background Research Site Survey

Archival History of Building Survey + Landscape Environmental

Research Intervention Collection Survey Survey

Understanding the Site and Values

Historical & Aesthetic Values Architectural & Social & Inter-cultural Collective Values
Associative Values Scientific Values Values

Establishing Significance

Value Assessment and Ranking Elements

Condition Assessment and Analysis

Built Fabric and Landscape Lighting Interpretation and Risk Assessment

Interiors Use

Museum Collection Environmental Impact

(GMAG) (GCI)

Identifying Issues & Opportunities

Vision and Policy Framework

CMP

Monitor, Review, Revise

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2. CONTEXT
 Conservation Planning for Government Museum and Art Gallery, Chandigarh

2.1 Modernism: A Global Movement

Architectural modernism can be understood to be an architecture conscious of its own modernity

and striving for change.² The attitude towards the tradition of recycling eclecticism and classicism
in architecture started to change in the early 19th century. The dissatisfaction amongst architects,
historians and critics led towards creating an architectural style that reflected its age and having avant-
garde inclinations. The revolutions in technology and engineering at the end of the 19th century
endorsed the breaking away from historical architectural styles to embrace designs that were purely
functional. The 20th century philosophy of architecture and design was associated more so with
analytical approach to the functionality of building, material technology and structural innovation than
focus on the dismissal of ornamentation.

The revolution in materials and engineering allowed to build structures that were lighter and taller.
The materials gave the architects the freedom to experiment creating new forms. Reinforced concrete
replaced stone and masonry as the primary material for the modern architects. The 19th century also
saw the invention of the safety elevator making the construction of skyscrapers practical.

The progressive movements of the late 19th and early 20th centuries radically opposed the prevailing
historicist architecture. The Art Nouveau movement of the 1890s was the first attempt to replace the
classical system of architecture, drawing inspiration from the preceding Arts and Crafts movement;
both of which were outcomes of reforms in the industrial arts. The movement embodied the ‘functional
dependency of the ornament’³, where the boundary between ornament and form blurred. Antonio
Gaudi integrated crafts like ceramics, stained glass, ironwork and carpentry into the architectural details
of his designs. His works were characteristically free of all stylistic conventions and perceived form as
sculpture. Scottish modernist architect, Charles Renne Mackintosh influenced the European modernist
movement with his own style – a balanced contrast between geometrical forms and right angles, floral-
inspired decorative motifs and traditional Scottish architectural elements.

The pioneers of modern architecture moved from stylized ornamentation to a more geometric
simplified style of architecture. Otto Wagner, in his published textbook Modern Architecture, states
‘new human tasks and views calls for a change or reconstitution of existing forms’. His architectural
style reflected the intended function of the building on its exterior. In 1910 the Viennese rationalist
architect, Adolf Loos, advocated the modern aesthetic principle approving smooth and clear facades
in contrast to ostentatious ornamentations through his essay Ornament and Crime. The modernist
industrial movement in Germany saw prominent architects like Peter Behrens, Adolf Meyer and
Walter Gropius design buildings without ornament while exposing the construction elements. Frank
Lloyd Wright’s designs highlighted geometrical forms sans ornaments with strong horizontal lines.
His architectural style coordinated design elements so that all components of the building unified.
However, concurrently the Art Deco architects such as Auguste Perret and Henri Sauvage continued to
practice a combined style, favoring modernist forms with stylized ornaments which were not historical
models but representative symbols of modernity.

Post World War I emerged the International Style, characterized by emphasis on volume, use of
lightweight, industrially mass produced materials and rejection of decorations. The dominant figure in
the International style of architecture, Le Corbusier promoted functional and pure architecture free

2. Alan Colquhoun, Modern Architecture (Oxford: Oxford University Press, 2002)

3. Ibid.

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of decorations. He advocated planned urban cities with identical modular housing for the inhabitants,
surrounded by open parkland. Modernist German architect, Walter Gropius also advocated
standardization in architecture, promoting mass construction of rationally designed apartments as a
solution for mass housing.

The Congrès Internationaux d’Architecture Moderne (CIAM) was established in 1927 as an international
platform of the Modern Movement. The main focus of their discussions were housing and urbanism
with the intention of establishing a common style of design and developing methods to organize modern
cities. The Athens Charter published as CIAM’s urban doctrine projected a formalized approach to the
complex problems of urban cities.

2.2 Modernism: India and Chandigarh

Architects in India were aware of the revolution in the Art and Architectural world in Europe in the
early 1900s. Mumbai was the heart of architectural thinking, with many British-headed, as well as
Indian architectural practices located there. A gradual modernization of architecture influenced by
International Modernism can be seen in some of the works of that period.

The first generation of modernist Indian architects were primarily those who studied architecture
overseas under the supervision of internationally renowned Modernist architects. The architects like
Habib Rahman, Achyut Kanvinde and Piloo Mody led the way to a new architecture, unified by a desire
to bring new approaches to architecture in new India.⁴

After attaining Independence, India looked towards breaking away from the British influence and
building a new post-colonial identity. Keeping this in mind, the Government of India invited the famous
architects, Le Corbusier in 1955 for designing a new city and Louis Kahn in 1962 for designing the
institutional campus for the Indian Institute of Management (IIM). They introduced the modern concept
that had begun to find its place in the western world, which preached the abandonment of the classical
style; or colonial style in the case of India. Their concepts were completely new in the Indian world
where colonial influence had prevailed for many decades.

Jawaharlal Nehru, the first Prime Minister of independent India turned to Le Corbusier to initiate
a model portraying industrialized India. The projects included construction of government offices,
residential schemes and urban development of the new city of Chandigarh. The planning of
Chandigarh highlights characteristic traits of Le Corbusier’s design ideology: open plan buildings,
concrete structural framework, and often concrete walls, and sculptural elements like the brise-soleil.

Louis Kahn sort immediate international recognition for the Indian Institute of Management through
its architecture. He employed familiar Indian building material like bricks in his work. His architectural
vocabulary was characterized by load bearing exposed brick construction and circular and arched
openings.

Le Corbusier and Kahn, through their work, contributed to inspire the Indian architects of their
generation. This included the luminaries of modern architecture in India- Charles Correa, Balkrishna
Doshi, Raj Rewal and Anant Raje, whose works at the outset clearly displayed the stamps of their

4. Jon Lang, A Concise History of Modern Architecture in India (Delhi: Permanent Black, 2002)

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respective mentors. However, they later achieved to synthesize ideas transmitted through modernism
and traditional Indian architecture to create an Indian contemporary architectural identity. The Indian
modernists reinterpreted modern architectural principles ruled by use, by incorporating indigenous
philosophies. The modern Indian architecture evolved to express a new architecture reconciled with
the historic progression of India’s past.

2.3 Modern Museums in the 20th Century

The pioneers of modern museums in the 20th century looked towards redefining museum space design
to house modern art collections and raised the paradoxical question: “How can there be a museum (a
permanent institution housing the heritage of human civilization) for Modern art (which embodies the
ideal of always moving forward and constantly changing)?”⁵ Among those thinkers were the architects
Adolf Loos and Auguste Perret and curators Richard F. Bach (Metropolitan Museum of Art) and Louis
Hautecoeur (Musée du Louvre), who upheld the renunciation of classical architectural styles to focus on
the space and its function in order to highlight the collection. They argued that the ornamental richness
of classical elements turned the visitor’s eyes away from and conflicts with the display exhibited.⁶ All
this leads to a museum architecture imposing “neutrality, use and function” as described by Nabila
Oulebsir (lecturer at Université de Poitiers) in her article “Museum and architecture in France: neutrality
or decor, collection or concept?”

The realization of the first modern museum

materialized a decade later with the building of the
Museum of Modern Art (MoMA) in 1939, by the
architects Philip Goodwin and Edward Durell Stone.
It was the first example of a museum embodying
the precepts of modernism. The simple form of the
Museum and the neutrality of its glass curtain facade
was in contrast with the decorated streets of the
neoclassical and Art Deco New York of the 1930s and
claimed a resolutely modern style. The plan showed
the services confined in a box, thus releasing the
exhibition space which was built as a column-beam
structure. A terrace-roof crowned the Museum.

The Musée des Travaux Publics was also established by

Auguste Perret in 1939. The museum did not entirely
turn down the classical style; demonstrated by his use
of bas relief ornamentation on the facade. However,
its functional architecture outweighed the classical
ornamentation, keeping one’s attention focused on
the objects exhibited. The bearing structure in raw
reinforced concrete, taking advantage of natural
lighting, offered bright and flexible exhibition spaces. Fig. 5: Façade of the Museum of Modern Art.
Source: hereelewhere.com

5. Paul Goldberger, “Architecture View; A Wistful Ode to a Museum That Once Was,” The New York Times, 11 June 1989
6. Nabila Oulebsir, “Musées et architecture en France: neutralité ou décor, collection ou concept?.” (Rencontres du Léman
Architecture et quotidian du musée, ICOM, Genève, June 19-21, 2008).

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Fig. 6: Musee des Travaux Publics. Source: paris-projet-vandalisme.blogspot.com

In 1931, Le Corbusier proposed the first museum project of ‘natural growth’, the size of which could be
regulated by the importance of the collection. He described his clear intentions in a letter addressed
to Mr. Zervos, editor of the journal “Cahiers d’art”. The Museum is non-contextual, its architecture is
“neutral” or “standardized” to enhance the significance of the collection.⁷

Frank Lloyd Wright was also concerned about the question of growth since the beginning of his career,
traces of which can be seen in the houses he built in Chicago. He designed a helical spiralling ramp for
Solomon R. Guggenheim Museum in 1959. Ironically, the success of the Wright’s model precedes the
actualization of Le Corbusier’s concept of ‘museum of unlimited growth’. Its architecture aimed to be
provocative, in contradiction with its built environment, defying New York’s skyscrapers skyline.⁸

The common feature of Le Corbusier and Wright’s propositions are the exhibition spaces concentrated
upon themselves.

Fig. 7: Musée d’Art Contemporain, Paris. Fig. 8: Façade of Guggenheim Museum.

Source: FLC Archive Source: www.guggenheim.org

7. Fondation Le Corbusier, “Musée d’Art contemporain, Paris, France, 1931,” Fondation Le Corbusier
8. Nabila Oulebsir, “Musées et architecture en France: neutralité ou décor, collection ou concept?.”

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The thought on modern museum took a new turn with the proposal of Mies Van der Rohe for the Neue
Nationalgalerie in Berlin in 1968. Through its architecture and building envelope of a thin glass layer,
it seemed to open out towards the city.⁹ In 1977, Renzo Piano and Richard Rogers followed a similar
model of transparent facade for the Centre Pompidou, facing a city square, revealing the exhibition it
housed. Like the Guggenheim, its architecture provoked and highlighted the services and techniques
as ornamentation in the heart of Hausmannian Paris.¹⁰ The Nationalgalerie and the Centre Pompidou
both used metal structures to offer an expansive flexible space, where artists could experience freedom
of space to liberate their imagination and integrate the space as a vital element of their art creation. In
the case of Pompidou, the structural skeleton, mechanical systems and the vertical circulation elements
were exposed on the façade, to give an uninterrupted space within. The museum remained an open
plan, sheltered from its environment while housing the required services on the periphery of the built
fabric.

During the same period, Louis Kahn shifted away from the international style of Bauhaus and its
functionalism. The cycloid vaults of the Kimbell Art Museum¹¹ (1972) in Fort Worth, Texas, aimed to
renew the classical shapes of the past. Regardless of the brutalist movement initiated by Le Corbusier
and its sculptural concrete, in Fort Worth we can see an attempt at a resurgence of ‘form’ in architecture.
This late modernism period seems to be the premise of the postmodern architecture.

Fig. 9: Façade of Nationalgalerie. Source: afasiaarchzine.com

9. Ibid.
10. Ibid.
11. C. Mileto, F. Vegas, L. Garcia and V. Cristini (Eds.), “Vernacular Architecture: Towards a Sustainable Future” (Proceed-
ings of the International Conference on Vernacular Heritage, Sustainability and Earthen Architecture, Valencia, Spain,
September 11-13, 2014).

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Fig. 10: Façade of Centre Pompidou. Source: www.centrepompidou.fr

Fig. 11: Kimbell Museum. Source: https://www.archiweb.cz/b/kimbell-art-museum

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A look at the history of the art display shows that before the museum revolution of the early 20th
century, influenced by the Paris salons, the paintings were stacked on the tapestried walls of the classical
building so as to fill any vacant wall space and the floors were covered by a forest of sculptures.² Later
the artworks were displayed in dense, symmetrical arrangements, allowing better comparison of styles
and art movements.¹³

Fig. 12: View of Salon Carré at the Louvre, painting by Alexandre Brun shows the display in the gallery in 1880s.
Source: https://commons.wikimedia.org/wiki/File:Alexandre_Brun_-_View_of_the_Salon_Carr%C3%A9_at_the_Louvre.jpg

However, since its beginning, the modern exhibition display was characterized by neutrality and leaned
towards highlighting the artworks. Modern Art was new on the artistic scene and the intent of Alfred
Barr, the first curator of the MoMA, was to share knowledge about it.¹⁴ The ground-breaking exhibition
of Barr, “Cubism and Abstract Art” was opened in April 1936 with the concept of the “white box”- a
display method endorsing an easily regulated white neutral space. The proposal of the exhibition was
“a narrative that continues to shape the Museum’s presentation of modernism to this day”.¹⁵ Barr
designed the exhibition to reveal the development of cubism and abstract art by arranging the exhibits
in a historic chronology. It showcased the modern collection’s style and artistic discipline to address a
larger population. The success of the event institutionalized the modern exhibition and anchored it as
a museum standard in the academic system.

12. Aurélie Champion, “Expositions des collection, turbulences dans les musées d’art modern,” Marges, 12|2011, 15 April
2011.
13. Abigail Cain, “How the white cube came to dominate the Art World,” Artsy.net. January 23, 2017.
14. Ibid.
15. Museum of Modern Art (New York), Cubism and Abstract Art, (New York: The Museum of Modern Art, 1936).

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Fig. 13: Museum of Modern Art’s White Box proposed by Barr.

Source: https://www.artsy.net/article/artsy-editorial-white-cube-dominate-art

Modern, by definition embodies a constant change; it is the idea of moving forward. To promote these
ideas, modern museums almost always include a temporary gallery. They differ from a classic gallery,
as they are attuned to the future rather than the past.

Barr’s academic model remained dominant in the modern museum collection display until the 1990’s.
In 2000, the Tate Modern in London was the first museum of modern/contemporary art to display its
permanent collection according to thematic and multi-disciplinary approaches. Under the influence
of Frances Morris (curator of Tate Modern), exhibitions aimed to compare, to oppose, and to balance
the artworks by merging permanent and temporary collections in the same exhibition.¹⁶ Concisely,
avant-garde curators tried to put forward the history of modernism as an objective and neutral vision,
whereas the contemporary curators tried to highlight the subjective dimension of art to develop the
visitor’s own perception of the artwork.

16. Aurélie Champion, “Expositions des collection, turbulences dans les musées d’art modern.”

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2.3.1 Le Corbusier's Idea for a Modern Museum

During the course of his career, Le Corbusier attempted to apply rules to architecture. His view “The
house is a machine for living in”¹⁷ shows that he believed architecture to be conceived as a machine.
To achieve this thought, he developed tools such as the Dom-ino, the 5 points of architecture and the
Modulor and designed his projects with concepts like the “parcours” (for house) and the “unlimited
growth” (for museum). However, his model of architecture was replicable, accommodating deviations
from the core ideas to suit various projects; ironically not everything followed rules. Le Corbusier was
also an artist, shaping the space with smooth partitions and sculpting the terraces with gargoyles,
ducts and openings. Together, with regularity and irregularity, he produced an architecture which was
functional but not emotionless, modern but not neutral.

The origin of Le Corbusier’s modern

museum thought can be traced back to
his controversial unrealized project for the
Mundaneum in 1929 in Switzerland. The
museum, proposed as the cultural element
of the Mundaneum, was a pyramidal
structure made out of a square spiral. The
continuous gallery, showing various stages
of civilization in continuous development,
began at the top of the pyramid, walking
down a ramp until the visitor reached the
ground which represented the present.
Fig. 14: Mundaneum, Musée Mondial Geneva. Source: FLC Archive
In 1931, Le Corbusier flattened the spiral for
his proposal for Museum of Contemporary
Art in Paris (Fig.7). It presented a single
continuous wall folded into a square spiral
to accommodate a linear exhibition space.
A few cuts in the walls allowed the visitor to
break the fixed path to move in different ways
within the building.¹⁸ ”The museum has no
façade; the visitor will never see a façade; he
will only see the interior of the museum. One
enters the heart of the museum by means
of an underground passage and the wall
opening for the entrance door would, once
the museum has reached its full magnificent
Fig. 15: Musée d’Art contemporaine, Paris. Source: FLC Archive size, comprise the 9000th meter of the total
developed length of the museum.”¹⁹
Le Corbusier’s, Museé a croissance illimitée, Museum of Unlimited Growth, published in 1931, proposed
a series of galleries elevated on pilotis and organized about a square courtyard that would extend
infinitely. The project achieved to describe a vision which closely tied architecture to the collection. In
addition to the application of the “5 points of architecture” which he formulated in 1927, the concept

17. Le Corbusier, Towards an Architecture. Trans. John Goodman, (Los Angeles: Getty Research Institute, 2007).
18. Beatriz Colomina, “The Endless Museum: Le Corbusier and Mies van der Rohe.” Log, No. 15, pp. 55-68. 2009.
19. Fondation Le Corbusier, “Musée d’Art contemporain, Paris, France, 1931,” Fondation Le Corbusier.

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proposed order-less, face-less, place-less and end-less qualities for an ideal modern museum. It was
to become the prototype for the “Three Museums”, later realized by Corbusier in Tokyo, Ahmedabad
and Chandigarh.

The Musée opened from within

a 14x14 meter square courtyard,
and spiraled outward following
a 7x7 meter grid. The galleries
were to extend incrementally,
the museum growing with its
collection. The idea subverted
previously established elements
and concepts of hierarchy in
museum space design, to embrace
a space for the synthesis of art.

The concept aimed to create

an experience in the museum
where the art objects speak for
themselves and the architecture
supports a fluid narrative. The
spaces within the museum were
Fig. 16: A project model representing Le Corbusier’s Unlimited Museum.
Source: FLC Archive
configured so as to move along
the architectural promenade.

Le Corbusier described his spiral museums as ‘front-less’ in the book L'atelier de la recherche patiente.
The idea is established in the proposed design, where one would walk straight towards the centre of the
spiral without confronting any distinctive façade. A continuous wall unfolding and folding in on itself,
the façade is only temporary, as it is destined to become interior partitions in the spiral configuration.
The pilotis elevated the building, removing it from its historical and cultural context, allowing it to exist
independent of the place. The end-less figure of the spiral allows for absolute continuity and growth.

Le Corbusier seemed to incorporate an endless museum in most of his city plan projects. In 1945, Le
Corbusier proposed an endless museum as part of the civic centre of Saint-Dié town plan. The concept,
Museum of Unlimited Growth, was an attempt at an independent architecture, beyond style or
traditions, time-less in character, turning the visitor’s attention away from the context within which
the museum is set. He realized his vision first through the museum at Ahmedabad in 1957, then
in Tokyo in 1959 and finally in Chandigarh in 1965. The prototype of the unlimited museum was
adjusted to suit the site and environmental demands of the three museum projects. Using the basic
fundamentals of the concept allowed the addition of galleries as the museum’s collection grew.

In 1963, he proposed a museum near Frankfurt, the International Art Centre at Erlenbach, to be
strategically placed at the crossing of the axis Stockholm-Rome and Paris-Vienna-Belgrade-Bucharest.
The museum was to be positioned at the key node in a transnational network as a representation of the
whole world.²⁰ Le Corbusier was to build “The Museum of 20th century” in Nanterre in 1965 but his
tragic death interrupted the project. The sketches and feasibility survey suggested that he had designed
a huge “Unlimited Growth” Museum for Paris.²¹
20. Beatriz Colomina, “The Endless Museum: Le Corbusier and Mies van der Rohe.”
21. Fondation Le Corbusier, “Musée du XXe siècle, Nanterre, 1965,” Fondation Le Corbusier

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Furthermore, one can draw similarities between Le Corbusier’s proposals for the museum and to that
of his earlier designs for private house commissions. When comparing Villa Savoye to the National
Museum of Western Art in Tokyo as an example of the endless museum model, although one is smaller
and lightweight than the other, they follow a similar basic concept. Both are square boxes suspended off
the ground, where one enters through a field of columns and up a ramp to the core of the building. The
difference between the two is that as one continues up the ramp, it leads to the interior levels of the
house with view to the outside in all directions through ribbon windows. Whereas in the museum the
ramp turns into a spiral folding onto itself. The lack of windows in the museum cuts out the relationship
between the inside and outside, emphasising the skylight allowing sunlight into the central space.²²

Fig. 17: (L) Villa Savoye, Poissy; (R) National Museum of Western Art, Tokyo. Source: FLC Archive

The museums of Le Corbusier, by their non-contextual aspect, stand out distinguished from the other
museums where implementation looks towards interacting formally with the built environment. Hence,
it seems logical that the concept of “unlimited growth”, realized in several projects, binds them together
through their non-contextual character, thus giving it a collective significance. The “Three Museums”
are inestimable witnesses to the museum thought of the 20th century, aiming for a closer relationship
between architecture and the collection. The building was no longer considered an independent object
but as an extension of the collection, the whole forming a cultural ecosystem. The Sanskar Kendra
Museum in Ahmedabad was the first realized museum of modernism by Le Corbusier, which succeeded
in conceptualizing a link between architecture and growth of the collection.

2.3.2 Le Corbusier's Three Museums

Le Corbusier imagined Museums of Unlimited Growth for nations across the world – from France to
Japan, Switzerland to Africa, Germany to India. Through analysis of the original proposal and subsequent
iterations and alterations, there were three projects following Le Corbusier’s concept for the Musée
that were realized: Sanskar Kendra Museum at Ahmedabad (1953), National Museum of Western Art
in Tokyo (1959) and Government Museum and Art Gallery at Chandigarh (1968). The three designs
have similar form and plan, but are adapted to the local climate and building materials. The spiral plan
of the unlimited museum prototype was reformed to accommodate the specific building functions,
providing for multiple entry/exit ways, auditoria, landscape elements and flexible performance spaces.
The interior spaces were provided with open air courtyard and clerestories to allow natural light, which
worked in conjunction with other systems of artificial lighting. The context under which the three
museums were created differs. The museum in Tokyo was designed to exhibit a specific collection – the

22. Beatriz Colomina, “The Endless Museum: Le Corbusier and Mies van der Rohe.”

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personal collection of Matsukata Kojiro, whereas the Ahmedabad museum was proposed as a museum
and cultural centre.²³ The Chandigarh Museum was created as a part of the cultural centre for the city,
designed as empty spaces for the display of art.

While drawing parallels between the realised museum projects, it can be noted that Le Corbusier gave
emphasis to the urban context for physical site setting. The site setting of the Ahmedabad Museum with
its view towards the Sabarmati River shows likeness to the positioning of the Chandigarh Museum facing
the stream N.Choe. Le Corbusier’s intentions with the Tokyo museum and its positional interaction with
the Sumida River is undetermined as the entrance to the site faces away from the river.

Fig. 18: Sketch by Le Corbusier on site of Ahmedabad Museum. Source: Le Corbusier (1981-82) Le Corbusier Carnets. Vol. 2

When analyzing the design evolution of the projects, it can be observed that Le Corbusier’s proposals
for the museum within the cultural centre incorporated similar cultural elements - the museum, miracle
box and theatre spontane, in his designs for both the Ahmedabad²⁴ and Chandigarh museums. However,
in the case of the Ahmedabad Museum only the museum and the theatre got executed, whereas at the
Chandigarh Museum only the museum building was retained during execution.

Similarities between the museums can also be drawn on the building form and the extension of annexures
from the main cubic body. The spiral circulation within the Ahmedabad Museum transforms into a fylfot
or swastika shape, with extending exhibition spaces for archaeology, natural history and anthropology.
Whereas, the annexures of the Chandigarh Museum takes on organic (temporary exhibition) as well as
regular (guard room) forms. A third annexure, the auditorium, which at one stage of the design phase
was an extension of the museum’s main body, now stands apart from the main building. However, in
the case of the Ahmedabad Museum, the execution of these annexure did not get realized.

23. Shoichiro Sendai, “Realization of the “Museum of Unlimited Growth” Without Façade in Ahmedabad by Le Corbusier,”
Journal of Asian Architecture and Building Engineering, 14:3, pp. 521-528. 2018.
24. Ibid.

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Fig. 19: Floor plans of Sanskar Kendra, Ahmedabad. (L) Ground floor plan, (R) First Floor Plan.
Source: https://www.inexhibit.com/mymuseum/sanskar-kendra-city-museum-ahmedabad-le-corbusier/

Fig. 20: Floor Plans of National Museum of Western Art, Tokyo. (L) Ground floor plan, (C) First Floor Plan, (R) Second Floor
Plan. Source: http://archeyes.com/national-museum-western-art-tokyo-le-corbusier

Fig. 21: Floor Plans of Government Museum and Art Gallery, Chandigarh. (L) Ground floor plan, (C) First Floor Plan, (R)
Second Floor Plan. Source: DRONAH

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At plan level, the museums have a central hall and slope that leads the visitor to the upper exhibition
spaces raised up by pilotis. Deviating from the museum prototype, the central hall of the Ahmedabad
Museum transforms into an open courtyard with a basin. In the case of the Tokyo museum, the double
height of the main hall is illuminated by a glazed pyramid skylight intercepted by crossing concrete
beams supported by a single column. In the Chandigarh museum, the double height central gallery is
illuminated by a set of overhead clerestorey arranged parallel to each other.

Fig. 22: The central halls of the Three Museums. (L) Ahmedabad, (C) Tokyo, (R) Chandigarh. Source: FLC, DRONAH

While comparing the plans of the museums at Tokyo and Chandigarh, it shows half height spaces at
the first floor level which form a swastika-like circulation pattern. At the outer ends of these linear
spaces with lowered ceiling there are exits –visual exits through glazed fenestrations or physical exits
to balconies. On the second floor they change into independent blocks which are accessed by narrow
stairs. These stairs terminate at the second floor, and do not lead to the terrace level.

Fig. 23: Second floor plan with half height spaces. (L) NMWA Tokyo, (R) GMAG Chandīgarh. Source: DRONAH

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Although serving separate functions, the concrete drains on the facades of the museums at Ahmedabad
and Chandigarh seem to share similar design and proportion. The concrete channels at Ahmedabad
Museum were designed to be filled with earth for growing vegetation that cover the façade. Whereas
in Chandigarh, these channels collect terrace runoff and drains into the water basins at ground level.
The sculptural gargoyles are seen in both Ahmedabad and Chandigarh, draining the terrace rainwater
into the water basins below. These models for roof drainage seem to be absent in the design for the
Tokyo Museum, suggesting that these may have been specific designs to suit the tropical climate of
India.

Fig. 24: Concrete channel filled with earth to grow vegetation, Ahmedabad. Source: FLC Archive

Fig. 25: Concrete channel drains runoff from roof into basin, Chandigarh. Source: FLC, DRONAH

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The earlier designs of Ahmedabad Museum (1952-52) show devices for natural lighting on the roof
similar to those of the museums at Chandigarh and Tokyo. However, these were abandoned to
accommodate a roof garden, calling for the employment of artificial lighting for the interiors which
were absent in the museum prototype. Le Corbusier also conceived roof gardens in the Tokyo and
Chandigarh museums. However, they were not made functional. The transformation of the prototype
also adopted ventilation on the façade. All three museums share similar strip windows for illumination
which was an inherent tool from Le Corbusier’s design portfolio.

The three museums built on parallel principles show similarities in their architectural details like the
staircase railings, pivoting doors, etc. The use of double brick wall with cavity for thermal modulation
is seen in both Ahmedabad and Chandigarh museums, again suggesting specific designs to suit the
tropical climate of India.

It can be observed that the deviations in the realized projects from the prototype responds to the
specificities of the project sites. At the museum in Tokyo, katsura-hama, green and grey pebbles were
embedded into the concrete of the exterior wall and himeko-matcu pine wood grain of the formwork
was imprinted on its columns. At the museums in Ahmedabad and Chandigarh local Indian red brick
tiles were used for the facade. The unfinished concrete surface bears clean lines formed from the joints
of the sheet metal formwork used. They served a more functional purpose than one of aesthetics.²⁵

The transformation of the prototype for “Museum of Unlimited growth” as seen in the three museums
suggest a balanced relationship between idealization and localization.

2.4 Modern Museums in India

The National Museum in New Delhi established by the Maurice Gwyer Committee in May 1946, began
the post-independence modern museum movement in India. The building of the National Museum was
designed by the architect Ganesh Bikaji Deolalikar and the foundation stone was laid by Prime Minister
Jawaharlal Nehru on May 12, 1955.

The National Gallery of Modern Art in New Delhi was another post-independence initiative of Modern
India. The building was designed by Charles G Blomfield and his brother Frances B Blomfield as
a residence for the Maharaja of Jaipur in 1936 and was also called the Jaipur House. The butterfly-
shaped building with a central dome and red sandstone bands reflects the Indo-British style following
precedents set by Lutyens’ design for the capital. The second phase of the design commissioned in 1987
to the TEAM architects to design a new wing to the existing gallery saw the application of a vocabulary
in direct dialogue with the existing colonial Jaipur House.

At the same time, the Jehangir Art Gallery, designed by Durga Bajpai was inaugurated in 1952. The
concrete structure with relief stone cladding has a rather bland façade, except for a large wavy concrete
cantilevered canopy at the entrance. The design speaks for the modernist ideas emerging in India at
the time.

Charles Correa’s National Crafts Museum designed in 1975, displays a revival of the vernacular, while

25. I. Chin, “Le Corbusier’s Musée à croissance illimitée: A Limitless Diagram for Museology.” (Le Corbusier, 50 years later
International Congress, Valencia, Spain, November 18-20, 2015).

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 Conservation Planning for Government Museum and Art Gallery, Chandigarh

Fig. 26: National Gallery of Modern Art. Fig. 27: New wing of the National Gallery of Modern Art.
Source: https://theculturetrip.com/asia/india/ Source: http://indianartblog.blogspot.com/2009/03/national-
articles/the-history-of-the-national-gallery-of- gallery-of-modern-art-delhi.html
modern-art-in-1-minute/

Fig. 28: Indira Gandhi National Centre for the Arts.

Source: https://in.pinterest.com/fella_homes/top-20-cultural-and-historical-places-in-delhi/

maintaining a modern concept following an orthogonal grid with lofty internal spaces and open and
semi-open passages covered with traditionally tiled roofs. The competition for the design of the Indira
Gandhi National Centre for the Arts (IGNCA) was held in 1986. The winning scheme by Ralph Learner
which eventually got executed displayed a neo-classical approach.

The development of the modern museums in India demonstrates a preference for architectural
style reminiscent of the colonial period. The eventual shift in modernism shows the desire to follow
abstraction of traditional forms and adaptation of the modernist ideas to the Indian context.

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2.5 Government Museum and Art Gallery, Chandigarh

2.5.1 Context and Physical Setting

The regional context of the Chandigarh city indicates a strong relationship between the natural systems
around it and the green corridors woven within its urban fabric, as is evident in the image below. The
site chosen for the Museum was additionally endowed with the presence of water in the form of the
natural stream, N. Choe flowing down from the forested mountains in the far north-east. The Museum
faces the mountains and is positioned on a relatively higher ground that gently slopes towards the
stream, creating a beautiful park setting for the Museum – the ‘Leisure valley’.

Fig. 29: Proposed plan of Chandigarh. Source: FLC Archives

The Cultural Centre of Chandigarh is spread over a seven-hectare linear strip of land, adjacent to the
Leisure valley in Sector 10. The Government Museum and Art Gallery is situated at the centre of this
cultural belt.²⁶ It is located on the Jan Marg (Sector-10) with its entrance from the Leisure Valley side.
Defining the Cultural Core of Le Corbusier’s plan for the City, the Museum and Art Gallery sits at the
cross axis of the Principal V2s The Madhya Marg and the V2 Capitol. The Museum differs from other
museums in the country as it is a part of the larger urban project designed by Le Corbusier, and not as
a singular object imposed into its cultural landscape.

26. Sarbjit Bahga, Surinder Bahga and Yashinder Bahga, Modern Architecture in India Post-Independence Perspective, (New
Delhi: Galgotia Publishing Company, 1993).

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 Conservation Planning for Government Museum and Art Gallery, Chandigarh

The Museum takes its place in Le

Corbusier’s global project for a
“Cultural Centre” with a – i. “Miracle
Box” [currently the Museum of
Natural Sciences], ii. Temporary
Exhibition [currently Chandigarh
Architectural Museum], iii. Museum
and Art Gallery, iv. “Theatre Spontane”
[does not exist on site], and v. School
of Art [currently Government College
of Art]. Envisaged as a vehicle for
transmission of knowledge in the
Third Five Year Plan of India and
the National Education Policy, the
Government Museum and Art gallery
continues to serve as a unique cultural
and historical resource for the region
and beyond.
Fig. 30: Model of Chandigarh. Source: FLC Archives

Fig. 31: Cultural Core of Chandigarh City as designed by Le Corbusier. Source: FLC Archives

The Chandigarh Museum, since its initiation, was conceived as a tool for propagating knowledge. It was
to provide a glimpse into the history of India in a visual form and was meant to be of educational value
as well as art value. Divulging the people to the highest achievements of the past in arts and crafts
would integrate progressive thinking within the community. By virtue of the significant building, the
important collection, as well as the new type of presentation, the Chandigarh Museum was anticipated
to be hailed as an outstanding museum institution. Envisioning the tourism potential of Chandigarh, it
was believed that the Museum would add to the city’s importance as a tourist attraction. ²⁷
27. Doc. No. 24, The Chandigarh Museum, Personal collection of Dr. M.S. Randhawa gifted to the Museum in 1968, Acces-
sion No. 1524

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 Conservation Planning for Government Museum and Art Gallery, Chandigarh

Le Corbusier was aware of the importance of a museum as means of transmitting knowledge, attracting
people and vitalizing the city. In the present-day more than ever, museums aim to have a larger
resonance.

2.5.2 Government Museum and Art Gallery

The proposal for the Chandigarh Museum faced many obstructions as early as its design stage. The
Government had decided to purchase the Moti Bagh Palace in Patiala in 1957, considering which the
Museum at Chandigarh was deemed unnecessary. At one point of time it was also considered that
the funds allotted for the Chandigarh Museum can be utilized instead to integrate galleries within the
School of Arts.²⁸ However, the unanimous decision by the High Level Advisory Committee to undertake
the construction of a Museum for Chandigarh was taken on 10 May 1960.²⁹ The design of the building
was presented and explained to the High Level Advisory Committee with the help of a wooden model
because Dr. Randhawa was convinced that it would be difficult for laymen to appreciate the buildings
from mere plans and drawings.³⁰ The plan of the museum prepared by Le Corbusier was finally approved
by the Museum Advisory Committee on 9 November 1962. The building details were prepared by Mr.
Pierre Jeanneret and Mr. M.N. Sharma, assisted by Mr. S.D. Sharma. The building was constructed
under the guidance of Mr. Kulbir Singh, Chief Engineer Capital Project from 1962 to 1968. He was
assisted by Mr. G.S. Toki, Superintendent Engineer, and Mr. Sarvshri Bhagchandani and Mr. Satinder
Singh, Executive Engineers.³¹

The construction of the Government Museum and Art Gallery began in 1962. However, the construction
of the museum ran into several difficulties at a number of stages. In 1962 an emergency was announced
when India was attacked by China, and many construction schemes were put on hold due to lack of
funds. The work on site moved at a very slow pace. By February 1964 only the foundation pillars were
erected.³² In 1965 the work progress was impeded owing to acute scarcity of cement, pushing the
completion of the project to the end of financial year 1966-67.³³ The construction of the main building
was also to include paving the parking area, levelling the site and building the compound wall around
the cultural zone.³⁴ The gate for the museum was made to order at the Nangal Workshop.³⁵ It was
decided from the initiation of the building that the open spaces towards the south-west of the building
were not to be converted into rooms, and should instead be used for display of sculptures and for
holding exhibitions of sculptures. ³⁶

In his letter to Dr. Randhawa in 1967, Mr. B.N. Goswami brings to his attention that the museum was
being referred to as ‘Chandigarh Museum and Picture Art Gallery’ on road signs, invitations etc. He

28. Doc. No. 468, Memorandum regarding the construction of a Museum and Art Gallery at Chandigarh, Personal
collection of Dr. M.S. Randhawa gifted to the Museum in 1968, Accession No. 1539A
29. Doc. No. 23, Speech by Mr. M.N. Sharma, Chief Architect at the time of inauguration of the Museum on 06.05.1968,
Personal collection of Dr. M.S. Randhawa gifted to the Museum in 1968, Accession No. 1621
30. Doc. No. 561, Letter from Dr. M.S. Randhawa to Mr. B. Vohra dated 09.05.1961, Personal collection of Dr. M.S.
Randhawa gifted to the Museum in 1968, Accession No. 1539A
31. Doc. No. 102, Welcome address by Shri Kulbir Singh, Chief Engineer Capital Project at the inauguration of the Museum
on 06.05.1968, Personal collection of Dr. M.S. Randhawa gifted to the Museum in 1968, Accession No. 1621
32. Doc. No. 221, Letter from Mr. Kulbir Singh to Dr. Randhawa dated 01.02.1964, Personal collection of Dr. M.S.
Randhawa gifted to the Museum in 1968, Accession No. 1552
33. Doc. No. 284, Letter from Mr. Kulbir Singh to Dr. Randhawa dated 14.05.1965, Personal collection of Dr. M.S.
Randhawa gifted to the Museum in 1968, Accession No. 1554
34. Doc. No. 1, Minutes of a Meeting held on 05.11.1966, Personal collection of Dr. M.S. Randhawa gifted to the Museum
in 1968, Accession No. 1524
35. Doc. No. 10, Proceedings of the Meeting of Museum Advisory Committee held on 16.01.1967, Personal collection of
Dr. M.S. Randhawa gifted to the Museum in 1968, Accession No. 1524
36. Doc. No. 11, Proceedings of the Meeting of Museum Advisory Committee held on 16.01.1967, Personal collection of
Dr. M.S. Randhawa gifted to the Museum in 1968, Accession No. 1524

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mentions that the expression ‘Picture Art Gallery’ did not sit well with him and suggests that the
museum should be simply called ‘Chandigarh Museum’ or “Chandigarh Museum and Art Gallery’.³⁷
Subsequently the museum took the name ‘Government Museum and Art Gallery Chandigarh’.

In 1967 Dr. M.S. Randhawa invited Dr. Grace Morley, Adviser on Museums with the Government of India’s
Ministry of Education, to advise the Museum Committee on hiring staff for running of the museum and
suggesting their required qualifications and appropriate remunerations. On her suggestion to providing
a trained chemist and assistant for basic preservation of artefacts, Mr. Sunil Sarkar insisted that a dark
room and laboratory should be accommodated in the museum’s design.³⁸

The Chandigarh Museum represents Le Corbusier’s most successful museum buildings, in terms of
architectural creativity and aesthetic success. However, after the completion of the construction,
the museum authorities were presented with the problem of making it work as a museum. The
undistinguished spaces of large expanse within the museum posed as a problem for the installation
of exhibition. They critiqued that Le Corbusier was thinking primarily of exhibition of large scale
paintings and sculptures when designing the spaces. However, now they have in hand some fairly
large sculptures, small scale heads in stucco and terracotta and stone architectural fragments which
are not large and have small scale details. The miniatures too required closer scrutiny. The inevitable
conflict of attention between the importance of the monument and the importance of the collection
to be exhibited was also of concern to the museum professionals. The team concerned with setting
of the exhibition within the museum believed that the success of the museum would depend on the
sensitivity to the material as well as providing them effective presentation while being sensitive to
the scale of the building.³⁹

The museum was inaugurated officially by Dr. A.M.D. Rozario, Joint Secretary on behalf of the Ministry
of Education on 6 May 1968. The canteen was inaugurated later in June 1968. After the inauguration,
Dr. Randhawa requested that the Chandigarh Museum should be declared as institution of national
importance and should be taken over by the Ministry of Education of the Government of India.⁴⁰
However, presently the museum continues to function under the Board of Advisors.

2.5.3 Museum Collection and Provenance

The journey of the museum collection began with the partition of the Indian sub-continent in 1947,
when Pakistan was created. All types of assets were divided along with the division of the land.
Subsequently, the priceless collection of the central museum at Lahore was also divided. One of the
museum’s invaluable artefact was a life size, red sandstone Gandhara image of the Buddha in a sitting
posture, with his body emaciated due to fasting. Following the division, India received 40% of the
museum collection. However, the Gandhara sculpture, and miniatures of the Mughal, Basholi and
Kangara schools, the photographs of which were not reproduced, were not divided and hence, went
to the Pakistan side of the division. Similarly, finds from the Indus Valley at Mohenjo-daro and Harappa
also were not divided since the sites were now within the newly formed Pakistan region. ⁴¹

37. Letter from Mr. B.N. Goswamy to Dr. Randhawa dated 14.10.1967, Personal collection of Dr. M.S. Randhawa gifted to
the Museum in 1968, Accession No. 1524
38. Doc. No. 23, Minutes of a Meeting held on 24.02.1967, Personal collection of Dr. M.S. Randhawa gifted to the Museum
in 1968, Accession No. 1524
39. Doc. No. 19-20, The Chandigarh Museum, Personal collection of Dr. M.S. Randhawa gifted to the Museum in 1968,
Accession No. 1524
40. Doc. No. 127, Letter from Dr. Randhawa to Dr. Rozario, Personal collection of Dr. M.S. Randhawa gifted to the Museum
in 1968, Accession No. 1621
41. Newspaper article (source unknown)

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When India received her share of the collection in 1949, a dedicated storage for the exhibits had not been
decided. They were first housed in Amritsar, and then in Shimla, the temporary capital of Punjab. When
Chandigarh was declared the new capital of Punjab in 1954, there was still no room for the exhibits. The
collection was then housed at the Moti Bagh Palace in Patiala. At this stage, Dr. M.S. Randhawa invited
Dr. W.G. Archer, Keeper of the Indian Section at the Victoria and Albert Museum of London, to evaluate
the suitability of the Moti Bagh to house the collection. Dr. Archer’s report stated that the collection of
miniatures is ‘one of the greatest’ in India and it reveals Punjab’s supreme contribution to Indian art. The
collection of Gandhara pieces, small-scale stucco and terracotta heads, stone architecture fragments,
etc. also represents quality and importance equivalent to the miniature collection. However, Dr. Archer
declared the palace unsuitable to house the collection as it was designed as a residence and that the
large number of windows and fireplaces severely limited the display surface. Subsequently, the Punjab
government decided to provide Chandigarh with a museum building of its own and included it in the III
five year plan of Chandigarh Capital Project scheme.⁴² In 1962, for an interim period, the collection was
installed in improvised studio spaces, corridors and verandahs of the newly completed Government Art
College, until the inauguration of the Chandigarh museum in 1968.⁴³

The collection at the museum consisted of mainly Gandhara sculptures, around 619 of them, found
at various sites in areas now in Pakistan. The museum also had Jain and Hindu sculptures in stone
and bronze. A striking image of Hindu god Vishnu in stone was obtained from Fatehpur in Kangra. The
museum is still credited for its rich collection of Gandhara sculptures.

Valuable additions were accrued to the Chandigarh Museum from the Patiala Museum’s collection
of arms. Over the years, Dr. MS Randhawa acquired Pahari miniature paintings still in possession of
the Princely rulers of the Punjab Hill states. Some of the finest examples of Basolhi, Kangra, Chamba,
Bilaspur, Kulu, Mandi, Guler, Sirmur schools of paintings from the Pahari area were acquired. A rich
collection of Rajasthani, Mughal and Persian miniatures were also purchased for the Museum.

A large purchase programme for contemporary art was launched in 1962, which saw the acquisition of
paintings, sculptures and works of graphic art to represent the art and artists of the country through
the most distinguished examples. A small group of paintings of the Bengal school had come with the
collection from Lahore. The works of some of the most eminent artists of India, including Amrita Shergill,
S. Roerich, M.F. Hussain, Satish Gujral, Krishen Khanna, N.S. Bendre, Dhanraj Bhagat, K.K. Hebbar and
Avinash Chandra were acquired for the museum.⁴⁴ By the time the complete collection was displayed
in the current building designed by Le Corbusier, it was at par with the leading museums of North India.

2.5.4 Key Players

Discussed below are few individuals who played an important role in contriving the idea for the
Government Museum and Art Gallery in Chandigarh, its conceptualization and design, implementation
of the construction and its interiors, amassing and composing the museum collection and later continued
to be involved in the management of the Museum.

42. Doc. No. 33, Letter from Dr. M.S. Randhawa to Mr. P.N. Kirpal dated 18.04.1967, Personal collection of Dr. M.S. Randha-
was gifted to the Museum in 1968, Accession No. 1524
43. Doc. No. 21-23, The Chandigarh Museum, Personal collection of Dr. M.S. Randhawa gifted to the Museum in 1968,
Accession No. 1524
44. Doc. No. 174, The Chandigarh Museum, Article written by Mr. B.N. Goswamy for the Tribune, Personal collection of Dr.
M.S. Randhawa gifted to the Museum in 1968, Accession No. 1524

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 Conservation Planning for Government Museum and Art Gallery, Chandigarh

Le Corbusier

After decades of promoting his revolutionary architectural ideas to industrialized nations in Europe
and America and rendering unsuccessful in his endeavours, India’s offer to commission the design
of Chandigarh city was for Le Corbusier an opportunity to realize his utopic dream.⁴⁵ Le Corbusier’s
architectural expression of geometrical fundamentalism and peculiar artistic quirk exploded the
previously set paradigm of Indian modernism and broke away from the encumbrances of the colonial past.
Le Corbusier’s architecture for Chandigarh seems to be a global export of all his previously formulated
ideas and theories with minimal modifications to respond to the Indian context. Le Corbusier’s genius
as an architect and planner is mostly interpreted through the adaptation to changing context and by
the use of new material technologies laced with traditional or vernacular undertones.

The extent of Le Corbusier’s expression has been criticized extensively for being personalized and staunch
visions of the planner rather than the user. However, the urbanism promulgated by Le Corbusier’s
design for Chandigarh became a symbol of the nation’s journey to building itself up from the shackles of
colonialism. Le Corbusier’s contribution to the development of Chandigarh and India was phenomenal
and was of colossal historical importance. Dr.MS Randhawa suggested to the then Chief Minister of
Punjab, Shri Ram Kishan, that Le Corbusier along with his cousin Jeanneret should be given official
recognition for their outstanding work by honouring them with the title of ‘Bharat Ratna’.⁴⁶

Ratna Fabri

Ratna Fabri was a display artist and museologist who worked extensively with textile and ceramic
mediums. She had worked on many prominent international projects – New York World’s Fair 1964
and 1965, Handloom Pavilion 1955 and 1961 in the Indian Industries Fair, where her designs were well
received. She was assigned by the Government of India to design and set up the Indian Pavilion for Expo
1967 in Montreal.⁴⁷ She was felicitated with the prestigious Padma Shri by the Government of India in
1970 in the Art field for her achievements.

Ratna Fabri sought out Dr. M.S. Randhawa to be involved in setting up the Government Museum and
Art Gallery. Even before the work was commissioned to Mrs. Fabri, she insisted that this was serious
work and unless one proceeded with proper scheme and designing ideas the project vision could not
be achieved. She was greatly inspired by the building and the space, and believed it offered immense
possibilities of creativity and full scope for imagination. Being a painter herself, she had great interest
in working with the miniature paintings. She also believed that her familial connection to Punjab drew
her to this project.⁴⁸ She expressed her keenness to work on the museum and showcase her expertise
that she had amassed in 10 years of her experience in the respective field.

Ratna Fabri’s vast experience in India and abroad gave her realistic insight into the role of modern
museums in cultural upliftment of the community. She stated that a modern museum is a centre of
civic pride and a vigorous and lively focus around which art and education are built up. World over
enormous funds are spent to make museums lively and interesting, and to spread visual education that

45. Mohammed Imran Uddin, “Orientalism, Chandigarh and Le Corbusier” (Research paper, Modern Architectural History,
University of Sydney, June 2016).
46. Doc. No. 288, Letter from Dr. M.S. Randhawa to Shri Ram Kishan Ji dated 01.09.1965, Personal collection of Dr. M.S.
Randhawa gifted to the Museum in 1968, Accession No. 1554
47. Doc. No. 47, Letter from Mrs. Ratna Fabri to Dr. M.S. Randhawa, Personal collection of Dr. M.S. Randhawa gifted to the
Museum in 1968, Accession No. 1524
48. Doc. No. 116-117, Letter from Mrs. Ratna Fabri to Dr. M.S. Randhawa dated 06.07.1967, Personal collection of Dr. M.S.
Randhawa gifted to the Museum in 1968, Accession No. 1524

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schools and colleges cannot impart. Museums assist educational institutions by offering visual
demonstrations and lectures which are more valuable. “They are no longer dumping grounds and
sleepy old places filled with curios”. She believed her work as the designer for the Museum was to
create visual knowledge and try to build up an educational system and presentation for the public to
learn.⁴⁹

“There is an old-fashioned idea that a Museum is a dust-laden repository and store-house in old, broken
stones, so-called ‘curios’ and other oddities, forgotten and allowed to decay. In fact, a number of reports
about the state of Museum in India has emphasized that this is precisely what has been wrong with
Indian Museums; whilst in advanced countries museums have become fascinating and thrilling places
of visual education and broad cultural uplift.”- Ratna Fabri⁵⁰

Ratna Fabri was awarded the project to design the display and exhibition of the Government Museum
and Art Gallery in 1967. She provided prototypes of each item of display and furniture that she designed
and once they were approved, they were then manufactured in Punjab.⁵¹ She personally supervised all
works and assembly of display and furniture by the carpenters. She spent hours on site with her staff
to ensure work was done on time and the product was of the highest quality. Ratna Fabri’s work and
efforts were highly appreciated and acknowledged at the time of the inauguration. According to Dr.
M.S. Randhawa, this was better that the display at the National Museum and stated that Chandigarh
now housed the best museum in India.

Dr. M.S. Randhawa

Dr. Randhawa served as the Adviser (Resources) at the Planning Commission, New Delhi and as the
Chairman of the Advisory Committee of the Museum and was directly involved in all decisions regarding
the Museum since its initiation. In 1966, when Chandigarh became a Union Territory, Dr. Randhawa was
appointed as Chief Commissioner of the Union Territory of Chandigarh. Using his powers at the newly
appointed post, he was able to push the construction work at the museum, which was at that time
struggling to progress. In 1962, when the Indo-China war broke out, the Punjab Government decided to
not proceed with the construction of the Museum. However, Dr. Randhawa persuaded the then Chief
Minister, Sardar Pratap Singh Kairon that Chandigarh would be incomplete without a museum and will
be a crucial blow to the cultural life of the people of Chandigarh. His commitment and dedication to the
project, his contribution to the museum and in general for the welfare of the arts industry and artists
was invaluable.

Dr. Randhawa was involved in the planning and design of the museum from its initiation. He had always
been vocal of his opinions, and clearly told Le Corbusier that he did not like his museum in Ahmedabad.
Le Corbusier accepted his criticism and conceded to many modifications suggested by Dr. Randhawa.
Throughout the planning process he shared his viewpoints and ensured they were conveyed and
incorporated. He also shared with the team references from his many visits to other museums around
the world to be considered while designing.

Dr. Randhawa’s contribution in enriching the museum collection is immeasurable. He put in immense

49. Doc. No. 5, Untitled letter signed by Mrs. Ratna Fabri, Personal collection of Dr. M.S. Randhawa gifted to the Museum
in 1968, Accession No. 1621
50. Doc. No. 116-117, Letter from Mrs. Ratna Fabri to Dr. M.S. Randhawa dated 06.07.1967, Personal collection of Dr. M.S.
Randhawa gifted to the Museum in 1968, Accession No. 1524
51. Doc. No. 69, Proceedings of Museum Advisory Committee meeting dated 15.09.1967, Personal collection of Dr. M.S.
Randhawa gifted to the Museum in 1968, Accession No. 1524

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 Conservation Planning for Government Museum and Art Gallery, Chandigarh

personal effort in planning and collecting exhibits to augment the museum collection. He researched
on Kangra paintings and made numerous tours to the Kangra valley in search of suitable paintings. He
also collected Rajasthani and contemporary paintings for the museum. Being the President of the All
India Fine Arts and Crafts Society, gave him access to all the exhibitions held in the premises of the
society and acquaintance with the leading artists of the time.⁵²

His personal intervention and supervision in the setting up of the Museum bore fruit when the museum
was well appreciated by all during its inauguration. He took great pride in his efforts and was elated
when the Chandigarh museum was appreciated the most in comparison to the three museums by Le
Corbusier.

52. Doc. No. 34, Letter from Dr. M.S. Randhawa to Mr. P.N. Kirpal dated 18.04.1967, Personal collection of Dr. M.S. Randha-
wa gifted to the Museum in 1968, Accession No. 1524

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3. CONCEPT
 Conservation Planning for Government Museum and Art Gallery, Chandigarh

3.1 Vision of Le Corbusier for Government Museum and Art Gallery

“Let us imagine a true museum, one that contained everything, one that could present a complete
picture after the passage of time, after the destruction by time (and how well it knows how to destroy!
So well, so completely, that almost nothing remains except objects of great show, of great vanity, of
great fancy).” - Le Corbusier, about “unlimited growth” Museum, 1939⁵³

In the design for the Government Museum and Art Gallery, Le Corbusier brings to the table an
amalgamation of various architectural design principles and concepts developed by him over the course
of his career.

The Government Museum and Art Gallery is one of the last public buildings designed by Le Corbusier
for the Chandigarh cultural complex. The Museum was also the last to witness the “unlimited growth”
concept developed by him for nearly 35 years. In the last decade of his life, the modernism Master
designed the “Three museums”- the first in Ahmedabad, then in Tokyo and last in Chandigarh. They
follow similar design essentials that characterize Le Corbusier’s Musée à croissance illimitée:

- Arrangement of galleries around a central cubic courtyard

- Galleries surrounding the courtyard arranged in a square spiral
- Building rested on pilotis
- Access under the museum from the centre of the spiral
- Museum building without façade - Faceless
- Space articulated within 3 levels
- Skylight illuminating the interior galleries independent of the façade

Ironically, none of the three museums are physically unlimited. However, one can see the concept
of spatial arrangement of galleries around a central courtyard reminiscent of the swastika pattern
dictating circulation from the central court towards the building perimeter. Of the “Three museums”,
Chandigarh is certainly the most brutalist one with its sculpted terrace elements. The natural lighting
system is also more elaborate than the other two museums designed by Le Corbusier.

Le Corbusier successfully incorporates elements from the “5 points of architecture’ in the design for
the Museum. The grid of square and round concrete pilotis elevates the mass of the building off the
ground. The interior spaces articulated within the three levels are devoid of load-bearing internal
partitions, allowing free and unrestrained use of the space. The open plan allows space to flow among
the composition of indoor volumes. Bearing in mind the promenade architecturale, the sequence of
movements takes the visitor up the ramp which bridges the central court to the galleries in the upper
level and offers an experiential circulation within the interior spaces.

In the Museum, Le Corbusier applies his Dom-ino concept, separating structure from the enclosure
with the skeletal concrete framework and infill of brick masonry. The concrete frame construction frees
the façade from any structural role, setting the façade free from structural constraints.

53. I. Chin, “Le Corbusier’s Musée à croissance illimitée: A Limitless Diagram for Museology.”

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The ribbon of glass, fenêtre en

longueur, puncturing the free
façade extends across the length of
the building. They are set at a level
above human eye level, cutting the
visitor’s contextual connection to the
outside, but allows the entry of light
into the indoors.
Fig. 32: Brise soleil as fenêtre en longueur along the length of the facade.
For the purpose of achieving sunlight
flooded interiors Le Corbusier
also implements pan de verre as
undulatory fenestrations in his design
for the Museum. The windows are
positioned entirely in the shade –
clerestorey set within the brise soleil
and undulatory windows inside the
pilotis area and within recessed walls
of the exterior façade. Fig. 33: Pan de verre represented as undulatory windows.

Le Corbusier’s design proposal for the museum (the proposals in 1961 and 1962 both), shows his clear
intentions to incorporate balconies overlooking the lawn and the site environs. He incorporated roof
gardens in his designs as a compensatory recovery of the green area consumed by the built up area of
the building. The 1962 drawings show the terrace of the workshop proposed as a terrace garden with
sculptures. Regrettably, only skylights illuminating the galleries exist on the terrace from the original
vision.
Through the use of
Modulor, Le Corbusier
brings ergonomics into the
architectural design of the
Government Museum and Art
Gallery. The anthropometric
scale of proportions devised
by him has been employed
Fig. 34: Graphic representation of the Modulor. Source: https://www.researchgate. in defining the visual
net/figure/Figura-4-Modulor-Le-Corbusier-1948-Corbusier-1998_fig1_268221925
appearance of various design
elements in the museum.
The flooring pattern of
the piazza, the undulatory
glazing, the internal heights
of the different levels, etc.
all are designed as per the
proportioning system.

Fig. 35: Application of Modulor in site geometry. Source: DRONAH

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Le Corbusier’s work also demonstrates his knowledge about the

spatial and psychological effects of colour. He employed architectural
polychromy in the Government Museum and Art Gallery to integrate
colour harmony as a design tool. The painted wood wool ceiling panels
and internal doors in contrasting bold primary colours breaks the
monotony of the concrete surface of the ceiling and walls respectively.

Fig. 36: Application of architectural Fig. 37: Palette of 63 architectural colours in Le Corbusier’s colour system.
polychromy in the Museum. Source: https://www.lescouleurs.ch/en/the-colours/63-colours/

3.2 Landscape

3.2.1 Site Planning

The Government Museum and Art Gallery was planned as a part of the green belt that was conceived
as the lungs of Chandigarh City. The Leisure Valley lies on the eroded bed of a seasonal stream.
The Museum is positioned as a macro project for a “Cultural Centre” in the city plan which houses
Chandigarh’s Cultural Institutions, like the Museum of Architecture, College of Arts and Museum of
Natural Sciences. Collectively they form a composition of simple volumes, squares and rectangles along
the Leisure Valley.

The Museum sits almost at the centre of the contoured site that gently slopes towards the natural
stream N. Choe in the adjoining valley. A close inspection of the site reveals that the highest contour is at
1154* towards the north-east segment of the site (datum is not known) while the lowest is at 1138* on
the north-west, with a slope as steep as almost 20%. The natural course of storm water run-off towards
the stream is clearly visible in this ‘valley’ that indeed forms a part of its watershed. The College of Arts
is located in this area. However, the extent of grading in the natural landform is difficult to envision
now. The museum is located at an elevation of 1150-1149* at around the centre of the site where the
slope is gentler and almost plain with an approximate 2% slope. Areas in the immediate vicinity reveals
a 3-3.5% slope towards south-west and average 10% slope towards north-west moving away from the
building. From hydrology and drainage viewpoint, the positioning of the building certainly qualifies to
be an example of best practice in terms of site planning, signifying Le Corbusier’s superlative aptitude
at site planning.

This penchant for ‘order’ directs the site planning approach and significantly, indicates the following
two layers:
i. The underlying geometry comprising of the applied Modulor - ‘grid of proportions’ that has
been used to organize elements on site, particularly the museum block.
ii. The visible spatial articulation giving emphasis to natural elements ‘sky, space and trees’ as
well as mirroring the curvilinear natural flow of the stream in the alignments of the pedestrian
walkways within the site.

* Irrespective of units as there is lack of clarity on the units of the mentioned contour levels in the referred archival
drawings. Only to be used to understand the concept in principle.

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Fig. 38: Cultural Centre of Le Corbusier’s Chandigarh City plan. Source: FLC Archives

Fig. 39: Incorporating Modulor in site planning

Being an architect-painter, Le Corbusier was driven by the strong passion of finding a common rule that
governs art forms and in his own words: “What is the rule that orders, that connects all things?”⁵⁴

54. Le Corbusier, The Modulor A Harmonious Measure to the Human Scale Universally Applicable to Architecture and Me-
chanics, Trans. Peter de Francia and Anna Bostock (Boston: Birkhäuser Publishers, 2004).

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It is also interesting to note that unlike the Miracle Box and the School of Arts, the Museum building
is at almost 45 degrees to the north. This ensures that all the surfaces of this building receive ample
sunlight. The reason might have some relation to Le Corbusier’s passion for playing with light and
shade. In the Master’s own words: “Architecture is the masterly, correct and magnificent play of
masses brought together in light. Our eyes are made to see forms in light: light and shade reveal these
forms.”⁵⁵ In fact, Corbusier’s thoughts, beliefs and principles expressed in his assertions provide a very
useful framework in understanding the design and planning intents behind what we see today. Another
pertinent statement of Corbusier that finds resonance in the site plan is: “The materials of city planning
are: sky, space, trees, steel and cement; in that order and in that hierarchy”.

The piazza to the south is equal to the

museum block in width and is perceived as
an unlimited void space delineated by the
sky, space, trees, sun and the buildings. The
whole composition reads as if the emptiness
of the piazza is in an occult balance with the
built mass of the Museum block. However,
there is also a scientific reason behind having
the large open space in the form of the piazza
with trees pushed back farther - so that even
the lower altitude southern sun of the winter
months fails to cast shadows over the S-W
facade of the museum during the peak visiting
Fig. 40: South-west façade of the museum photographed around hours.
12 noon in January. Source: DRONAH

Fig. 41: Sketch showing pedestrian path mirroring the curve of the stream. Source: FLC Archive

It is observed that the pedestrian walkways sketched by the Master Architect mirrors the natural curves
of the stream, as if in stark contrast against the rigidity of the machine perfect built form.

3.2.2 Water Pools

The two water basins at the east and west corners of the museum are in a diagonal symmetry. The
positioning of the “patatoïde” water-basin at the western corner vis-a-vis the square pool at the eastern
corner displays a dynamic balance and reminds one of Le Corbusier’s love for ‘order’:

“To create architecture is to put in order. Put what in order? Functions and objects”.

55. Le Corbusier, Towards an Architecture. Trans. John Goodman.

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The two water basins located diagonally opposite to each other to collect rain water from the open
concrete drains display this art of ‘order’ in fulfilling their designated functions. Although of different
shapes, these basins are in dynamic balance placed by their respective inlet channels.

Fig. 42: Position of water basins with respect to the building.

Fig. 43: Patatoïde shaped pool at western corner of the Museum. Source: Museum Archives.

The irregular “patatoïde” shape of the pool at the front of the building creates a visual contrast to the
rigid form of the Museum, and thus seems to be a part of the sculpture piazza as elaborated in the first
sketches of Le Corbusier. This creates an interesting visual contrast between the machine perfect built
mass and its surrounding elements that were made to appear natural.

In an attempt to understand if these pools were designed to play far more serious functions in terms of
sustainable water management, Rain Water Harvesting quantity check was undertaken and the results
were as given below in Table 1.

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Table 1: Rain water Collection Rationale

S.No. ASPECT MEASURE

1 GMAG Roof area (A) App. 2500 Sq m
2 Roof surface Concrete
3 Run-off coefficient (C) 0.8
4 Annual Average rainfall (R) 1048 mm
5 Annual RWH Potential (A x R x C) 2096 Cum
6 Volume of roundish water basin (N-W) 135.3 Cum
7 Volume of square water basin (N-E) 13.7 Cum
8 Total Volume of water basins 149 Cum (app. 7.5 %
of the Annual RWH-P)

It is observed that the total volume of the two water bodies fall extremely short of the annual average
rainfall of Chandigarh from rain water collection point of view. This indicates that the basins needed
to be emptied at regular intervals to prevent flooding of the entire area and harnessing the rain water
was, therefore, not the prime motive here.

The treatment of the round pool floor embedded

with large gravel, creates a textural contrast to the
piazza flooring. One can draw an analogous link to
the embankment of the Sukhna Lake, with the pool
displaying an iterated effect borrowed from the larger
context.

A third rectangular pool is seen towards the south, at

the rear of the Auditorium. It is said that a pipe network
system connected to the basement of the Auditorium
was designed to passively cool the Auditorium.
However, the system has not been functional since the Fig. 44: Embankment of Sukhna Lake.
museum’s initiation. Source: http://dreamtrails.in/sukhna-lake

3.2.3 Piazza

The piazza acts as a central open space for the museum

as well as the cultural centre. It links the other structures
within the cultural complex. It enhances a perspective
of prominence and monumentalizes the Museum. It
provides a perfect foreground to view the Museum and
appreciates the interplay of light, shade and shadow on
its southern façade. Fig. 45: Piazza in front of the museum. Source:
Museum Archive

The piazza at the entrance to the museum was designed as a temporary/ multi-functional space. The
floor tiling of the Piazza is based on the Modulor, similar to the one in front of the Tokyo Museum.

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3.2.4 Vegetation

Le Corbusier had immense inclination towards nature as he spent his younger days studying trees and
the natural order. In his own words⁵⁶ : “From 1900 until 1907, he studied nature under an excellent
master; he observed natural phenomena in a place far from city, in the mountains of the High Jura. The
call was for a renewal of the decorative elements by the direct study of plants, animals, the changing
sky. Nature is order and law, unity and diversity without end, subtlety, harmony and strength: that is the
lesson he learnt between the ages of fifteen and twenty”. It may be noted that here Le Corbusier has
written in third person singular pronoun and ‘he’ refers to the Master himself. These five years of close
proximity with nature probably made him more sensitive towards plants.

Le Corbusier envisioned a succession of landscape around Chandigarh. His scheme involved different
types of plantation for each section of the city. The selection criteria for trees and shrubs included
shape, height, density, flowering period and whether they were deciduous or evergreen. Keeping in
view the functional imperatives like provision of shade and creation of leisure spaces, the scheme also
intended to highlight the purity and elegance of the outlines of the buildings. The implementation of
the landscaping scheme was delegated to the botanist Mr. M.S. Randhawa, who was appointed head of
the Landscape Advisory Committee created in 1952.⁵⁷

He had suggested the Landscape Committee to prepare a chart showing tree shapes with flower colours
and accordingly, a tabulation of trees was done with information on - natural order, botanical name,
English and Indian names, flower colours and flowering period, description and gardening notes - that
we find in Dr. Randhawa’s book and which certainly formed what is today popularly termed as a ‘plant
palette’ for the city.

The archival records shows Le Corbusier’s landscape design intentions for the sector 10 and the Cultural
Centre (refer Fig.32), with the layout showing pathways and green zones around the museum and a
sculpture piazza at the front of the building. A green belt separates the complex from the main road.
However, there is no record of any planting plan designed by Le Corbusier or his associates for the
museum specifically. Nonetheless, there is absence of vegetation/trees between the buildings of the
cultural centre (cf. FLC archives). This may have been in view of providing unobstructed view of the
buildings and maintaining their visual dominance.

One can ask if Le Corbusier envisioned an open landscape plan in order to connect the buildings together
as a “whole” through perspective. “Architecture is the masterful, correct, magnificent play of volumes
brought together in the light”.⁵⁸ However, in the present scenario, this relation has vanished due to the
implementation of the landscaping heedless of Le Corbusier’s composition.

According to Dr. Harjeet Singh Dhillon, who served in the Department of Horticulture since August 1975,
the tree plantation in the Museum site was not executed as per formal planting plans. Instead it was
largely experimental, conceived and supervised by Dr. M.S. Randhawa, the then Chief Commissioner of
the UT, Chandigarh. This holds true for the tree avenues on the V2 and V3 roads as well. Based on the
concept of Le Corbusier that taller trees are to be planted on north-west to south-east roads for casting
long shadows whereas wide canopy trees should be planted along north-east to south-west roads,

56. Le Corbusier, The Modulor A Harmonious Measure to the Human Scale Universally Applicable to Architecture and Me-
chanics, Trans. Peter de Francia and Anna Bostock
57. H. Bauchet-Cauquil, Prodhon, F. Prodhon, P. Seguin, M. Roy, J. Tittensor, and J. Harrison, Le Corbusier, Pierre Jeanneret:
Chandigarh, India, 1951-66 (Paris: Galerie Patrick Seguin, 2014)
58. Le Corbusier, Towards an Architecture. Trans. John Goodman.

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Dr. Randhawa, a keen botanist himself, went around the country and got saplings of rare species of
flowering and other trees.⁵⁹

Fig. 46: Study based approach for landscape and tree plantation.
Source: (L) M.S. Randhawa, Beautiful Trees and Gardens; (R) FLC Archive

Dr. Randhawa was instrumental in arboriculture and landscaping of Chandigarh. Interesting cues on the
planting philosophy and concept can be obtained from Dr. Randhawa’s words as he writes in his book
‘Beautiful Trees and Gardens’ (chapter 19 titled ‘Landscaping Chandigarh’): “The site of the young city
was practically bare with the exception of a few clumps of Mango trees which have been preserved.
Chandigarh, like a new-born baby was waiting to be clothed in a mantle of vegetation. The urgency
of planting the capital was realized by the State Government, and a Landscape Committee, with the
present author as chairman, and engineers and architects of the Chandigarh project as members, was
set up to guide the work”.⁶⁰

He further wrote: “Corbusier, who was one of the members of the Landscape Committee, suggested
the preparation of a chart showing shapes of trees and colour of flowers. This simple chart presented a
classification of selected, beautiful, ornamental flowering and foliage trees of India which may be called
the aristocrats of the plant kingdom, and provided the basis of all tree planting in Chandigarh.”

59. Oral history records of Dr. H.S.Dhillon

60. M.S Randhawa, Beautiful Trees and Gardens. (New Delhi: Indian Council of Agricultural Research, 1961)

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This led Dr. Randhawa to analyze and classify the elements for the purpose of tree planting into three
categories:

i. The urban elements like roads, urban spaces with buildings and free urban spaces
ii. Selection of trees according to the shape of the crown and colour of flowers
iii. The manner and arrangement of trees i.e. the architectural disposition of elements of tree
planting.

The Museum site belonged to the first category and here the planting concept revolves around using
the trees to unify the whole site and harmonize the heterogeneous structures while ensuring visibility
of the iconic buildings.

Fig. 47: (L) Urbanistic elements affected by tree planting; (R) Architectural concept of the elements of Tree Planting.
Source: M.S. Randhawa, Beautiful Trees and Gardens

Dr. Randhawa explored the articulation

of spaces with trees in terms of
clustering and grouping of trees and
conceptually arrived at seven different
types - single row, double row, multiple
rows, isolated, homogeneous group,
heterogeneous group and forest.

The reflection of these patterns is very

well evident in the planting concept of
the Museum site.

A study of the tree species originally

selected for the site has been carried
out based on the book ‘Trees of
Chandigarh’ and in a bid to understand
their significance, a comprehensive
list of the fourteen mentioned trees
along-with an analytical rationale has Fig. 48: Tree plantation in Government Museum and Art Gallery
been presented in the table below:

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Table 2: Comprehensive Tree Plantation Strategy Undertaken At Museum Site⁶¹

PLANTATION RATIONALE/
S.No. LOCATION TREE TYPOLOGY SPECIES
TYPOLOGY SIGNIFICANCE
1 Between Vertical shape, Homogeneous Eucalyptus To unify all the
buildings evergreen group citriodora buildings
(Safeda)
2 North-western Vertical shape, Mass Pinus longifolia To balance Eucalyptus
part evergreen (Cheel) trees at the centre
+ block low altitude
summer setting sun
3 Near Arts Vertical shape, In group Bombax ceiba To balance Eucalyptus
College bldg flowering deciduous (Simal) trees at the centre
4 Four entry gates Drooping, flowering Homogeneous Callistemon To symbolically
group lanceolatus welcome visitors
(Bottlebrush) with their year round
flowers
5 Parking area- Evergreen Single Row Alstonia Shade and balance
south and west scholaris height of buildings
sides (Devil’s tree/
Saptaparni)
6 Approach road Tall conical trees Row Grevillea To highlight the
robusta (Silver dominance of the
Oak) entire area as well
as contrast with
Bottlebrush
7 Paved piazza, Specimen trees Groups Dalbergia Act as accents
in front of the of low height and lanceolaria
museum round canopies, Scleichera
evergreen species trijuga (Kusum)

Putranjiva
roxburghii
(Jivaputra)
8 Other locations Flowering trees, Multiple rows + Lagerstroemia For bright colours of
, including green deciduous Solitary flos-reginae flowers
belt along Jan (Queen’s
Marg flower/ Pride of
India)

Lagerstroemia
rosea (Pride of
India)

Lagerstroemia
thorelli

Tecoma
argentea

Chorisia
speciosa
(Mexican Silk
Cotton)

61. Chhatar Singh, Rajnish Wattas, Harjit Singh Dhillon, Surinder Mohan Dhami. Trees of Chandigarh (B.R. Publishing
Corporation, Delhi, 2016).

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3.2.5 Urban Furniture

The urban landscape of the museum precinct is punctuated by recurring elements from Le Corbusier’s
repertoire of designed details. This may certainly be viewed as an extension of his artistic vocabulary.
Some of these, like the manhole cover with the grid layout of Chandigarh city was designed specifically
as part of the city plan, while some others can be seen in many of his earlier urban design project.

Lighting:

Long before present day concepts of indirect

lighting, low level built-in concrete lighting
fixtures adorned the site. The lighting
bollard designed by Le Corbusier can be
found in several of his projects in Marseille,
Chandigarh and Ahmedabad. It has a mono-
block shell of untreated reinforced concrete
with a flat base that sits on the ground. The
rounded overhang at the upper part conceals
the lighting system. The shell retains the
imprint of the wooden formwork into which
the concrete is poured, giving the untreated
skin a tactile texture and the functional
Fig. 49: Concrete bollard light. Source: Museum Archive
sculpture a character of its own.⁶²
However, barring one, these antique landscape lights no longer exist now in the immediate vicinity
of the museum. These low-height built-in concrete bollards provide interesting design statement in
meeting lighting requirements of sites, even elsewhere in the city.

Sculptures:

The Museum piazza is dotted with sculptures and installations that efficiently articulate the void and
also serve as outdoor exhibits. However, their positions are said to have changed through time and
therefore, understanding the original intention in situating these would be difficult.

The contemporary metal art sculptures displayed in the piazza were designed by the artist, Shiv Singh.
Other sculptures in stone and concrete by various artists dispersed around the piazza were introduced
on site over time.

Fig. 50: Sculptures exhibited in the Piazza. Source: DRONAH

62. H. Bauchet-Cauquil, et al. Le Corbusier, Pierre Jeanneret: Chandigarh, India, 1951-66.

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Manhole Cover:

The manhole cover for the Chandigarh sanitation

system amplifies Le Corbusier’s attention to detail.

The cast-iron manhole covers moulded with sand-

cast relief bears the impression of the overall plan
of Chandigarh as designed by Le Corbusier. They
can be found at multiple locations within the site
Fig. 51: Manhole cover with sectoral grid of Chandigarh city.
and elsewhere in the city.
Source: DRONAH

3.3 Form, Structure and Proportions

3.3.1 Museum Building

Le Corbusier’s design for the Cultural Centre of Chandigarh proposed in 1957 shows the Museum as a
square plan placed at the centre with the Art College towards the north-east, the Temporary Exhibition
to the south and the ‘Box of Miracles’ to the south-west. A ‘wall of trees’ obstruct view of the museum
building from the V6 at the north-west and from V2 at the south-east. The entrance to the Centre are
seen on either side of the sectoral grid towards the Art College and Box of Miracles from the V6. The
‘box of miracles’ was to be a building housing music, dance, theatre and lectures in the inside and
outside. However, this did not materialize probably because the Tagore Theatre already provided a
forum for these activities.⁶³

The plan of the Government Museum and Art Gallery shows much resemblance to the layout of the
National Museum of Western Arts, Tokyo, both of which were at its design stage in 1957. On comparing
the 1957 drawing (refer Fig.45) with that proposed in 1962 (refer Fig.32), the overall layout seems to
be unchanged except for the inclusion of the ‘Theatre Spontane’ in the latter design. The ‘wall of trees’
on the north-western side is replaced by an additional separate entrance to the Museum. The building
orientation of the Art College and the Box of Miracles also seems to have been changed to align along
the east-west direction.

Fig. 52: Archival drawing showing layout of Cultural Centre, 1957. Source: FLC Archive

63. Doc. No. 113, Personal collection of Dr. M.S. Randhawa gifted to the Museum in 1968, Accession No. 1524

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The plans developed for the Government

Museum and Art Gallery in 1958 shows
a square plan with a water pool along the
length of the building on the south-west
side of the building. A bridge over the pool
acts as the entrance to the museum. A
ramp over the pool leads the visitor to the
galleries on the first floor. The central hall
also houses a ramp that winds up to the first
floor, showing similarity to Le Corbusier’s
plans for the three museum.

The first floor galleries open onto balconies

that overlooks onto the exterior and connects
the interior to the lawn on the ground floor
on all sides except on the south-west façade.
An in-house auditorium is seen at the south
corner of the building.

The central hall is lit by a conical skylight,

showing a similarity to that of the National
Museum of Western Art in Tokyo which was
designed in ]959.

The plans show the configuration of spaces

that allows spiral movement within the
museum, as propagated by the ‘unlimited
growth’ model.

Fig. 53: Archival drawings showing museum design proposed in 1961. Source: FLC Archive

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Fig. 54: Sketch of Museum plan, 1962. Source: FLC Archive

The 1962 sketch and

drawing of the Museum
plan shows the evolution
of the museum design
that included organic and
linear extensions from the
formerly proposed square
plan.
Fig. 55: Archival drawing of Museum plan, 1962. Source: FLC Archive

Located at the centre of the cultural belt, the Government Museum and Art Gallery stands out due to its
majestic proportions. The perfect square of the museum building integrates well into the composition
of simple volumes of squares and rectangles within the cultural complex.

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In the model developed in 1962, the building has

a 52x52 metres square plan made up of reinforced
concrete columns and beams. The structure is
vertically divided into three levels, some portions
of which have triple and double heights.

The functional cuboid form rests on a forest

of pilotis, having the profile of rectangles and
rectangles with rounded ends. The museum
design based entirely on the Modular have
columns oriented NE-SW, parallel to the grid of
Chandigarh. The columns maintain a rhythm
without disturbing the harmony of the grid of 7x7
metre, similar to Le Corbusier’s original model for
Fig. 56: Model of Chandigarh Museum. Source: Museum
the Museum of Unlimited Growth. Archive

The arrangement of galleries around the central courtyard of the building follows Le Corbusier’s
Museum of “unlimited growth” concept. A ramp from the triple-height entrance gallery leads to the
galleries on the upper floors. Additional provisions for goods lift and service staircases to the different
levels were also given in the model developed in 1962.

Fig. 57: Archival drawing of proposed Sections for Museum, 1962. Fig. 58: Ramp leading from
Source: FLC Archive ground floor to first floor Bronze
Sculpture gallery. Source: DRONAH

The ground floor houses the reception hall, central large hall with a ramp leading to the upper floors,
reserve collection storage and conservation laboratory. The central gallery is triple storey high. Apart
from the ramp, there are two staircases on the ground floor - one connects the ground
floor to the terrace and the other connects the ground floor to the first floor.

The first floor houses the exhibition galleries. The second floor has offices of the curatorial staff, research
library and conference room and reserve collection storage.

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Ground Floor:
TOTAL FLOOR AREA = 3413.76 SQ.M.

First Floor:
TOTAL FLOOR AREA = 2679.45 SQ.M.

Second Floor:
TOTAL FLOOR AREA = 571.60 SQ.M.

Fig. 59: Archival drawings of proposed Floors for Museum, 1962. Source: FLC Archive

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3.3.2 Building Extensions

The “Three Museums” have in common,

extensions emerging out of the core
square building.

In the case of Chandigarh, they stand

out owing to their irregular shape. These
“organs”⁶⁴ - elements independent of the
main structure- follow a compositional
logic rather than a pure functional rule,
and somehow look independent of
the main “skeleton”. They embody the
concept of “free plan”⁶⁵ illustrated in
the “5 points of architecture”. With its
free flowing outline and organic form,
this is most explicitly exemplified by the
Workshop (now Temporary Exhibition
Gallery) at the rear of the Museum. The
terrace of the workshop was envisioned
as a terrace garden with sculptures. Fig. 60: Workshop with organic form Source: Museum Archives

Fig. 61: Organic shaped extensions from the main building in Carpenter Centre for Visual Arts.
Source: http://artnewengland.com/ed_picks/looking-back/

The organic form of the temporary exhibition draws similarities with Harvard’s Carpenter Centre for
Visual Arts, which was designed around the same time as the Chandigarh Museum and was inaugurated
in 1963.

The Lecture Hall (now the auditorium) is another extension of notable prominence. The independent
hall with its angular front porch, stands against the sedate brick facade of the museum and against the
principle of unlimited growth. In the earlier models by Le Corbusier, it was linked to the museum

64. Le Corbusier, Towards an Architecture. Trans. John Goodman.

65. Ibid.

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without obstructing the potential growth of the museum. However, in the original design, the auditorium
was shifted away from the core building.

Fig. 62: (L) Sketch showing proposal with lecture hall connected to main museum building. Source: FLC Archives

The distinct rectangular form of the proposed cafeteria project out from the south-eastern façade of
the museum building. Presently it houses the AC plants and the guard room. The roof terrace of the
structure is accessible by an exterior staircase.

Another glaringly evident extension is the balcony on the front façade projecting out from the otherwise
flat façade of the building. Reminiscent of the design proposed in 1961, they may be suggestive of a
visual link between the sculptural piazza and the gallery on the first floor. However, because of the
protective grills installed after the theft of 1970, the balcony is not accessible anymore, even for the
purpose of cleaning.

Fig. 63: Auditorium built as building separate from the Fig. 64: South-west elevation with projecting balcony.
Museum. Source: FLC Archives Source: Museum Archive

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The evolution of the core building and its extensions were mapped into a tabular form for better
understanding of the changes in the design of the building since its initiation.

Table 3: Design evolution and alterations recorded through archival research

Year Alterations in the Museum Building Refer Drawing No.

1958 1. Conceptual proposal with swastika circulation, ramp entrance and pyramid GMAG/OR/P-01-05
lantern on roof similar to the Tokyo Museum. GMAG/OR/S-01-02
2. Spout or drain outlets proposed at a different location as compared to the GMAG/OR/E-01-02
existing one on the ends.
3. Various designs for clerestory were evolved.
1961 1. Undulatory glazing is proposed on the exterior elevations. GMAG/OR/P-01-02
GMAG/OR/E-01-02
1962 1. Experiments are further done with the conceptual design and an option with GMAG/OR/P-01-10
an open plan form is developed. GMAG/OR/S-01-02
2. Site extension or future expansion scheme is also proposed in this option, a GMAG/OR/E-01-03
dialogue in between the architect and the site team is also happening over the
proposal.
3. The proposal is then further developed in terms of spatial or functional use
which is almost similar to the existing.
4. In the same proposal, future expansion proposal is still retained towards the
edge besides Lecture Hall/Auditorium building.
5. On the second floor, the director room and office existed in place of current
day store and Randhawa reserve gallery in place of newly added Miniature AC
plant respectively.
6. Spout or drain outlets are shifted to the respective ends.
7. A third conceptual proposal which is also of open form exists dating from
1962, which has auditorium connected to the director’s room on the second
floor and functioning as a terrace to the office.
8. In the same proposal, Le Corbusier has proposed terraces or roof gardens
on top of all the extensions, connecting it to the main museum and retaining
the continuity. Auditorium and an overhang terrace are proposed as balcony or
open extension to Office, workshop terrace to first floor of Museum building
and Cafeteria terrace for cafeteria building.
8. Decisions over canal water disposal are taken (whether from one side or
both) and finish for the exterior facades is discussed as well.
1963 1. Formwork and material finishes for exterior are recommended like brick tiles GMAG/OR/S-01
similar to that at Ahmedabad Museum, shuttering and patterns. GMAG/OR/D-02
1964 1. Detail finishes and design for director’s room and lavatory are developed. GMAG/OR/E-01-03
1965 1. Exhaust fans on one side of the clerestories and glass on the other side is GMAG/OR/P-01
proposed which was not implemented and further got developed to glass on GMAG/OR/S-01
both sides. GMAG/OR/E-01
2. Ramp for the exhibition hall of textile gallery and undulatory glazing was GMAG/OR/D-03,08
detailed.
1987 1. Lighting was proposed for the Henry Moore Exhibition. The spot lights GMAG/OR/D-01
suspended from the ceiling in the Textile gallery are mentioned to be
temporarily installed for the exhibition and were supposed to be removed post
event. The lights haven’t been removed and still exist on site.
2000 1. Grills are proposed to be added to the openings or glazings for security GMAG/OR/D-01-02
reasons post theft.
2002 1. Specifications and detailing of reception counter which includes provision for GMAG/OR/D-01
counter for handicapped, planter and storage shelves.
2006 1. Proposal for replication of the existing undulatory glazing in the Child Art GMAG/OR/D-01
gallery to complete the glazing.
2007 1. Detailing of the Child Art Gallery in the Museum which is in place of the GMAG/OR/D-01
originally conceptualized Cafeteria and pilotis.

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Year Alterations in the Museum Building Refer Drawing No.

Present 1. Child Art Gallery has been created in place of Cafeteria and pilotis. GMAG/MD/P-03-06
2. Office behind souvenir shop, the souvenir shop adjacent to reception,
toilets near reserve collection, CCTV room, guard room, storage and AC
for reserve collection, City Museum, Miniature and Museum are major
alterations which exist in the current day Museum building.
3. Conversion of director and office space into storage and blocking of
connections between the galleries has also been done.
4. Addition of conference room within the library is another alteration done
to the museum.

Year Alterations in the Temporary Exhibition Refer Drawing No.

1962 1. Sculptural form was further enhanced into the current day shape of GMAG/OR/P-01-02
the exhibition hall. (similar to the form of the metal-roofed pavilion for GMAG/OR/P-07-08
temporary exhibitions at Visual Arts Centre, Harvard University, Cambridge) GMAG/OR/S-01-02
2. Column layout was elaborated and detailed for structural stability.
3. Roof was proposed as a sculptural roof garden.
4. Clerestories were added refining the proposed roof garden of the
exhibition hall. Profile with opening on the top which would act as skylights.
(similar to the design of the skylight of Sainte-Marie de la Tourette)
1963 1. Clerestory profile or design is further developed for the roof with opening GMAG/OR/S-01
being shifted to the side and top surface being at a slope similar to that of
the Museum building roof. Reference for the clerestory is remarked as to be
referred from the original plan drawing.
2. There is a dialogue regarding material for the walls, beam and slab for
the Workshop. It also elaborates sizes of the column, glazing, clerestory and
slopes.
3. In 1963, more of decisions on finalizing material finishes and sizes of
structural or design elements was done.
1964 1. Further revision of the column layout with addition of 4 more columns GMAG/OR/P-01
and 2 steel pipe columns at locations marked in the drawing. GMAG/OR/D-01,04
2 of these are labelled as column of aerator and mirror of the columns on
the opposite side.
1 is deviating from the grid cause of lack of space due to form of the
structure.
Reason for the addition of the 2 Steel pipes needs to be checked.
2. Flooring for the workshop is proposed.
3. Entrance door detail is developed.
1965 1. As evident in the drawing, there is an undulatory glazing proposed next to GMAG/OR/S-01
the archives store (current day reserve collection). The glazing doesn’t exist
at present.
2. Gargoyle for the clerestory of the workshop with two-sided opening is
also proposed which is exactly similar to the current day clerestory of the
Museum terrace.
1989 1. Conservation lab and a room for Exhibition officer along with reception GMAG/OR/P-01-02
counter are proposed which reduce down the workshop space.
2. Originally conceptualized and proposed as the workshop, it now functions
as exhibition gallery and is also referred to as the same.
3. RCP and display are proposed for the exhibition gallery.
4. As proposed as locker room for staff in the year 1962, the space is
converted to a dark room.
2011 1. Entrance ramp is shifted towards the edge and steps are proposed along GMAG/OR/P-01
with the ramp.
2. Store is added adjacent to the Conservation lab and the room for the
officer along with the partitions proposed for enclosing exhibition space
disappear.

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Year Alterations in the Temporary Exhibition Refer Drawing No.

3. Reception counter is now proposed at the prior entrance of the lab.
The undulatory glazing now converts to an opening and functions as the
new entry to the lab and the former entry is to be kept closed as per the
proposal.
4. The dark room is further expanded and the toilet for workshop people and
staff is converted into an addition to the dark room.
Current 1. Conservation lab entry is retained to the prior from the exhibition
entrance side. Original Undulatory glazing doesn’t exist at present and is
replaced by a steel glazing.
2. Storage archives functions now as reserve collection with dark room and
photo selection room.
3. Store is further extended covering a huge part of the exhibition gallery.
Undated 1. Window detail of clerestory GMAG/OR/P-03
2. Aerator detail of Workshop GMAG/OR/D-02,05
3. Reproduced plan of LVL.1 (must be from the year 2000-2009 as mentioned
in the dates in notes section). Original undulatory in the conservation lab is
replaced with steel glazing (as labelled in the dwg.) which exists today.

Year Alterations in the Auditorium Refer Drawing No.

1962 1. Decisions are being made on the location of the Lecture Hall in respect to GMAG/OR/P-01-03
the Museum building. GMAG/OR/P-07-09
2. Type of finish is requested to be advised in the drawing GMAG/OR/S-01-02
3. Museum is proposed in line with the last row of columns which are GMAG/OR/E-01
extended beyond museum for future extension in the particular proposal.
4. Another proposal from 1962 has interconnection to the Museum building
and is linked via a proposed terrace to the Directors office on the second
level.
5. Advise on whether the beams need to be seen from below or not is
requested.
1965 1. Provision for future expansion is still retained. GMAG/OR/S-01
2004 1. Auditorium (initially referred as Lecture Hall) now exists as an individual GMAG/OR/P-01
structure with no linkage to the Museum building.
2. Fountain with sculpture is proposed in the landscape adjacent to the
North façade.
2008 1. Interior details and specifications such as electrical fixtures, ventilation GMAG/OR/P-01
ducts, ramps, materials are worked out.
2. Provision for air curtain above main entrance door is also proposed.
2011 Under upgradation plan proposed following alterations are observed: GMAG/OR/P-02
1. Addition of control room and glass partition door behind the back row of GMAG/OR/S-01
seats.
2. Additional row of seats is added on the back next to the proposed space
for ducts.
3. Arrangement of seats proposed in the particular drawing vary from others
prepared earlier. Its unlike the earlier arrangement which is symmetric and
aligned.
4. Intermediate beams projecting out on the top (roof level) are proposed.
5. Landscape proposal including provision for steps and ramp along the north
and west façade are proposed.
Current 1. Basement and the ventilation ducts are no more in use.
2. Pool adjacent to the North façade exists till date on site but is not
functional.
3. New air-conditioning duct has been placed along the basement ramp
parapet wall.
4. Currently also 180 seats exist in the Auditorium.

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Year Alterations in the Auditorium Refer Drawing No.

Undated 1. Comment on removal of the pool from the north edge of the Museum. GMAG/OR/P-01-04
There is no mention of the pool apart from this drawing, which exists on site
currently.
2. There is a mention of existing number of seats to be 180 on site.

Year Alterations in the Cafeteria Extension Refer Drawing No.

19621. Originally the extension was conceptualized as an extension to the GMAG/OR/P-01-03
cafeteria. GMAG/OR/P-07-08
2. The terrace was proposed as terrace of/over cafeteria. GMAG/OR/S-01
3. Wall finishing is yet to be advised and is asked by the on-site team (as GMAG/OR/E-0
mentioned on the dwgs).
1964 1. Pattern of the panels in the front façade is developed. GMAG/OR/E-01-02
Current 1. The cafeteria doesn’t exist on site currently and has been replaced by the GMAG/OR/P-01
Child Art Gallery.
2. The extension has been converted into AC Plant room and security
personnel room.
3. The AC plant for the City Museum and a workshop are also
accommodated in the original pilotis area.
Undated 1. AC Plant is proposed whose location is suggested next to the cafeteria GMAG/OR/P-03-04
extension structure. GMAG/OR/S-01
2. Child Art gallery is proposed which covers the remaining pilotis area apart
from the cafeteria.

3.4 Materials and Construction Technology

The Government Museum and Art Gallery emerges from the landscape distinct due to its distinguishable
structural innovations, exterior finishes and sculptural form. This section discusses the building elements
used in the Museum building and their locations and materials.

Table 4: Building elements and their locations

BUILDING EXTERIOR BUILDING INTERIOR

ENVELOPE Exposed Concrete Exposed Concrete
Brick tile cladding Painted walls
FLOORING Concrete Flooring Concrete Flooring
DESIGNED ELEMENTS MATERIALS

Terrazzo Flooring
CEILING Pre-cast concrete tiles Wood wool ceiling panels
DOORS AND WINDOWS Centrally pivoting doors Internal painted doors
Undulatory Fenestration Undulatory Fenestration
Aerators
SPECIAL DETAILS Clerestory (Fins, Glazing) Clerestory (Fins, Glazing)
Terrace Drainage elements Mild steel handrails
(Concrete drain, Gargoyles)

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3.4.1 Exterior Envelope

The building envelope of the Government Museum and Art Gallery comprises of exposed concrete
columns and beams and brick tile cladding. The contrasting red of the brick against the grey of the
concrete gives an appearance of a composite structure. The joints of the shuttering almost forms a
pattern that creates a break in the stark façade of the concrete columns and beams. The concrete mix
prepared on site followed a very high standard imposed by Le Corbusier.⁶⁶

The brick cladding for the façade was designed specifically for the museum and was handcrafted on
site. Le Corbusier insisted that the cladding joints be aligned vertically and horizontally, probably to
affirm the facade as non-structural, following the “5 points of architecture” theory. The same is seen
on the façade cladding of the Ahmedabad Museum. The envelope of double wall with cavity acts as a
thermal barrier providing thermal stability indoors.

Fig. 65: Balanced composition of exposed concrete and brick tile cladding (L); Museum interior lit by skylights (R).
Source: DRONAH

3.4.2 Building Interior

The interior of the museum is composed of walls painted white, with all structural elements- beams
and columns- emphasized as unplastered, exposed concrete surfaces. Internally, the south-east wall is
painted black and the north-west wall is painted red to highlight the wall as a backdrops for the exhibits.
The peripheral walls have large window openings with fixed glazing. The internal walls act as separators
to direct visitor movement through the galleries, as well as act as a base for exhibiting museum display.
The series of parallelly aligned skylights light up the entire interior space.

3.4.3 Flooring

The external flooring of the Government Museum and Art Gallery is made up of concrete tiles with
metal divider strips at the joints. The tiles have non-uniform sizes and are arranged in a pattern that
seems to be random, but are linearly arranged.

66. Oral history records of Mr. SD Sharma

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The interior flooring of the museum, including the ramp, is finished in terrazzo pre-cast tiles “Ramnik”
originally produced in Chandigarh.⁶⁷ The gallery floors have light grey terrazzo having a tile size of
24x24cm, with white and light coloured chips. The black terrazzo chequered tiles of the ramp has a size
of 20x20cm and have a recessed grid pattern. The flooring for the staircase is cast in situ with a black
pigmented terrazzo.

Fig. 66: Black terrazzo tiles with chequered pattern on ramp (L); Black terrazzo cast in-situ on stairs (C); Pre-cast Ramnik
terrazzo tiles in galleries (R). Source: DRONAH

3.4.4 Ceiling

The composite material panel for the false/drop ceilings was a model well appreciated by the modern
architects in Europe for their acoustic quality, rough design and affordable pricing. It illustrated the
principles of modernism and “standardization”. The material chosen by Le Corbusier and Pierre
Jeanneret for the ceiling panels was a similar composite, but using locally available raw materials. The
wood wool panels, also called Thermofriz, were probably produced explicitly for the Museum by the
local craftsmen. The material for false ceiling panels stands witness to the merging of modernism and
tradition.

The ceiling panels are arranged

parallelly and alternated with the
series of skylights. Each set has 8
rows of uniform panels with a size
of 200x50cm. They are finished
with colourful paints in the order-
2 sets of yellow painted panels, 2
sets of red painted panels, 1 set of
white painted panels and 2 sets of
black painted panels, starting from
south west to the north east.

Fig. 67: Wood wool ceiling panels painted in brilliant colours. Source:
DRONAH

67. Oral history records of Mr. SD Sharma

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3.4.5 Doors and Windows

The main entrance door of the museum has a central vertical pivoting system. The painted metal door
has a recessed handle in an hourglass shape. The entrance to the temporary exhibition gallery and the
auditorium, bear similar design but is made of polished wood panels.

The doors and windows of the Museum displays an extension of Le Corbusier’s design vocabulary. They
are repetitions of the typical details used in many other modernist buildings in Chandigarh. Similar
door design can be seen at the entrance doors of the Legislative Assembly. The Pavilion Le Corbusier in
Zurich built around the same period as the Museum (1964-67) also has similar recessed door handles
designed by Le Corbusier.

Fig. 68: Centrally pivoting door at Museum entrance. Fig. 69: Centrally pivoting ventilator shutters.

The interior doors have mild steel shutters painted in contrasting primary colours with frames painted
black. Le Corbusier used colours in his designs beyond its aesthetic qualities as an architectural tool to
express the transition between indoors and outdoors.⁶⁸

The ventilators shutters that were previously designed for the High Court and Secretary Building,⁶⁹
reappears at the Chandigarh Museum. They are vertically pivoting, aluminium encased shutters, with
a recessed handle and metal latch to lock when required. Wire gauze mesh set within frames on the
exterior prevents the entry of insects and rodents. The design allows to control the micro climate within
the galleries, by allowing movement of air while controlling the entry of light.

The undulatory windows set within concrete

mullions, have metal frames painted white and
with fixed glazing. Here too, the pattern follows
the design for windows at the High Court.

Fig. 70: Undulatory fenestration opening internally into the galleries.

68. H. Bauchet-Cauquil, et al, Le Corbusier, Pierre Jeanneret: Chandigarh, India, 1951-66.

69. Ibid.

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3.4.6 Skylights

The terrace level plays an important role in the provision of natural lighting within the museum building.
A system of linear skylights embedded in the terrace superstructure provides indirect lighting. The series
of oblique fin-like sunshades obscures the direct sunlight, protecting the collection from subsequent
light damage. The glass panes are frosted to further allow the diffusion of light. The quality of the light
becomes evident in relation to the bright colours of the walls and the ceiling. The archival evidence in
Le Corbusier’s drawings confirms that the skylights were not intended to be openable. The clerestory
lighting provides for uniform illumination of the space within the museum.

Fig. 71: Gallery space lit by skylight above. Source: DRONAH

3.4.7 Terrace Drainage Elements

The most remarkable design feature of the building is without doubt the roof-terrace and its water
drainage system. The rainwater from the terrace drains through sculptural bird-shaped gargoyles onto
the heavy raw concrete drains that dominate the upper portion of the façade. These drains channel the
collected water into the pools at the entrance piazza and at the rear of the building.

Fig. 72: Sketch showing proposal for water drainage system, 1958. Source: FLC Archive

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Fig. 73: Archival drawing showing details for terrace draining; (L) Undated, (R) 1953. Source: FLC Archive

Fig. 74: Concrete gargoyles drain terrace runoff into the concrete drains (L); Concrete drain collects terrace runoff and
drains into pool below (R). Source: DRONAH

Fig. 75: Concrete gargoyle and splash pool at Chapel of Notre Dame du Haut. Source: https://de.wikipedia.org/wiki/
Datei:Notre_Dame_du_Haut_Wasserspeier_und_Becken(ws).jpg (L); Concrete gargoyles at Sanskar Kendra Ahmedabad
(C), High Court Chandigarh (R). Source: FLC Archive

The ensemble of terrace elements comprising of gargoyles and splash pools have been used by Le
Corbusier in many of his other designs, both international and Indian projects. With the bird shaped
gargoyles and the concrete drains, Le Corbusier depicts the relation between nature and the built
environment. The sculptural pool remains empty most of the year, filling up only during the monsoons.
One can say that through these features, Le Corbusier showcases the climatic features of Chandigarh
as a display of the museum.

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3.5 Exhibition Display and Furniture

The display of the exhibits at the Government Museum and Art Gallery were planned thoughtfully
by a group of individuals,⁷⁰ headed by Mr. M.N. Sharma who was the Convenor. They decided that
the sculptures and paintings were to be displayed in a chronological manner. They first developed a
classification for the exhibits, followed by decision regarding the space it would occupy and the manner
in which they were to be displayed. The Chief architect and Mr. S.D. Sharma were authorized to visit
galleries of Contemporary Art and the National Museum at Delhi, the Prince of Wales Museum in
Bombay and the Calico Museum at Ahmedabad to better understand the various techniques of display.
A modeller was also asked to accompany them to prepare copies of the various types of frames that
were used.⁷¹

It is reasonably logical to expect the display in the Government Museum and Art Gallery to relate to
Barr’s academic model as discussed in Chapter 2. Furthermore, the concept of “unlimited growth” leads
the display of the collection to follow a stylistic and chronological model. Evidence from the archival
drawings suggest that the purpose of each Gallery was already defined before the construction of the
museum, with provision of space for picture galleries, permanent exhibition and temporary exhibition.

The North-East extension was designed as

a Workshop to accommodate a functioning
art factory- for the generation or execution
of artwork. The archival images of the
Government Museum and Art Gallery show
that the museum display units were crafted in
the workshop.

For the work on designing the museum interior

and furnishing, many had shown interest.
Although the Advisory Committee appreciated
Mr. Shiv Dutt Sharma’s interest in completing
the interior works⁷², the work was eventually
commissioned to Mrs. Ratna Fabri. Mrs.
Fabri’s expertise and education in the field of
interior designing with an experience of nearly Fig. 76: North-east extension used as workshop during the
15 years, easily made her a suitable candidate construction of the Museum. Source: Museum Archives
to be awarded the project at the museum.
The collection display and most of the furniture were designed in 1967, after the death of Le Corbusier.
She designed a high standard modern display, close to Barr’s vision and Le Corbusier’s design, as it is
resolutely modern with simple lines and forms. The ornamentation of the display is minimal to drive
the visitor’s attention onto the displayed artefact rather than the display itself. However, Ratna Fabri’s
proposal stands out from the “white box” concept, as she used materials like dark wood, black painted
metal and dark coloured fabrics. The strong significance of the raw materials tunes well with the design
intentions of Le Corbusier rather than with the MoMA’s “white box” influence with her choice of the

70. Group consisted of Mr. M.N. Sharma (Chairman/Convenor), Mr. Sunil Sircar, Mr. S.D. Sharma and Dr. B.N. Goswami
71. Doc. No. 2, Minutes of a Meeting held on 05.11.1966, Personal collection of Dr. M.S. Randhawa gifted to the Museum
in 1968, Accession No. 1524
72. Doc. No. 12, Proceedings of the Meeting of Museum Advisory Committee held on 16.01.1967, Personal collection of
Dr. M.S. Randhawa gifted to the Museum in 1968, Accession No. 1524

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species of wood and materials for furnishings and coverings, etc. Mrs. Fabri was of the opinion that the
building should be designed in order to house the exhibits rather than find exhibits to suit the building.
She also countered the contention that because it is a modern building, consequently only Modern
art should be exhibited. She advocated that all forms of art must be preserved and represented in the
museum.⁷³

The scheme of interior works for the Chandigarh Museum and the estimate of works was proposed by
Ratna Fabri in August 1967. The Indian Miniature gallery was proposed to have short texts describing
three major schools of art – Mughal, Kangra and Basohli. 12 paintings of each school were to be mounted
in silk, Rajasthani paintings were to be placed in special cases with glass frames and the copies of Ajanta
paintings were to be framed in aluminium frames and exhibited in the miniature gallery. The Gandhara
Sculpture gallery was proposed to display stucco Gandhara heads, terracotta heads of Akhnoor and
Baramulla (Kashmir) and large Gandhara and Hindu stone sculptures on specially designed show cases
of different designs. Some modern sculptures, textile art by modern artists and mud wall murals of folk
traditions were proposed to be displayed at the entrance hall. All labels and captions were to inform
regarding dating, explanation and descriptive matter about the articles.⁷⁴ The information for the labels
were provided by Dr. Charles Fabri, eminent Indian art critic and husband of Ratna Fabri.

The furniture required in the museum was ordered from Oriental Building and Furnishing Co. Pvt.
Ltd. and the textiles were ordered from the Handloom Handicrafts Exports Corporation. The display
screens for modern and miniature paintings, frames for miniatures and frames in hessian cloth and teak
wood for modern paintings were produced on site. The Niwar chairs and the knitted rope chairs were
specially manufactures by the firm TAARU K, Delhi. Special planters and ceramic vases for permanent
Indian plants were procured from Government Pottery Works Khurja. Special type refractory clay bases
for exhibits were manufactured under Ratna Fabri’s supervision at Blue Pottery Factory, Delhi.⁷⁵

The showcases for Gandhara heads were made in sheesham wood and glass and for Gandhara sculptures
in cedar wood and glass. The showcases for terracotta and smaller archaeological finds were designed
in glass with steel base. Display platforms in sheesham and cedar wood were produced on site as per
design. Stone pedestals and slabs in light grey Rajasthani stone were procured from Grey Brog Quarry.
For hanging large paintings, large wooden beams between the columns with iron brackets were made.
A three partition curtain made of quilted material was proposed between the Gandhara sculptures
and miniatures sections. Different types of furniture were designed and manufactured specially for
the museum. Easy chairs upholstered in olive green (chairs without arms) and turquoise blue (chairs
with arms and benches) material was proposed. Pirhas in Bombay sheesham and lacquered work legs
were proposed for the Indian miniatures gallery. Special lighting fixtures in brass and copper were
manufactured for the galleries.⁷⁶

The materials used for the design of the display cases and panels are black painted mild steel frames,
polished wooden panels, cloth lined backing and base (both light and dark colours) and protective
glass. One can identify 6 categories of display units:

73. Doc. No. 117, Letter from Mrs. Ratna Fabri to Dr. Randhawa dated 06.07.1967, Personal collection of Dr. M.S.
Randhawa gifted to the Museum in 1968, Accession No. 1524
74. Doc. No. 50, Sample scheme for Chandigarh Museum, Personal collection of Dr. M.S. Randhawa gifted to the Museum
in 1968, Accession No. 1524
75. Doc. No. 72,78-81, Estimate or Bill of Quantities, Personal collection of Dr. M.S. Randhawa gifted to the Museum in
1968, Accession No. 1524
76. Doc. No. 72,84-87, Tentative estimated budget for setting of the exhibits and display at the Chandigarh Museum,
Personal collection of Dr. M.S. Randhawa gifted to the Museum in 1968, Accession No. 1524

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Display cases:

Fig. 77: Textile display – Polished wooden panels, glass and white fabric lined base (L); Polished wooden panels, glass and
white painted display pedestal. Also serves as a partition between the two spaces (R). Source: DRONAH

Fig. 78: Sculpture display – Polished wooden panels, glass and blue fabric lined base. Case is lit by recessed downlight (L)
and natural light through the glass top (C); Polished wooden panels, glass, blue fabric lined backing and white painted
display pedestals (R). Source: DRONAH

Display cases supported by metal legs:

Fig. 79: Table-like display with fabric lined wooden base supported by black painted metal legs. Glass topped casing allows
illumination of the displayed objects by light fixtures or natural light. Source: DRONAH

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Wall mounted display cases:

Fig. 80: Wood and glass display case with fabric lined backing and recessed lighting to illuminate exhibits (L); Polished
wooden display supported by black painted metal anchors bolted to wall (R). Source: DRONAH

Display pedestals:

Fig. 81: Sculpture display – Series of polished wooden pedestals (L); Buff-colour painted plywood pedestals against black
wall.(R). Source: DRONAH

Fig. 82: Sculpture display – Polished wood and Stone display pedestals. Source: DRONAH

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Free standing display panels:

Fig. 83: Paintings display – Free standing panels with black painted metal frame and painted plywood backing. Source:
DRONAH

Ceiling hung display panels:

Fig. 84: Paintings display – Black painted metal frame and painted plywood panels hung from channels fixed to the ceiling.
Source: DRONAH

The furniture and display units designed by Ratna Fabri, share a comparable simple vocabulary to those
employed by Pierre Jeanneret in his designs for Chandigarh’s various public buildings.

Fig. 85: Sofa chairs and daybed in museum library (L); Daybed design similar to that of Pierre Jeanneret’s design (R).
Source: Galerie Patrick Seguin. Le Corbusier Pierre Jeanneret Chandigarh India

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Fig. 86: Sofas at the reception - Wooden frame and fabric covered cushions supported by leather straps at the bottom (L);
Low stool – Wooden frame and woven jute strap seat (C); Chair – Wooden frame with plastic string seat (R).

3.6 Museum Collection

The collection at the Government Museum and Art Gallery was part of a larger collection of the Lahore
Museum, which was divided after the Partition. Around 60% of the collection, along with the Museum
and the city went to Pakistan. The remaining 40% portion of the collection was first housed in Simla
(the temporary capital of Indian Punjab after the partition) and then in the Moti Bagh Palace in Patiala
for an interim period until 1968, from where it was finally shifted to Chandigarh. It consisted primarily
of miniatures from the Mughal and Pahari schools and sculptures. A cursory survey by Mr. W.G. Archer,
who examined the collection at the palace reported that it held close to three thousand miniatures
of the 17th-19th century. The sculptures collection were primarily Gandhara sculptures in stone from
sites in Peshawar and Taxila regions belonging to the 2nd-3rd century, small-scale stucco and terracotta
heads and stone architectural fragments. The collection was augmented with contemporary Indian
paintings, sculptures and graphic art by generous efforts of Mr. MS Randhawa.⁷⁷

The museum space

design caters to individual
space divisions for the
diversity in collection
type. Even as one enters
the museum, one can
see contemporary Indian
sculptures scattered
along the open piazza
and medieval Indian
sculptures in the open
gallery under pilotis.

Fig. 87: Sculpture at entrance to pilotis. Source: DRONAH

77. Newspaper clipping from Inauguration Album, Government Museum and Art Gallery, Chandigarh

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The triple-height central gallery on the ground floor displays phulkari, thanka paintings and other textile
art. Going up the ramp to the first floor, leads to the metal sculpture gallery and Gandhara sculpture
gallery. The contemporary painting gallery towards the north of the building displays contemporary
Indian paintings and graphic prints, etchings, serigraphs, oleographs etc.

The museum houses collections that pertain to eras that span from the early historic and medieval
periods to the contemporary period. Miniature paintings, Gandhara sculptures, metal artefacts and
contemporary artworks are the fundamental strength of the museum’s collection. This multifaceted
character of the collection puts forth the museum as an amalgamation of art and knowledge on the
same platform. The diversity of the museum artefacts in turn represents the cultural diversity of several
regions in the Indian subcontinent. Quantifying the number of artefacts, miniature paintings and
numismatics prove to be larger in number. However each artefact within the museum collection brings
forth the historical representations of the past and thereby the respective cultural backdrop.

The material compositions of the museum objects extent from a phenomenal number of organic based
objects to inorganic ones, due to which the collection requires utmost care and a well devised collection
care strategy.

Table 5: Categorized listing of the museum collection

S.No. COLLECTION TYPOLOGY NUMBER
1 Gandhara Sculptures 627
2 Miniature paintings 4,267
3 Stone Sculptures 217
4 Metal Sculptures 100
5 Contemporary Paintings 1,300
6 Contemporary Sculptures 167
7 Manuscripts 103
8 Scrolls 8
9 Terracotta 72
10 Textile 259
11 Coins 4,419
12 Glass painting 14
13 Decorative arts (mix-metal, ivory, silver, crystal, wood, 199
bone, papier mache, lacquer, etc.)
14 Wasli 34
TOTAL 11,786

Coins:

The Museum has an extensive collection of coins. Majority of the collection are in silver and copper,
and a few in alloys like billon and bronze, with a considerable collection of silver punch-mark coins.
The numismatic collection holds a large number of Indo Greek coins in silver. A large number of copper
coins from the Kushana, Yaudheya and Huns dynasty is housed in the museum. A sizeable number of
coins belong to the Sultanate-Slave, Khalji, Tughlaq, Suri and Lodhi dynasties. Mughal coins belonging
to the rule of Humayun, Akbar, Jehangir, Shah Jahan, Aurangzeb, Farukhsiyar and Mohamad Shah are
also seen. A small collection of coins belonging to the Sikh rule during the period 1835-1878 CE is seen.
East India Company coins in copper is also part of the coins collection at the museum.

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Terracotta Artefacts:

The terracotta artefacts within the museum

collection are one of the oldest among the
complete set of collections the museum houses.
They display the early historic craftsmanship and
artistic flair. The artefacts exhibited belong to
the 2nd Century BC and portrays the epitome of
craftsmanship during the period.

Fig. 88: Terracotta sculpture of a severed elephant head (L);

Medieval Indian Sculptures: Remnant of a basal part of human body on a pedestal (R).

The collection of Ancient Indian sculptures

includes terracotta heads and red sandstone
artefacts. The terracotta heads pertain to regions
including Akhnoor near Jammu, Ushkar in
Kashmir, Sugh in Haryana etc. The red sandstone
sculptures include remnants of exquisitely
carved railings from a stupa. The ancient Indian
sculptures depict the maturing craftsmanship in
the early historic period and present the evolving
tradition of art and iconolatry.
Fig. 89: Stone sculpture - Head of Parvati [7th Century CE,
Haryana] (L); Buddha’s head with severed halo [4th-5th CE
Gandhara Sculptures: J&K] (R). Source: GMAG

The collection includes a total of 627 Gandhara sculptures, which have exquisite carvings and detailed
depictions of Gautama Buddha, Bodhisattvas, Bodhisattva Maitreya, and the life story scenes of
the Buddha etc. The Gandhara sculptures stand as a paramount example of aesthetics and artistic
craftsmanship during the era of Hellenistic influence in the Gandhara region.

The Gandhara region, being a crossroad of cultural and artistic influences has provided corroborations
of the transition of art and tradition in the Buddhist sect and the concomitant Hellenistic impact. This
appears to be plausible when in close comparison with the Mathura style of sculptures. Resembling the
Hellenistic anthropomorphic forms, the Gandhara art is also referred to as the Graeco – Buddhist School
of art. The iconographic representations comprise sculptural portrayal of the Tathagatha in four different
Mudras which includes Abhayamudra, Dhyanamudra, Dharmachakramudra and Bhumisparshamudra.

The Gandhara sculptures have been executed mainly on a local variety of schist stone. This also acts
as a mode of identifying the style of sculpting and the sect of culture the artefacts pertain to. Being a
metamorphic rock, the foliation in schist stone acts as an attribute for the possibilities to carve along
its mineral plains thereby accentuating the potentiality of attaining intricate details in the sculptures.
A disadvantage here is the susceptibility of the stone if deteriorate when exposed to unstable
environmental conditions. This is observed on the artefacts when analyzing the Gandhara sculpture
collection, where losses and delamination are observed.

Appraising the cultural backdrop and the theistic evolution, the collection portrays every aspect of
Gandhara School of art where the sculptures depicts the path from the aniconic to the iconic depictions

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of Gautama Buddha. This includes the earliest symbolic depictions of the Buddha in the form of a
carved footprint to the iconic representations of Gautama Buddha and other Buddhist deities in several
mudras and postures.

Fig. 90: Remnant of a Buddha’s footprint [aniconic representation] (L); Gandhara sculpture of Gautama Buddha in
Dhyanamudra [iconic representation] (C); Sculpture of Bodhisattva Maitreya in abhayamudra [iconic representation] (R).
Source: GMAG

Metal Sculptures:

The museum houses about a 100 metal artefacts from the 9th -
20th Century CE. Majority of the metal sculptures in the collection
hail from Tibet, and the northern and southern part of India. The
collection belongs to a time span of more than a 1000 years,
narrating the transition of metal sculpture craftsmanship and the
evolution in representations of divine deities. A substantial part of
the collection belong to the later medieval era, which corroborates
the maturing craftsmanship in metal sculpture making, within
several regions of the Indian Subcontinent during the period.

Analysing the theological backdrop of the collection, the metal

artefacts appear to portray sculptures belonging to the Hindu
and Buddhist faith. The Hindu sculptures represent various forms
of Shiva and Parvathi, avatars of Vishnu, and Devi. The Buddhist
sculptures include representations of the Buddha, Bodhisattva
and Bodhisattva Maitreya. The collection also includes a series of Fig. 91: Bronze sculpture of Bodhisattva
bronze masks belonging to the medieval era. Maitreya (L); Source: DRONAH

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Miniature Paintings:

The collection consists of a total of 4267 miniature paintings which includes Mughal, Pahari and Kangra
miniatures. The miniature painting collection comes forth as one of the core strength of the museum
collection since it encompasses nearly half of the complete collection of the museum.

One of the main schools represented in the

miniature collection is of Pahari. The paintings
pertaining to a time period of 17th to 19th
Century CE, includes nearly all the important
Pahari centres of miniature paintings which
comprise Basholi, Mankot, Nurpur, Chamba,
Kangra, Guler, Mandi and Garhwal and the most
prepossessing ones among them being executed
by the artist Nainsukh. Nainsukh, being referred
to as “one of the most original and brilliant of
Indian painters”, had executed an immense
number of miniature works during his time, and
the museum houses a sizeable collection of the Fig. 92: Krishna and Gopala playing with cowherds at the bank
artist’s works. of Yamuna-Pahari painting from 1780 CE. Source: GMAG

Apart from the Pahari paintings, Mughal miniature paintings also form a mainstay of the miniature
collections. The style of the Mughal School which developed within the royal atelier, illustrated the
courts of emperors, the societal backdrop and the classic works of Mughal and Persian literature. The
majority of miniatures within the collection are identified to be made with Gouache on paper technique
where opaque water colours have been utilized to execute the works. Being used since the early 9th
– 10th Century CE in Persian miniatures, the miniatures paintings executed with Gouache technique
emphasizes the enduring tradition that spanned until the 19th Century CE.

Fig. 93: Guru Govind Singh on horseback – Pahari painting from 19th Century CE. (L); Portrait of Aurangzeb – 18th Century
CE [Gouache on paper] (C); Shiva and family on Mount Kailash – Pahari painting from 1800 – 1810CE (R). Source: GMAG

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Contemporary Art:

The museum has a strong contemporary art collection which is diverse in terms of both medium and
artists. Artworks including wooden, stone and metal sculptures, oil, watercolour and acrylic paintings,
graphic and other types of prints etc., are a part of the permanent collection of the museum. The
museum collection also includes artworks by the nine gems of Indian art, the name of whom are
provided below:
• Amrita Sher- Gill
• Abhanindranath Tagore
• Gaganendranath Tagore
• Jamini Roy
• Nandalal Bose
• Nicholas Roerich
• Rabridranath Tagore
• Raja Ravi Varma
• Sailoz Mukherjea
The art works by the above given nine artists were declared as national treasures under The Antiquities
and Art Treasures Act in the 1970’s thus making this a peculiar and exquisite collection for the museum.

Fig. 94: Oil Painting by Amrita Sher-Gil (L); Oil painting on canvas by M.F.Hussain (1961) (C); Aquatint print by Krishna
Reddy (R). Source: GMAG

Library:

The museum library situated on the second floor

houses an extensive collection of books on art, history
and material culture. The collection covers a wide range
of topics, from prehistoric art and archaeology to tribal
art, religions and cults, music and dance and modern
art, sculptures and paintings. It also houses documents
relating to collection data and albums with catalogue
cards. Dr. Randhawa also presented his personal
collection of manuscripts, correspondence on art, books
and reprints, totalling more than a thousand. There
are portraits of eminent scholars of Indian paintings Fig. 95: Library reference collection.
decorating the walls of the library. Source: DRONAH

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Reserve Collection:

Separate reserve collection for miniature painting, contemporary paintings and sculptures are located
within the museum. These are under high security surveillance and the doors are sealed daily with hot
wax.

Fig. 96: Reserve collection of Contemporary paintings (L); Miniature paintings (R). Source: DRONAH

3.7 Climate Responsive Systems

3.7.1 Integration of Climatic Technique in the Architectural Design

During the first half of the 20th century, research into thermo-regulative response of human body
was conducted to inform normalized thermal conditions in working and educational environments to
improve the user’s performance. During the post-war housing promotion and industrial development,
this approach was extended to link climate, indoor atmospheres and human body to develop an ideal
environment for the modern society.

André Missenard studied thermo-physiology of comfort and its application to engineering and
architecture. In collaboration with Missenard, Le Corbusier’s work during the post-war exhibited hydro-
thermal control and ‘artificial climates’⁷⁸. With the aid of Missenard and Iannis Xenakis, Le Corbusier
established the Programme d’etudes des Conditions Climatiques Optima et des Moyens Architecturaux
de correction.

After the war, as Le Corbusier started to work with tropical countries, he became deeply concerned
by climate conditions. Influenced by the French engineer André Missenard, he supported passive and
mechanical systems in the context of a growing importance of air conditioning.⁷⁹ Missenard thought that
architecture should provide an “artificial climate”, convenient according to their natural and economic
environment and shouldn’t homogenize the temperature with air conditioning. Thus, human body will
acclimatise to its environment and be more resistant and efficient. For both, the artificial climate of the
building must be a result of the architecture itself.

78. Artificial Climate [Science des climats artificiels], create optimal conditions for human life, as well as stimulate a
biological reaction that strengthen body and mind making them more resistant and efficient.
79. Ignacio Requena-Ruiz and Daniel Siret, “Experiments on thermal comfort and modern architecture: the contributions
of André Missenard and Le Corbusier.” (Third EAHN International Meeting, Torino, Italy, June 2014).

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Le Corbusier and his team studied carefully the climate of Chandigarh and elaborated what they called
a “climatic grid”. It is defined as a material way of visualization allowing to enumerate, coordinate and
analyse climate data from a defined location (latitude) in order to guide architectural research towards
solutions related to human biology. It is necessary to regulate and to effectively correct the excesses
of excessive climates and to create, through architectural devices, the conditions capable of ensuring
well-being and comfort.⁸⁰ This chart was divided in 3 parts, which can be loosely translated as “climatic
data”, “correction to apply” and “architectural solution. Each part is organized under 4 climatic “factors”:
air temperature, relative humidity, direction and velocity of winds, sunlight and thermal radiation of
constructions.

Fig. 97: Grille Climatique or Climatic grid formulated by Le Corbusier. Source: FLC

Fig. 98: Sketches showing architectural solution for climate control in a Fig. 99: Archival drawing showing climate
110m2 house in Chandigarh. Source: FLC Archive study of Chandigarh. Source: FLC Archive

Even though the “architectural solution” of this climatic grid have been designed for a 110m2 house, it
points out that Le Corbusier had a clear idea of Chandigarh’s climate.

80. Ignacio Requena-Ruiz and Daniel Siret, “Experiments on thermal comfort and modern architecture: the contributions
of André Missenard and Le Corbusier.”

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3.7.2 Climate Responsive Solutions Implemented for Government Museum and Art
Gallery

Le Corbusier devised and implemented environmental control devices in his building designs to control
the intensity of lighting within the spaces. His interpretation of sun-responsive or heliotherapeutic
architecture yielded the façade materialised by reinforced concrete brise-soleil.

“To introduce the sun is the new

and most imperative duty of the
architect” – Le Corbusier in The
Athens Charter

Fig. 100: Sketch by Le Corbusier showing cumulative experience of solar heat.

Source: http://solarhousehistory.com/blog/2013/10/28/le-corbusier-and-the-sun

The sun protection system in the Government Museum and Art Gallery comprises of oblique concrete
fins attached to shelf-like protrusions around the windows of the outer façade across the length of the
building. The positioning of these louvres is such that it admits light from the North-east and south-
west, to prevent direct rays of the sun from penetrating into the galleries. They are placed at an angle
of 1350 such that the surface faces the east and west directions, making the facades conditioned to the
solar path angles. They cut the direct radiation of the sun from entering the building. Apart from its role
as a mechanism for passive energy control, the amorphous covering to the façade also creates visual
harmony by means of pattern repetition.

Fig. 101: South-west façade of the building with sun protection system. Source: DRONAH

The mechanisms to promote the building as thermally active proceeds to develop artificial climate within
the museum. Le Corbusier proposed counteracting thermal loss and overheating by "la respiration
exacte" and "le mur neutralisant".

The "respiration exacte" concept relies on a mechanical ventilation system to guarantee comfortable
internal climate conditions. The aluminium aerators or ventilator shutters on the south-east and north-

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west facades provides for air circulation within the galleries. The narrow proportion of the ventilators
ensure cross-ventilation for air renewal and heat dissipation of the spaces, which is essential in achieving
ideal atmosphere within the space. The system of shutters on hinges work together to manage air
permeability.

The "mur neutralisant" idea is based on the mechanical circulation of warm or cold air inside the air gap
of a double façade that is only a few centimetres thick. The outer envelope of double brick wall with
cavity, acting as a thermal barrier, achieves thermal stability for the museum structure. Subsequently,
the high clear height of the spaces also mitigates the heat effect caused by the climate of Chandigarh,
perhaps justifying the lack of air conditioning systems within the galleries. The evaporative cooling
system, though seasonally, uses the position of the water pools on the western and eastern corners
of the building. The movement of winds over the strategically positioned water bodies conducts air
cooling.

Fig. 102: Archival drawing showing section through double brick wall with cavity. Source: FLC Archive

An air duct connects the pool and the basement of the auditorium. The pipe network system connected
to the basement of the Auditorium was evidently designed to passively cool the Auditorium. However,
the system has not been functional since the museum’s initiation.

Le Corbusier’s designs are indicative of the coupling of shade and air movement as a critical response
to the context of the building in terms of its climatic environment. They are Le Corbusier’s responses to
architectural problems related to the composite climate of Chandigarh.

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4. ESTABLISHING SIGNIFICANCE
 Conservation Planning for Government Museum and Art Gallery, Chandigarh

4.1 Recognising Modern Heritage

Since the last two decades, various approaches have been used to evaluate and identify twentieth
century cultural heritage through international organizations and established frameworks such as:

- DoCoMoMo, the International Committee for Documentation and Conservation of Buildings,
Sites and Neighbourhoods of the Modern Movement
- The Modern Heritage Programme of UNESCO’s World Heritage Centre
- ICOMOS-International Scientific Committee on Twentieth-Century Heritage
- Australian National Historic Themes Framework
- English Heritage’s thematic approaches to listing twentieth century heritage
- The International Committee for the Conservation of the Industrial Heritage (International
Scientific Committee of ICOMOS International) thematic studies on industrial heritage
- The Cultural Landscape Foundation’s thematic approaches for the assessment of twentieth
century landscapes
- The International Union of Architects’ twentieth century Architectural Heritage Repository
website

“The Global Strategy of UNESCO is an action programme designed to identify and fill the major gaps in
the World Heritage List. It encourages more countries to become States Parties to the World Heritage
Convention, relies on regional and thematic definitions and analysis of categories of heritage of
Outstanding Universal Value, and promotes the development of nominations of under-represented
properties for inscription on the List. During the 1990’s several international symposia and conferences
took place discussing the dire situation with regard to the recognition of the cultural-historic significance
of 20th century architectural heritage, the principal reason why it was lacking any formal protection in
many countries. These debates and their recommendations for action certainly helped in raising the
awareness of decision makers and the profile of this heritage at the national levels. However, the question
that remained concerned the possibilities for a stronger international recognition and protection, in
particular through the 1972 World Heritage Convention which had proved to be a powerful organizing
tool and platform for advocacy.

In order to examine this question, the International Council on Monuments and Sites (ICOMOS), one
of three Advisory Bodies to the World Heritage Committee, commissioned the Working Party for the
Documentation and Conservation of buildings, sites and neighbourhoods of the Modern Movement
twentieth Century Heritage and World Heritage Programme.” (Van Oers)

At the start of the Programme in early 2001, the number of properties and sites of Modern Heritage
dating to the late 19th and early 20th centuries on the World Heritage List numbered 12. Five years
later, at the end of the programming, this had doubled to 23, which demonstrates the programme's
remarkable success. In February 2003, when UNESCO’s World Heritage Centre held its “Regional Meeting
on Modern Heritage, for Asia and the Pacific” in Chandigarh, only one of India’s 19 Cultural World
Heritage Properties belonged to this period, with none on the Tentative List. Today, the proportion

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has risen to three Modern Heritage properties in 27 Cultural World Heritage Sites, while another 6 figure
on the tentative List. The recent trans-national inscription of the ‘Architectural Works of Le Corbusier’
jointly by 7 nation states including the Capitol Complex at Chandigarh by India is indeed laudable and
most encouraging for Modern Architecture.

The Getty Conservation Institute launched the Conserving Modern Architecture Initiative (CMAI) in 2012
to advance scientific research and development of conservation solutions. To complement the CMAI, the
Getty Institute created the Keeping It Modern Initiative in 2014, dedicated to global architecture from
the twentieth century. The grant helps custodians of modern sites research the buildings in their care
and systematize their conservation processes, leading to optimal sustainable preservation solutions.
The Conservation Management Plan for the Government Museum and Art Gallery, Chandigarh is a key
project under the Keeping It Modern Initiative.

4.2 Statutory and Policy Frameworks

Despite the above, the cultural significance of Modern heritage in India is not yet fully recognized
and conservation architects are still struggling to define the scope of Modern heritage in the country.
Considering the vast expanse of unprotected heritage in the country, it is not surprising that very
few of the iconic Modern structures in India are protected and even fewer that are being consciously
conserved. The national protecting body, the Archaeological Survey of India (ASI) or, its counterparts in
the States known as State Archaeology Departments, only protect ‘Ancient Monuments and Sites’ more
than 100 years old. This particular clause in the Heritage Legislation at National and State level in India
bars most of the Modern structures to be classified as heritage. However, beginning with a very bold
initiative by Mumbai in 1996, several other city governments have undertaken exercises for grading and
protecting numerous historic buildings and precincts not considered Ancient Monuments.

The list includes Bhubaneshwar and Chandigarh that were planned after Independence as part of
Nation Building and Modernism in India. The Chandigarh Master Plan, in particular, acknowledges the
city planning and modern buildings across the city as heritage under three categories of Heritage Zones,
Heritage Precincts and Heritage Buildings that are graded and protected as Grade I, II and III based
on their historical and cultural significance. The city administration is consciously working towards
conservation of various heritage buildings categorized under Grade I, especially so the iconic exposed
concrete structures of Le Corbusier’s Capitol Complex post its recent inscription on the World Heritage
List. All listed heritage zones, precincts and structures require approval of a Special Heritage Committee
before any changes/interventions can be undertaken.

The Government Museum and Art Gallery has been recognized as a Grade 1 Heritage building categorized
in the Chandigarh Master Plan. As per guidelines under this category, any major intervention/changes
in the exterior or interior need to be approved by the Special Heritage Committee of Chandigarh. At
the National Level, recently the ASI has also outlined criteria for ‘National Cultural Heritage Sites’ that
identify them of Outstanding National Value. Clearly, GMAG satisfies the criteria that would qualify
it under the National Cultural Heritage Sites. However, this listing programme is yet to be made
operational.

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The proceedings of the Expert Meeting ‘Developing a Historic Thematic Framework to Assess the
Significance of Twentieth-Century Cultural Heritage: An Initiative of the ICOMOS International Scientific
Committee on Twentieth-Century Heritage’ held in 2011, identifies various themes or phenomena
under which various processes of the twentieth century can be classified and assessed.
Government Museum and Art Gallery is located in two of these frameworks; namely (i) the main theme
of ‘The role of government and changing approaches to governance’, and its sub-theme of ‘Education’
as well as (ii) the main theme of ‘Culture and Society’ and its sub-themes ‘Museum’.

Besides these two themes that associate the significance of GMAG with two important thematic
processes of 20th century India, such as “sharing the knowledge” about (pre-colonial and post-colonial)
Indian culture and “building a national identity”, the third aspect is that the building belongs to the
genre of ‘urban architectural ensemble’ as part of the ‘Cultural Centre’, which is a testimony of the
intercultural and transnational exchange in Modern architecture at the global level. The Chandigarh
museum is a crucial element of the public cultural buildings design by Le Corbusier to provide the city
with coherent infrastructure as modern city.

4.3 Establishing Cultural Significance

4.3.1 Identifying and Characterizing Values

Cultural Significance indicates the importance of a site as determined by the aggregate of the values
one attributes to it. The assessment and understanding of values inform heritage decisions, regarding
what to conserve, how to conserve, where to set priorities and how to handle conflicting interests.

However, the assessment of values are fraught with difficulties stemming from its diverse nature,
its tendency to change with time as it is shaped by contextual factors, and the fact that the values
sometimes conflict. For the purpose of planning and management, the value assessment follows a
systematic process which identifies all values of the heritage, followed by integrating and ranking the
different, sometimes conflicting values.⁸¹ The conservation of the asset takes into account all aspects of
cultural significance without unwarranted emphasis on any one value at the expense of others.⁸²

After thoroughly investigating heritage value typologies devised by various scholars and organizations
like Reigl (1982), Lipe (1984), Frey (1997) and English Heritage (1997), an apposite process for assessment
of significance of the various elements in the Government Museum and Art Gallery was identified in
the Burra Charter (1999) Guidelines under “Other approaches”. It states that “The categorization into
aesthetic, historic, scientific and social values is one approach to understanding the concept of cultural
significance. However, more precise categories may be developed as understanding of a particular place
increases.” Hence, considering the specifics of the site, besides the four specified values in the Burra
Charter, further values specifically applicable to the Chandigarh museum were identified to evaluate its
significance.

81. Marta de la Torre (Ed.), “Assessing the Values of Cultural Heritage” (Research Report, Los Angeles: Getty Research
Institute, 2002)
82. ICOMOS Australia, Australia ICOMOS Charter for Places of Cultural Significance, the Burra Charter, 2013

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The values identified for the Government Museum and Art Gallery and their meanings derived in
context of cultural significance are discussed below:

Historical and Associative Value:

The historical value stimulates a relation to the past and can increase from the heritage asset’s age,
association with people or events and from its rarity and uniqueness.

Aesthetic Value:
The aesthetic value encompasses values that refer to the visual qualities and sensory perception of
heritage along with experiential qualities. The design and evolution of the building, form, scale, colour,
texture and material of the fabric, function of the spaces and other architectural attributes defines the
aesthetic value of the asset. It demonstrates creative, spatial, artistic and innovative achievements of
the asset.

Architectural and Scientific Value:

The scientific value of an asset provides understanding of the past, contributes as a resource in the
present context and offers further substantial information for the future. It includes the potential to
yield information on innovative materials and technologies, architectural planning principles, space
transformations, changing cultural patterns and traditions.

Social and Inter-cultural Value:

Social values embrace qualities for which the heritage asset becomes a focus of spiritual, political,
national or cultural sentiment to a group of people.⁸³ Political values which can be manifestly symbolic
as a contributor to national culture and identity accrue the social value of an asset. It also includes
the ‘place attachment’ aspect of heritage value, which may refer to the social cohesion, stimulation
of community identity and feelings of affiliation that social groups, in whichever scale, derive from the
asset.⁸⁴ Cultural values that build cultural affiliations and inter-cultural exchanges in the present form
an integral part of social values. The social value includes the use of the asset for social activities and
gatherings, capitalizing on the values of the site.

Collective Value:
Collective value is identified as a distinctive value attributed explicitly to the Government Museum
and Art Gallery Chandigarh. It encompasses intangible value that emphasizes its connection to a larger
ideology or ensemble.

The characterizing of the values outlined may overlap as they are closely related. For instance, the historic
value encompasses the history of aesthetics, science and society, and hence underlies all other values
elaborated in this section. However, it is important to understand these as different values because
they correspond to different ways of conceptualizing the value of the heritage, to different stakeholder
groups, and therefore to different bases for making management or conservation decisions.⁸⁵

83. Ibid.
84. Marta de la Torre (Ed.), “Assessing the Values of Cultural Heritage”
85. Ibid.

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4.3.2 Assessing Values and Significance of Government Museum and Art Gallery

Heritage values are not intrinsic, but are the outcome of its interaction with its context. While considering
the sociocultural values of the Government Museum and Art Gallery, we delve into the values attached
to the building, to its age, architecture and association to the person and events that contributed to the
processes of cultural connection.

Historical and Associative Value:

Chandigarh was formed owing to a specific historic context - the partition of India in 1947. Punjab’s
capital Lahore became a part of the newly formed Pakistan, leaving Punjab without a capital. Jawaharlal
Nehru, the first Prime Minister, envisioned the new capital of Punjab to be a modernist symbol to be
designed by a significant modern architect.⁸⁶ The museum holds value as a symbol of post-colonial
national identity.

The historic value of the museum in terms of its association with the partition of India increases when
considering the origin of the collection housed within the museum. The museum collection was part
of a larger collection of the Lahore Museum, which was subsequently split after the partition of India,
hence drawing on associative value. After being transferred around to other cities and museums for over
18 years, the collection found its home in the Chandigarh Museum in 1968. The collection comprises
rare, unique and archetypical examples of its type and this adds to the historic value of the museum’s
collection.

Le Corbusier’s association with the promotion of modern India added a new dimension to the Indian
architectural experience. His influence on India and the young Indian architects of the time is of great
significance, leading to the emergence of a modern architecture movement which were stylistically
centered on his design patterns and principles. The museum’s association with the Modernist master
holds immense associational significance.

Aesthetic Value:
The museum stands symbolic as a significant landmark in the cultural core of the designed urban city
of Chandigarh. The built structure of the museum exhibits unique architecture in terms of its form
and spatial arrangement. The built form follows Le Corbusier’s concern with juxtaposition of pure
forms to develop rugged abstract sculptural forms resting on pylons, giving a sense of architectural
monumentality. The design uses space, light and volume as basic elements of design. The formal
vocabulary of the design also extends from the architecture of built spaces to the urban furniture,
street lighting and landscaping. It is the most evolved museum realizing the concept of Open Plan from
macro level of the city to the site and building.

The aesthetic significance of the Museum is attributed to the harmonious composition and experiential
quality of the built spaces. The building portrays extensive use of reinforced concrete in its natural
exposed form to amplify buildings as monumental sculptures, which was distinctively Le Corbusier’s
work. The unadorned surfaces emphasize the textural quality of exposed reinforced concrete. The bare
concrete façade of the museum is only broken by brick panels, stressing on non-decorative aesthetic
choices. The museum is an exemplary example of Modern architecture using innovations in materials,
technology, colours, texture etc. The building construction also dealt appropriately with the Indian
climate and labour intensive construction techniques.

86. Jon Lang, A Concise History of Modern Architecture in India

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Architectural and Scientific Value:

The museum shows significance as an exemplary contribution to Modernism in its search for one with
the ‘Idea of a Museum as a Machine’. It intended to be beyond a monument limited to house artefacts,
allowing unlimited expansion for exhibiting culture with a human scale within experiential spaces.

The museum also extends value as a prototype for Museum Building Design in Independent India.
The building illustrates formal, technological and material innovation in Modernism to reflect post-
independence ideals of nation building and Museum Design. It reflects post-independence ideals by
sharing the Indian knowledge/culture through an architecture looking forward rather than the past.

The Government Museum is an amalgamation of the various theories and concepts developed by Le
Corbusier: the open plan, the Domino, the 5 points of architecture, the Modulor and finally the Museum
of Unlimited Growth. The Chandigarh museum is last of the three realized projects of Le Corbusier’s
endless museums.

Although the concept of “unlimited growth” propagates non-contextual design, the application of
local materials and their implementation by local craftsmen ironically makes the “Three Museums”
relate strongly to their context. In the case of Chandigarh, one can see the amalgamation of two
antithetical facets: modernity and native craftsmanship. The fabrication of the unfinished concrete
envelope with brick cladding, the fibreboard ceiling panels, or even the collection display demonstrate
industrial processes that were executed by the local craftsmen. It produced a type of “handcrafted-
standardization”, which is paradoxical, but in a very interesting way. It leaves one to wonder if Le
Corbusier and Jeanneret intended to merge modernity with tradition in Chandigarh.

Social and Inter-cultural Value:

When India became independent in 1947, Prime Minister Jawaharlal Nehru launched a vast national
modernization project. The building of the new capital for Punjab brought a very specific sensibility to
Chandigarh, one of national identity. The museum building was projected as part of the educational
policy of Independent India to use Museums as Knowledge Centre. The museum as a means to
disseminate knowledge reflects the social value of the museum.

Positioned at the core of the cultural centre of the Chandigarh city, the Museum exudes cultural-social
value as the cultural hub of the city.

The museum represents the ensemble of outstanding Modern architecture that marks transnational
exchange of architectural ideas and its subsequent impact on Indian and western architecture.

Collective Value:
The museum at Chandigarh can be seen as part of an ensemble of three museums designed by Le
Corbusier in Asia, which includes the Sanskar Kendra in Ahmedabad and the National Museum of Western
Art in Tokyo. Collectively these three Museums form an integral series to represent the realization of
Le Corbusier’s long thought project for “museum of unlimited growth’. They follow similar modular
framework of Modern ideals, the manifesto of 5 points of architecture and material innovations, while
providing a diverse interplay of spaces and building technologies adapted contextually to suit the local
perspective and programmatic requirement of each. The three museums show the evolution and
transformation of the museum prototype to suit the specificities of the project sites. Collectively, the
museums presents an interesting interaction between idealization and localization thus exemplifying
the pragmatic idealism evident in the constructed sites of Le Corbusier with his extraordinary concept
being modulated on site by regional modern architects.

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Considering the shared heritage values of the three museums, the participants at the Workshop
conducted by GCI in February 2018, recognized the collective cultural significance of the three
museums.⁸⁷ The series of museums constructed in Ahmedabad, Tokyo, and Chandigarh may be
collectively recognized as internationally significant:

I. As exemplars of the interchange of human values internationally in relation to modern architecture.

II. As an exemplary contribution to modernism in its search for a new concept for the museum, this
design represents the idea of the “museum as machine, “which breaks with the traditional notion
of a museum as a monument designed to house artefacts, and instead provides a non-monumental
place for exhibiting culture with a human scale, experiential spaces, and the possibility of unlimited
expansion.

III. As an integrated series, these three buildings represent the complete and only realization of Le
Corbusier’s prototypical Museum of Unlimited Growth. They all demonstrate Le Corbusier’s five
points of architecture, as well as his modular ideal, and incorporate material innovations and spatial
complexity. The series demonstrates the evolution and refinement of the prototype museum concept,
as well as its adaptation to local conditions and building technologies to suit the museums ‘respective
geographic and climatic contexts, and the programmatic requirements of each, thereby demonstrating
the interplay of theory and practice developed by Le Corbusier over half a century.

IV. As an interesting interaction between idealization and localization, thus exemplifying the pragmatic
idealism evident in the constructed sites of Le Corbusier, with his extraordinary concept being modulated
on site by regional modern architects (including B. V. Doshi, M. N. Sharma, and Kunio Maekawa), thus
nurturing modernism’s Asian diaspora and affirming modernism as the architectural language of the
future.

V. As outstanding examples of iconic modern museums that remain in their original use, each plays
an important cultural role in the urban life of the city it inhabits: in Tokyo, as a national repository for
Western Art; in Chandigarh, as a cultural marker for the new, modernist capital city; and at Ahmedabad,
as the museum telling the story of the city as part of a larger cultural space for the expanding community.
All are substantially intact in concept, design, and material fabric, and largely retain their settings and
relationships with their cities.

4.3.3 Statement of Significance⁸⁸

“The Government Museum and Art Gallery, Chandigarh, is an exceptional national example of modern
architecture in India. It simultaneously illustrates formal, technological and material innovation in
modernism to reflect post-independence ideals of nation building along with new ideas in museum
design. Additionally, it is part of an ensemble of outstanding modern architecture of Chandigarh that
marks the transnational exchange of architectural ideas and its subsequent impact on Indian and
Western architecture, which lasted for more than three decades. It is an iconic modern museum building
designed by Le Corbusier as the final realization of his concept for the Museum of Unlimited Growth.”

87. Ana Paulo Arato Gonçalves, Chandler McCoy and Susan Macdonald. “Le Corbusier’s Three Museums: A Workshop on
Their Care and Conservation” (Meeting Report by the Getty Conservation Institute, Ahmedabad, February 4-6, 2018 and
Chandigaarh, February 8, 2018)
88. Ibid.

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4.4 Values

In the broader context of the development and evolution of the Government Museum and Art Gallery,
Chandigarh, the significance of the museum can be distinctly evaluated as shown in the following chart.
It shows the result of a detailed analysis of the attributes of various elements of the Museum: its
form, landscape, exterior, interior, materials, furniture, display and collection. The value evaluation will
subsequently inform the further assessment and policy formulation.

For a holistic assessment, each value is given equal importance. The ranking of values expressed in
the following table is based on the cumulative significance attached to the various categories of the
heritage asset.

E - Exceptional Value: For components that meet one or more of the assessment criteria at an
exceptional level. These are elements integral to the cultural significance of the heritage asset. They
can be replaced only if it is essential due to their compromised condition and should to be replicated to
meet their original form, colour, material and texture in totality.

H - High Value: For components that meet one or more of the assessment criteria at an exceptional
level. These elements make major contribution to the cultural significance of the heritage asset. If the
element has been compromised to some extent, it can be replaced with matching material as and when
required, while retaining similar colour and texture.

M - Medium Value: For components that meet one or more of the assessment criteria at a medium level.
These elements make an overall contribution to the significance of the heritage asset. The elements
can be replaced to accommodate present use, but while ensuring that the interference does not impact
other elements of higher value.

L - Low Value: For components that meet one or more of the assessment criteria at a low level. These
elements are neutral to the significance of the heritage asset. The elements can be replaced or removed
to provide for present use and requirements.

The values derived for the various elements illuminate the conservation and management planning
issues and serve as guides for actions to be adopted.

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Table 6: Significance matrix for individual elements of the Government Museum and Art Gallery, Chandigarh

ELEMENT AESTHETIC HISTORIC SCIENTIFIC SOCIAL COLLECTIVE AUTHENTICITY OVERALL

VALUE VALUE VALUE VALUE VALUE SIGNIFICANCE

LANDSCAPE
Pools – Form and E H E H E H Exceptional
Layout (Reversible
changes)
Pools – Surface E H E L Exceptional
treatment
Vegetation H H H L High
Piazza H H H H High
Urban Furniture E E H L Exceptional

BUILDING EXTERIOR
Exposed concrete E E E H E H Exceptional
Brick tile cladding H E E H Exceptional
(Some changes)
Concrete floor M M H H Medium
Gargoyles E E E H Exceptional
Concrete drains E E E H Exceptional
Clerestory and Fins E E E H Exceptional
Undulatory E E E H Exceptional
fenestration (Reversible
changes)
Aerators E E E H Exceptional
Pivoting doors E E E H Exceptional

BUILDING INTERIOR
Exposed concrete E E E M E H Exceptional
Painted walls H H M H High
Fibreboard ceiling E E E H Exceptional
panel
Terrazzo floor E E E H Exceptional
(Reversible
changes- Pilotis)
Concrete floor M M H H Medium
Metal doors (Original) H E E H Exceptional
Undulatory E E E H Exceptional
fenestration (Reversible
changes)

E – Exceptional Value; H – High Value; M – Medium Value; L – Low Value

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ELEMENT AESTHETIC HISTORIC SCIENTIFIC SOCIAL COLLECTIVE AUTHENTICITY OVERALL

VALUE VALUE VALUE VALUE VALUE SIGNIFICANCE

COLLECTION
Museum Collection H E M E E H Exceptional
Library Collection – M H M L L H Medium
Books, Photos
Library Collection – L E E H H H Exceptional
Randhawa Archive
Artwork – Mural E E H L L H Exceptional

MOVABLE AND IMMOVABLE FIXTURES

Display furniture E E H L L H Exceptional
(Some changes)
Furniture H H M H High
(Some changes)

SERVICES
Lighting (Original) E E H H H H Exceptional
(Some changes)
Lighting (New) L M M L L L Medium
Passive cooling system M H E H High
Toilets L L L L Low

E – Exceptional Value; H – High Value; M – Medium Value; L – Low Value

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5. SURVEYS AND ASSESSMENTS
 Conservation Planning for Government Museum and Art Gallery, Chandigarh

5.1 History of Interventions, Repairs and Alterations

The Government Museum and Art Gallery has undergone a few changes over the last 50 years.
Alterations can be seen in the configuration of spaces and additions made as part of repairs and
maintenance of services and infrastructure. This chapter discusses in detail the changes the building
has undergone since its inauguration in 1968 and its effect on the visual and experiential quality of the
spaces, structural and spatial performance and the general functionality of the building.

The Museum office has maintained records of minor repairs, upgradation of services and routine
maintenance done at the museum over the past years. Some records and drawings were also available
at UT Office. However all records are not readily available, and records of some works are missing. A
wide range of photographic evidence has also been documented. Oral history was also recorded from
staff and other persons involved with the museum. All these have given a comprehensive picture of the
changes made to the structure over the last 50 years.

5.1.1 Landscape

The intended visual perspective of the building and its environs as designed by Le Corbusier has changed
with the passage of time.

Fig. 103: Trees obstruct the view of the

Government Museum building from the
Museum of Natural History.

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Fig. 104: The Museum building is obscured

from view due to the construction of the
amphitheatre for the light and sound show
as a later addition.

Fig. 105: Addition of fountain and contemporary sculptures to pool (L); Addition of protective grated railing around the
rear pool (R)

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Fig. 106: Chandigarh is dotted with urban furniture designed by Le Corbusier. However, the position of these within the
museum precinct have been changed or have been completely removed.

Fig. 107: Addition of a toe wall and

the placement of potted plants
around the pool at the museum
entrance softens the intended
starkness of the concrete piazza.

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5.1.2 Building Exterior

Alterations to façade:

Many alterations have been made to the building façade in the name of maintenance and repair.
However these unsympathetic repairs do not match the original and hence are very clearly differentiable
and look visually obtrusive.

Fig. 108: Replacement of brick tiles on exterior façade shows incompatibility in terms of specification and colour.

Fig. 109: Painted mesh over vertical fenestrations as later addition.

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Interventions due to change in function:

Interventions have been made to accommodate ancillary functions that were not considered during
the original design of the spaces in the museum. The air conditioning units and utility spaces have been
provided at the rear of the building using ad-hoc materials. However these have changed the dynamics
of the building by altering the openness of the pilotis.

Fig. 110: Additions using permanent and temporary materials to accommodate utility spaces at the rear side of the
building.

5.1.3 Building Interiors

Changes in space configuration:

Fig. 111: Addition of glass doors on the ground floor and collapsible grills on the first floor disrupts the flow of spaces
physically and visually.

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Fig. 112: Addition of collapsible grill at opening to gallery. Channel fixed onto original flooring.

Fig. 113: Addition of air conditioning units has brought down the ceiling level in the gallery dampening the spatial quality.

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Fig. 114: Partitions that serve as display panels block the

window opening.

Alterations to vertical circulation within the museum:

The vertical circulation within the museum has been closed off, leaving only the ramp accessible to the
visitors. The elevator openings have been blocked to close off at the ground floor and first floor. The
staircase leading to the upper floors and terrace has been blocked with infill wall. The doors leading
from the stairwell to the galleries also have been locked and sealed with wax.

Fig. 115: Elevator and staircase closed off with brick work and plywood respectively.

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Interventions due to change in function:

Interventions have been made to

accommodate the child art gallery in
the area intended as an open pilotis
leading to a cafeteria and its service
areas.

Fig. 116: Child art gallery incorporated

within the pilotis

5.1.4 Doors and Windows

Fig. 117: Addition of curtains to internal windows

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Archival photos suggest that the

entrance door was painted in bright
colours. This however was changed
under the instruction of Dr. Randhawa,
who suggested that it should have no
design and should be painted in plain
gold or French blue.

Fig. 118: Colorfully painted

entrance door was later
changed.

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Fig. 119: Addition of blinds and safety grill to the undulatory windows have changed the light quality within the gallery.

Fig. 120: Collapsible metal grills at opening between galleries restricts visitor movement.

Fig. 121: Protective metal grill and blinds against windows dampens light quality of the gallery.

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Fig. 122: Addition of painted metal mesh to

windows.

Fig. 123: Protective Addition of protective grills to clerestory windows. The window pane is replaced with glass that do not
match the original tinted glass.

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5.1.5 Terrace Drainage Elements

Fig. 124: Patch repair of concrete drains

Fig. 125: Inefficient patch repair of terrace waterproofing

The documents accessed from the Museum office and the Chandigarh UT Office shows correspondence
between the offices and architecture teams with regard to repairs, routine maintenance and upgradation
of services within the Museum. The review of these documents helped in drawing up a timeline of
activities and events as described in the table below.

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Table 7: Timeline of Interventions, Repairs and Alterations

PERIOD ALTERATION / ADDITIONS REFERENCE

Oct 1953-April 1954 Conceptualization of building plans and landscaping by Le
Corbusier
July 1954 Received the budget programme from the government for
the project.
Aug 1954 Proposal for location and concept of the offices at the
museum building.
Feb 1955 Approval of building of offices at the museum.
March 1955 Construction of offices deferred and shift to a new
location outside the museum premises.
1956 Finalization of the site for Government Museum and Art
Gallery.
May 1958 Construction of museum deferred due to lack of funds
and relocation of artefacts at Punjab Museum from
Lahore to Moti Bagh Patiala.
July 1958 Meeting held to reconsider the need of construction Archival documents from
of Government Museum and Art Gallery at sector 10 UT office and Museum
Chandigarh. office
1968 Inauguration of Government Museum and Art Gallery
Jan 1982 Proposal for providing garbage bins at the museum Archival drawings
Feb 1982 Discussion on provision of irrigation facilities in the Archival documents from
museum campus. UT office and Museum
office
Oct 1983 Meeting discussion points: Archival documents from
1. Construction of exhibition hall cum admin block: Cons. UT office and Museum
Under litigation with the contractor in the court office
2. Repair of boundary wall close to the admin cum
exhibition hall
Dec 1985 Drawings prepared by UT for fumigation chamber, case for Archival drawings
coin display, movable display screens.
July 1987 Aluminium light track with ceiling spot lights and Archival drawings
temporary spot lighting installed for Henry Moore
exhibition. These lights have not been removed since.
Sept 1988 1. Providing security lights in all locations in the site Archival documents from
2. Exhibition hall cum Admin block converted to City UT office and Museum
museum therefore it’s conversion into sculpture gallery office
was dropped.
1988 INTACH Report: Establishing of the museum souvenir Archival documents from
shop. UT office and Museum
office
Feb 1989 Conservation lab and room for exhibition officer proposed Archival drawings
within the temporary exhibition gallery.
Drawings prepared by UT for display panels along wall
and aluminium guide track with spot lighting on ceiling of
temporary exhibition gallery
Feb 2000 Provision of grills for skylight. Archival drawings
Drawings prepared by UT for display cases.
May 2000 Drawings prepared by UT for provision of glazed Archival drawings
aluminium partitions in Miniature painting gallery
June 2000 Improvement of lighting system in the museum building. Archival documents from
UT office and Museum
office

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PERIOD ALTERATION / ADDITIONS REFERENCE

Sept 2000 Meeting discussion pointers: Archival documents from
1. The existing Cycle stand was considered to be UT office and Museum
converted into a Museum Shop and Exhibition hall but office
rejected, keeping in view the inadequate head room
available.
2. Strengthening of Security:
a. Providing suitable campus lighting and close circuit
cameras;
b. segregation of more ancient, priceless and rare works
of art with grill gates;
c. providing strong iron grills (aesthetically designed) in
the window panes of GF museum;
The grills on the windows on the g+1 and the sky lights
only provide notional resistance to unauthorised entry, it
needs to strengthen.
Oct 2000 Drawings prepared by UT for provision of grills for Archival drawings
undulatory windows.
Jan 2002 Drawings prepared by UT for provision of granite cladding Archival drawings
of reception counter and cabinets below the counter.
April 2002 Repair work of all the M.S. grills for the skylights. Archival documents from
UT office and Museum
office
Nov 2002 Repair of the brick tiles on the outside walls of the main Archival documents from
building of the Govt. Museum and Art Gallery. UT office and Museum
office
2002-2003 1. Fire sensing equipment’s Archival documents from
2. Generator for Govt. Museum UT office and Museum
3. Landscaping of Museum Campus office
4. Repair/Renovation of Cycle Stand
5. Repair/Renovation of Guard Room
6. Reopening of the section of philately
Jan 2002 Proposal of Air Conditioning with location finalization Archival documents from
UT office and Museum
office
Providing Diesel Generator Set in the outside Drg no .14 Archival documents from
Job no. 536 UT office and Museum
office
Museum Shop Cabinets drawn Drg no. 98 Job no. 294 Archival documents from
UT office and Museum
office
Feb 2002 Meeting discussion points: Archival documents from
1. Strengthening of security system in Govt museum and UT office and Museum
art gallery: The barbed wire boundary wall was being office
dismantled and a brick boundary wall was being prepared
according to meeting held in 2nd week Dec 2001. Finally,
Barbered wire fencing with hedge/creeper was decided.
2. Points raised by Dr. V.H. Bedekar: Ultra violet films
provided on the glazed windows in the Indian miniature
painting section of the museum to cut the effect of ultra
violet rays.
Detail of Proposed AC Plant room and detailed drawings Archival documents from
of AHU room on the mezzanine floor of Miniature UT office and Museum
Painting Section, Gallery of Air Conditioning. office

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PERIOD ALTERATION / ADDITIONS REFERENCE

Meeting Discussion pointers: Archival documents from
1. Air conditioning of Indian Miniature Painting section be UT office and Museum
completed within 2001-2002 session office
2. Strengthening of Security: The proposed brick wall
between Govt. College of Art and Govt. Museum and Art
Gallery will create visual hindrance therefore, some green
foliage and flowering plants be planted along with the
barbed wire also beautifying the entrance.
June 2002 Removal of wooden structures and paintings for the Archival documents from
installation of the AC Unit UT office and Museum
office
July 2002 As per discussion at site on 18/6/2002 the proposed Archival documents from
suspended ceiling to cover the air conditioning duct is to UT office and Museum
be maintained at a uniform level as per existing ceiling. office
Same materials and design is to be adopted for the ceiling
at the resultant lower level and along with that existing
lighting fixtures have also been removed and fixed.
Sept 2002 Meeting Discussion pointers: Archival documents from
1. Air conditioning work of the Indian Miniature Paintings UT office and Museum
section under process office
2. Strengthening of Security: Close Circuit cameras
installed
3. Landscaping for museum campus: Creepers planted
along the barbed wire fencing
4. Conversion of Cycle Stand into Child Art Gallery:
There was a Child Art Gallery in the Exhibition-cum-
Administrative block which has been converted into City
museum. It is proposed that the works of art removed
from the Exhibition Hall-cum-Administrative Block
building may be accommodated in the Cycle Stand after
its conversion to Child Art Gallery.
March 2003 Meeting Discussion pointers: Archival documents from
1. Review of Air conditioning on next meeting; the UT office and Museum
feasibility/desirability of introducing an air conditioning office
to be sought first, with respect to the months and hours
during which the air conditioning should be on.
April 2003 Pre-Planning Meeting Discussion pointers: Archival documents from
1. Work in Progress: UT office and Museum
a. Prov. and fixing of translate (done) office
b. Dismantling and re-fixing of canopies in manitone
pointing section
c. Prov. Of AC in the miniature painting section (80%
done)
2. Work in Approval/Planning Stage:
a. Repair/Renovation of Guard Room
b. Providing of ceiling and exhaust fans
c. Providing generator set
d. Landscaping of museum Campus
e. Replacement of 2 window types AC in Committee
room/ Library
f. Renovation of toilets
g. Prov. Fire sensing equipment
h. Providing Touch screen kiosks in important sections
i. Stoppage of leakage of main art Gallery building
j. Conversion of Cycle Stand into Child Art Gallery
k. Repair of rain water tunnels
l. Prov. And laying 25mm thick semi dense bituminous
concrete on approach road and parking

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PERIOD ALTERATION / ADDITIONS REFERENCE

May 2003 The evaporating unit of split AC type air-conditioning will Archival documents from
be hung from the beam on the skylights of the library UT office and Museum
and no projection on the floor will be utilised therefore office
not affecting the ambience and efficiency of the museum
Gallery
Aug 2003 Provision of air conditioning to the miniature paintings Archival documents from
section hall. UT office and Museum
office
Oct 2003 White wash of the curatorial staff room situated at the Archival documents from
2nd floor. UT office and Museum
office
Nov 2003 Meeting Discussion pointers: Archival documents from
1. Prov. and fixing of translate (done) UT office and Museum
2. Dismantling and re-fixing of canopies in manitone office
pointing section (done by 30/11/2003)
3. Prov. Of AC in the miniature painting section (done by
30/11/2003)
4. Providing of ceiling and exhaust fans (estimate to be
framed)
5. Providing generator set (estimate to be framed)
6. Replacement of 2 window types AC in Committee
room/ Library (Estimate submitted, admin approval
awaited)
7. Renovation of toilets (estimate to be framed)
8. Providing Touch screen kiosks in important sections
(delayed)
9. Stoppage of leakage of main art Gallery building
(director pointed it as general problem and ordered
necessary action)
10. Conversion of Cycle Stand into Child Art Gallery
(estimate to be framed)
11. Repair of rain water tunnels (need to be looked over)
12. Prov. And laying 25mm thick semi dense bituminous
concrete on approach road and parking (estimate to be
framed)
Dec 2003 Grinding of the floor of Harappan Section in the main Art Archival documents from
Gallery. UT office and Museum
office
March 2004 Request for allocation of AC substation in the building Archival documents from
UT office and Museum
office
April 2004 Request for supplying drawings of Fibre Glass shed Archival documents from
proposed above the Cycle Stand for stopping the rain UT office and Museum
from entering, and changing the grill gate to iron gate. office
The basement Cycle Stand is non-habitable, as per Archival documents from
building bye-laws and cannot be used as Child Art Gallery. UT office and Museum
office
Aug 2004 Laying of 25mm thick semi dense bituminous concrete on Archival documents from
the roads of parking. UT office and Museum
office
Removal of Barbered wire for a basketball court’s Archival documents from
provision in the govt. college of art UT office and Museum
office
Drawings prepared by UT for landscaping of museum Archival drawings
entrance

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PERIOD ALTERATION / ADDITIONS REFERENCE

Oct-Nov 2004 Removal of barbed wire fencing between Govt. College Archival documents from
and Art Museum UT office and Museum
office
Nov 2004 Meeting Discussion pointers: Archival documents from
1. 200KVA Generator Set installation in museum UT office and Museum
2. Provision of Ceiling and exhaust fans office
3. Electricity Connection for AC plant in Indian Miniature
painting section
4. Teak Wood showcases and fixing of metal screens in Art
Gallery
5. Laying of 25mm thick bituminous concrete on road
parking of museum
Letter from Director to JE: Archival documents from
1. Increase in capacity of overhead water tanks UT office and Museum
2. Need of booster pumps to counter low pressure office
3. Water tank provision in Police Guard toilets
4. Shanks of conservation lab to be replaced
5. Renovation of Public Toilets
The cycle Stand to convert into Child Art Gallery Archival documents from
UT office and Museum
office
Alterations in the blind gate walls of Govt. Museum and Archival documents from
Art Gallery and Natural History Museum UT office and Museum
office
Renovation of toilet and improvements in related services Archival documents from
UT office and Museum
office
Dec 2004 Grinding and polishing of floors of Govt. Museum and Art Archival documents from
Gallery. UT office and Museum
office
Beautification of abandoned AC pond in the premise. Archival documents from
Drawings requested for the same UT office and Museum
office
2005 1. Opening of the epigraphy and numismatics section. Archival documents from
2. Provision of air conditioning in the gallery of UT office and Museum
contemporary art. office
Jan 2005 Request from Governor to make gallery of Contemporary Archival documents from
Arts Air Conditioned UT office and Museum
office
Conversion of Dry Pond into Lotus Lily Pond Archival documents from
UT office and Museum
office
Feb 2005 Landscaping of the museum campus Archival documents from
UT office and Museum
office
June 2005 Request of Installation of shadow Tube Well Archival documents from
UT office and Museum
office
Request for removal of cement concrete and creating Archival documents from
green pathways and plant shrubs and lower plants UT office and Museum
office
Development of Pond parapet Archival documents from
UT office and Museum
office

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PERIOD ALTERATION / ADDITIONS REFERENCE

July 2005 1. Providing Aluminium glazed door in main building and Archival documents from
renovation thereof. UT office and Museum
2. Renovation of Reception counter office
Letter Referring: Inauguration of City Museum on Archival documents from
17/12/1997 UT office and Museum
1. Admin office shifted to Natural History Museum office
2. Temporary exhibition made near conservation lab
3. General Store made in the museum canteen
4. Dismantled objects of Child Art Gallery along with
showcases, screens temporarily shifted in cycle stand
which was to be changed to Child Art Gallery
Sept 2005 Conversion of scooter stand into general store, providing Archival documents from
shelves in the cycle stand UT office and Museum
office
Oct 2005 Drawings prepared by UT for converting cycle stand into Archival documents from
general store UT office and Museum
office
Issue of drawings of Museum Campus for provision of Archival documents from
Sound and Light show by Citco UT office and Museum
office
Dec 2005 Shifting of National Gallery of portraits from Sec 17 Archival documents from
UT office and Museum
office
Providing and installing 60 Ton AC plant in City Museum Archival documents from
UT office and Museum
office
Jan 2006 Drawings prepared by UT for undulatory glazing in child Archival drawing
art gallery

March 2007 Drawings prepared by UT for proposed exhibition display Archival drawing
in child art gallery
Feb 2011 Drawings prepared by UT for renovation of temporary Archival documents from
exhibition gallery and upgradation of Auditorium UT office and Museum
office

5.2 Landscape Condition Assessment

5.2.1 Water Pools

Front Pool:

The storm-water run-off from the roof has been directed to the pool and this gets ‘activated’ as and
when there is rainfall. The original slope of the pool is towards the central pit from where it drains out
to the main rainwater outlet pipe running outside the premises towards Leisure valley. Thus the pool
acted as a stop-gap solution between the roof-top drainage and the final disposal of the storm-water,
briefly animating the setting with the water gushing out from a height.

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Later interventions included the following:

i. addition of small stone sculptures in the pool bed,

ii. raising of its sides with a toe wall
iii. creation of more pits within the pool, thus loss of original flooring
iv. putting up of a fountain with plumbing network at the centre
v. under-water light fixtures for night-time illumination

Fig. 126: Pool filled with water during the monsoons (L); Makeshift arrangements of water management inside pool (R).

Rear Pool:

i. Removal of original plantation around the edge of the pool

ii. Addition of fence around the pool
iii. Other utilities like plumbing networks, sink etc.

Auditorium pool:

i. Addition of metal fence around the pool

ii. Cracks and deterioration of the concrete

Fig. 127: Addition of metal railing around - Rear pool (L); Auditorium pool (R)

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5.2.2 Piazza, Flooring, Paving

Fig. 128: Condition of piazza flooring- water-logging at places, discoloration of concrete surface

Fig. 129: Damaged litterbin and cluster of uplighters near auditorium (L); Inefficient signage and other utilities

5.2.3 Vegetation

Two major phases of planting have been identified so far – the first phase was led by Dr. Randhawa
and focussed on plantations based on climatic-cum-design principles such as sun and shade, harmony,
balance, contrast and accents as well as ‘architectural concepts’ or plantation typologies like solitary/
groups, rows etc. The trees of this genre are Alstonia scholaris (shade; row), Eucalyptus citriodora
(harmony; group), Callistemon lanceolatus (accent; group) and Pinus longifolia (balance; group). The
post-1975 second phase⁸⁹ saw tree plantations that included Dalbergia lanceolaria, Lagerstroemia
spp., specimen and flowering trees like Bombax ceiba, Chorisia speciosa, Scleichera trijuga etc. as well
as shrubs and herbaceous plants. A survey of plantations, comprising mostly of trees, at the Museum
site was carried out and an Inventory has been prepared mentioning the flower colours of some of the
trees that must have played important role in their selection, as given in Table L-3.
89. Oral history records of Dr. H.S. Dhillon

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Table 8: Inventory of Existing Plants in Government Museum and Art Gallery

S.NO. BOTANICAL NAME COMMON NAME QUANTITY FLOWERING KNOWN FOR

AT SITE PERIOD IN FLOWER /
CHANDIGARH⁹⁰ FRUIT/ FOLIAGE
TREES
1. Aegle marmelos Bael/ Wood Apple tree 2 Fruit
2. Annona squamosa Shareefa/ Custard 1 Fruit
Apple tree
3. Alstonia scholaris Devil’s Tree/ Saptaparni 10 December to Flower- greenish
March white Fragrant
4. Anthocephalus cadamba Kadam 4 July to Flower- yellowish
September white
5. Aurocaria cookii Christmas tree 2 Foliage
6. Azadirachta indica Neem 9 April to May Foliage
7. Bombax ceiba Simal/ Silk Cotton Tree 1 February to Flower- Scarlet
March Red
8. Callistemon lanceolatus Bottlebrush 21 March to August Flower- Crimson
Red
9. Cassia fistula Amaltas 5 May to July Flower- Yellow
10. Cassia javanica Java Cassia 1 May to July Flower- Pink
11. Cassia siamea Siamese Cassia/ Kassod 4 November- Flower- Yellow
tree December
12. Chorisia speciosa Mexican Silk Cotton 2 October- Flower- Pink
Tree November
13. Dalbergia lanceolaria Takoli 2 March-May Foliage
14. Delonix regia Gulmohar 4 April-August Flower- Red
15. Eucalyptus citriodora Eucalyptus 28 April-May Foliage
(generally)
16. Eugenia cuspidata Jamoah 2 Fruit
17. Eugenia jambolana Jamun 6 April-June Fruit
18. Ficus benghalensis Banyan 1 Throughout the Keystone species
year
19. Ficus nuda Weeping Fig 1 Foliage
20. Ficus racemosa Gular 1 Foliage
21. Ficus religiosa Peepal 1 Foliage
22. Grevillea robusta Silver Oak April-May Foliage
23. Jacaranda mimosaefolia Nili Gulmohar 3 April-May Flower- bluish
mauve
24. Lagerstroemia spp. Pride of India/ Crepe 27 April-June; May- Flower- Pink,
Myrtle Oct./Nov. mauve
25. Madhuca longifolia Mahua 1 April-May Flower- cream
fragrant
26. Melia azedarach Bakain 3 March -April ⁹¹ Flower-Lavender

90. R.K. Kohli, H.P. Singh and Daizy R. Batish. “An Inventory of Multipurpose Avenue Trees of Urban Chandigarh India,”
in Integrated Tools for Natural Resources Inventories in the 21st Century, ed. Mark Hanson and Thomas Burk (IUFRO
Conference, Boise, Idaho, USA, August 16-20, 1998)
91. M.S. Randhawa, Beautiful Trees and Gardens.

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S.NO. BOTANICAL NAME COMMON NAME QUANTITY FLOWERING KNOWN FOR

AT SITE PERIOD IN FLOWER / FRUIT/
CHANDIGARH FOLIAGE
27. Mangifera indica Mango 13 March -April Fruit
28. Millingtonia hortensis Tree Jasmine, Indian cork 1 September Flower- white
tree -November
29. Morus alba Shehtoot, Mulberry 4
30. Nyctanthes arbortrystis Sheuli, Parijat 1 Flower- white
31. Psidium guajava Guava 1 Fruit
32. Schleichera trijuga Kusum 4 April-May Foliage
33. Terminalia bellirica Bahera 5 May to June Fruit
PALM
1. Livistona chinensis China Palm 8 Foliage
SHRUBS
1. Artabotrys hexapetalus Harichampa 4 July-August8 Flower- greenish
white
2. Caesalpinia pulcherrima Peacock Flower plant 27 Flower- scarlet
3. Tabernaemontana Chandni/ Tagar 2 Flower- white
coronaria
CACTUS
1. -- Kiora 1

It is indeed very interesting to note that in his book ‘Flowering Trees in India’, Dr. Randhawa classified
trees on the basis of their form and flower colours, as advised by Le Corbusier himself, shown in the
chart below. As previously mentioned, he called these plants ‘aristocrats of the plant kingdom’ and
revealed that this formed the basis of the city’s arboriculture. When the choice of trees in the Museum
site is examined against this chart, a good mix of form-colour combination is observed where the
representative ‘aristocrats’ from almost all categories is found to be present in the Museum site.

Fig. 130: Classificatin of trees based on form and colour of flowers

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An in-depth analysis of the existing flowering trees and the seasonal distribution of their flowers’
colours has been presented in Table L-4.

Table 9: Seasonal distribution of Colour of flowering trees in the Landscape

As evident from the above Table 9, it is seen that three to four tree species in the landscape are always
in flowering state during most part of the year, with the spring and summer months contributing to
the most colourful sight, when six to seven trees flower simultaneously. Thus the planting palette
reveals a well-thought out concept and strong rationale in selection and positioning of the trees in
the museum landscape, further corroborated through the Figure 131(L), where it is seen that 56%
of the trees present in the Museum site are flowering trees, of which 51% are of bright colours. The
percentage distribution of different colours of this tree category is given in Figure 131(R), that indicates
a high preference towards red and allied colours, which constitutes nearly 50% of the flowering trees,
distantly followed by those with purple hues and further with the yellow ones.

Fig. 131: Tree composition and categorization of Museum site (L); Percentage colour distribution of flowering trees in the
site (R)

Landscape plans from the Archives:

Undated landscape drawings obtained from the office of the UT, Chandigarh indicate that several
landscape and horticultural schemes were prepared from time to time, that proposed several
interventions including fountains, grass mounds, steps/ramps and different types of plant materials,
especially near the gate and the southwest part of the museum.

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Fig. 132: Undated drawings showing landscape proposals. Source: UT Office Chandigarh

Some of these proposals seem to have been implemented on site, while the rest probably evolved with
the changing needs of the site.

5.2.4 Gate, Access and Urban Furniture

Fig. 133: Inside View of main access area: Introduction of potted plants to control movement (L); Addition of fountain in
pool and art installations in the piazza

Some of the original art installations have been removed from the entry piazza and currently new art
installations have been displayed. There is no information displayed about these artworks, not even the
artist’s name or the date of creation.

Built-in concrete bollards:

As mentioned earlier, only one of such lighting fixture exists on site.

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Utilities:

As is normal with any site, several utilities have got added due
to technological upgradation like the electrical transformer
and the Diesel Generator to the north-east side near the rear
pool. New plantations are made around these additions and
the solid-void dynamics has undergone changes.

Fig. 134: Air Conditioning outdoor units at the rear side of the auditorium (L); Trees have been heavily pruned in the utility
areas (C); The DG set within a rather unkempt landscape, hidden from the public view, but with garden benches (R)

5.3 Building Condition Assessment

The Government Museum and Art Gallery shows signs of weathering due to age and exposure to the
elements of nature. There are also issues arising due to unsympathetic repairs and alterations made to
the built structure. Some of the pertinent issues of building failure have been discussed in this section
of the document. A detailed set of condition assessment drawings and a visual glossary compiled as a
result of the documentation and analysis process can be found in Annexure B of this document.

5.3.1 Building Exterior

The structural system of concrete columns and beams infilled with brick walls are in good condition.
There are no signs of structural instability. However, there are signs of deterioration related to failure
of the roof and water disposal system. All the elements of the building exterior have been discussed
below:

Exposed Concrete Elements (Façade and Terrace elements):

As mentioned in chapter 3, the exterior façade is composed of exposed concrete at the base of the
building as well as the top, with brick cladding in the portion between the two concrete bands. The
upper band also supports the clerestory placed right above it with fixed glazed openings and exposed
concrete fins. The condition of these two bands along with the projecting fins at the upper level appears
to be in a fairly good condition. The roof-terrace and its water drainage system are also constructed in
exposed concrete, and is now showing a number of issues that require immediate attention.

The concrete strength seems to be in a good range as shown by scientific tests. Through phenolphthalein

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tests, the PH of the concrete was found to be between 5 and 6. This low number indicated that the
concrete is carbonated and the matrix is acidic. The acidic environment is not able to provide protection
to the embedded reinforcement from corrosion.⁹² ⁹³ Due to corrosion the rust starts to accumulate on
the rebars, increasing its size. The expanded size of rebars due to rust causes stress of the concrete and
causes the concrete to crack and spall. Through investigations it was also found that the minimum cover
over the reinforcement is only 9mm which is extremely low. These two factors, may together explain
the cracks, spalling, delamination and corrosion that is explained in detail below:

ƒƒ Cracks:
Minor cracks have been observed on most of the
concrete surfaces of the building but there are some
critical structural cracks which can be observed mostly
on the upper beam on the façade and clerestory part
of the south-east facade, possibly due to varying daily
weather conditions. Other than the exterior envelope
of the main museum building, structural cracks can be
seen on the exterior façade of the temporary exhibition
gallery. Moderate or non-structural cracks which are Fig. 135: Cracks due to repairs made in the interior of
not severe can also be seen in the elevation. the temporary exhibition gallery

At the terrace level, there are a large number of structural cracks at the edges of the south-west fins as
they are more exposed to fluctuating weather. Other than fins, soffit of the clerestory and gargoyle also
have structural cracks. The cracks generally occur in concrete when the rebars are corroded and exert
pressure on the concrete. The testing confirms that these cracks are due to corrosion of reinforcement.

ƒƒ Delamination and Spalling:

The concrete surfaces in the Museum building are delaminated in many areas. Delamination occurs
when the layers of concrete start to separate from the main body. The condition is especially seen in
the fins and soffit of the clerestory as well as the drainage elements on the roof. Both the north-west
and south-east elevations show delaminated concrete on the underside of the drains, spout ends of
gargoyles and in upper beam.

Fig. 136: Spalling leading to loss of material and exposed rebars along the outer edges of fins(L); Concrete spall at the
underside of concrete drains (C)

92. John P. Broomfield, Corrosion of Steel in Concrete Understanding, investigation and repair (New York: Taylor & Francis,
2007).
93. Paul Gaudette and Ann Harrer. “Assessment of Historic Concrete Structures,” (APT Bulletin: The Journal of Preservation
Technology, Vol. 48, No. 4, Special Issue on Documentation, pp. 29-36, 2017)

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When the water gets inside the delaminated surfaces, the rebars get corroded and expand. Alternatively,
if the concrete is carbonated it doesn’t provide enough protection to the rebars and hence the rebars
start to corrode. The rust starts to settle on the corroded rebars and expands. This stress of expansion
causes the concrete to spall or simply loss of concrete around the reinforcement, which is clearly a big
issue to address at the roof level. Concrete spalls are visible and recorded in several locations in the
museum building, especially the vertical surfaces of fins, clerestory soffit and underside of the concrete
drains that drains the water out from the roof level. The concrete gargoyles also shows extensive
damage on the outer edges. The waterproofing membrane seems to be missing or damaged in some
places.

ƒƒ Exposed rebar:
In many locations throughout the building the embedded rebars are slightly exposed on the concrete
surface and are visible as small spots. This could be due to a small or missing concrete cover over
the rebar. Exposed rebars can be observed on concrete surfaces on all the elevations, with a higher
concentration on the pilotis columns of the north-west elevation and upper beams of north-east
elevations.

Rebars are severely exposed in large areas on the clerestory and its assembly including soffits and fins
that are present on the roof. A large number of exposed rebars are seen on these elements. This is
primarily due to spalling of delaminated concrete exposing the rebars, both attributed to carbonation
of concrete and small depth of cover.

Fig. 137: Exposed rebars of terrace elements

ƒƒ Surface deterioration:
Concrete surface deterioration is mainly a result of exposure to the weather or of poor concrete mix.
The upper layer of the concrete surface erodes, which is either not strong enough or due to weather
and exposes the aggregate. Surface deterioration of concrete is present on almost 50 percent of the
exterior concrete surface of the museum building. Out of this, 21% is seen on the South- West elevation
and 19% on North-West elevation, mostly on the upper beam of both elevations. On the terrace level,
fins have significant surface deterioration on North- East direction. The surface deterioration is seen
due to exposed aggregate and loss of binding material.

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Fig. 138: Surface deterioration and soiling on concrete surface.

ƒƒ Seepage (water stains) and Soiling:

The clerestory soffits show water stains overall. This is mostly due to failing drip course, which have
been lost due to spalling. Almost all the fins show surface deterioration and staining due to water
seepage. Seepage has also been observed due to stagnant water in the concrete drain which leaks
through the detached area.

Concrete surface soiling is seen on almost 52% of the exterior

envelope of the building, out of which 44% is seen on the South-
East elevation. This is mainly atmospheric soiling with pollutants
and dirt due to the weather. Maximum soiling has been observed
on the upper beams of the façade and the connectors joining the
drain to the building. This is mainly due to water seepage from the
detached areas of the concrete drain. Soiling is also observed on
the fins because of seepage, detachment and surface deterioration.

The concrete drains were found to be in precarious condition. Some

of the issues observed was the stagnation of water in the drain
leading to growth of vegetation and algae on the drain floor. Water
seepage and rust stains were also seen on the façade, especially
under the windows due to water washing over the rusted metal Fig. 139: Rust stains on concrete beam
mesh at the window openings. due to water washing over rusted metal
mesh at the window openings

Fig. 140: Water stains at the bottom surface of connectors (L); Staining under beams (R)

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ƒƒ Previous repairs:
The concrete patch repairs made to the
underside of the drain are failing. Large chunks
of spalling concrete can be observed, leaving
exposed rebars. The drain accumulates dirt
and debris during non-rainy season and when
they get fed by water from the entire roof
and its elements the passage of water gets
obstructed and leads to stagnation. Over time,
the standing water has induced deterioration
of the concrete and leading to its failure.
These signs are clearly visible and have been Fig. 141: Failing patch repairs (L); Water stagnation inducing
recorded. vegetation growth within concrete drain (R)

Exposed Concrete Elements (Flooring):

The concrete flooring of the pilotis area shows surface abrasion and stains due to constant use of the
space. The addition of light fixtures directly onto original flooring indicates loss of original flooring
material and irreversible damage to the concrete tiles. Patch repair of concrete floor is also seen in
several locations, which do not match the existing.

Fig. 142: Surface abrasions and rust stains (L); Alterations and repairs made on concrete flooring in pilotis (R)

Exposed Concrete Elements (Ceiling):

The predominant conditions observed

in the ceiling of the pilotis area is
water stains on the external beams
and small areas of exposed rebars. The
rebars are usually visible due to less
concrete cover or the loss of it due to
deterioration of the concrete surface.

Fig. 143: Rust staining and exposed rebars due to loss of concrete cover

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Brick tile cladding:

The brick tile cladding on the building façade seems to be in a good condition. The cladding has been
replaced in the past and appears to be maintained well. However, even with regular maintenance there
are some issues related to the present cladding. The joints have not been regularly pointed and it
has been observed that the open joints between the brick tiles have caused water ingress, leading
to further damage to the bricks causing damp patches and algal growth to appear on the bricks. The
replaced brick tiles show discoloration and deterioration as they do not match the composition of the
original. Attempts have been made to match the brick to the original by means of chemical treatments
and painting.

Horizontal metal strips are observed between the courses of

the brick tiles, embedded within the joints. The south-west
elevation has had minimum interventions in the past and can
be considered to have retained original brick cladding. The
metal strips were found along the entire height of cladding
on this facade. However, the intervals between the metal
strips show an uneven pattern ranging from 3 to 20 brick
tiles. On the south-east elevation, where brick cladding has
been replaced in the past, some metal strips were found. The
distribution of metal strips are uneven, which could suggest
that they may have been removed during replacement of
Fig. 144: Metal strips between brick tile
brick tiles.
cladding

It was observed that in some areas the mortar at the joints are missing and has exposed the metal strips.
They show signs of corrosion, which could exacerbate in the future leading to the damage of existing
brick cladding. Repointing with cement was also observed in some areas. The other two elevation were
not studied in detail for metal strips due to inaccessibility.

The visual examination included examination for size, colour, hardness and texture for physical
appearance and properties. Amongst the brick tiles that were reviewed, it is clear that none of the
bricks are the same colour, texture or hardness though the colour range is similar for the original ones.
This shows that they were mainly handmade without any control or guidelines. Some bricks have been
replaced and these brick tiles show discoloration and deterioration as they do not match the original.
Attempts have been made to match the brick to the original by means of chemical treatments and
painting. Currently the original has variations with the same range but the replacements are very clearly
distinguishable. Many factors contribute to this like the original manufacturing, location in the building
and exposure to weathering.

Instrumental analysis through EDS was employed to identify composition of original brick samples. The
results clearly show Silica as the major component which is primarily the clay.
Several peaks for Aluminium, Iron, Potassium, Magnesium and sodium most of which are the primary
constituents of a brick with an exception of sodium. Sodium indicates contamination or efflorescence,
it could be potentially harmful to the brick. Presence of iron is evident though the colour and appears
to be in moderate quantity since the colour of the brick is in the regular range and not too dark. The
elements from tests are similar to the soils of the area. Therefore it is possible that the brick tiles are
mostly from alluvial soils from the area itself. Were mostly made from site or from areas around.

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ƒƒ Dislodging:
Of all the elevations with brick cladding on the exterior envelope, about 24% of the cladding is dislodged
or dislocated from its location. This is mainly observed on north-west elevation and some on the North-
East elevation. This could be a potential life threatening condition and should be addressed immediately.
This dislodging could also be due to corroding metal strips embedded within the brick courses.

ƒƒ Open Joints:
The joints between the cladding tiles are pointed and secured with mortar to make them water-tight.
The current mortar is deteriorated and is missing in some locations causing the joints to be open. It has
been observed that the open joints are letting the water penetrate into the cladding.

ƒ
ƒSeepage:
Main problem of seepage on the brick cladding is due to the presence of the concrete drains on the
northwest and south east elevations. The drains are fed through gargoyles located higher than the
drain and when the water comes down from the gargoyles into the drain, the water splashes cause the
adjacent areas to become wet. These wet patches can be easily located on the elevations.

ƒƒ Bio growth:
The constant seepage on the façades have led to bio-growth. This is mostly seen on the North-West
elevation since the auditorium blocks the sunlight that would have otherwise allowed the surface to
dry.

ƒƒ Discoloration:
The replaced brick shows discoloration as they do not match the composition of the original. Almost
one fourth of the South-West façade has discoloured brick cladding. This occurs on the other elevations
as well. Attempts have been made to match the brick to the original by means of chemical treatment
and painting.

ƒƒ Soiling:
Soiling can also be observed of about 12% of South-East elevation may be because it is exposed more
to sun than any other elevation.

Fig. 145: Brickwork damaged due to water seepage (L); Discoloration of replaced bricks (C); Algal growth on brick tile
surface under gargoyle (R)

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Doors and Windows:

It is observed that the clerestory windows have frosted glass panes as the original material. However,
they are replaced by non-tinted plain glass in a few windows. A few glass panes are also broken. The
putty is failing on all clerestory windows.

The external windows of the museum do not show any deterioration, most likely due to routine
maintenance and repainting of the frames. Deposits of paint splashes on the window panes and loss of
putty around the glass is seen widely throughout the building. Termite infestation was noticed on the
frames of the windows. Bird droppings are also seen along the windows of the upper floors.

Fig. 146: Glass panes replaced with un-tinted glass (L); Painted metal mesh over the external windows allows water into
the galleries during the rain (R)

The painted metal mesh over the external windows allows

water into the galleries during the rain and has damaged
display cases and furniture. The water also gets trapped
at the bottom of the opening, which then flow over the
concrete beam and leaves rust stain on the concrete surface.

The entrance door of the museum shows damage due to

the daily routine of sealing the lock with wax. It was also
observed that there is flaking of paint at the door handle
and on few panels of the door.
Fig. 147: Wearing of entrance door and handle

Roof:

The roofing membrane seems to have been applied in the recent past. This membrane is not properly
installed and is letting the water in through the joints. It has not been laid in a proper slope there also
causing the water to stagnate on the roof. The roofing membrane also has a number of joints which let
water in. It has also led to the growth of plants in between the membrane and roof at various locations.

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5.3.2 Building Interior

Exposed Concrete Elements:

The exposed concrete interior walls of the

museum seem to be in an overall good
condition.

The bottom surface of walls show discoloration

and staining due to daily swabbing of the
floors.
Fig. 148: Discoloration due to daily swabbing

It was observed that there is water seepage from the clerestory leaving damp stains on the upper
portions of some columns. Water leakage from air conditioning pipes have also been seen in the library
showing damage of the concrete wall.

Fig. 149: Water seepage from clerestory windows (L); Failing air conditioning pipes (C)(R)

Staining was also seen along the concrete

handrails of the ramp due to weathering. The
metal railing on the ramp is finished with a
bluish-grey enamel paint. When observed cross
sectionally under the microscope, it shows two
thin layers of dark blackish coating. One layer
of red colour is visible as the outermost layer
under reflected light. However, it seems that the
original paint finish may have been black.

Fig. 150: Stratigraphy of paint sourced from metal railing on ramp (L); Staining on concrete handrail due to weathering (R)

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Plastered Walls:

The plastered interior walls have been painted over multiple times and hence is in a good condition.
They seem to be well maintained.

Flooring:

Two types of terrazzo are present in the building- white and black. Instrumental analysis was carried out
for both the types. The elements found in the white terrazzo are Calcium, Carbon, Silicon, Aluminum,
Sulfur while the black terrazzo has Calcium, Carbon, Silicon, Aluminum. Sulphur was missing in the
black terrazzo sample but is present in white terrazzo sample, indicative of vitrification. The presence of
calcium indicates the chips present from marble and similar material. It could also indicate the presence
of lime, but lime was not prevalent during this period. The micro-structure of both types of terrazzo is
very similar. The scans revealed that there is very little differences in the morphology and the matrix
appeared to be dense and devoid of pores, indicating its durability.

Fig. 151: Terrazzo sample taken for analysis. Black terrazzo (L); White terrazzo (R)

The terrazzo flooring of the museum interior shows general

weathering of the surface. A few cracked tiles in the first floor
galleries have also been observed.

Fig. 152: Broken terrazzo tiles in gallery (L); The replaced and repaired tiles seem to be different from the original terrazzo
tiles in colour and composition

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The visual survey also shows

damage of original tiles due to
alterations and repairs made to
the flooring. The channels for
collapsible grills at openings and
fixtures for glass and aluminium
partitions are fixed directly onto
flooring indicating loss of original
material and irreversible damage
to the terrazzo tiles. The replaced
tiles after the damage are very
clearly differentiable and look
Fig. 153: Modern alterations damaging original terrazzo floor tiles visually obtrusive.

Terrazzo flooring of the first floor

galleries also show staining due
to water damage. Water seepage
from the terrace slabs during the
monsoons have left dark circular
spots due to continuously dripping
over a long period of time.

Fig. 154: Tile damage due to water dripping from roof

Wood-wool Ceiling Panelled:

The main concern for the condition of the ceiling is water seepage during the monsoon. The points
where water drips into the gallery changes seasonally. When the point of water seepage is repaired,
the water trapped under the waterproofing membrane during the next monsoon channels away to find
another weak spot in the slab, causing dripping from a new point. The condition of the slab under the
waterproofing layer should be investigated to understand the extent of damage and solutions for repair.

It was found by cross-sectional imaging that the sample is organic in nature with synthetic binding
matrix (matrix). The imaging ruled out the possibility of coir which was popular during the period.
Presence of bast fibre, from the inner bark of hardwood trees was detected. So the fibreboard is
composed of wood derivatives.

Fig. 155: Fibreboard sample taken for analysis (L); Water damage of fibreboard ceiling panels is also seen.

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The fibreboard ceiling panels on the exterior of the

building show deterioration due to exposure to
weather. Several panels have come loose and show
displacement. The replaced panels do not match the
original material.

Fig. 156: Damaged fibre board on the building exterior

Doors and Windows:

Most of the doors of the museum are painted in bright colours. These coloured surfaces are studied for
stratigraphy’s and showed accumulation of similar colours of past layers under the microscope. Two
doors had different layers under the current paint campaigns.

The door at the Shaft in the Coin Gallery shows plaster, followed by ground layer, then a layer of red
paint and following layers of white.

Fig. 157: Stratigraphy of paint sourced from duct door

Gallery door at interior stairwell (entry to FF) shows that there are four layers of paint over plaster - one
green and three red. Green could have been the original colour scheme.

Fig. 158: Stratigraphy of paint sourced from gallery door at interior stairwell

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The doors and windows of the museum show signs of

wear and tear, loss of polish, scratches on surface and
in some cases weathered laminates. The internal metal
doors that are sealed daily shows deposits of seal wax
on the shutters.

The structures built as interventions to the building are

made up of make shift and temporary materials. Fig. 159: Worn door corners (L); Ad hoc additions (R)

Fig. 160: Damaged door fixtures, concrete sill and rusting grills.

5.3.3 Testing Programme

A testing programme was formulated for the building materials of Corbusier museum based on the
visual and sounding survey. All building materials shows signs of distress and need repairs in the future
and some possible replacement. It was pertinent to perform these tests so that the building materials
are characterized and analyzed to understand the basic properties before undertaking any interventions
or carrying out any corrective measures so that the causes are rectified and the repairs are compatible.

A number of investigations were carried out based on available standards for field and laboratory
testing methods which can help to define the properties and causes for visual defects. A combination
of methods were employed in order to get the required information. Once the samples are tested and
analyzed it will help in understanding the issues and causes, and help in selection of compatible repair
and replacement materials.

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Table 10: Testing Programme for different building materials found at the Museum

NO TEST PURPOSE NO. OF RESULT INFERENCE RECOMMENDATIONS

SAMPLES
CONCRETE
1 Rebound Measure surface 11 Average relative Concrete No action required
Hammer test hardness of concrete. strength of average to
Assessing variations concrete varies strong
of strength within a from 7 N/mm2
structure. to 24.76 N/mm2
corresponding
to the rebound
hammer test.
2 Ultrasonic Establish 4 Concrete Shows average No action required
pulse velocity homogeneity quality grading: strength
of concrete and Medium in one
corrosion prone location. Poor/
locations Doubtful at 3
locations
3 Compressive Compressive strength 3 Average relative All cores show No action required
strength test of concrete strength of good strength
concrete : 22.19-
30.31 N/mm2
4 Carbonation pH value of concrete 8 PH value : 5-6 Inferred as SERIOUS: carbonation
test (pH value of acidic nature of needs to be retarded
fresh concrete: concrete due or slowed otherwise
12-13) to carbonation. concrete spalls will
Responsible for lead to large scale
corrosion of damages especially at
reinforcement terrace level. A coating
could be applied
to the concrete to
protect from further
carbonation, (details in
proposals) that will act
like a protective barrier
5 Chemical test Chloride (water- 16 Sulphates and Sulphates and No action required
soluble and acid- Chlorides within Chlorides within
soluble) and Sulphate permissible permissible
content in concrete. limits limits
6 Ferro scanning Depth of cover 19 Min. 9mm. Very small Patch repair design
cover cover, or no to consider the small
Reinforcement cover; exposing cover and consider
exposed in some reinforcement provision for better
locations. to corrosion. protection.
7 Ratio of Ratio of Cement: 16 M20 grade Average to No action required
cement Combined aggregates concrete good concrete –
concrete prevalent during
the period of
construction
BRICK TILE
8 FESEM Composition 2 Could be conveniently
remade with colour
9 EDS Quantity of chemical 2 Detected Regular matching mock ups.
constituents traces of: constituents, Efflorescence to
Oxygen, Silicon, except sodium be removed with
Aluminum, indicating water poulticing.
Iron, Potassium, seepage or
Magnesium, efflorescence
Sodium

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NO TEST PURPOSE NO. OF RESULT INFERENCE RECOMMENDATIONS

SAMPLES
10 Metal Distribution of metal 2 sample Inconsistent No definite Should be cleaned
Detector strips areas distribution of pattern of (shot blasting) and
with metal strips, metal strip coated and left in
original intervals ranging distribution was place. Pulling out may
brick between 3-20 established. damage the adjacent
work. brick tiles Difficult to tiles. This should be
comprehend done when the whole
2 sample the exact use façade is repointed.
areas but appears to
with be provided for
replaced strengthening
brick of the tiles to
work. prevent them
from detaching.
WHITE TERRAZZO
11 FESEM Study of composition 1 Matrix is dense The small sized No issues with
and devoid of capillary pores composition or
pores indicating can make the structure. No actions
durability. material more required. Could be
susceptible replicated through
to salt mock ups.
crystallization
12 EDS Quantity of chemical 1 Detected traces Sulphur
constituents of: Calcium, indicating
Oxygen, vitrification.
Carbon, Silicon, Calcium
Aluminium, indicates the
Sulphur chips present
from marble
and similar
material.
13 XRD Quantity of chemical 1
constituents on top
layer
BLACK TERRAZZO
14 FESEM Study of composition 1 Matrix appears Indicate No issues with
to be dense and durability. composition or
devoid of pores structure. No actions
required. Could be
15 EDS Quantity of chemical 1 Detected traces Elements typical replicated through
constituents of: Calcium, of terrazzo are mock ups.
Oxygen, found.
Carbon, Silicon,
Aluminum
FIBRE BOARD
16 Light Study of composition 1 Sample is The fibreboard Replacement boards
microscopy and structure organic in nature are composed should be of wood
(LM) & with synthetic of wood derivative similar to
Polarized light binding matrix. derivatives the existing, whether
microscopy Presence of bast custom made or
(PLM). fiber, from the factory made.
inner bark of
hardwood trees
was detected.
PAINT ANALYSIS
17 Stratigraphy Cross section analysis 17 All surfaces had
of paint layers accumulation of similar
colours of past layers.
Two doors and a railing
have different layers
under the current paint
campaigns.

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Sampling:

Most of the issues with concrete which were identified through surveys indicate issues primarily at
the terrace levels and the façade of the auditorium. Therefore, the cores were extracted from these
locations as well as some non-destructive (NDT) tests were performed.

7 fins on terrace were identified for taking samples for testing. All 7 fins were scanned with Ferro
Scanner to mark the steel on the surface to determine the position for core cutting. Core cutting and
sample collection from the RCC fins in clerestory at the terrace was carried out. A total of 8 samples
were collected from the fins after examining fins all around the terrace. 3 cores were cut, which were
good condition concrete samples and 5 samples of 1kg approx/sample were pulled out with hand from
the deteriorated/damaged fins.

2 samples of brick tiles were pulled out with the help of hammer and chisel from the south-east facade
of the Museum building. One sample each of black and white terrazzo tiles were also removed from
the flooring of first floor. Scraping of paint samples were removed from multiple locations within the
building. A sample of fibreboard ceiling panel which was removed during an earlier repair work was
used for testing purpose. The details of the location of each sample has been attached in Annexure B.

Fig. 161: Ferroscanner to locate rebars before locating sites for core cutting

Fig. 162: Core cutting in progress and samples collected

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Tests for Concrete:

A. Compressive Strength: Rebound Hammer

Aim is to determine the compressive strength of the concrete
by relating the rebound index and the compressive strength; to
assess the uniformity of the concrete; to assess the quality of
the concrete based on the standard specifications.
In order to ascertain the compressive strength of Rebound
Hammer test is a Non-destructive testing method of concrete
which provide a convenient and rapid indication of the
compressive strength of the concrete. The rebound hammer is
also called as Schmidt hammer that consist of a spring controlled
mass that slides on a plunger within a tubular housing. Fig. 163: Core Rebound Hammer testing

B. Depth of cover: Ultra Sonic pulse device

Aim of this test is to identify the depth and of the reinforced
bars from the surface of the concrete.
Measuring the concrete cover is an essential procedure because
when analyzed with the carbonation depth it will determine if
the concrete surrounding the steel is providing the necessary
protection against corrosion. A thinner cover indicates areas
where corrosion will start sooner. An USP equipment was
obtained in a portable format, where a hand-held transducer is
connected to a data reader for results. Fig. 164: Ultra sonic pulse test

C. Carbonation or Phenolphthalein Test

Aim of this test if to find out whether the concrete has carbonated and to what depth. Carbonation
of concrete is associated with the corrosion of steel reinforcement and with shrinkage. Carbonation
progresses it decreases the permeability of the concrete cover. The permeability decrease causes the
carbonation rate to drop. A solution of phenolphthalein can be used as a qualitative test to indicate
depth of carbonation in concrete elements.
Within a few hours, or a day or two at most, the surface of fresh
concrete will have reacted with CO2 from the air. Gradually,
the process penetrates deeper into the concrete at a rate
proportional to the square root of time. After a year or so it
may typically have reached a depth of perhaps 1 mm for dense
concrete of low permeability made with a low water/cement
ratio, or up to 5 mm or more for more porous and permeable
concrete made using a high water/cement ratio.

Process: To test for depth of carbonation into a concrete surface,

a solution of phenolphthalein indicator was being applied. Un-
carbonated concrete is indicated as a pink colouration i.e. the
pH is greater than ~9. Fig. 165: Carbonation test

D. Chloride/sulphate
Aim of this test is to identify the presence of Cholride or sulphate in the concrete. Chloride ions can
damage reinforced concrete if they are present in the pore solution of the concrete surrounding the
reinforcement and once they reach critical concentration. Current techniques for measuring chloride

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concentration in concrete have to be performed in a laboratory with samples extracted from the
building.

E. Chemical analysis
Aim of the test is to determine the composition of the concrete and type and content of cement

Tests for Brick Tiles:

A. SEM/EDS (Scanning Electron Microscopy)

Aim of this test is to identify morphological features and to see elemental composition and differences
across the samples as well as features like pores. Scanning Electron Microscopy (SEM) is an imaging
technique that magnifies a sample up to 50,000x; 1,000x is common in conservation. At this magnification
one is able to characterize the surface of a material, detect elemental differences across a sample, and
measuring small features. This is a technique used to precisely describe the morphological features
of a brick. The output one receives is a magnified image of the sample, at a much higher resolution
than is offered by a light microscope. SEM is often used in combination with EDS, which identifies the
elemental composition of a sample in a scanning electron microscope, heavier than boron. EDS output
is in the form of a peaked spectra or X-ray mapping. EDS in combination with SEM is a powerful tool.

B. Metal Detector
Aim of this test is to identify the distribution of metal strips between the brick tiles. This is carried out
with a hand held metal detector.

Tests for Terrazzo Tiles:

A. SEM/EDS (Scanning Electron Microscopy)

Aim of this test is to identify morphological features and to see elemental composition and differences
across the samples as well as features like pores.

B. XRD (X-ray diffraction)

Aim of this test is to identify minerals of clay used in bricks. X-ray diffraction or XRD which is an analytical
technique was employed to identify minerals of clays in 16 brick samples as clay minerals are crystalline
in nature. X-Ray Diffraction (XRD) is used to identify single-phase, (i.e. minerals, ceramics) or multi-phase
material, (i.e. micro-crystalline mixtures like stone). This technique is used to identify crystallography of
a material as well as identify minerals and chemical compounds.

Tests for Fibre Board:

A. Examination through Light Microscope and Polarized Light Microscope

The result report of all tests conducted for the building materials have been attached as Annexure B of
this document.

Tests for Paint Analysis:

A. Stratigraphy
Aim of this test is to determine the number of paint layers present in the paint sample.

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5.4 Use and Interpretation

The Government Museum and Art Gallery is open to visitors

throughout the year from Tuesday to Sunday, except on the
National Holidays. The footfall of the museum was about
68500 during the year 2018 with about 4000-8700 visitors
per month. This shows an increase from the 4000-7500 per
month record of 2017. The visitors include 78 percent general
public, 18 percent school children and about 4 percent foreign
tourists. The museum is frequented by students from the
art and architectural colleges of the city. Occasional student
groups from the local schools visit as a study tour, enabling
the museum’s vision of transmitting knowledge. Apart from
the local crowd, the museum also receives a good number of
foreign tourists, many of whom are interested in Le Corbusier’s
design. The main benefactors of the museum, apart from the
local and national visitors and international tourists, are the
students, scholars, schools and institutions of Chandigarh.

The Auditorium adjoining the Museum is actively used to hold

seminars and conferences. It is also rented out as venue for
musical concerts. The pilotis area towards the north corner of
the building serves as pre-function area or as area for catering
service during events held at the auditorium or temporary
gallery.

The Museum provides a platform for local artists to display

their work. The exhibitions are frequently held at the
temporary exhibition gallery of the museum. The proximity of
the Museum to the Government Art College has also proved
advantageous to the students for visiting as well as using the
temporary exhibition gallery.

The library of the Government Museum and Art Gallery is

well equipped with books catering to a multitude of fields
related to art, architecture, history, religious studies and more.
The reference section is frequented by local researchers and
academicians.

The museum also used to conduct a light and sound show

showing the history of the Chandigarh city. However, this has
be discontinued for the last few years. Some of the equipment
for the broadcast are also dysfunctional.

Fig. 166: Activities at the Government Museum and Art Gallery,

Chandigarh

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5.5 Display and Furniture

The original display and furniture of the Government Museum and Art Gallery has remained largely
intact and are generally in a good condition. The newer furniture which are replicas of the original
design seem to not match in terms of its materials and colour. A visual assessment of the display cases
and furniture were conducted on site.

Fig. 167: The bottom surface of the display shows discoloration due to daily floor swabbing.

Fig. 168: Reception sofas have been repaired with leather straps that do not match the colour
of the original straps.(L): Jute strings of the low stool hanging loose (R)

Fig. 169: Loss of polish and dust accumulation at bottom of the table and chair legs

Fig. 170: Patch repair of Auditorium chair upholstery (L); Mural at the reception by the artist Satish Gujral show
accumulation of dust

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5.6 Museum Collection

This section of the document gives a result of a visual analysis of the museum collection in the
galleries and the reserve collection. The museum environment maintains a micro-climate that is easily
susceptible to the varying outer environmental conditions. The conditions of inorganic artefacts are
considerably good. These include terracotta artefacts, coins, metal sculptures, porcelain artefacts
and stone artefacts which comprise the Gandharan sculptures, the early and late Indian medieval
sculptures. The susceptibility of the museum micro-climate to the exterior environment contributes to
an enormous level in the deterioration of the organic artefacts. Organic artefacts comprising a sizeable
number of miniature paintings, manuscripts, contemporary paintings and sculptures, patua paintings
and textile artefacts are at a deteriorating state and require well organized conservation treatments
to ensure its prolonged sustenance. Stone sculptures that are highly deteriorated are displayed in the
exposed environment that can further steer the way to its degradation. Below is a brief regarding the
present status of the museum collection, which are either on display or in the storage:

ƒƒ The sculpture of Hindu mythological animal, Nandi, is displayed in the open, thereby exposing
it to the direct environmental scenario. This has led to the delamination, deformation and
discoloration of the stone structure.

ƒƒ Staining of the stone artefacts due to seepage from the roof and also as an aftermath of
improper conservation treatments have been observed.

ƒƒ Paintings and prints have been exhibited on panels placed near the undulatory windows, which
apart from blocking natural lighting, also creates difficulty for the visitors in viewing the artworks.

ƒƒ The miniature paintings, even though they have been mounted in a satisfying way, are being
hung with the use of thumb pins and do not contain individual glass protected frames to provide
a buffer from the unsought environment. This can elevate the possibilities of environmental as
well as human threat to the paintings.

ƒƒ At present large casing are employed to enclose multiple miniature paintings within them
thereby providing protection.

ƒƒThe panels used for the display of miniature paintings has accumulated dust and dirt depositions.

ƒƒCurrently the storage furniture and equipment cover nearly 80% of the storage area. The storage
equipment space must be limited to a maximum of 40%, thereby increasing the circulation space
to meet the Universal standards where any and every object can be identified and accessed within
3 minutes without moving more than 1 object.

ƒƒ The objects within the storage area are placed on the floor, thereby increasing chances of its
deterioration in the eventuation of natural or manmade risks.

ƒƒ The coins are displayed vertically by sandwiching the objects between transparent acrylic
sheets. This helps to display both the sides of the coins and provides the visitors with appreciable
knowledge on the details and inscriptions on the coins. However, the drawback here is the use
chemical adhesives to adhere the coins to the acrylic sheets. With continued exposure, the
chemicals can react with the coins, leading to further deterioration. Furthermore, the chemical
adhesives visible as semi-transparent films are visually obtrusive.

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Textile Exhibits: Metal Sculpture Exhibits:

Fig. 171: Loss of material observed on textile Fig. 172: Corrosion and calcareous deposits on
metal artefacts

Stone Sculpture Exhibits:

Fig. 173: (L-R) Deteriorations including deformation, detachment and discoloration observed on the sculpture; Display
pedestal with visible evidences of water stains; Sculpture mounted on a pedestal towards the edge; Bird activity observed
in galleries

Painting Exhibits:

Fig. 174: Flaking of paint layers observed on artworks Fig. 175: Bird dropping on painting

Fig. 176: Waviness observed on the tempera paintings Fig. 177: Craquelure observed on paint layers in painting

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Coin Exhibits:

Fig. 178: Patination and bronze disease observed on bronze coins (L);
Vertical display of coins with lighting from the top. This reduces the visibility of
the coins displayed towards the lower parts of the display unit (R)

Miniature Paintings [Reserve Collection]:

Fig. 179: Stains, fold marks, fading and

loss of material observed on miniature
paintings

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Photographs [Library Collection]: Reserve Collection:

Fig. 180: Blooming and stains observed on photographs Fig. 181: Objects placed on the floor within the storage

5.7 Lighting

The infrastructure and services at the Government Museum and Art Gallery including piping systems,
electrical works and lighting require maintenance and replacement considering its future use and
functionality. Some of the later additions like the air conditioning system are major interventions that
disturb the intended visual quality and aesthetics of the space.

Fig. 182: Objects Exposed electrical wiring and conduit

casing disfiguring the building façade

Fig. 183: Inappropriate light and fan fixtures

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Fig. 184: Inadequately and inappropriately lit spaces – Staircase to terrace (L), Miniature gallery (R)

Fig. 185: Air conditioning units alters the gallery height

The preliminary observations on lighting and other services will be expanded upon after completion of
monitoring and assessment of the building environment by GCI.

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Fig. 186: Water leakage due to damaged pipework under floor of entrance lobby (L); Main water supply has been
temporarily blocked to check the leakage (R)

The main water supply line lie underneath the floor and goes up the duct in the entrance lobby. Over
the years, extensive corrosion and rusting of the metal pipes had led to leakage through the joints of
the terrazzo flooring. The main water supply pipeline was replaced at some portions on the exterior
of the building. The 1” pipes were replaced with 2’ pipes. However, the pipework below the museum
floor was not replaced. The increase in pressure on the 1” pipe could also be the reason for the failure
of the pipeline. The extent of damage cannot be determined without employing a scanning programme
or physically removing the original flooring.

5.8 Risk Assessment

Disasters cause great damage or loss of life and property. This situation becomes even more critical
when the buildings involved have heritage significance. The risk to museums becomes a complex
process since it includes the rescue of artefacts and exhibits along with the human life.

Museums are the institutions charged with conserving; protecting and displaying artefacts from our
past and thus preserving our rich heritage which might otherwise be lost. Also, here the risk is not only
about the human lives and building but very critically about the artefacts that is a resource which once
lost can’t be retrieved. Considering that this building is also a site of high heritage significance, risk
assessment at building level is also very critical. A preliminary study of this complex does show gaps in
the building in terms of risk assessment. The risk includes structural as well as at management level.
The existing systems if available are not in compliance with those required for such a building.

The survey takes into consideration the fact that key risks to the collections may result from their
characteristics in terms of material and size, nature of display and storage, location in the building, the
vulnerability of the building itself and also its immediate surroundings. Such comprehensive risk analysis
helps in identifying ways of significantly reducing risks through simple improvements in maintenance
and monitoring systems. A summary of hazards and vulnerabilities of the collections located in various
display and storage areas that contribute to risks form a major content of this chapter. In addition to the
wear and tear over time and the duration and location exposure to cumulative hazards that normally
endanger museum collections, larger scale hazards such as fire and earthquake can have a major impact

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on the collections as well as the building. The chapter summarizes some of the key hazards to which
valuable collections in the galleries and storage are exposed and key vulnerability factors associated
with them. It outlines the approach that was followed in carrying out the risk assessment and provides
a basis for identifying various risks to the collections, visitors, buildings, infrastructure and services.

However, the field work and analysis conducted comes with limitations. The risks to collections have
been assessed mainly through visual observations of the collections, their display and storage, building,
ancillary areas and surroundings. In some cases, assumptions have been made for some of the risks
because of the nature of the impact on its surroundings. In some cases detailed investigation from
specialists such as structural engineer, fire strategist may be required to understand the exact nature of
the problem and decide further course of action.

The risks to the collection were identified first by analysing the condition of various types of collections
kept in various display and storage areas, and identifying the key agents of deterioration if any and the
underlying causes for the same. Based on this analysis of present condition, potential hazards/hazards
and vulnerability factors for the collections are assessed.

The level of risks to each type of collection located in various areas is subsequently analysed based on
the probability of hazard and the severity of impact. At a broader level of museum complex, the risks
to collections from building and open areas are analyzed. The complex level assessment also provides
a broader understanding of the risks that prevail in the area surrounding the museum. Besides site
observations, risk assessment has also been undertaken through the study of documents and interviews
and evaluation of existing management systems by understanding the existing organizational structure,
the assessment of existing roles and responsibilities and procedures based on site observations and
interviews with various stakeholders such as administrative staff of the museum, security officers,
guards, maintenance personals etc.

5.8.1 Risk Identification

Catastrophic Hazards:

ƒƒ Fire:
Loss of collections in museums can be significant during a fire. Visual site observation and information
from staff was used to assess the current condition of electrical systems in the museum complex.
Faulty electrical wiring in the galleries, storage and other ancillary areas was studied. As told to us by a
museum employee, there have been some minor incidents of short circuiting in the past years. Though
we do not find any apparent electrical issues inside the building, the pilotis area shows many cables
converging at a point which has seen incidents of short circuit in the past. Hence these areas needs to
be identified and checked for safety.

The electrical panels have been housed in a very narrow aisle area with the air conditioning systems
accessed through the same aisle. This could be hazardous at the times of any short circuiting or sparking
in the area as they will not remain accessible. Also this area is not locked at all times and though there
are security guards patrolling the area, it needs to have some check on the access.

Existing fire management systems: The existing system includes hand-held Dry Powder (stored pressure)
fire extinguishers and sand buckets placed in the exhibit areas. This includes 35 in the exhibit area, 7 in
the library and conference room and 6 in the pilotis. All fire extinguishers are type B except one in the

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miniature art gallery which falls in type A. An international guideline for fire safety mentions that the
distance between any two fire extinguishers should not be more than 75’. Though the museum has a
reasonable number of extinguishers, this distance needs to be rectified. There are some units which are
lying on the steps of the unused staircase in the reception foyer. Also the placement has not been done
with any understanding of its need and accessibility at times of hazards. It was also noted that as on the
date of the assessment work (31.07.18), the service date was overdue by a month (13-06-18). There are
also some sand buckets that are lying totally out of view and also used for waste disposal. The exhibit
area does not have any smoke detector that is very critical for help during the early stages of a hazard.

Fig. 187: (L-R) Area of past incident; Type B extinguisher; Units stored on the staircase; Fire extinguishers hidden away
behind exhibits

Due to theft incident in the past and for

directive movement in the galleries,
partitions in form of collapsible gates have
been installed at various levels. Also two of
the staircase have been closed and are not
accessible. This has increased the distance
from any point to exit as more than 30 m
which is prescribed by the NBC codes. This
can result in panic and accidents leading
to secondary hazard situation during
event of fire.

Fig. 188: Blue highlights the location of collapsible gates restricting

the exit

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ƒƒ Vandalism:
There is no major historical account of any
event with regards to vandalism, but with the
presence of the museum in a very centralized
zone within the complex of an arts college, it
makes it sensitive to such activities in the future
and care will need to be taken to take this risk
into consideration.

There have been few incidences of vandalism

in the gallery. The vandalism has been more
ignorant in the gallery. As shown by the museum
staff, someone has drawn a small part on one of
Fig. 189: Graffiti in paint on fins at terrace level (L); on
the paintings in the contemporary art gallery. external columns (R)

Though nothing more has happened, as told by the staff, it is difficult to guard the paintings especially
in the modern art section as the visitors at times get too close to it. According to them, the act of taking
selfie also becomes a big issue. In name of taking selfies, the visitors at times also in groups get very
close to the artefacts and put them at risk.

But there is lot of graffiti seen on the columns on the entrance of the building. Also one can find some
paint marks that might have been done by children who come for the workshops in the children’s
gallery.

ƒƒ Earthquake:
The Chandigarh city comes under IV seismic Zone which is considered severe and capable of wreaking
real havoc. There is no history of major event in the past with respect to the earthquake hazard. As
mentioned by one of the old staff that one sculpture was damaged in the earthquake that came in 70’s
but there is no proof to substantiate the narrative.

Several areas within the museum showed signs of decay over time. The reasons could be a combination
of - improper interventions, weakening structure, type of usage etc. The building shows more apparent
damage on the external façade than the internal. On the external façade the maximum damage can be
noticed at the two ducts on the two sides that accumulate the water from the terrace and take it down.
They show biological growth and major cracks at various levels.

Fig. 190: Vegetation growth in concrete duct (L); Exposed reinforcement bars and major cracks seen on beams connecting
the concrete drains to the building (C)(R)

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ƒƒ Theft:
The museum has a history of major theft of precious paintings. This led to adding aluminium grills all
along the external glazing. Considering that this museum houses a very precious miniature painting
collection along with much other important collection, security is very important. As mentioned earlier,
all the glazing has been covered by aluminium grills. But there are major security issues at the entrance
level. The same has been discussed in the security and visitor management part.

Slow and Cumulative Hazards:

ƒƒ Pollutants:
The museum is nestled within a surrounding of tress. Hence though it is also at risk to regular pollutants
of the air, the scale would not be very high.

ƒƒ Dampness:
Many areas of the museum show leakage of water from the ceiling. The dampness can be divided into
external façade and internal. The external façade shows dampness at many places. Some of the area
on the brick façade has also got algae growth due to continuing dampness.

Fig. 191: Dampness seen on external wall (L); Discoloration of ceiling due to water seepage (C); Marks on interior floor tiles
due to water dripping from the roof in the past (R)

In the interior galleries, there seem to develop small outlets from which water drip from the ceiling. Some
of the previous seepage points that have been repaired show water stains on the floor. As per the staff,
new spots develop every monsoon season. This includes the galleries and the library where a bucket
had to be kept for collecting the dripping water. As told by the staff, the waterproofing of the terrace
has been done many times but considering that it has been done in phases and not homogeneously,
the waterproofing layers open up at joints leading to such seepage below the membranes. A cabinet
in the Gandhara section shows the ply of the display unit damaged due to water seepage. This has
happened mainly due to the water that comes in through the aerators during the rains.

The false ceiling in the miniature gallery also shows stain and discoloration of the fibre boards. This
could be due to water seepage from the roof above but can only be verified after proper survey of
the false panelling system. So far, though no major damage has been reported on the exhibits, the
structure shows surface deterioration due to this.

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Fig. 192: Damp stains on false ceiling (L); Water seepage through aerators (C); Sculpture wrapped to protect from
seepage (R)

ƒƒ Light:
Light is a common cause of damage to collections-textiles, manuscripts, photographs, paintings. While
textiles are vulnerable to fading from prolonged exposure to light, manuscripts exposed to light can
cause bleaching, yellowing and embrittlement etc. It can also cause pigments/paints to fade or change
colour.

Light damage is cumulative and irreversible.

Our observation found that none of the
galleries had any special lighting for the
collections. As informed, there was no UV
filter or orange filter to prevent for any of
the lighting except for a part area in the
textile gallery. Some of the art works are
exposed to sunlight at specific locations
such as at the ramp level, galleries of
miniature art and contemporary art.

Most of the exposure is from the skylight

above. Even though this exposure is mainly
in peak summer and at specific time,
Fig. 193: Paintings in Miniature gallery (L) and Contemporary
continuous exposure would be harmful for gallery (R) exposed to light from skylight
the art works and The miniature paintings
have too little light to appreciate the art
work.

ƒ
ƒTermites:
The external windows show many points
of termite growth. Apparent study shows
no such growth in the internal building
but more through checking needs to be
undertaken at every level.

Fig. 194: Termite growth seen on window frames in the pilotis area

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Other Miscellaneous Hazards:

Other than the vulnerabilities as mentioned within individual hazards, the exhibits also undergo wear
and tear over the years. There is a major collection of stone sculptures in the entrance foyer of the
museum. They have been mounted on stone base. Vulnerabilities would include dust and regular
weathering over the years. Most of the artefacts including the precious manuscripts have been
exhibited in case made of wood covered by glass on top. Though the system is efficient, exposure to
dust over the years cannot be avoided.

Past Interventions:

The museum has undergone many interventions in the past years since its making. Waterproofing layer
was replaced over several parts of the palace. Previous instances of dampness have resulted in water
stains in the galleries. Some of the major interventions include collapsible grills, closing of ducts and
stairs.

Planning Issues:

Though the building is a masterpiece by Corbusier, it has some architectural elements that do not meet
the compliance of today’s safety guidelines and can be risk to people.

a. Railing: The railing of the design is such that it can be prone to someone falling through especially
kids. In fact the same has been closed with a collapsible grill shutters on the 1st floor.
b. Ramp: Though the slope of the ramp meets the required gradient and is comfortable, absence of
safety barrier in form of a railing can be risk to movement especially considering that the place is visited
by school children where the density of the place increases.
c. The building as of now has only single entry and exit. This is also due to some interventions such as
closing of stairs at first floor level.
d. Also as told to us, two of the exits that open into the terraces have been sealed by locks and no
one has the keys since many years. Being a government institution, opening the locks is also a difficult
procedure that has not been attempted so far.

5.8.2 Other Observations

Security and Visitor Management:

The security is divided into guards in the exterior of the museum and the museum attendants inside
the building. Outside the museum, on the front side, the area is manned by 3 personnel from the ITBP
(Indo Tibetan border police) police force. Rest of the area is supposed to be guarded by 4 security
guards and one at the gate, but our observations found only one at the gate and one more around. As
for the entire complex, a total of 13 security guards from private agency have been deputed. The ITBP
police force is changed every three months. Within the building, there are 14 attendants stationed in
various galleries. Even though there is a checkpoint for the visitors when they enter/exit the gallery,
there are no regulations on the number of visitors allowed at one time. No bags are allowed inside
the museum and lockers are provided for those who need it. There is no physical or machine backed
checking of the visitors. Other than that CCTV cameras have been deputed at various locations as
shown in the drawing. As for the building, there is a single entry-exit point from the main museum.
The circulation is also controlled by additions of collapsible shutters at various levels. Two of the exits

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to the balcony have got sealed locks which have not been opened since many years with no one having
knowledge of the keys. But there is a narrow entry, camouflaged as a partition to the one of the stairs in
the first gallery that leads to the terrace. The terrace is also locked and the keys with the staff personnel.

The routine closing of the museum includes a bell at 4.00 p.m. for the visitors to vacate the museum.
This also has the Deputy curator with a staff taking a round at 4.00 o’clock around the entire museum to
check each gallery personally. After this routine, the museum door is locked and also sealed with wax
every day. There are no exit signage at any point of the circulation area. Also there are no possibility
of curtail the regular round by the visitor in case of any emergency. The option is only to complete
the round or go back the entire way. There are no bottlenecks as such in the museum considering the
general density of visitors at any given time in this building.

The entire building has jail of strong MS section. Though this is a strong deterrent for theft, considering
the single entry-exit of the building, it can also be an issue in case of any emergency evacuation required
from the museum.

Proximity of the store to the gallery is vital for collections as

it minimizes any risks arising during moving the collections
from one place to another. Two storage areas are located
at the back of the main museum. The entry to the storage
area from the museum which had existed has been closed.
So now there is no connection between the two. There is
no special security for the storage areas though we found
staff present due to the presence of a pantry next to these
storage. As told to us by the deputy curator, the storage
is opened every 3-4 months. They have locked doors at
two levels and they are also sealed with wax after every
opening. There are no CCTV cameras inside the storage.
Though there is a camera on the collapsible shutter before Fig. 195: Blurred vision of the camera outside the
entering the storage area, it does not have clear vision. storage area

Condition of the display cases:

Most display and storage cases in the galleries were found to be adequate and in proper condition in
accordance to standard conservation guidelines. Most of the stone sculptures have been anchored by
nuts to m.s sections. Some of the display units though do have a weak structure and could be risk in
case of any vibrations. Also the glass display cases can be opened by simple screws from the top. This
can make them prone to risk of theft.

Condition of the Storage Area:

The museum consists of two storage areas, for contemporary art and antiquities. As informed, the
storage areas open once in three to four months. They have doors at two levels with the collapsible
shutter closing the veranda before the storage. As per our study, the storage of contemporary art is
over occupied and does have not much space. Some of the paintings are also lying on the floor.

As for antiquities, the miniature paintings have been put in wooden cases. As told by the deputy curator,
wooden boxes are not good storage options as they release fumes and can damage works over the
years. The museum has also procured steel storage systems from Godrej, but here also wooden boxes

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have been used within for the individual storing which had continued the risk. Also large art works that
do not fit into the cabinets have been rolled up into the cupboard which is damaging for them. The
same needs to be stored on rollers.

Fig. 196: (L-R) Overcrowded racks for storage of Contemporary paintings; Paintings on the floor due to lack of space; Large
size objects rolled up in wooden cupboards; Miniature paintings stored in wooden boxes

Major dampness has been seen in the storage of antiquities. Though the stain seemed to have dried out,
no repair work had been done at the point. Due to air conditioning work in the past, the common wall
between the two storage areas was broken down near the floor. Though the HVAC work is completed
the broken wall has been left unfinished. Also there are useless ducts lying around which could act as
breeding are for rodents. As informed, they do have issue of rodents in this area. Also the entrance wall
shows major cracks in the wall.

Fig. 197: Damp walls and ceiling in storage areas (L)(C); Unfinished construction between two storage areas (R)

There are no smoke detectors in the storage areas.

Four fire extinguishers are found hidden between
the two storage cabinets just outside the storage
areas.

Fig. 198: Lock sealed with wax (L); Fire extinguishers

hidden between cabinets (R)

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Electrical and AC Unit:

A new air-conditioning unit added some years back for the air
conditioning of the storage areas has a very narrow entry point.
That area includes electrical controls of the building as well as
the unit at the end of a narrow lane. Any human working in this
area can be at great risk in case of any fire at the electrical panel
at the mouth of the narrow corridor. Also this area is not locked
open and can be accessed by anyone. The electrical transformer
at the back shows water flooding on its platform with algae
growing around it.
Fig. 199: Water logging at the base of
electrical transformer

CCTV Cameras:

There are a total of 56 cameras in the museum. They were put in 2009. They have a recording at the
back of the main museum and the entry is separate from the main building. If they work well, it has
a history recording possibility of 10 hours. From that 16 are outside. Of the 56 cameras, 25 are not
working. The CCTV staff says they have complained but nothing has been done for the same. Earlier
there was an AMC but nothing has been done since last 3 years.

2 attendants are on constant duty to monitor it. This time is only during the working hours of the
museum. Most incidents for use of CCTV include when visitors are getting too close to the exhibits. The
staff goes directly to the floor concerned and warns them. They said that other than warning them not
to get close or touch these exhibits they also request them not to do so in any other museums also.
Also in case of a visitor forgetting their belonging in the museum.

Security check:

There is no proper security check at the entrance. Most of the times, the visitors are asked to leave
their bags at the reception table but the rule is not strictly followed. Also there is no check for the
people themselves.

Staff:

The staff consists of permanent staff and contract staff. The permanent staff has been employed by
the administration while the contract people are from an agency. There is a total of 16 contract staff,
one at the reception, two guides and 13 attendants in galleries. All keys are with the Deputy Curator.

It can be concluded that the museum is exposed to various risks that can be a threat to the collection
as well as the building which is also a major work of the Le Corbusier. The museum lacks a basic
management plan to address the plan of action in case of emergencies- fire, theft or terrorist attack. It
was observed that safety and functioning of the museum has manual dependency - heavily depending
on the staff, security and attendants. Although, some of the security surveillance systems exist, many
parts of the complex areas are not covered or the cameras do not function, thus increasing the window
of hazards. The survey shows that risk due to fire are severe, apart from conservation and organizational
issues and that threaten the individual collections. The risks to collections have been assessed based on
the condition of its surroundings and a visual condition of the object itself. In some cases, assumptions
have been made for some of the risks because of the nature of the impact on its surroundings.

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5.9 Environmental Impact on the Building

As discussed in Chapter 3.7 of the document, Le Corbusier introduced climate responsive systems in
his design for the Government Museum and Art Gallery. The mechanisms of ventilation control and
environmental thermal inertia was directed at regulating and maintaining a sound indoor environment.

A survey of the building’s thermal response to solar radiation suggests large variations in indoor
temperature and luminance, depending on the daylight hours and the outside temperature. The
result also changes seasonally; during the monsoons it is observed that there is lower light influx
and lower temperature as compared to during peak summers. The use of tinted glass panes for the
skylight brings in diffused sunlight, thereby reducing the heat gain within the building. The indicators
of thermal comfort- temperature and relative humidity, provide indirect indication for potential organic
and biological contamination. However, no signs of bio-contamination was found within the building
during the visual survey conducted by the team.

The role of aerators introduced as mechanisms to respond to air permeability and cross ventilation
indoors seems to be non-functional, as most of them are usually kept closed during the working hours
of the museum. Electric fans installed at different locations within the gallery give temporary respite in
terms of air movement. The air conditioned galleries seem to have a reduced overall circulation of air.
A balance between natural ventilation and mechanically controlled environment is yet to be achieved.

Chemical contaminants originating from materials used in the repair works within the museum or even
from different materials of the collection (paints, polishes, etc.) are to be explored. The impact of urban
climate and outdoor air pollution, measurements of CO2 and VOC indoors effecting the indoor air
quality, built fabric and the museum collection are also still unexplored. However, dust accumulation
on artwork, display and built fabric has been observed during the survey, requiring regular dusting and
cleaning of the spaces. Their sources should thereby be identified in order to remedy or reduce the
dust generation.

A scientific survey of the environmental impact on the building is being conducted by the Getty
Conservation Institute in 2019-2020. Devices recording relative humidity, temperature fluctuations, air
quality, dust etc. have been installed to monitor the internal climate of the museum in December 2019.
They will be monitored regularly over a period of minimum one year to determine the climatic effect
on the built fabric as well as the collection housed within the Government Museum and Art Gallery.
The environmental studies will subsequently inform the implementation works to be undertaken
to maintain an ideal indoor environment for the durability and performance of the building and its
collections. This aspect and its subsequent findings may be incorporated later in this CMP by 2021.

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6. POLICIES
 Conservation Planning for Government Museum and Art Gallery, Chandigarh

6.1 Overarching Objectives

Conservation actions for the Government Museum and Art Gallery shall be based on rigorous
documentation and research on various aspects of the building as well as a broader understanding
of its geographical, historical and architectural context while also taking into account its present and
future operational requirements.

The objectives for outlining conservation, use and management policies for the Government Museum
and Art Gallery are:

OBJ 1 The mission of the Conservation Master Plan is to maintain the authenticity and integrity of the
modernist views of the designers and patrons of the Government Museum and Art Gallery. The policies
will strive to protect and enhance the significance of the Museum to a wider public audience as well as
professionals and academicians.

OBJ 2 The conservation policies shall ensure that all preservation and restoration work shall follow
an integrated approach for modern scientific techniques and standard building practices to retain the
authenticity of the original design and materials.

OBJ 3 Policies concerning conservation activity or future intervention shall take into account the
authenticity of the form, design, built fabric, furniture, fixtures and finishes, and shall strive to enhance
and sustain its cultural significance. Interventions shall be undertaken after establishing clear limits for
‘acceptable change’, ensuring that these are sensitive to the values and preserve the significance of the
Government Museum and Art Gallery.

OBJ 4 Conservation policies for the Museum are based on thorough research and understanding of
the historic layers on site and the present and future needs of the site. The conservation, use and
management of the Government Museum and Art Gallery shall respects the original vision of its
designers. The authenticity of the structure and the historic fabric will be maintained, while integrating
the evolving needs of the users in a sensitive manner with minimal intervention.

OBJ 5 Use and interpretation policies for the Museum should be based on the intended usage of spaces
and the interpretation and presentation of the vision of the architect.

OBJ 6 Management policies should ensure safety, protection, disaster management along with routine
maintenance of the Museum and its environs. Specific policies monitoring the maintenance should
also be outlined.

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6.2 Policies to Retain Architect’s Vision

Le Corbusier’s design for the Government Museum and Art Gallery is the product of the unification
of various architectural design principles and concepts designed by him over the course of his career.
Le Corbusier’s vison and conceptual approach to the form, symbolism and innovative construction
technology applied in the building shall override any approach towards the conservation, use and
interpretation of the Government Museum and Art Gallery, as well as any future interventions
introduced in the building.

V 1 The relationship and dynamic interaction of the Museum with its immediate surrounding landscape
as well as its setting in the city of Chandigarh contributes to its distinct character. The conservation plan
for the Museum should ensure maintaining the building’s integrity and uphold the wholeness of its
existence. The proposals shall preserve the architectural identity of the museum and its place in the
modern city, while concurrently enhancing its vitality.

V 2 All conservation, use and interpretation proposals for the Museum shall be mindful of its sculptural
form and physical fabric as conceptualized by Le Corbusier and his team. The open plan design of the
museum shall be kept intact, allowing no alterations or interventions to disrupt the flow pf spaces as
designed by the architect.

V 3 The pilotis, envisaged as an uninterrupted expanse of columns by Le Corbusier, should reflect the
original quality of the space. All alterations and additions that disrupt the free circulation space of the
pilotis should be removed.

V 4 The visual appearance of the museum is regulated by the modulor and highlighted by architectural
polychromy as designed by Le Corbusier. All aspects of the building, interiors, landscape, fittings and
fixtures that positively contribute to its significance should be handled with caution.

V 5 The configuration of spaces and the sequence of movement within Le Corbusier’s Museum
influences the visitor experience within the spaces. No additions or subtractions may be permitted
in the structure or its setting that could diminish its intended configuration in any manner or cause
discontinuity in the intended flow of visitor circulation.

V 6 The narrow proportions of the aerators, proportions of the undulatory and tinted glazing of the
clerestory that contribute to the air renewal and passive energy control within the building should be
revived. No alterations shall be made to the environment control devices and sun protection systems
devised by Le Corbusier that may compromise the thermal comfort within the spaces. Maintaining the
authenticity of the Museum and all its attributes should spearhead any physical intervention.

V 7 The authenticity of the use and function of the museum spaces should be maintained at the core
of the conservation plan for the Government Museum and Art Gallery. The use and interpretation of
the Museum shall respect the original intentions of the designer.

V 8 While developing the Interpretation plan all associated stakeholders, particularly the local
community, shall be at the core of the entire process.

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6.3 General Conservation Policies

(Source: Meeting Report, Le Corbusier’s Three Museums: A Workshop on Their Care and Conservation,
Getty Conservation Institute)

Considering the shared heritage values of the three museums, the Workshop participants identified
conservation recommendations resonating their collective cultural significance. The following
recommendations were recognized as important for the care and conservation of the Government
Museum and Art Gallery:

CON 1 Understand the significance of the relationship between the buildings and their collections.
Conserve and maintain the buildings as well as the collections, including securing access to resources
to operate them effectively.

CON 2 Engage expert staff and ensure that the staff structure is adequate to guide future stewardship
and conservation of the buildings and their collections.

CON 3 Ensure that the conservation of the building dictates its use and what happens within it.
Recognize that the building is the principle exhibit and its careful conservation must drive any proposals
for changes arising from or related to collection care and exhibit needs. Consider opportunities to
interpret the building through museum programming.

CON 4 Plan interventions to the building only after detailed investigations, research, and design work
have been completed. Implement interventions using only contractors with skill and knowledge of
modern buildings.

CON 5 Establish and sustain a network with other Le Corbusier designed museums.

6.4 Site Planning and Landscape Conservation Policies

LAN 1 The water pools within the museum site are integral to the museum building. Any intervention
or physical obstructions like railings, utility fixtures etc. that visually impacts the Museum structure and
its relation to the pool should be strictly avoided. However, concerns of physical safety, if any, may be
considered suitably.

LAN 2 The “patatoïde” water-basin at the western corner is the most important water element
envisaged at the site. The raised edges, fountain with its plumbing system, lighting installations and
other stone sculptures implemented so far should be removed and the pool should be restored to its
original state as much as possible. However, rainwater spill around the pool during its fall from the
drain above may need to be addressed through appropriate design intervention.

LAN 3 Appropriate physical repair works, as may be required, should be undertaken for restoring the
pool conditions as well as amending the physical deterioration of the pool, along with transparent
waterproofing membrane on the pool surface to retain the material texture.

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LAN 4 The Piazza, conceptualized as a foreground to view and appreciate the museum should not be
visually interrupted by sculptures, signboards, etc. barring the existing ones.

LAN 5 The flooring pattern of the piazza designed by Le Corbusier based on the Modulor should not
be changed or altered in terms of the tile size and proportions. Introduction of outdoor sculptures or
other installations, if unavoidable, should be judiciously and carefully placed.

LAN 6 The tree plantation policy at the Government Museum and Art Gallery was devised by Dr.
Randhawa taking into account the tree forms and flower colours, based on the advice of Le Corbusier.
Any future proposal for tree planting should follow the original planting principle centered on the
unification of the whole site and harmonization of the heterogeneous structures while ensuring
visibility of the iconic buildings. For shrubs, ground covers and climbers, a planting strategy plan shall
be put in place in the basis of location, climatic, functional and aesthetic factors.

LAN 7 Other landscape interventions like grass mounds or stepped seating may be avoided in the
vicinity of the Museum building, especially near the access points to the premises.

LAN 8 Original urban furniture like the built-in concrete lighting fixture, of which currently only one
exists on site, may be added at positions based on archival photographic references. These may also be
provided at other locations to meet the illumination requirement of the site.

LAN 9 The current parking facility is unplanned. All four/two-wheeler parking shall be relocated to the
outside parking area. Demarcation of parking space for both two and four wheelers should be provided.

LAN 10 The open space on the eastern side of the museum that is currently being used as a service
yard needs to be organized and articulated in sync with the museum use and interpretation plan.
The northern as well as north-western part of the site, especially around the cycle stand, need to be
augmented with more user-friendly landscape intervention.

LAN 11 A regular maintenance regime for the landscape may be devised to include tree pruning work
to avoid interference of the branches of large trees with the museum building and/or its openings.

LAN 12 Interface of landscape with other services must be sensitively dealt with. This is particularly
important for landscape and risk management plan involving emergency escape routes/ firefighting
tank location etc.

6.5 Conservation Policies for Building Exterior

BE 1 The exterior form of the structure should be retained in its original form. There should not be any
new intervention that impacts the visual, structural or material integrity of Government Museum’s
existing structure.

BE 2 The authenticity of the brick panels on the building façade should be maintained in terms of its
composition, size and material. The original panels should be retained as far as possible. All incompatible
repairs or interventions should be restored with that matching the original panels. Any future repairs/
fixing should be based on a detailed analysis and material testing to match with the original material,

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texture and composition. Mock-ups for the brick panels are essential to determine the precise approach
for fixing of the panels.

BE 3 The exterior of the building parts with exposed concrete appear to be in original state with
exception of some areas where repairs have been undertaken. In future, any repairs to be done should
be duly approved and the properties of the new materials should match the existing.

BE 4 For all repairs to exterior concrete floor tiles, concrete matching the original mix and finish should
be used. The repairs must also keep in mind the tile sizes designed as per modulor proportions by Le
Corbusier.

BE 5 The roof form of Government Museum and Art Gallery which is its key architectural feature should
not be tampered with in any manner that may disturb its form or alter the appearance and skyline.
All repairs to the roof elements like the concrete drains, gargoyles, etc. should be done with concrete
matching the composition and finish of the original.

BE 6 The elements forming the terrace drainage system should be maintained on a regular basis
to achieve longevity. The parts that dispose off water should be cleaned regularly to prevent water
accumulation and penetration into the building.

BE 7 The waterproofing of the roof must be constantly monitored for seepage. Since the surface of
the roof has low authenticity, it can be re-surfaced if and when required to ensure protection of inner
spaces from damage through seepage and dampness. The new surface protection should be re-laid
with proper care and with maintaining slopes.

BE 8 All doors and windows of Government Museum and Art Gallery are to be retained as per original
design and should be cleaned and monitored for any damage in the future. The original paint colour on
these fenestrations should be analyzed for any future paintwork. The size, shape and design of these
openings should never be compromised in any manner during any future intervention.

6.6 Conservation Policies for Building Interior

BI 1 The interior layout of spaces should be retained as originally designed. Any later changes that
impact the original configuration of spaces need to be reversed to attain its original form as intended
by the architect.

BI 2 The interior walls finished as exposed concrete and plaster with coloured paint should not be
altered. The existing layers of paint need to be tested in each space and archival records/ photographs
need to be studied for material specifications and colours to make informed decision on the final paint
specifications to match the original.

BI 3 All past repairs or interventions made to the ceiling panels of interior galleries should be reversed
and should be replaced with that matching the original panels. For any future repairs, detailed analysis
and material testing has to be done to determine the original material, texture and composition. The
paint colours used should match the sequence followed in the original design.

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BI 4 Owning to its uniqueness and difficulty in reproducing, utmost care should be taken to protect and
maintain the terrazzo flooring of the interior of the Museum. For places where it has been modified or
damaged, mock-ups of matching terrazzo should be prepared. A rigorous cycle of testing needs to be
taken up before any changes are made to the original flooring.

BI 5 All doors and windows of Government Museum and Art Gallery are to be retained as original and
should be cleaned and monitored for any damage in the future. The metal doors painted as per the
colour palette designed by Le Corbusier should be retained as intended. Any interventions or additions
to the fenestrations that diminish the integrity of the interior spaces in any manner should be avoided.

BI 6 Unsympathetic additions like safety grills, curtains and blinds and replacement of tinted glass of
clerestory windows with clear glass should be reversed. Any interventions or additions to the doors
and windows that diminish the integrity of the interior spaces, alter the visual continuity as well as the
quality of light within the spaces in any manner should be avoided. All security related issues should be
resolved with appropriate solutions that do not adversely affect the building.

6.7 Policies for Use and Interpretation

The use and interpretation policy for the Government Museum and Art Gallery shall direct the ways
in which it will link and showcase the information and artefacts for the purpose of study, awareness
and entertainment. It shall function as an umbrella under which public events and exhibitions shall be
conceived, designed and delivered focusing primarily on betterment of the visitor experience.

USE 1 While framing interpretation and re-use policies, the original design intent and visions of Le
Corbusier for the Museum building should be retained as much as possible, as well as consider its
current function and demands of the museum.

USE 2 Any intervention which is visually intrusive and compromises the Museum’s significance shall not
be recommended. The addition of Child Art Gallery covering the original pilotis area which alters the
architect’s open plan design and the building’s configuration should be reversed. Alternate solutions to
accommodate these functions should be provided.

USE 3 All alterations made to the original layout of the Museum should be reversed. The cafeteria
which was part of the original design should be reinstated.

USE 4 While aiming to retain the original use and function of the spaces within the museum as well as
accommodating increasing collections at the museum, there is need for additional space. A support
building or structure separate from the present building might be required to accommodate future
needs of the museum. Decisions for the same would need to be taken by the UT Administration and
the Museum Committee to allocate additional building in the vicinity of the Museum.

USE 5 In the Government Museum and Art Gallery distinct strategies for exhibition, public oriented
programs, education and publication should be established which emphasises on effective interpretation.
It shall not only convey factual data but also add meaning to the objects on display.

USE 6 An orientation space shall be incorporated in the re-use and interpretation plan for introducing

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the Museum and its significance to the visitors. Stressing upon the Museum’s inter-cultural association
with Le Corbusier’s three museums, it should be interpreted on a wider platform and communicated
to the visitors as well.

USE 7 Interactive and digital display techniques shall be adopted for engaging the visitors more actively
and increasing the experiential quality of the Museum.

USE 8 Signage scheme for the entire museum needs to be improvised and implemented.

USE 9 The sound and light show which narrates the story of the City Beautiful - Chandigarh and its
modern heritage shall be redeveloped in terms of content and technology. It should be advertised and
promoted effectively at a larger platform. It should aim to attract the local people of the city as well as
the tourists to the museum.

USE 10 There is lack of adequate public amenities in the Museum. Additional public toilets should be
introduced elsewhere in the campus to reduce the pressure on the main toilets within the building.
Absence of drinking water facility and cafeteria is a major inconvenience for the visitors. The same shall
be made available.

USE 11 Regular maintenance of the building exteriors, interiors and the pool should include daily,
monthly and annual activities, extending beyond standard cleaning practices to regular inspection
of the spaces, surfaces, services, fittings and furniture. Continual and appropriate maintenance and
periodic inspection is consistently the best conservation action for architectural heritage and reduces
long-term repair costs.

USE 12 The interpretation plan devised for the Museum shall be subject to review every 2-3 years to
evaluate the various outreach and interpretation events, budgeting for the annual events, themes and
target audience for the programs in the museum, etc.

6.8 Conservation Policies for Exhibition Display, Furniture and In-situ Artworks

EX 1 All repairs and re-upholstering works of original furniture and display cases should follow detailed
inventory of the original furniture, along with condition assessment. All future treatment should ensure
they use similar design, pattern and materials as the original. The original colour schemes and fabric
composition should be reinstated after confirmation through research into archival documents and
specifications.

Mock-ups for repairing the same should be mandatory along with material testing and paint analysis.

EX 2 Any future furniture requirement should be met with those which follow the form, scale,
proportion, material, texture and finish of the original and should be recorded properly to distinguish
them from the original.

EX 3 Any future reproduction of such furniture, if required, should be done with proper research and
documentation to match the original. Archival records and original drawings should be referred for this
purpose.

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EX 4 The mural at the museum reception should be restored to its original state through technically
appropriate processes of cleaning and retained with the highest regard for its authenticity in terms of
composition, textures and colour.

EX 5 No display should be hung directly onto the wall using nails and brackets or by other methods that
may cause mechanical distress to the built structure. All artwork to be exhibited shall be either pinned
onto the original display panel (upholstered board) or suspended from the ceiling from the wooden
batten and channel system design for the very purpose.

EX 6 Timely maintenance and cleaning/dusting of the artwork (including sculptures), pedestals and
display furniture should be part of the museum upkeep and management schedule.

6.9 Conservation Policies for Museum Collection

The preventative conservation and care of collections objects is an essential function of the ongoing
work of the Museum, in that these activities preserve the Museum’s raison d’etre. As a consequence
of the high standard of care, the Museum requires responsible and disciplined handling, storage, and
display of collections via a rigorous adherence to the following principles:

COL 1 The Museum shall control the physical, chemical, and biological factors that can result in
deterioration of the valuable Museum collections.

COL 2 The Museum shall preserve collection records and any other documentary materials that support
the use and preservation of collections items.

COL 3 The Museum, and its staff (principally the Curator of Collections), shall be responsible for
developing and implementing technical standards, preservation strategies and policies that respect
the diverse nature of its collections, while providing useful access to those collections.

COL 4 The Museum shall provide the necessary preservation, protection, and security for all collections
acquired, borrowed, and in the custody of the Museum (inclusive of their associated information).

COL 5 The Museum shall balance current research and educational use with the preservation
requirements of collection items to ensure that collections are maintained for future generations and
rightfully serve their intended purpose.

COL 6 The Museum and volunteer staff shall at all times, be aware of their responsibility to preserve
and protect collections objects, and shall act accordingly.

COL 7 The Museum shall ensure that collections and their associated information are cared for and
maintained in conditions that preserve and extend their physical and intellectual integrity for use in
exhibition, research, and education.

COL 8 Collections activities shall be predicated upon a concerted preventative conservation program,
which advocates: minimal intervention, providing environmental conditions that minimize harm,
permitting handling only by trained personnel and under strict guidelines, use of non-deleterious

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(i.e. inert, acid-free) materials for storage, packing, and exhibition of collections material, condition
assessment and lucrative procedures for new acquisitions (where appropriate), and reversibility of
conservation treatments.

COL 9 All physical aspects of the facility affecting the ambient environmental conditions of the collection
(i.e. light, temperature, relative humidity, infestation, and air pollutants) shall ideally be monitored
weekly by the Curator of Collections and/or his/her designee (at the discretion of the Curator of
Collections).

COL 10 The Curator of Collections shall prepare a written condition report (replete with photographic
documentation) where appropriate, for objects in the permanent collections requiring treatment, or
objects on loan or in temporary custody when necessary, producing a baseline record from which the
condition of collections objects can be monitored.

COL 11 The Curator of Collections (or his/her staff designee) shall make weekly inspections of objects
on exhibit and in storage areas.

COL 12 Changes in the ambient environment or in conditions that affect objects in the Museum’s
collections or on loan to the Museum must immediately be brought to the attention of the Curator
of Collections, and/or the Director, who shall collaboratively take the necessary actions to rectify the
situation.

COL 13 Any damage to or change in condition of Museum collection or loan objects must be reported
immediately to the Curator of Collections, who will notify the appropriate staff members and the
Director.

COL 14 A Collections entering the Museum via new acquisition, current loan, or current exhibition shall
be given top priority for the purposes of digitization and record keeping in a collections management
database.

COL 15 A clear Do's and Don'ts policy specifying monthly, quarterly, half -yearly and annual task of
maintenance works should be charted out. A regime armed with knowledge of traditional materials
and building practices should be created.

6.10 Policies for Lighting

LI 1 The sculptural elements and details of the Government Museum and Art Gallery designed by Le
Corbusier and Ratna Fabri should be retained in their original form. Any later interventions which are
not in the same spirit, must be reversed. In addition, any future proposals should incorporate the
original Modernist idiom of design without impacting the original design strategy.

LI 2 All sensitive upgradation and repairs made to the infrastructure, electrical wiring, plumbing and
drainage of the structure should be considered as acceptable change. Any future intervention should
be discreet and should not disrupt the aesthetics of the exteriors and interiors in any manner, as well
as diminish its significance.

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LI 3 Defunct services such as electrical wiring and fittings should be removed or replaced. Outdated
fixtures should be replaced with those matching the original lighting fixtures or should provide
sustainable alternatives that do not detract from the original design.

LI 4 For any new wiring requirement, the most feasible option may be introduced with minimum damage
to the heritage building. In no case, should the flooring be compromised for any wiring purposes since
the terrazzo flooring is of much higher significance and authenticity. All the wiring for ceiling lights
originally ran through the wooden casings on the walls and ceiling, which could be used for new wiring
by retrofitting or replicating the same design of wooden casing as per requirement.

LI 5 Any future requirements for air conditioning, CCTV, projection systems and other advanced
contemporary technologies required for improved functioning of the Museum needs to be introduced
sensitively to ensure that they do not impact any interior or exterior elements of significance.

LI 6 The original general lighting was designed to be very subtle so as to give more importance to the
natural light from the clerestory. The same should be restored to keep the light quality within the
galleries as intended.

LI 7 The light quality in the Miniature Painting Gallery has been compromised because of the addition
of AC ducting bringing down the ceiling level and blocking the lighting filtering in from the clerestory. All
future additions to the services within the galleries should be mindful of the quality of space intended
by the designer through his design for the built space.

LI 8 Focused lights in the original lighting scheme meant for the Sculptures and other wall hung paintings
were originally suspended from the ceiling or placed on the floor. Introduction of new track lights has
led to increase in the overall lumen intensity for the display lighting. The defunct original display lights
should be repaired and retrofitted with more efficient and eco-friendly fixtures.

LI 9 HVAC services have been upgraded and also added over the years as per requirement. In some
areas this intervention has caused a major impact to the building, both in the exterior and interior. The
need for air conditioning shall be determined through weather monitoring and less intrusive measures
shall be adopted to provide the services.

LI 10 Façade illumination systems are set up very often during major events at the museum. Permanent
lighting for façade illumination could be introduced. This should be executed with minimum physical
impact on the building and should reverse all past interventions.

6.11 Policies for Archival Resources

AR 1 In case there is availability of records in the various offices of the UT Department pertaining to the
project proposal, construction, interventions and repairs of the Government Museum and Art Gallery,
including original office records and drawings, all such original files, records, drawings, models, etc.
should be located and collected. They should be carefully restored (if damaged), digitized, catalogued
and documented properly for future reference.

AR 2 The original documents should be safeguarded from future weathering and secured from
vandalism and misuse.

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AR 3 All archival material should be stored in appropriate storage such as compactors/ rooms with
dehumidifiers and data-loggers, etc. as prescribed by material conservators.

6.12 Policies for Risk Management

RM 1 The risks to the site and its management systems should be regularly assessed and suitable
actions taken to mitigate the risks. The building exterior currently poses threat to the visitors, due to
loosening of brick tiles and disintegration of the concrete drains. There are also structural issues in
the ancillary buildings such as the conservation lab and HVAC area. Immediate precautionary action
and structural conservation works should be undertaken to minimize the risks. In the future these
conditions may evolve and/or reoccur and it is imperative that a continuous monitoring system is set
up for the Museum.

RM 2 Defunct services such as electrical wiring and plumbing and drainage lines should be removed
or replaced as necessary to minimize risk to the built fabric. The existing electrical wiring should be
checked and any wiring prone to accidents, such as those seen in the pilotis area should to be rectified.

RM 3 A security system should be implemented to safeguard the Museum property, especially with
respect to its movable furniture and collections that are housed within the building. It should also
enable monitoring of the precinct for potential vandalism or anti-social activities. The existing CCTV
cameras need to be replaced with improved systems which has better visual clarity. The security system
should also include metal detection system for visitors to be installed at the museum entrance. CCTV
cameras installation should be such that all spaces within the museum and immediate surroundings
is covered. The systems should integrate on-site personnel management with off-site monitoring to
ensure protection of the site at all times. The technology based security systems should be monitored
and updated at regular intervals. Contemporary issues such as damage to the art work due to selfie
phenomenon also will need to be addressed in the exhibit galleries.

RM 4 The entire site should follow safety and fire-fighting norms. Emergency preparedness planning in
response to fire, accidents and overcrowding inside the museum is essential. The site should identify
emergency evacuation routes and protocols for emergency response and these should be clearly
communicated to visitors through signage and other communicative media.

RM 5 Capacity building and training should form an integral part of risk management for the Museum
(and other structures in the area). It should be undertaken as a mandatory regular exercise.

RM 6 Fire Audits, security audits and structural audits should be scheduled in the maintenance and
upkeep roster of the building.

RM 7 The exhibits and exhibition systems are the most important part of this building and they need to
be checked and corrected for providing better preservation environment of the artefacts.

RM 8 Proper storage of the art works is very critical for their long term sustainability and this need to
be given critical attention.

RM 9 Climatic issues for the art works such as exposure to sun light and water leakage should be
addressed and checked at regular intervals.

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7.1 Landscape Conservation Plan

The Museum building can be considered as part of a larger landscape where both the site and its setting
lends meaning to the built form and plays an important role in understanding the building in its wider
context. The proposals for the conservation of the landscape around the Museum keeps this in mind as
its underlying principle and values the landscape elements of the core site as well as its surroundings in
the context of the museum’s physical setting within the cultural core of Chandigarh city.

Water Pools:

All obstructions around the rain water collection/drainage tanks are proposed to be removed. In the
case of concerns of physical safety, Mild Steel railings of simple, unobtrusive and period design may be
introduced around the pools at the rear of the building.

The “patatoïde” water-basin located near the entry acts as an accent and identity for the site and
hence, has been proposed to be restored to its original state. However, since wetting of the hardscape
around the pool during monsoon creates undesirable environment along with concerns of physical
safety, especially for school children visiting the museum, a glass barrier has been proposed along the
inner edge of the pool based on the following design basis and rationale:

Table 11: Proposals for Water Pools

S. NO. PREFERRED CHARACTERISTICS OF POSSIBLE SOLUTION FINAL PROPOSITION

THE BARRIER
1. Physically strong Custom-made toughened Glass barrier of varying height
2. Visually non-obtrusive clear glass with minimum with maximum height as 1.5 m
numbers of SS mullions towards the rainwater fall and
3. Reversible fixed to the inner edge. minimum 0.3 m on the opposite
4. Configuration similar to ‘modern’ side to allow service access inside
design language the pool. Three SS mullions for
fixing the glass in place.
5. Allow service access inside the
pool
The provision of the glass railing is optional and may be installed as per requirement of the museum.

Piazza:

Metal tree gratings proposed at the base of the two large trees to the north of the auditorium, removing
the dislocated guard wall around the trees. Similar treatment can be applied to any/other tree(s) with
root systems dislodging the surrounding concrete paving.

Vegetation:

No new trees have been proposed since the site already has a good number of well-planned trees.
Some trees (Polyalthia longifolia var. pendula) have already been planted near the stepped seating,
which do not seem to be coherent with the original planning, but may be retained.

Since the site lacks under-planting with exposed earth in many areas, causing loose soil to get eroded
during monsoon, a number of additional shrubs, ground covers and climbers need to be planted in
such areas. A planting strategy plan has been put in place on the basis of location, climatic, functional

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and aesthetic factors, suggesting broad typologies for selection of specific plants.

Proper pruning of trees involving cutting of branches less than 4 inches diameter is proposed as part
of annual tree maintenance regime, which may be brought under Annual Maintenance Contract, if
required.

Landscape Illumination:

The original built-in concrete lighting fixture, designed by Le Corbusier, which exists on the site is
proposed to be made operational with LED strip light. Additional light fixtures of same design are
proposed all along the piazza as well as on the northern side to meet the illumination need of the site.

Site Landscape Redevelopment:

New intervention in landscape design is proposed at the northern side of the museum to be in sync
with the museum use and interpretation plan. All the haphazardly located water tanks, generator etc.
have been physically linked with a service pathway along-with a proposed firefighting tank. The rest of
the area is proposed to be cleared of junk and is to be put under grass cover. Peripheral pathway with
stepping stones is proposed on the extreme northern limit to soft-mark the edge and provide access to
the sculptures as well as for service. Hardscape may be introduced in the cycle stand area, especially in
the tree shaded area with appropriate landscape furniture.

7.2 Building Conservation Plan

The Government Museum and Art Gallery is a very significant 20th century heritage building. All
conservation works on the building are designed keeping in mind the significance and character of this
building.

ƒƒ Conservation materials should match original materials as far as possible.

ƒƒ Mock-ups should be done so that the repairs are of the expected standards and ensure a long
term performance of the same.

ƒƒ All the building works should be executed by skilled craftsperson/contractors with experience
in repairing the 20th century buildings.

Based on the detailed on-site surveys and assessments of the building discussed in Chapter 5 of this
document, the treatment for the conservation of the exterior and interior of the building are proposed.
The treatments have been proposed based on the problems identified during the survey and its severity
and threat to the building fabric or to the life safety of the people. The proposed treatment for the
various conditions observed on site have been classified based on the element and material type.
Conditions have been grouped based on severity and priorities for intervention:

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P1: HIGH
These include conditions which require immediate attention and could be a threat to life safety if not
addressed in a timely (urgent) manner.

P2: MEDIUM
These include conditions which could cause the material fabric to deteriorate and result in failure of
materials and could become severe. These should be addressed after the urgent conditions have been
taken care of.

P3: LOW
Conditions that do not need urgent intervention and can be planned for and appropriate time in the
future. If left unaddressed these may further the deterioration that has already set in.

P4: AESTHETIC
This includes conditions that affects the appearance but not the integrity or performance of the
material. It also includes conditions that have been addressed in the past but still require intervention
either due to failure or due to aesthetic concerns.

Exposed Concrete Elements:

A major part of the building is made up of exposed concrete. All the structural elements, columns and
beams and an extensive area of the flooring and ceiling are exposed concrete. The terrace elements
including the concrete drain, gargoyles, connectors, fins etc. are also exposed concrete elements. All
treatments should be carried out as per conservation planning drawings and detailed specifications
document attached as Annexure D of this document:

CONDITION RECOMMENDATION Location PRIORITY

GENERAL All concrete surfaces are to be cleaned to remove dirt, paint splashes, P4
accretion, bird droppings, etc.
GENERAL Surface cleaning using mild detergent and water or steam P4
Cracks Clean the cracks and inject with grout All locations P2
Structural or The crack should be cleaned and routed. The crack All locations P2
wide cracks* should be grouted and then patched with specified
mortar.
Failing patch Carefully remove failing patch repairs. Clean the rebar Drain P1
repairs* (shot blasting) and coat with corrosion inhibitor.
Provide a new patch as specified and designed to Gargolyles P2
accommodate the small depth of cover. Fins P2
Delamination and Loose concrete should be removed. For spalls, a patch Drain P1
Spalling* repair with specified material should be provided. If
the rebars are exposed then it should be cleaned (shot Gargolyles P2
blasting) and a coating of corrosion inhibitor should
be applied. Then provide a patch as specified and Fins P2
designed to accommodate the small depth of cover. Connector P2
EXPOSED REBARS Clean (shot blasting) and apply corrosion inhibitor. P3
Provide repair patch as needed.

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Brick Tile Cladding:

The brick tile cladding seen on the building façade is arranged horizontally in rows.

All the treatments should be carried out as per conservation planning drawings and detailed
specifications document:

CONDITION RECOMMENDATION Location PRIORITY

GENERAL All brick surfaces are to be cleaned with a soft brush and mild detergent to P4
remove dirt, paint splashes, accretion, bird droppings, etc.
GENERAL All the joints should be repointed P3
Dislodged or All dislodged, brick tiles should be removed carefully Elevation P1
displaced and re-secured.
Exposed Rebar/ Exposed metal strip should be cleaned and primed. Elevation P2
metal strip Joints to be filled with mortar.
Damaged Damaged brick tiles should be replaced with new tiles Elevation P2
as specified to match the original.
Replaced tiles All previously replaced brick tiles with tiles that do Elevation P4
not match the original composition are to be removed
carefully. These should be replaced with new tiles of
appropriate shape, size, colour, width.

Ceiling Panels:

The wood-wool ceiling panels seen in the museum building are painted in vibrant colours. The
auditorium has fibreboard ceiling panels painted in white.

All the treatments should be carried out as per conservation planning drawings and detailed
specifications document:

CONDITION RECOMMENDATION Location PRIORITY

GENERAL Panels should be cleaned to remove efflorescence P3
GENERAL All fibreboard panels should be repainted to match the original colour P3
Dislodged All dislodged panels should be removed carefully and P1
re-secured back in position

Seepage Damaged panels should be replaced with new panels All locations P3
as specified. Panels may be salvaged from areas to be
demolished may be reused.
Damaged Repair damaged or cracked panels are to be patch All locations P3
repaired with composite material matching original
composition.
Past Repair For repairs less than 25% of board area, incompatible All locations P3
patches should be removed and new ones provided
with composite material as specified. If the previous
patches are more than 25% of board area then it
should be replaced with anew as specified.

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Acoustic Panels:

The acoustic panels in the auditorium is made up of a composite material, with perforated surface and
finished with a brown paint.

ƒƒAll damaged, cracked or broken panels are to be replaced with acoustic panel matching original.
ƒƒ All dislodged, detached or loose panels should be removed carefully and re-secured back in
position.
ƒƒ All acoustic panels should be repainted to match the original colour, after conducting paint
pigment test to determine colour shade, specifications, etc.

Terrazzo:

The interior flooring of the museum is mainly made up of terrazzo tiles. The ramp has a different
terrazzo tile in black colour. All staircases in the building have terrazzo floor cast in-situ. The toilets on
the second floor level of the building has terrazzo cast in-situ on the wall and floor.

All the treatments should be carried out as per conservation planning drawings and detailed
specifications document:

CONDITION RECOMMENDATION Location PRIORITY

GENERAL The pointing at all tile joints should be removed and repointed P3
GENERAL Clean and scrub all the terrazzo surfaces to be cleaned with mild detergent. P4
Weathered Weathered tile should be replaced with tile matching original Ramp P2
Tile/ Loss composition and colour. These are factory made and could be bulk
ordered after sampling.
Damaged Damaged tiles (more than 25%) should be replaced with tile P2
matching original composition and colour. These are factory made
and could be bulk ordered after sampling.
Damage less than 25% should be repaired using matching material
as specified.
Cracks Repair cracks by cleaning and injecting with grout and polishing. P2

Past Repair Remove inappropriate existing repair material and provide new to Ramp P3, P4
match the existing if the patch is smaller than 25% of the tile area.
Detachment Dislodged or displaced tiles should be re-secured back in position. P2

Wooden In areas where there are wooden inserts in more than 25% of the tile P3
Inserts area, the complete tile should be replaced with tile matching original
composition and colour. These are factory made and could be bulk
ordered after sampling.
If the wooden insert cover less than 25% of tile area, they should P3
be removed and repaired with patch of terrazzo matching original
composition and colour.

Glass:

The doors and windows have clear glass panes fixed within concrete and mild steel mullions with putty.
The clerestory windows have frosted glass panes.

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All the treatments should be carried out as per conservation planning drawings and detailed
specifications document:

CONDITION RECOMMENDATION PRIORITY

GENERAL Clean all surfaces with gentle detergent and water to remove dirt, paint P3
splashes, accretion, bird droppings, etc.
GENERAL Clean paint spatter and other deposits from glass surfaces and surrounds P3
GENERAL Remove all deteriorated putty and install new putty P3
GENERAL Make all the hardware operable P3
GENERAL Monitor damaged concrete around doors and windows P3
GENERAL Provide new glass pane where missing or damaged P2
GENERAL Replace severely damaged door with similar P3
GENERAL All tinted glass should be removed and provided with glass panes P3
matching original.

Metal:

The doors have bright painted metal shutter within black painted metal frames. The aluminium encased
aerators have protective grills made up of mild steel flats and is covered from the exterior with metal
wire mesh with paint finish.

ƒƒ All metal surfaces should be cleaned by scraping off old, damaged paint and rust, followed
by application of rust coating. The surface should be finished with paint of appropriate shade
matching original.

Coloured paint on doors and railing:

Presently, all the doors are painted in bright colours. The paint analysis revealed almost similar colours
of past paint layers below the present ones. Two doors had different layers under the current paint
campaigns. Based on confirmation of colours through exposure and archival research, these elements
could be brought back to the original colour scheme.

The door at the Shaft of Coin Gallery shows plaster, followed by ground layer, then red paint and
following layers of white. Red may have been one of the early campaigns.
Recommendation - It needs to be analyzed further by exposure at some spots and other methods
and for establishing original color of the paint on the wall.

Gallery door at interior stairwell (entry to FF) shows that there are four layers of paint over plaster - one
green and three red. Green could have been the original colour scheme.
Recommendation - It needs to be analyzed further by exposure at some spots and other methods
and for establishing original color of the paint on the wall.

The paint sample from ramp railing under microscope shows two thin layers of dark blackish coating
visible. One layer of red colour is visible as the outermost layer under reflected light. It appears that the
original colour may have been black.
Recommendation - It needs to be analyzed further by exposure at some spots and other methods
and for establishing original color of the paint on the wall.

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7.3 Use and Interpretation Plan

The Use Plan for the Museum is based on the value assessment outlined in Chapter 4 of this CMP. The
aim is to recapture Le Corbusier’s vision for the Government Museum and Art Gallery. The proposed
Use Plan also intends to remove all earlier alterations and interventions made to the building that
impact the values.

Among the three primary components – (i) the museum building and architecture by Le Corbusier, (ii)
the museum collection for display, and (iii) the interior display designed by Ratna Fabri, the assessment
reveals that the values of (i) and (ii) supersedes that of (iii).

Hence, the proposals for use and interpretation of the museum focuses on:
(a) Retaining the original character of the Museum building as envisioned by Le Corbusier
(b) Display of the collections conducive to its long term safety and management
(c) Retention of later historic layers such as MS Randhawa interventions or Ratna Fabri’s interiors
(if they do not conflict with the above two points)

The historic significance of Ratna Fabri’s design efforts for the museum and its prominent influence on
the modern museum movement in India cannot be ignored even though it is of lesser priority as per
CMP value assessment. Hence, a dedicated gallery displaying the furniture designed by Ratna Fabri for
the Chandigarh Museum is proposed. The cases will be reused for the display of coins and porcelain
collection. Any remaining units will be reused elsewhere as appropriate or stored with care.

The only exception is the display panels with white plywood canopy designed for the miniature gallery.
The museum presently holds 6 units of this display type. The issues related to maintenance of these
display cases designed by Ratna Fabri were also highlighted in discussion with the stakeholders, due to
which it was considered not to use these pieces in other galleries of this museum:

1. The height of the display unit cuts down the scale of the gallery, deterring from Le Corbusier’s
vision of open plan with free flowing spaces.

2. The original design intent was to provide diffused light where the central light fixture throws
light onto the white painted plywood canopy which then reflects the light onto the paintings.
However, the light fixtures are not turned on daily due to incidents of short circuiting in the past.
For security purposes, the miniature paintings are now placed within heavy wooden frame glass
boxes hung on the panel. The reflected light fails to illuminate the paintings.

3. The canopy collects dust as it is inaccessible for routine cleaning. This may be detrimental to
the condition of the museum collection in the long run.

4. The arrangement of these display units also generate negative spaces (between the units and
the walls), which are presently misused to store housekeeping and cleaning tools.

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The proposed Use Plan with circulation within galleries is shown below:

Proposed Ground Floor

Proposed First Floor

Proposed Second Floor

Fig. 200: Proposed Use Plan for Government Museum and Art Gallery

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7.3.1 Ground Floor

Fig. 201: Proposed layout for reuse and interpretation of Ground Floor

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Orientation Gallery:

An orientation gallery is proposed at the reception

hall. This will include a display table at the entrance
of the museum describing the evolution the
Government Museum and Art Gallery. A floor plate
model of the museum is proposed to be suspended
from the ceiling above the display table.

An assembly of original museum furniture arranged

as it was during the inauguration of the museum is
proposed to be used as the lobby waiting area.

A movable display is proposed on the wall adjacent

to the Satish Gujral mural, with panels about Le
Corbusier’s Museum of Unlimited Growth concept,
the Chandigarh museum, Le Corbusier, Ratna Fabri,
Dr. Randhawa and Pierre Jeanneret. Photographs
and details about the three museums, the museum
building features and museum collection will also
be presented. The display will also have two digital
touch screens with information about the museum, Fig. 202: Proposed layout of Orientation Gallery on the
galleries and collection. Ground Floor of the Museum

A CCTV and surveillance room is proposed behind the toilet block. Lockers for visitors and staff is also
provided in the orientation room.

Fig. 203: Proposed views of Orientation Gallery.

Existing (T), Proposed (B)

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Pilotis:

The exhibit typology displayed in the pilotis and the exterior premise of the museum is based on the
susceptibility of the objects to deterioration when exposed to environmental conditions. The main
stone types used for the sculptures at the museum are schist, red sandstone and black granite. The
sculptures which are of granite stone have minimal absolute and effective porosity compared to the
other types and does not easily undergo weathering or salt damage. This makes the granite stones
which are of igneous origin apt to be exhibited in the exterior areas. The sculptures in the pilotis are
exhibited against the columns so that there is minimum obstruction in the visitor’s path.

Fig. 204: Sculpture display in pilotis. Existing (L), Proposed (R)

Central Gallery:

The museum is for the first time planning

to bring in International exhibition of
antiquities. The museum proposal has
outlined the central hall on the ground
floor of the museum as temporary
exhibition of international antiquities and
installations by artists. Contemporary
painting and sculptures on easily
movable pedestals will be displayed here
temporarily, which can be shifted during
the events and exhibitions.

Fig. 205: Proposed layout of Central Gallery Fig. 206: Proposed views of Central Gallery. Existing (T), Proposed (B)

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Conference Room:

The upgradation proposal for the museum includes removing all ad hoc structures and ancillary
functions that are present at the rear of the museum building. The room that is presently used as the
air conditioning unit is proposed to be freed up, to convert the space into a conference room for the
museum staff. The original furniture from the museum is proposed to be reused for the conference
room.

Fig. 207: Proposed layout (L) and view (R) of Conference Room on the ground floor of the Museum

7.3.2 First Floor

Fig. 208: Proposed layout for reuse and interpretation of First Floor

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Metal Sculpture Gallery:

The metal sculpture gallery exhibits sculptures

from the 9th century CE to the 20th century
CE. The collection includes artefacts mainly in
bronze and a few in other metals like copper,
brass, iron, silver and alloys. The display
describes the ancient alloy making technique
prevalent in the northern and southern parts
of India, Nepal and Tibet. While the visitor
moves through the sculptures from 9th to
20th century CE, the gallery narrates the
technological advancements evident in the Fig. 209: Proposed layout of Metal Sculpture Gallery on the First
artefacts and the details that have evolved. Floor of the Museum

Fig. 210: Proposed views of Metal Sculpture Gallery. Existing (T), Proposed (B)

The proposal provides an unobstructed open layout. The alterations at the rear is replaced with a glass
wall to give a transparent through and through view across the gallery as intended by Le Corbusier's
design.

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Gandhara Sculpture Gallery:

The Gandhara sculpture gallery exhibits artefacts dated from the 1st century CE to the 4th century CE.
The exhibits comprise Gandharan Buddhist era artefacts that are exquisitely carved and detailed with
depictions of Gautama Buddha, Bodhisattva, Bodhisattva Maitreya and life story scenes of the Buddha
etc. The display is executed on the backdrop of the life story of Buddha, with regard to Jataka tales and
other historical references. The chronological layout followed is in the order of Bodhisattva, the one
who followed the Buddha’s path and Maitreya who is the future Buddha, thereby bringing the Buddhist
narratives into the exhibit spaces through display methodology.

Fig. 211: Proposed layout of Gandhara Gallery on the First floor

The display further orients itself by the

correlation of various representational figures
in the gallery that are connected to various
Buddhist tales. An example is the display of Hariti
and two other Yakshis, exhibited equivalently to
the sculptures of the Buddha, Bodhisattva and
Maitreya within the same gallery space, which
brings forth the historical tale of Hariti being
referred to as Bhumata (mother of demons) in
the Vinaya Pitaka of the Sarvastivada school.
The tale speaks of Buddha’s inimical relation
with Hariti.

A reconstruction of a stupa is also executed

within the gallery using artefacts in the museum
collection and through representational images
of the context. Railing fragments of a stupa
made of red sandstone from the North-Western
part of India, remnants of a chattra and a votive
stupa have been used to assemble the stupa Fig. 212: Proposed views of Gandhara Sculpture Gallery.
installation. Existing (T), Proposed (B)

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Fig. 213: Proposed view of Gandhara Sculpture Gallery.

Medieval Indian Sculptures Gallery:

The gallery displays Hindu, Jain and Buddhist themed stone sculptures belonging to 7th to 16th century
CE. The display describes the tradition of Indian art and iconolatry.

Fig. 214: Proposed views of Medieval Indian Sculpture Gallery on the first floor of the Museum

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Terracotta Gallery:

The terracotta gallery is designed as a dedicated space at the beginning of the Gandhara sculpture
gallery due to small collection. The artefacts belong to the period between 2nd century BCE to 9th
century CE.

Miniature Paintings Gallery:

The miniature gallery commences with the introduction of the materials and techniques used in
miniature paintings and writing manuscripts. Materials such as pigments and tools used in the art
form are exhibited. This section displays miniature paintings that depict the artistic flair of the virtuoso
during the post medieval era. The miniature collection is one of the main strengths of the museum
collection. The miniature paintings from the Mughal and Pahari context hail from the 17th to the 19th
century. The display of the paintings begins from a section displaying a small collection of manuscripts,
followed by the miniature paintings from the Kangra, Pahari, Rajasthani and Mughal schools.

Fig. 215: Proposed layout of Miniature Gallery on the First floor

Fig. 216: Proposed views for Materials and Techniques (L) and Manuscript Gallery (R) section of Miniature Gallery on the
First Floor of the Museum

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At one end of the gallery, an interactive display is

proposed. This will give a better understanding
to the visitor regarding the different schools of
miniature paintings, their styles, materials used,
etc. The proposal keeps in mind the museum’s
fundamental vision of creating a centre for the
study of Pahari miniature paintings.

The original display panels in the Miniature

Gallery designed by Ratna Fabri is proposed
to be replaced with metal framed panels with
negative spaces. The panels, designed in the
spirit of Le Corbusier's vision, intends to give a Fig. 217: Proposed view of interactive display in Miniature
transparent view along the length of the gallery. Gallery

Fig. 218: Proposed view of Miniature Paintings Gallery. Existing (T), Proposed (B)

Ratna Fabri Gallery:

A dedicated gallery exclusive to the Government Museum

and Art Gallery has been proposed, which will display
the furniture designed by Ratna Fabri for the Chandigarh
Museum. Along with the invaluable artefacts, the display
cases designed by Padma Shri awardee Ratna Fabri also
stand akin as a historical pillar and speaks of the initial
movements in the design of museums in the early 1950s in
India. Considering its significance and giving them their due,
the display cases that have been replaced in the upgraded
proposed galleries are showcased here.

The Ratna Fabri gallery showcases numismatics and

porcelain artefacts which are part of the museum collection.
The collection of coins are displayed as per their typologies
– Ancient Indian coins, Sultanate period coins, Mughal
period coins, South Indian dynasty coins and British India
coins.

An assembly of original museum furniture designed by

Pierre Jeanneret is also arranged adjacent to the undulatory, Fig. 219: Proposed plan of Ratna Fabri Gallery on
the First floor of the Museum
and is proposed to be used as seating area for visitors.

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Fig. 220: Proposed view of Porcelain artefacts and Numismatics section in Ratna Fabri Gallery on the first floor

Fig. 221: Proposed view of Numismatics section of Ratna Fabri Gallery on the first floor

Contemporary Art Gallery:

The contemporary art gallery is segregated into various genres on the basis of materials used, techniques
employed and the prominent artists. The primary segregation is based on the material typology such
as watercolours, oil paintings, graphic prints and sculptures. When considering the susceptibility to
deterioration, sculptures are placed towards locations where the daylight moves into the building since
the deterioration caused on sculptures by natural light is much less when compared to paintings.

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Fig. 222: Proposed plan of Contemporary Art Gallery on the First floor

A specific section within the gallery design is fabricated for the display of the nine masters of Indian art.
These artists include: Amrita Sher- Gill, Abhanindranath Tagore, Gaganendranath Tagore, Jamini Roy,
Nandalal Bose, Nicholas Roerich, Rabridranath Tagore, Raja Ravi Varma and Sailoz Mukherjea. The art
works by the nine artists were declared as national treasures under The Antiquities and Art Treasures
Act in the 1970’s, thus making this an important component of the museum collection. This legitimizes
the proposal to exhibit these artworks as one of the focal points in the contemporary gallery.

The other sections dedicated to water colour paintings and graphics and other prints have also been
incorporated into the design.

Fig. 223: Proposed views of Contemporary Art Gallery on the first floor of the Museum

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7.3.3 Second Floor

Fig. 224: Proposed layout of reuse and interpretation of Second Floor

Museum Library:

The upgradation proposal for the museum library includes reorganization of the furniture to clear up
the view from the undulatory windows. The conference room at the end of the library is proposed to
be used as office for the museum staff.

Fig. 225: Proposed layout of Museum Library with Staff Office at the rear on the Second floor

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Fig. 226: Proposed views of Museum Library. Existing (L), Proposed (R)

Kid’s Play Area:

The proposal also indicates removal of the AC units on

the second floor in order to install a more wholesome and
sustainable system like geothermal cooling. On removing the
units, a kid’s play area is proposed on this floor.

Fig. 227: Proposed view (L) and layout (R) of Kid’s play area on the Second floor

Signage:

The proposal for signage aims to provide clear,

concise information which is informative,
aesthetically pleasing and consistent for
all areas. This will help promote a unified
and attractive appearance for all facilities
and eliminate inconsistent, ineffective and
unnecessary signs. Fig. 228: Reference image for directional signage

Directional signage is proposed along the trails for comprehensive visitor movement within galleries.
These signage are to be placed inside and outside the museum.

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Interpretation signage is proposed to be placed

at the main entrance and other strategic
locations within the building. In the orientation
gallery, the design for the proposed signage is
inspired by the centrally pivoting door at the
museum entrance. The gallery name signage of
the Museum is proposed to be etched on the
glass separating the various galleries in order
to maintain transparency and flow of spaces as
intended in the original design of the building.
Informational signage for all exhibits are to be Fig. 229: Proposed signage for gallery name etched on glass
placed adjacent to the exhibit. partition

The general recommendations for signage are that letters and numbers are to be Sans Serif using
lowercase lettering and Arabic numerals. The text should have a width to height ratio of between 3:5
and 1:1 and have a stroke width to height ratio between 1:5 and 1:10 (preferably between 1:6 to 1:8).
The character spacing should be such that the horizontal spacing between characters should be 25-
50% of the characters width and 75-100% between words. The vertical spacing between lines should be
at least 50% of character height. It is essential that the characters on signage should contrast with the
background of the sign. All signage will be multi-lingual to cater to a wide range of visitors. The signage
will have details in 3 languages: Gurmukhi, Hindi and English.

Usually a light coloured lettering on a dark background is preferred. All signage should have a matte
finish, not glossy one, and should be well and evenly lit with uniform lighting over the surface of the
sign of between 100 and 300 lux.

Storage Facilities:

The use of compactors has been proposed for the storage of the artefacts. It consists of mobile units
with shelves, which function on the mechanism of Chain and Sprocket arrangement incorporated within
the front panel provided to the unit. Each mobile unit will be provided with Mechanical Synchronized
Drive Mechanism for smooth and effortless movement.

Fig. 230: Reference images of compactors for storage of artefacts in museum

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Visible storage is also proposed to enhance the visitor experience and maximizing the visitor’s access to
the museum collection. The visual storage is proposed within the temporary exhibition gallery.

Fig. 231: Reference images of visible storage in museum

Visitor Facilities:

i. Souvenir Shop -
The souvenir shop that is presently in the reception hall of the museum is proposed to be upgraded. It
is proposed to be relocated to a better position within the reception hall so that it is easily visible to the
visitors as they enter and leave the museum.

The souvenir shop will sell replicas of sculptures, prints of artworks, books on Gandhara, miniatures
and contemporary art, and books about the museum, Chandigarh and Le Corbusier.

ii. Toilets –
A toilet block is proposed to be built within the cycle stand. The ramp at the entrance makes it easily
accessible for elderly and differently abled visitors.

iii. Cafeteria –
A cafeteria is proposed on the terrace of the cycle stand, with spill-over seating on the garden space
around it. The details for arbours with seating which is proposed around the cycle stand is provided in
Annexure D. The kitchen and ancillary facilities will be provided within the cycle stand.

7.4 Lighting

The proposal for the upgradation of the Government Museum and Art Gallery intends to rework the
service equipment available presently. The design incorporates the requirements of the museum as
deduced from the building assessment and discussions with the museum personnel. There was no
complete drawing of existing services available for the museum. While services have been mapped as
part of the condition assessment and issues with existing museum lighting are flagged, the Lighting Plan
will need to be prepared with involvement of experts after the complete studies by Getty Conservation
Institute are completed by 2021. It is beyond the scope of this CMP.

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7.5 Risk Management Plan

Management of historical buildings which also house museum should aim at achieving maximum
competency within their premises in dealing with emergencies and in recognizing potential sources of
danger, independent of outside assistance.

Some of the measures include:

ƒ
ƒStaff training (prevention and intervention)
ƒ
ƒProvision of alarm and emergency plans
ƒ
ƒPeriodic maintenance and checking of firefighting equipment
ƒ
ƒKeeping escape routes accessible and unobstructed

Risk management guidelines and mitigation measures for the Government Museum and Art gallery
were formulated based on the comprehensive risk assessment. These guidelines articulate strategies
for mitigating risks and for emergency preparedness and response in case of any disaster.

Fire:

i. Electrical wiring - The pilotis shows many cables converging at a point which has seen incidents of short
circuit in the past. Such area need to be identified and checked for safety. The electrical panels have
been housed in a narrow aisle adjacent to air conditioning systems and share a common access. This
could be hazardous at the event of a short circuit or sparking in the area and will making it inaccessible.
This area is not locked at all times and though there are security guards patrolling the area, it requires
to have some check at the access. An optional partition in glass could be considered on the side of the
front pilotis. This would enable any incident of spark etc. to be noticed by the security as well as people
moving in this area. This have been included in the risk management drawings (attached as Annexure
D). Also a comprehensive electrical risk assessment needs to be carried out by experts in electrical field.

ii. Fire Detection - For museums, detection of fire at the earliest is of utmost importance to prevent
damage to the artefacts and archival materials. Considering most exhibit areas have large height,
Optimal Beam detectors would be a good option. ASD (Aspirating Smoke Detection) option can be
looked at for the museum. This is a system that consists of a central detection unit which draws air
through a network of pipes to detect smoke and is suitable for environments where a highly sensitive
rapid smoke detection capability is required.

iii. An acoustic alarm system should be considered to warn people during potential danger. In the
case of a historical building or museum three distinct target groups are addressed: Visitors for whom
a hazardous situation has been detected, staff who should coordinate the evacuation, and the people
who should deal with the fire. The integrated system should also include fire detection system that
must activate the installed alarm devices and transmit the alarm signal to the fire department.

iv. Firefighting systems - A system employing a combination of gas and water mist can provide an
effective solution for archives and storage vaults in which documents, manuscripts, books or paintings
are exhibited or stored. The type A and B extinguishers currently present in the museum will need to
be reconsidered with context of the exhibit and equipment experts.

An international guideline for fire safety mentions that the distance between any two fire extinguishers
should not be more than 75’. The existing extinguishers will need to be re located as per the above
norm, for easy accessibility at the time of emergency. Regular maintenance of the extinguishers on
yearly basis should be also undertaken. The sand buckets currently present in the museum should be
cleared of all garbage and placed in the line of vision in case of emergency. Considering the importance

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of the building, possibility of adding hydrants at the site level needs to be considered. Alternatively, a
feasibility study for sprinklers should be carried out before finalization of the systems.

v. Planning considerations - Due to the theft incident in the past and for directive movement in the
galleries, partitions in form of collapsible gates have been installed at various levels. Two of the staircase
have also been closed and are not accessible. This has increased the distance from any point in the
gallery to the exit to more than 30m which is prescribed by the NBC codes. This can result in panic
and accidents leading to secondary hazard situations during the event of a fire. Hence, changes in this
system will need to be done with reference to the evacuation routes considered. Suggestion for better
circulation has been proposed in the drawings (attached as Annexure D). Compartmentalization of the
entire area into various zones separated by fire rating EI partitions with 90 minutes minimum rating
should be incorporated so that in case of any incident, fire can be contained within that zone.

vi. Signage and evacuation map - Signage and evacuation map needs to be put up at strategic points
within galleries.

vii. Fire exit doors - Exit doors in the case of fire should be considered. The same have been proposed
in the drawings (attached as Annexure D).

Vandalism:

CCTVs will be required to give complete coverage of all areas. This measure can prevent visitors from
making graffiti on the columns in the pilotis area and on artefacts in the galleries. The artworks in the
galleries require a separator to keep a distance between the viewer and the exhibit.

Considering the possible damage due to people coming too close to the paintings, dividers/railing are
to be provided 1m away from the wall displaying the works.

These measures can also act as a deterrent for the possible damage to the art work by contemporary
issues such as the selfie phenomenon in the exhibit areas.

Fig. 232: Reference image for railing options to keep visitors at a distance from the exhibits. Railing option for painting
(left); Free standing flexible system (right). Source: Google

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 Conservation Planning for Government Museum and Art Gallery, Chandigarh

Fig. 233: Reference image for railing options to keep visitors at a distance from the exhibits.
Railing with details at a comfortable reading distance for visitors. Source: Google

Earthquake:

i. External façade: The two water drains at the terrace level show major issues of damage. They
need to be retrofitted as per the structural analysis done to curb their vulnerability in the event of an
earthquake. Also some parts of the facades have deteriorated due to water seepage. The root cause
will have to be identified and the façade repaired as required.

ii. Exhibit systems: Some display stands are very weak and may fall even with minor shaking during
hazards like earthquake. Also, with crowds of people visiting the museum, such exhibits can be
vulnerable to fall. These delicate exhibit systems should be replaced.

iii. Regular monitoring of all cracks in the building need to be carried out.

Rain and Water Leakage:

i. Water Seepage: All points identified in the museum having water leaking from the skylight above
should be repaired. Leakage at some places in the galleries as seen from the discoloration of fibre
boards ceiling panels needs to be investigated to check the root cause.

ii. Water percolating from the jails on the external walls should be corrected.

iii. Major dampness has been seen from a past seepage in the storage of antiquities. This needs to be
repaired to avoid similar incidents in the future.

Light:

All points identified as receiving direct light from the skylight will need be checked to avoid direct
sunlight falling on exhibits. The exhibition design should consider this aspect while reorganizing the
display.

Termites:

Termite infestation has been observed on the external fenestrations in the pilotis area. This will need to
be treated to avoid further damage.

Regular through inspection should be taken up for avoiding damage in the future.

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Storage:

There is inadequate area for the storage of artefacts in both miniature and contemporary art collections.
Either additional place will need to be made or some art works need to be shifted to optional places.

Wooden storage boxes for the miniatures are detrimental for the art works. Hence should be replaced
with Steel storage options. Also roller kind of storage required for the long fabric artworks.

Theft:

Of the CCTV cameras currently in the museum, 25 out of 56 cameras are not working. This will need to
be rectified. Also the old units need to be replaced by cameras that have better clarity of vision.

Both the exhibit storages requires to have independent cameras inside the areas.

The security at the entrance needs to be planned for more vigilance and security check

Surveillance and Security System for Building:

Considering the value of the museum artefacts and issues with reliability of technology driven systems
in terms of working and maintenance, we do not recommend removal of existing grills from the external
window and glass facades and replaced by surveillance security systems. Alternatively, the design of
the protective grills can be altered for better aesthetics.

In case of provision of access routes in case of emergency, the above typology of system will need to be
used only at the designated egress location as marked in the drawings.

Other Issues:

There are some issue with the design of some of

the architectural elements, which do not meet the
safety compliance for visitors and users. For the
safe use of the space in the museum building the
following have been proposed:

i. Considering the heritage significance of the

existing railings in the building, these cannot be
changed. However, it may be retrofitted with glass
and appropriate design for safety.

ii. Railing should be provided along the open edge

of the ramp. The design should follow the design
of the original railing, with circular section for easy Fig. 234: Open edge of the ramp should be provided with
railing
grasping.

iii. The slope of the ramp is not compliant to

regulations. Hence provision such as wheelchair
stair lift will need to be considered.

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Closed Circuit Television System (CCTV):

i. Camera Unit - Cameras with visibility upto 30 meters and high clarity should be considered. Maximum
of 120 degrees should be considered for the viewing zone. Considering the above, location for cameras
have been proposed in the drawings.

ii. Observation room - The placement of the room should be closer to the reception area to help with
overall co-ordination during risk. Also, a room that can accommodate upto 10 screens should be
designated. This is critical for comfortable viewing by the personnel. The same has been proposed in
the plan.

iii. Staff - As a guideline, a single person should not be on this job for more than two hours and hence
the duty should be shared turn-wise by 2-3 numbers of staff.

Security at Entry Point:

Security checking with the system of metal detectors should be installed. Also conveyor belt bag
screening system is also a necessity at the entrance. Provision of lockers for visitors to keep their
belongings should be added.

Enforcement of Good Housekeeping Rules:

i. The staff should be well trained to follow certain basic procedures to ascertain risk free routine of the
museum.
ii. Correct storage of flammable materials used for cleaning or restoration work should be considered
iii. Electrical appliances should be switched off as soon as it’s no longer in use
iv. No portable heating equipment should be permitted
v. No smoking in any part of the building or in the immediate vicinity should be allowed.
vi. All the essential equipment required for emergency response should be kept where they can be easily
accessible during emergency. For search and rescue, safety jackets, safety helmets, fire/heat resistant
safety gloves, masks, emergency lamps/battery operated torches, ropes, CSI tape (for Cordoning),
stretcher and a well-equipped First Aid kit (to be identified with the help of a medical professional)
should be kept handy. For salvaging collections during an emergency, apart from these items, aprons,
illuminated jackets (for working in the dark), special rubber gloves for handling collections, foldable
tents (Gazebo), polythene (plastic) sheets approximately 40 inches wide, bubble wrap, plastic baskets
and blotting paper should be made available at an easily accessible location.

Essential Equipment for Emergency Response:

All the below mentioned items should be kept such that it can be easily accessible during emergency.
For Search and Rescue:

ƒ
ƒSafety Jacket
ƒ
ƒSafety Helmet
ƒ
ƒSafety Gloves (fire/heat resistant)
ƒ
ƒMasks
ƒ
ƒEmergency Light / Battery Operated Torches
ƒ
ƒRopes
ƒ Tape (for Cordoning)
ƒSI

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ƒ
ƒStretcher
ƒ
ƒFirst Aid Kit (to be identified with the help of a medical professional)

For Salvaging Collections:

ƒ
ƒAprons
ƒ
ƒIlluminated Jackets (for working in the dark)
ƒ
ƒSafety Helmets
ƒ
ƒSpecial rubber gloves for handling collections
ƒ
ƒEmergency Light/Batter Operated torches
ƒ
ƒFoldable Tent (Gazebo)
ƒ
ƒPolythene (plastic) Sheets approximately 40 inches wide.
ƒ
ƒMasks
ƒ
ƒBubble Wrap
ƒ
ƒPlastic baskets
ƒ
ƒBlotting paper
ƒ Tape for cordoning
ƒCSI

Emergency Team and its Responsibilities:

A team consisting of the internal staff of the museum should be prepared, who is supposed to be the
first responder to any emergency situation, so that it does not turn into a bigger disaster. The team will
coordination for effective relief, rescue of visitors / staff and salvage of objects.

The rescue team would be made up of:

ƒƒ Building and Infrastructure Team
ƒƒ Administration and Supplies Team
ƒƒ Objects Salvage Team
ƒƒ Communications Team

Their key tasks would be:

ƒƒ To undertake first response actions before external emergency services arrive.
ƒƒ To assist external emergency services when they reach the site
ƒƒ To undertake key measures to facilitate recovery of the building and objects after external
emergency services leave the site

General Guidelines:

ƒ
ƒThe staff should be given roles to perform in emergencies according to their expertise in the
field they work with proper command structure.
ƒ
ƒThe entire staff should know appropriate responses and their roles in an emergency situation.
ƒ
ƒEach emergency team should divide responsibilities among itself and should not concentrate in
one activity or location. For example, while some members of collections team may salvage the
collections, others may stay back to take care of prepare their temporary storage area. However
the team should be ready to plan for the unexpected.
ƒ
ƒEmergency response should involve activating all emergency teams and services and following
necessary procedures by coordinating among various teams.
ƒ
ƒCoordination with nearest fire office, police station, hospital and other line departments should

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 Conservation Planning for Government Museum and Art Gallery, Chandigarh

be established beforehand so that they are aware of the shortest route to the site and have
sufficient knowledge of the layout of site.
ƒ
ƒThe emergency team should hold regular meetings of various team heads for general review
the activities and the status of plan. Each team leader should also convene the meeting of its
respective team members on regular basis to practice and review the responsibilities of the team.
ƒ
ƒEach emergency team leader should have a back-up in case the designated leader is unable to
discharge his or her function due to unforeseen circumstances.
ƒ
ƒProcedures should be established for the notification of an emergency, which is understood by
all the staff.
ƒ the staff members especially the emergency team members should be well versed with all
ƒAll
the areas in the site. They should know the main evacuation routes as well as the emergency
signage.
ƒ
ƒThe staff members also to be made aware of the areas that are demarcated for refuge as well
as temporary storage of salvaged collections.
ƒ
ƒSpecial public areas should be demarcated for stationing of emergency services such as fire,
police and ambulance during an emergency situation. Such areas should be declared as ‘No
Parking Areas’ and easily accessibility to these areas should be ensured all the time.
ƒ is crucial that each emergency team member is equipped with wireless device for internal
ƒIt
communication. Communication with all the team members should be feasible through mobile.
It is important to check their connectivity.
ƒ
ƒRecovery process should commence only when all safety aspects have been taken into
consideration following a disaster and when the incident has been declared safe by the proper
authorities like police, fire, electricity, building control etc.
ƒ
ƒResponse procedures should be for both during and outside business hours, alerting chain of
command including other organizational departments e.g. security.

Composition of Emergency Team:

ƒ
ƒRescue Team
ƒ
ƒBuilding and Infrastructure Team
ƒ
ƒAdministration and Supplies Team
ƒ
ƒObjects Salvage Team
ƒ
ƒCommunications Team

Objectives of the Emergency Drill:

ƒ identify existing strengths and shortcomings in emergency response in Government Museum

ƒTo
and Art gallery.
ƒ familiarize the participants with the response procedures (actions, duration and sequence
ƒTo
and communication channels) and create an emergency team
ƒ test proposed emergency preparedness measures (effectiveness of signage, proposed
ƒTo
evacuation routes in terms of movement, time needed).
ƒ test the emergency communication and coordination with external agencies such as fire,
ƒTo
police, hospital, media etc.
ƒƒ
Disaster Scenario and Responsibilities of Emergency Team Members :- (TO BE EXECUTED)
Emergency Evacuation Plan (As proposed in the drawings): Emergency Contacts would consist of the
following. The tentative list of team consisting of the staff from the museum has been put down after
consultation with Museum Curator Ms. Seema Gera:-

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 Conservation Planning for Government Museum and Art Gallery, Chandigarh

S. No Team member designate Museum staff Contact number

1 Emergency Team Seema Gera +0091 97791 29129

Coordinator (Curator, Museum)
2 Assistant Security Officer Sunil l Kumar +0091 9872207479
(PU)
Head of Rescue team
3 Head of Building and Ravindra Kumar +0091 9872823366
infrastructure team
Head of Administration Vijay Kumar +0091 9878220815

4 Head of Objects salvage D. K Ghavri (Conservator) +0091 9888902278

team Megha Kulkarni (Curator +0091 8087572732
assistant)
5 Head of Communications Director Museum
Team
6 Chief Medical officer, PU Not designated so far

7 Electricity Officer, PU JE(on call) Sunil +0091 9780240978

8 Water Supply Officer, PU Trilokchan +0091 9988211415

9 Fire Tenders Sector 11 0172 274 7820

(Source: Google)
10 Police station Sector 11 0172 274 7066
(Source: Google)
11 General hospital Sector 16 0172 275 2042
(Source: Google)

Guidelines for Salvage of Heritage Objects:

ƒƒ Enter the site only if declared safe

ƒƒ Prepare all relevant information before
ƒƒ Document the incident
ƒƒ Prioritize collections to be salvaged and protected in-situ based on their value and vulnerability.
ƒƒ Evacuate only if required and if another space is available
ƒƒ Work in pairs, use safety gear
ƒƒ Observe minimal intervention
ƒƒ Debrief and report

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8. IMPLEMENTATION AND
PHASING
 Conservation Planning for Government Museum and Art Gallery, Chandigarh

8.1 Implementation and Phasing

The Conservation Management Plan for the Government Museum and Art Gallery provides a
framework for an integrated conservation planning, addressing all issues related to the building and its
surroundings.

The table below shows a tentative timeline of the execution of the proposed works to be undertaken
for the upgradation of the Government Museum and Art Gallery.

Table 12: Implementation Timeline

S.NO. Description of Work to be Undertaken PHASE 1 PHASE 2

1 Landscape conservation and redevelopment
2 Building Conservation
a. Concrete repair of terrace elements, drains and other areas requiring
immediate attention, Waterproofing, False ceiling
b. Cleaning exterior and interior surfaces, Repair flooring, etc.
3 Interior works and Exhibition design
4 Visitor Amenities
5 Lighting
6 Surveillance and security, Fire safety
7 Collection storage
8 Collection conservation

8.2 Budgeting and Funding Opportunities for Government Museum and Art Gallery

The implementation of the CMP for the Museum is dependent on the availability of funds from the
UT Government. The Museum has also applied for the Museum Upgradation Grant from the Ministry
of Culture to support the implementation of the Phase 1. All significant and immediate works to be
undertaken at the Museum has been translated into a Design Project Report for immediate perusal.
A preliminary estimate was drawn up to source funding for the proposed works at the Government
Museum and Art Gallery. The work is estimated at 14 Crore INR.

8.3 Monitoring Indicators

Following monitoring parameters need to be observed by the Museum personnel to ensure the health
of all essential components of the Museum:

I. Concrete drains and terrace elements - to be inspected on a quarterly basis for any signs of cracks/
exposed rebars/ detachment and other conditions.
II. Interiors, furniture and artwork – Interiors including furniture and artwork conditions should be
inspected on a quarterly basis for any wear and tear and appropriate measures to be undertaken as
per policy guidelines in the CMP.

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III. Interpretation and Use – After the installation of orientation gallery and exhibition display as
proposed in the CMP, monthly record of visitors and their response/feedback is essential to ensure the
success or improvements required in this area. The Museum should also chart out an annual calendar
of outreach activities/events to be carried out in the building and keep a record of all such activities.
IV. Services – All services of the Museum needs to be checked on a monthly basis or as per need basis
for complete efficiency and functionality.

Table 13: Monitoring Schedule

ELEMENT OF SIGNIFICANCE DETERIORATION LEVEL MONITORING PERIOD MONITORING AGENCY

LANDSCAPE
Pools Low Per month UT Engineering/
Vegetation Every 6 months Architecture
Department
Piazza
Urban Furniture

BUILDING EXTERIOR
Brick tile cladding Moderate Every 6 months UT Engineering/
Gargoyles High Every 3 months Architecture
Department
Concrete drains
Clerestory and Fins
Terrace waterproofing High Every 3 months

BUILDING INTERIOR
Fibreboard ceiling panel High Every 3 months UT Engineering/
Terrazzo floor Moderate Every 6 months Architecture
Department

COLLECTION
Museum Collection in galleries Moderate Every month Museum staff
Reserve Collection

MOVABLE AND IMMOVABLE FIXTURES

Display furniture Low Every 3 months Museum staff
Furniture

SERVICES
Lighting (Original) Low Every month UT Engineering/
Lighting (New) Architecture
Department
Plumbing High

8.4 Phasing and Updating the Plan

The Conservation Management Plan of the Government Museum and Art Gallery needs to be a dynamic
document and should be updated on an annual basis, recording the works carried out every year as
per plan. It should include any new aspects associated with the conservation and management of the
building. The next update for this plan should be undertaken after the macroclimate study by the Getty
Conservation Institute is completed in 2021.

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9. BIBLIOGRAPHY AND ARCHIVES
 Conservation Planning for Government Museum and Art Gallery, Chandigarh

9.1 Books and Publications

Bahga, Sarbjit, Surinder Bahga and Yashinder Bahga, Modern Architecture in India Post-Independence Perspective.
New Delhi: Galgotia Publishing Company, 1993.

Bauchet-Cauquil, H., F. Prodhon, P. Seguin, M. Roy, J. Tittensor, and J. Harrison, Le Corbusier, Pierre Jeanneret:
Chandigarh, India, 1951-66. Paris: Galerie Patrick Seguin, 2014.

Boesiger W., Le Corbusier et son atelier rue de Sèvres 35: Œuvre complete 1957-1965. Zurich: Les Editions
d’Architecture, 1965

Broomfield, John P., Corrosion of Steel in Concrete Understanding, Investigation and Repair. New York: Taylor &
Francis, 2007.

Colquhoun, Alan, Modern Architecture. Oxford: Oxford University Press, 2002

Curtis, William J.R., Modern Architecture since 1900. Oxford: Phaidom Press Limited, 1982

Frampton, Kenneth, Modern Architecture: A Critical History. London: Thames and Hudson, 1992

Holland, Jessica and Iain Jackson, The Architecture of Edwin Maxwell Fry and Jane Drew: Twentieth Century
Architecture, Pioneer Modernism and the Tropics. Surrey, England: Ashgate Publishing Limited, 2014

Lang, Jon, A Concise History of Modern Architecture in India. Delhi: Permanent Black, 2002

Le Corbusier, The Modulor A Harmonious Measure to the Human Scale Universally Applicable to Architecture
and Mechanics, Trans. Peter de Francia and Anna Bostock. Boston: Birkhäuser Publishers, 2004

Le Corbusier, Towards an Architecture. Trans. John Goodman. Los Angeles: Getty Research Institute, 2007

Macdonald, Susan. “The Investigation and Repair of Historic Concrete,” NSW: NSW Heritage Office, 2003

Malraux, Andre, “Museum Without Walls,” Voices of Silence, Trans. Stuart Gilbert. Frogmore: Paladin, 1974

Museum of Modern Art (New York), Cubism and Abstract Art. New York: The Museum of Modern Art, 1936.
www.moma.org/calrendar/exhibitions/2748

Randhawa, M.S., Beautiful Trees and Gardens. New Delhi: Indian Council of Agricultural Research, 1961
Singh, Chhatar, Rajnish Wattas, Harjit Singh Dhillon and Surinder Mohan Dhami, Trees of Chandigarh. Delhi: B.R.
Publishing Corporation, 2016

Tappin, Stuart, “The Early Use of reinforced Concrete in India,” in Construction History, Vol. 18, 2002

Vidler, Antony, Histories of the Immediate Present: Inventing Architectural Modernism. Cambridge, MA: MIT
Press, 2008

9.2 Journals and Magazines

Baker, Arthur. “A mediated modern movement: Le Corbusier, South Africa and Gabriël Fagan,” Celebrating le
Corbusier’s legacy, ed. Estelle Alma Maré, South African Journal of Art History, vol. 30, No. 4. 2015

Birkett, Whitney B. “To Infinity and Beyond: A Critique of the Aesthetic White Cube.” Thesis paper, Seton Hall
University, 2012. http://scholarship.shu.edu/theses

Cain, Abigail. “How the white cube came to dominate the Art World.” Artsy.net. January 23, 2017. https://www.
artsy.net/article/artsy-editorial-white-cube-dominate-art

Champion, Aurélie. “Expositions des collection, turbulences dans les musées d’art modern,” Marges, 12|2011.
15 April 2011. http://marges.revues.org/397

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 Conservation Planning for Government Museum and Art Gallery, Chandigarh

Colomina, Beatriz. “The Endless Museum: Le Corbusier and Mies van der Rohe.” Log, No. 15, pp. 55-68. 2009.
www.jstor.org/stable/41765260.

Gaudette, Paul and Harrer Ann, “Assessment of Historic Concrete Structures,” APT Bulletin: The Journal of
Preservation Technology, Vol. 48, No. 4, Special Issue on Documentation, pp. 29-36, 2017.

Goldberger, Paul. “Architecture View; A Wistful Ode to a Museum That Once Was,” The New York Times. June 11,
1989. https://www.nytimes.com/1989/06/11/arts/architecture-view-a-wistful-ode-to-a-museum-that-once-
was.html

Kamal, Mohammad Arif. “Le Corbusier’s Solar Shading Strategy for Tropical Environment: A Sustainable
Approach.” Journal of Architectural/ Planning Research and Studies, Vol. 10, Issue 1. 2013

Moriconi, Mauro. “Le Misure Di Le Corbuier,” Spazio & società, Anno XVIII, n. 76. October-December, 1996

Sendai, Shoichiro. “Idea of Environment and Architectural Form in India by Le Corbusier,” Journal of Asian
Architecture and Building Engineering, 4:1, pp. 37-42. 2018. https://doi.org/10.3130/jaabe.4.37

Sendai, Shoichiro. “Realization of Natural Order through Le Corbusier’s Museum Prototype in Chandigarh,” Journal
of Asian Architecture and Building Engineering, 16:1, pp. 23-30. 2018. https://doi.org/10.3130/jaabe.16.23

Sendai, Shoichiro. “Realization of the “Museum of Unlimited Growth” Without Façade in Ahmedabad by Le
Corbusier,” Journal of Asian Architecture and Building Engineering, 14:3, pp. 521-528. 2018. https://doi.
org/10.3130/jaabe.14.521

Torre, Marta de la (Ed.). “Assessing the Values of Cultural Heritage” Research Report, Los Angeles: Getty Research
Institute, 2002

Uddin, Mohammed Imran. “Orientalism, Chandigarh and Le Corbusier.” Research paper, Modern Architectural
History, University of Sydney, June 2016

9.3 Charters, Plans and Policy Frameworks

Chandigarh Administration, Chandigarh Master Plan-2031, April 2015.

ICOMOS Australia, Australia ICOMOS Charter for Places of Cultural Significance, the Burra Charter, 2013

ICOMOS, The Nara Document on Authenticity, 1994

INTACH, The Charter for the conservation of unprotected architectural heritage and sites in India, 2004

9.4 Reports and Conference Proceedings

Benton, Tim. “Dom-ino and the Phantom “Pilotis”, “ AA Files, No. 69, pp. 23-47, 2014. http://www.jstor.org/
stable/43202546

Chin I. “Le Corbusier’s Musée à croissance illimitée: A Limitless Diagram for Museology.” Le Corbusier, 50 years later
International Congress, Valencia, Spain, November 18-20, 2015. http://dx.doi.org/10.4995/LC2015.2015.584

Diaz, L.M. and R. Southall. “Le Corbusier’s Cité de Refuge: historical and technological performance of the air
exacte.” Le Corbusier, 50 years later International Congress, Valencia, Spain, November 18-20, 2015. http://
dx.doi.org/10.4995/LC2015.2015.796

Fitting, Peter. “Urban Planning/ Utopian Dreaming: Le Corbusier’s Chandigarh Today,” Utopian Studies, Vol. 13,
No. 1, pp. 69-93, 2002. http://www.jstor.org/stable/20718410

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 Conservation Planning for Government Museum and Art Gallery, Chandigarh

Gonçalves, Ana Paulo Arato, Chandler McCoy and Susan Macdonald. “Le Corbusier’s Three Museums: A
Workshop on Their Care and Conservation.” Meeting Report by the Getty Conservation Institute, Ahmedabad,
February 4-6, 2018 and Chandigaarh, February 8, 2018

Joshi, Kiran (Ed.). “Corbusier’s Concrete: Challenges of Conserving Modern Heritage.” Proceedings of Seminar on
Conservation of Le Corbusier’s Work in Concerete, Chandigarh, February 11-13, 2002

Kohli, R.K, H.P. Singh and Daizy R. Batish. “An Inventory of Multipurpose Avenue Trees of Urban Chandigarh
India,” in Integrated Tools for Natural Resources Inventories in the 21st Century, ed. Mark Hanson and Thomas
Burk. IUFRO Conference, Boise, Idaho, USA, August 16-20, 1998.

Le Corbusier. Le Corbusier Plans, DVD N°7, Fondation Le Corbusier, Echelle-1 Codex Images International, 2006.
(halshs-01249648)

Macdonald, Susan and Gail Ostergren. “Developing an Historic Thematic Framework to Assess the Significance
pf Twentieth-Century Cultural Heritage: An Initiative of the ICOMOS International Scientific Committee on
Twentieth-Century Heritage.” An Expert Meeting Hosted by the Getty Conservation Institute, Los Angeles, CA,
May 10-11, 2011

Mileto C., F. Vegas, L. Garcia and V. Cristini (Eds.). “Vernacular Architecture: Towards a Sustainable Future”.
Proceedings of the International Conference on Vernacular Heritage, Sustainability and Earthen Architecture,
Valencia, Spain, September 11-13, 2014.

Oulebsir, Nabila. “Musées et architecture en France: neutralité ou décor, collection ou concept?.” Rencontres du
Léman Architecture et quotidian du musée, ICOM, Genève, June 19-21, 2008

Ramesh, A. “Le Corbusier in Chandigarh: A Search for the Natural Order.” Le Corbusier, 50 years later International
Congress, Valencia, Spain, November 18-20, 2015. http://dx.doi.org/10.4995/LC2015.2015.784

Ramírez-Balas, C., J.J. Sendra, R. Suárez, E.D. Fernández-Nieto, G. Narbona_Reina. “The mur neutralisant as an
active thermal system: Saint Gobain tests (1931) versus CFD simulation (2015).” Le Corbusier, 50 years later
International Congress, Valencia, Spain, November 18-20, 2015. http://dx.doi.org/10.4995/LC2015.2015.899

Requena-Ruiz, Ignacio and Daniel Siret. “Experiments on thermal comfort and modern architecture: the
contributions of André Missenard and Le Corbusier.” Third EAHN International Meeting, Torino, Italy, June 2014.
(hal-01175874)

Requena-Ruiz, Ignacio. “Modern architecture as environmental construction - Methods and prototypes in

Le Corbusier’s work.” Thibaud, Jean-Paul and Siret, Daniel. Ambiances in action / Ambiances enacte(s) -
International Congress on Ambiances, Montreal 2012, Sep 2012, Montreal, Canada. International Ambiances
Network, pp.525-530, 2012. (halshs-00745929)

Serenyi, Peter. “Timeless but of Its Time: Le Corbusier’s Architecture in India,” Perspecta, Vol. 20, pp. 91-118,
1983. http://www.jstor.org/stable/1567068

Siret, Daniel. “Le Corbusier Plans. 1940 - Studies in Sunlight (no place). English version.” Fondation

Siret, Daniel. “Le Corbusier Plans. 1950 - Climate Chart (Chandigarh). English version.” Fondation Le Corbusier. Le
Corbusier Plans, DVD N°11, Fondation Le Corbusier, Echelle-1 Codex Images International, 2006. (halshs-01249644)

9.5 Archives

Chandigarh Administration (UT) – Archival drawings, Correspondence letters

Fondation Le Corbusier, Paris – Archival drawings, Correspondence letters

Government Museum and Art Gallery Office – Archival photographs, Correspondence letters, Personal collection
of Dr. M.S. Randhawa gifted to the Museum in 1968, Accession No. 1524, 1539A, 1552, 1554, 1621

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List of Figures

Fig. 1: Government Museum and Art Gallery, Chandigarh. Source: DRONAH

Fig. 2: Archival drawings from 1962 showing development of museum plan. Source: FLC Archive
Fig. 3: Laser scanning team on site. Source: PEGS
Fig. 4: Components of the Conservation Management Plan for Government Museum and Art Gallery
Fig. 5: Façade of the Museum of Modern Art. Source: hereelewhere.com
Fig. 6: Musee des Travaux Publics. Source: paris-projet-vandalisme.blogspot.com
Fig. 7: Musée d’Art Contemporain, Paris. Source: FLC Archive
Fig. 8: Façade of Guggenheim Museum. Source: www.guggenheim.org
Fig. 9: Façade of Nationalgalerie. Source: afasiaarchzine.com
Fig. 10: Façade of Centre Pompidou. Source: www.centrepompidou.fr
Fig. 11: Kimbell Museum. Source: https://www.archiweb.cz/b/kimbell-art-museum
Fig. 12: View of Salon Carré at the Louvre, painting by Alexandre Brun shows the display in the gallery in 1880s.
Source: https://commons.wikimedia.org/wiki/File:Alexandre_Brun_View_of_the_Salon_Carr%C3%A9_at_the_
Louvre.jpg
Fig. 13: Museum of Modern Art’s White Box proposed by Barr.
Source: https://www.artsy.net/article/artsy-editorial-white-cube-dominate-art
Fig. 14: Mundaneum, Musée Mondial Geneva. Source: FLC Archive
Fig. 15: Musée d’Art contemporaine, Paris. Source: FLC Archive
Fig. 16: A project model representing Le Corbusier’s Unlimited Museum.
Source: FLC Archive
Fig. 17: (L) Villa Savoye, Poissy; (R) National Museum of Western Art, Tokyo. Source: FLC Archive
Fig. 18: Sketch by Le Corbusier on site of Ahmedabad Museum. Source: Le Corbusier (1981-82) Le Corbusier
Carnets. Vol. 2
Fig. 19: Floor plans of Sanskar Kendra, Ahmedabad. (L) Ground floor plan, (R) First Floor Plan.
Source: https://www.inexhibit.com/mymuseum/sanskar-kendra-city-museum-ahmedabad-le-corbusier/
Fig. 20: Floor Plans of National Museum of Western Art, Tokyo. (L) Ground floor plan, (C) First Floor Plan, (R)
Second Floor Plan. Source: http://archeyes.com/national-museum-western-art-tokyo-le-corbusier
Fig. 21: Floor Plans of Government Museum and Art Gallery, Chandigarh. (L) Ground floor plan, (C) First Floor
Plan, (R) Second Floor Plan. Source: DRONAH
Fig. 22: The central halls of the Three Museums. (L) Ahmedabad, (C) Tokyo, (R) Chandigarh. Source: FLC, DRONAH
Fig. 23: Second floor plan with half height spaces. (L) NMWA Tokyo, (R) GMAG Chandīgarh. Source: DRONAH
Fig. 24: Concrete channel filled with earth to grow vegetation, Ahmedabad. Source: FLC Archive
Fig. 25: Concrete channel drains runoff from roof into basin, Chandigarh. Source: FLC, DRONAH
Fig. 26: National Gallery of Modern Art.
Source: https://theculturetrip.com/asia/india/articles/the-history-of-the-national-gallery-of-modern-art-in-1-
minute/
Fig. 27: New wing of the National Gallery of Modern Art.
Source: http://indianartblog.blogspot.com/2009/03/national-gallery-of-modern-art-delhi.html
Fig. 28: Indira Gandhi National Centre for the Arts.
Source: https://in.pinterest.com/fella_homes/top-20-cultural-and-historical-places-in-delhi/
Fig. 29: Proposed plan of Chandigarh. Source: FLC Archives
Fig. 30: Model of Chandigarh. Source: FLC Archives
Fig. 31: Cultural Core of Chandigarh City as designed by Le Corbusier. Source: FLC Archives
Fig. 33: Pan de verre represented as undulatory windows.
Fig. 34: Graphic representation of the Modulor. Source: https://www.researchgate.net/figure/Figura-4-Modulor-
Le-Corbusier-1948-Corbusier-1998_fig1_268221925
Fig. 35: Application of Modulor in site geometry. Source: DRONAH
Fig. 36: Application of architectural polychromy in the Museum.
Fig. 37: Palette of 63 architectural colours in Le Corbusier’s colour system.
Source: https://www.lescouleurs.ch/en/the-colours/63-colours/
Fig. 38: Cultural Centre of Le Corbusier’s Chandigarh City plan. Source: FLC Archives
Fig. 39: Incorporating Modulor in site planning
Fig. 40: South-west façade of the museum photographed around 12 noon in January. Source: DRONAH
Fig. 41: Sketch showing pedestrian path mirroring the curve of the stream. Source: FLC Archive
Fig. 42: Position of water basins with respect to the building.

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Fig. 43: Patatoïde shaped pool at western corner of the Museum. Source: Museum Archives.
Fig. 44: Embankment of Sukhna Lake. Source: http://dreamtrails.in/sukhna-lake
Fig. 45: Piazza in front of the museum. Source: Museum Archive
Fig. 46: Study based approach for landscape and tree plantation. Source: (L) M.S. Randhawa, Beautiful Trees and
Gardens; (R) FLC Archive
Fig. 47: (L) Urbanistic elements affected by tree planting; (R) Architectural concept of the elements of Tree
Planting. Source: M.S. Randhawa, Beautiful Trees and Gardens
Fig. 48: Tree plantation in Government Museum and Art Gallery
Fig. 49: Concrete bollard light. Source: Museum Archive
Fig. 50: Sculptures exhibited in the Piazza. Source: DRONAH
Fig. 51: Manhole cover with sectoral grid of Chandigarh city. Source: DRONAH
Fig. 52: Archival drawing showing layout of Cultural Centre, 1957. Source: FLC Archive
Fig. 53: Archival drawings showing museum design proposed in 1961. Source: FLC Archive
Fig. 54: Sketch of Museum plan, 1962. Source: FLC Archive
Fig. 55: Archival drawing of Museum plan, 1962. Source: FLC Archive
Fig. 56: Model of Chandigarh Museum. Source: Museum Archive
Fig. 57: Archival drawing of proposed Sections for Museum, 1962. Source: FLC Archive
Fig. 58: Ramp leading from ground floor to first floor Bronze Sculpture gallery. Source: DRONAH
Fig. 59: Archival drawings of proposed Floors for Museum, 1962. Source: FLC Archive
Fig. 60: Workshop with organic form Source: Museum Archives
Fig. 61: Organic shaped extensions from the main building in Carpenter Centre for Visual Arts.
Source: http://artnewengland.com/ed_picks/looking-back/
Fig. 62: (L) Sketch showing proposal with lecture hall connected to main museum building. Source: FLC Archives
Fig. 63: Auditorium built as building separate from the Museum. Source: FLC Archives
Fig. 64: South-west elevation with projecting balcony. Source: Museum Archive
Fig. 65: Balanced composition of exposed concrete and brick tile cladding (L); Museum interior lit by skylights
(R). Source: DRONAH
Fig. 66: Black terrazzo tiles with chequered pattern on ramp (L); Black terrazzo cast in-situ on stairs (C); Pre-cast
Ramnik terrazzo tiles in galleries (R). Source: DRONAH
Fig. 67: Wood wool ceiling panels painted in brilliant colours. Source: DRONAH
Fig. 68: Centrally pivoting door at Museum entrance.
Fig. 69: Centrally pivoting ventilator shutters.
Fig. 70: Undulatory fenestration opening internally into the galleries.
Fig. 71: Gallery space lit by skylight above. Source: DRONAH
Fig. 72: Sketch showing proposal for water drainage system, 1958. Source: FLC Archive
Fig. 73: Archival drawing showing details for terrace draining; (L) Undated, (R) 1953. Source: FLC Archive
Fig. 74: Concrete gargoyles drain terrace runoff into the concrete drains (L); Concrete drain collects terrace
runoff and drains into pool below (R). Source: DRONAH
Fig. 75: Concrete gargoyle and splash pool at Chapel of Notre Dame du Haut. Source: https://de.wikipedia.org/
wiki/Datei:Notre_Dame_du_Haut_Wasserspeier_und_Becken(ws).jpg (L); Concrete gargoyles at Sanskar Kendra
Ahmedabad (C), High Court Chandigarh (R). Source: FLC Archive
Fig. 76: North-east extension used as workshop during the construction of the Museum. Source: Museum
Archives
Fig. 77: Textile display – Polished wooden panels, glass and white fabric lined base (L); Polished wooden panels,
glass and white painted display pedestal. Also serves as a partition between the two spaces (R). Source: DRONAH
Fig. 78: Sculpture display – Polished wooden panels, glass and blue fabric lined base. Case is lit by recessed
downlight (L) and natural light through the glass top (C); Polished wooden panels, glass, blue fabric lined backing
and white painted display pedestals (R). Source: DRONAH
Fig. 79: Table-like display with fabric lined wooden base supported by black painted metal legs. Glass topped
casing allows illumination of the displayed objects by light fixtures or natural light. Source: DRONAH
Fig. 80: Wood and glass display case with fabric lined backing and recessed lighting to illuminate exhibits (L);
Polished wooden display supported by black painted metal anchors bolted to wall (R). Source: DRONAH
Fig. 81: Sculpture display – Series of polished wooden pedestals (L); Buff-colour painted plywood pedestals
against black wall.(R). Source: DRONAH
Fig. 82: Sculpture display – Polished wood and Stone display pedestals. Source: DRONAH
Fig. 83: Paintings display – Free standing panels with black painted metal frame and painted plywood backing.
Source: DRONAH
Fig. 84: Paintings display – Black painted metal frame and painted plywood panels hung from channels fixed to
the ceiling. Source: DRONAH

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Fig. 85: Sofa chairs and daybed in museum library (L); Daybed design similar to that of Pierre Jeanneret’s design
(R). Source: Galerie Patrick Seguin. Le Corbusier Pierre Jeanneret Chandigarh India
Fig. 86: Sofas at the reception - Wooden frame and fabric covered cushions supported by leather straps at the
bottom (L); Low stool – Wooden frame and woven jute strap seat (C); Chair – Wooden frame with plastic string
seat (R).
Fig. 87: Sculpture at entrance to pilotis. Source: DRONAH
Fig. 88: Terracotta sculpture of a severed elephant head (L); Remnant of a basal part of human body on a pedestal
(R).
Fig. 89: Stone sculpture - Head of Parvati [7th Century CE, Haryana] (L); Buddha’s head with severed halo [4th-
5th CE J&K] (R). Source: GMAG
Fig. 90: Remnant of a Buddha’s footprint [aniconic representation] (L); Gandhara sculpture of Gautama
Buddha in Dhyanamudra [iconic representation] (C); Sculpture of Bodhisattva Maitreya in abhayamudra [iconic
representation] (R). Source: GMAG
Fig. 91: Bronze sculpture of Bodhisattva Maitreya (L); Source: DRONAH
Fig. 92: Krishna and Gopala playing with cowherds at the bank of Yamuna-Pahari painting from 1780 CE. Source:
GMAG
Fig. 93: Guru Govind Singh on horseback – Pahari painting from 19th Century CE. (L); Portrait of Aurangzeb
– 18th Century CE [Gouache on paper] (C); Shiva and family on Mount Kailash – Pahari painting from 1800 –
1810CE (R). Source: GMAG
Fig. 94: Oil Painting by Amrita Sher-Gil (L); Oil painting on canvas by M.F.Hussain (1961) (C); Aquatint print by
Krishna Reddy (R). Source: GMAG
Fig. 95: Library reference collection. Source: DRONAH
Fig. 96: Reserve collection of Contemporary paintings (L); Miniature paintings (R). Source: DRONAH
Fig. 97: Grille Climatique or Climatic grid formulated by Le Corbusier. Source: FLC
Fig. 98: Sketches showing architectural solution for climate control in a 110m2 house in Chandigarh. Source: FLC
Archive
Fig. 99: Archival drawing showing climate study of Chandigarh. Source: FLC Archive
Fig. 100: Sketch by Le Corbusier showing cumulative experience of solar heat. Source: http://solarhousehistory.
com/blog/2013/10/28/le-corbusier-and-the-sun
Fig. 101: South-west façade of the building with sun protection system. Source: DRONAH
Fig. 102: Archival drawing showing section through double brick wall with cavity. Source: FLC Archive
Fig. 103: Trees obstruct the view of the Government Museum building from the Museum of Natural History.
Fig. 104: The Museum building is obscured from view due to the construction of the amphitheatre for the light
and sound show as a later addition.
Fig. 105: Addition of fountain and contemporary sculptures to pool (L); Addition of protective grated railing
around the rear pool (R)
Fig. 106: Chandigarh is dotted with urban furniture designed by Le Corbusier. However, the position of these
within the museum precinct have been changed or have been completely removed.
Fig. 107: Addition of a toe wall and the placement of potted plants around the pool at the museum entrance
softens the intended starkness of the concrete piazza.
Fig. 108: Replacement of brick tiles on exterior façade shows incompatibility in terms of specification and colour.
Fig. 109: Painted mesh over vertical fenestrations as later addition.
Fig. 110: Additions using permanent and temporary materials to accommodate utility spaces at the rear side of
the building.
Fig. 111: Addition of glass doors on the ground floor and collapsible grills on the first floor disrupts the flow of
spaces physically and visually.
Fig. 112: Addition of collapsible grill at opening to gallery. Channel fixed onto original flooring.
Fig. 113: Addition of air conditioning units has brought down the ceiling level in the gallery dampening the
spatial quality.
Fig. 114: Partitions that serve as display panels block the window opening.
Fig. 115: Elevator and staircase closed off with brick work and plywood respectively.
Fig. 116: Child art gallery incorporated within the pilotis
Fig. 117: Addition of curtains to internal windows
Fig. 118: Colorfully painted entrance door was later changed.
Fig. 119: Addition of blinds and safety grill to the undulatory windows have changed the light quality within the
gallery.
Fig. 120: Collapsible metal grills at opening between galleries restricts visitor movement.
Fig. 121: Protective metal grill and blinds against windows dampens light quality of the gallery.

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Fig. 122: Addition of painted metal mesh to windows.

Fig. 123: Protective Addition of protective grills to clerestory windows. The window pane is replaced with glass
that do not match the original tinted glass.
Fig. 124: Patch repair of concrete drains
Fig. 125: Inefficient patch repair of terrace waterproofing
Fig. 126: Pool filled with water during the monsoons (L); Makeshift arrangements of water management inside
pool (R).
Fig. 127: Addition of metal railing around - Rear pool (L); Auditorium pool (R)
Fig. 128: Condition of piazza flooring- water-logging at places, discoloration of concrete surface
Fig. 129: Damaged litterbin and cluster of uplighters near auditorium (L); Inefficient signage and other utilities
Fig. 130: Classificatin of trees based on form and colour of flowers
Fig. 131: Tree composition and categorization of Museum site (L); Percentage colour distribution of flowering
trees in the site (R)
Fig. 132: Undated drawings showing landscape proposals. Source: UT Office Chandigarh
Fig. 133: Inside View of main access area: Introduction of potted plants to control movement (L); Addition of
fountain in pool and art installations in the piazza
Fig. 134: Air Conditioning outdoor units at the rear side of the auditorium (L); Trees have been heavily pruned
in the utility areas (C); The DG set within a rather unkempt landscape, hidden from the public view, but with
garden benches (R)
Fig. 135: Cracks due to repairs made in the interior of the temporary exhibition gallery
Fig. 136: Spalling leading to loss of material and exposed rebars along the outer edges of fins(L); Concrete spall
at the underside of concrete drains (C)
Fig. 137: Exposed rebars of terrace elements
Fig. 138: Surface deterioration and soiling on concrete surface.
Fig. 139: Rust stains on concrete beam due to water washing over rusted metal mesh at the window openings
Fig. 140: Water stains at the bottom surface of connectors (L); Staining under beams (R)
Fig. 141: Failing patch repairs (L); Water stagnation inducing vegetation growth within concrete drain (R)
Fig. 142: Surface abrasions and rust stains (L); Alterations and repairs made on concrete flooring in pilotis (R)
Fig. 143: Rust staining and exposed rebars due to loss of concrete cover
Fig. 144: Metal strips between brick tile cladding
Fig. 145: Brickwork damaged due to water seepage (L); Discoloration of replaced bricks (C); Algal growth on brick
tile surface under gargoyle (R)
Fig. 146: Glass panes replaced with un-tinted glass (L); Painted metal mesh over the external windows allows
water into the galleries during the rain (R)
Fig. 147: Wearing of entrance door and handle
Fig. 148: Discoloration due to daily swabbing
Fig. 149: Water seepage from clerestory windows (L); Failing air conditioning pipes (C)(R)
Fig. 150: Stratigraphy of paint sourced from metal railing on ramp (L); Staining on concrete handrail due to
weathering (R)
Fig. 151: Terrazzo sample taken for analysis. Black terrazzo (L); White terrazzo (R)
Fig. 152: Broken terrazzo tiles in gallery (L); The replaced and repaired tiles seem to be different from the original
terrazzo tiles in colour and composition
Fig. 153: Modern alterations damaging original terrazzo floor tiles
Fig. 154: Tile damage due to water dripping from roof
Fig. 155: Fibreboard sample taken for analysis (L); Water damage of fibreboard ceiling panels is also seen.
Fig. 156: Damaged fibre board on the building exterior
Fig. 157: Stratigraphy of paint sourced from duct door
Fig. 158: Stratigraphy of paint sourced from gallery door at interior stairwell
Fig. 159: Worn door corners (L); Ad hoc additions (R)
Fig. 160: Damaged door fixtures, concrete sill and rusting grills.
Fig. 161: Ferroscanner to locate rebars before locating sites for core cutting
Fig. 162: Core cutting in progress and samples collected
Fig. 163: Core Rebound Hammer testing
Fig. 164: Ultra sonic pulse test
Fig. 165: Carbonation test
Fig. 166: Activities at the Government Museum and Art Gallery, Chandigarh
Fig. 167: The bottom surface of the display shows discoloration due to daily floor swabbing.
Fig. 168: Reception sofas have been repaired with leather straps that do not match the colour of the original
straps.(L): Jute strings of the low stool hanging loose (R)

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Fig. 169: Loss of polish and dust accumulation at bottom of the table and chair legs
Fig. 170: Patch repair of Auditorium chair upholstery (L); Mural at the reception by the artist Satish Gujral show
accumulation of dust
Fig. 171: Loss of material observed on textile
Fig. 172: Corrosion and calcareous deposits on metal artefacts
Fig. 173: (L-R) Deteriorations including deformation, detachment and discoloration observed on the sculpture;
Display pedestal with visible evidences of water stains; Sculpture mounted on a pedestal towards the edge; Bird
activity observed in galleries
Fig. 174: Flaking of paint layers observed on artworks
Fig. 175: Bird dropping on painting
Fig. 176: Waviness observed on the tempera paintings
Fig. 177: Craquelure observed on paint layers in painting
Fig. 178: Patination and bronze disease observed on bronze coins (L);
Vertical display of coins with lighting from the top. This reduces the visibility of the coins displayed towards the
lower parts of the display unit (R)
Fig. 179: Stains, fold marks, fading and loss of material observed on miniature paintings
Fig. 180: Blooming and stains observed on photographs
Fig. 181: Objects placed on the floor within the storage
Fig. 182: Objects Exposed electrical wiring and conduit casing disfiguring the building façade
Fig. 183: Inappropriate light and fan fixtures
Fig. 184: Inadequately and inappropriately lit spaces – Staircase to terrace (L), Miniature gallery (R)
Fig. 185: Air conditioning units alters the gallery height
Fig. 186: Water leakage due to damaged pipework under floor of entrance lobby (L); Main water supply has been
temporarily blocked to check the leakage (R)
Fig. 187: (L-R) Area of past incident; Type B extinguisher; Units stored on the staircase; Fire extinguishers hidden
away behind exhibits
Fig. 188: Blue highlights the location of collapsible gates restricting the exit
Fig. 189: Graffiti in paint on fins at terrace level (L); on external columns (R)
Fig. 190: Vegetation growth in concrete duct (L); Exposed reinforcement bars and major cracks seen on beams
connecting the concrete drains to the building (C)(R)
Fig. 191: Dampness seen on external wall (L); Discoloration of ceiling due to water seepage (C); Marks on interior
floor tiles due to water dripping from the roof in the past (R)
Fig. 192: Damp stains on false ceiling (L); Water seepage through aerators (C); Sculpture wrapped to protect
from seepage (R)
Fig. 193: Paintings in Miniature gallery (L) and Contemporary gallery (R) exposed to light from skylight
Fig. 194: Termite growth seen on window frames in the pilotis area
Fig. 195: Blurred vision of the camera outside the storage area
Fig. 196: (L-R) Overcrowded racks for storage of Contemporary paintings; Paintings on the floor due to lack of
space; Large size objects rolled up in wooden cupboards; Miniature paintings stored in wooden boxes
Fig. 197: Damp walls and ceiling in storage areas (L)(C); Unfinished construction between two storage areas (R)
Fig. 198: Lock sealed with wax (L); Fire extinguishers hidden between cabinets (R)
Fig. 199: Water logging at the base of electrical transformer
Fig. 200: Proposed Use Plan for Government Museum and Art Gallery
Fig. 201: Proposed layout for reuse and interpretation of Ground Floor
Fig. 202: Proposed layout of Orientation Gallery on the Ground Floor of the Museum
Fig. 203: Proposed views of Orientation Gallery. Existing (T), Proposed (B)
Fig. 204: Sculpture display in pilotis. Existing (L), Proposed (R)
Fig. 205: Proposed layout of Central Gallery
Fig. 206: Proposed views of Central Gallery. Existing (T), Proposed (B)
Fig. 207: Proposed layout (L) and view (R) of Conference Room on the ground floor of the Museum
Fig. 208: Proposed layout for reuse and interpretation of First Floor
Fig. 209: Proposed layout of Metal Sculpture Gallery on the First Floor of the Museum
Fig. 210: Proposed views of Metal Sculpture Gallery. Existing (T), Proposed (B)
Fig. 211: Proposed layout of Gandhara Gallery on the First floor
Fig. 212: Proposed views of Gandhara Sculpture Gallery. Existing (T), Proposed (B)
Fig. 213: Proposed view of Gandhara Sculpture Gallery.
Fig. 214: Proposed views of Medieval Indian Sculpture Gallery on the first floor of the Museum
Fig. 215: Proposed layout of Miniature Gallery on the First floor

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Fig. 216: Proposed views for Materials and Techniques (L) and Manuscript Gallery (R) section of Miniature Gallery
on the First Floor of the Museum
Fig. 217: Proposed view of interactive display in Miniature Gallery
Fig. 218: Proposed view of Miniature Paintings Gallery. Existing (T), Proposed (B)
Fig. 219: Proposed plan of Ratna Fabri Gallery on the First floor of the Museum
Fig. 220: Proposed view of Porcelain artefacts and Numismatics section in Ratna Fabri Gallery on the first floor
Fig. 221: Proposed view of Numismatics section of Ratna Fabri Gallery on the first floor
Fig. 222: Proposed plan of Contemporary Art Gallery on the First floor
Fig. 223: Proposed views of Contemporary Art Gallery on the first floor of the Museum
Fig. 224: Proposed layout of reuse and interpretation of Second Floor
Fig. 225: Proposed layout of Museum Library with Staff Office at the rear on the Second floor
Fig. 226: Proposed views of Museum Library. Existing (L), Proposed (R)
Fig. 227: Proposed view (L) and layout (R) of Kid’s play area on the Second floor
Fig. 228: Reference image for directional signage
Fig. 229: Proposed signage for gallery name etched on glass partition
Fig. 230: Reference images of compactors for storage of artefacts in museum
Fig. 231: Reference images of visible storage in museum
Fig. 232: Reference image for railing options to keep visitors at a distance from the exhibits. Railing option for
painting (top left); Free standing flexible system (top right);
Fig. 233: Reference image for railing options to keep visitors at a distance from the exhibits. Railing with details
at a comfortable reading distance for visitors. Source: Google
Fig. 234: Open edge of the ramp should be provided with railing

List of Tables

Table 1: Rain water Collection Rationale

Table 2: Comprehensive Tree Plantation Strategy Undertaken At Museum Site
Table 3: Design evolution and alterations recorded through archival research
Table 4: Building elements and their locations
Table 5: Categorized listing of the museum collection
Table 6: Significance matrix for individual elements of the Government Museum and Art Gallery, Chandigarh
Table 7: Timeline of Interventions, Repairs and Alterations
Table 8: Inventory of Existing Plants in Government Museum and Art Gallery
Table 9: Seasonal distribution of Colour of flowering trees in the Landscape
Table 10: Testing Programme for different building materials found at the Museum
Table 11: Proposals for Water Pools
Table 12: Implementation Timeline
Table 13: Monitoring Schedule

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 ANNEXURE
A: Oral History
 Conservation Planning for Government Museum and Art Gallery, Chandigarh

A.1 Oral History Records of Ar. S.D. Sharma, Architect On-Site

How were you involved in the Museum Project and how was the project realized from its conceptual stage to
the implementation on ground?

The building was, as we know, designed by Corbusier. He used to send the designs and drawings from Paris
to the Architect Office here in Chandigarh, where Jeanneret used to be the Chief Architect. The job for us
Indian Architects, was to translate those Metric drawings into Imperial system i.e. Feet- Inches and making
working drawings of the same. The drawings which were sent by Corbusier were only conceptual sketches with
all dimensions in metric units but, without the details. The details were given by Corbusier when he visited
Chandigarh. The conceptual drawings by Corbusier are not available here in Chandigarh now. However, I
remember seeing a few coloured drawings of the Museum at the Gandhi Bhawan Exhibition a few years back
when Maristella was here.

Corbusier used to visit Chandigarh twice a year for a period of one month. During this period, he would call all
the Architects on the team one by one. Whenever my turn came, I remember he used to look at all the working
drawings prepared by us and check them against the drawings he supplied earlier. Of course, these drawings
were initially checked by Jeanneret first and then rechecked by Corbusier.

I was responsible for making the drawings and details for the Auditorium, the furniture for the library and display
objects, working directly with Mr. Randhawa. We both used to sit together and share ideas. He was majorly
involved in the conception of Chandigarh and its landscape and was also awarded for the same.

Amongst the archival drawings from the Fondation Le Corbusier we found traces of the proposal to extend the
Museum according to the "unlimited growth" concept. Did this idea exist even during the construction phase?

The future extension was not considered during the construction of the building, because the gargoyle would
obstruct the extension towards the sides. The space between the auditorium and the museum building was very
beautifully composed. When you walk through this space, it reveals a very grand picture. Maybe the extension
was initially thought of by Corbusier or someone else, but was never discussed with the execution team. I
believe, the theory of unlimited growth is only applicable for modern art galleries.

Was there a landscape design intended for the cultural centre, linking it to the museum?

A landscape scheme was never proposed and the complex was never landscaped. Although Corbusier had
something in mind for the same, Mr. Randhawa was interested in building a science museum instead. This
was built later in the campus in the place of a miracle box as shown in the layout plan of the cultural centre.
The landscape which exists today divides the Arts College and Science museum with visual barriers, which is in
contradiction with the concept of "Unlimited Growth".

What kind of shuttering was used for casting the concrete panels of the Museum? Was it metal or wood
shuttering? And what kind of concrete and shuttering was used for the Auditorium hall next to the Museum,
as they both appear to be different in nature?

The shuttering used was a two feet by four feet steel grate. In Chandigarh, it was a common practice to use
steel shuttering rather than wood, because wooden shuttering gives a very random pattern as compared to the
uniform pattern of steel shuttering. For this the contractors probably charged more. The waves and patterns
created in the concrete walls of the Auditorium were not intentional. They formed naturally with flaws in the
shuttering and aging of the building. Intentions can be shown in very strong shuttering pattern only. Either we
can put it diagonally or any other way.

Do you have any idea about the underground ventilation system in the auditorium? Was it ever functional?

The reservoir at the rear of the auditorium and the basement were meant for a passive cooling system, but
it was never put to use. As far as the shafts under the seats are concerned, auditoriums generally have an
underground tunnel which connects the projection system on the back side of the seats to the front stage and
it also accommodates all the other wires for speakers etc. So it must be there for the same purpose in this
auditorium. But to my knowledge it was never functional as a cooling system, although it was made for the same
purpose and further tunnels connecting the basement were to be made which would bring in the conditioned
air. I was responsible for the conception of the auditorium, but I really don't remember this aspect of design.

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Do you remember the names of the Engineers involved in the construction of the project and how did the
Architects and Engineers work together?

The Chief Engineer was Mr. Kulbir Singh at the time. Engineers and Architect met quite often. They used to visit
our office and discuss any changes to be made or get any problems sorted there and then. Please excuse my
memory but, I really can't remember the names of any other engineers on the project.

Was it common to use brick cladding before Le Corbusier? Were they specially designed for the Museum?

The buildings in the Capitol Complex are monumental. In a smaller building like the Museum concrete may
not show very well. So, looking at the climate, height of the building and the nature of the structure both in
Ahmadabad and Chandigarh, it was decided to use the Brick tile cladding as it gives a very warm and planet
oriented expression. The brick tiles used are different from normal bricks. They are much thinner and baked
at higher temperatures which makes their surface very hard so that they do not peel off easily. These brick
tiles were clad to the surface as is usually practiced. Right at the bottom of the clad wall, there is beam which
is slightly protruded outwards which acts as a resting base for the brick tiles. Also, there are some metal strips
grouted between every 4 to 5 courses to divide the load and hold the cladding to the surface.

Through the archives it’s evident that the terrace of the temporary gallery (previously workshop) was supposed
to be accessible from the Museum and was to function as a sculptural terrace exhibiting artworks. Was this
idea still present during the construction phase? Why wasn’t it implemented on site?

Yes, it was a part of the scheme but never executed. The terrace of the workshop and Guard's room were
supposed to be accessible from the inside of the museum, to serve as a stimulating space or an emergency exit
in case of a fire. Corbusier passed away when the structure was built up-to 6 feet above the ground, after which
Dr. Randhawa took over. He was the main guide and the only one who could get the funds for the project even
in the worse situation of Indo-China war. After 1965 Jeanneret left Chandigarh and Mr. Randhawa continued the
project along with Kulbir Singh (Chief Engineer) and Ar. M.N. Sharma who was a Senior Architect from Patiala.
They were responsible for the completion of the project. It is possible that all the ideas of Corbusier could not
be executed by them.

Who decided the colour palette for the museum, Le Corbusier or Ratna Fabri? Did Le Corbusier chose the
colour for the ceiling panels and the red and black colour walls of the galleries?

The colour scheme was definitely given by Le Corbusier. Each colour was chosen to distinguish between the
different galleries. During the time of Corbusier, there were no display items. The collection - Gandhara, coins,
miniature paintings and other statues were brought from the Lahore Museum after the partition with an
arrangement of 60-40 division. 60% remained with Pakistan and 40% came to India. They were shifted between
Shimla, Amritsar and Patiala until the Museum in Chandigarh was built as their permanent house. So, all the
display scheme was done later when the artefacts arrived. Apart from this, the fixed furniture in the Auditorium
and its interior details were done by me. Upholstery of the chairs was leatherette which might have been
changed over time but the colour was almost the same. All remaining parts of the auditorium interiors like the
wall panelling, ceiling, lighting and audio system etc. are original.

After Corbusier's death we had to get the whole scheme executed in the spirit of his vision. He had given us all
the details and colour schemes but he never planned for the kind of display which would be exhibited. He was
mostly oriented towards modern art and exhibits like large scale paintings.

The wood wool ceiling panels were appreciated a lot by the modern architects in Europe because they were
cheap, had good acoustic quality, they have rough design and so on. But I guess it was quite new in India.
Who decided to use these panels for the false ceiling in the museum- Corbusier or Jeanneret? Also, we were
informed on site that these panels were handcrafted by local artisans. Is it true?

The ceiling panels were called thermophrasers and it was quite a new thing in India at the time. It had acoustic
values as it is rough in texture. There were companies which made these back then and was available in grey
colour. They were painted as per the colour scheme provided by Corbusier. Also I can't remember these ceiling
panels being installed in the balconies as it would not stand the weather outside the building. There was no need
of this. I just can't recall this detail being planned or executed.

Was the exhibition display and the furniture entirely designed by Ratna Fabri? Who designed the lighting?

The interior display was designed by Ratna Fabri, especially the Gandhara and miniature painting section where
you can see the glass boxes and the indirect upward lighting. The library furniture, book shelves and Randhawa's
sculpture display were designed by me. Apart from these, there were some basic display items like the canon,

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for which I designed the stand. Ratna Fabri was commissioned for the overall museum display and interior
design. Lighting for the exhibits was designed in such a way that the natural light and artificial light looked like
they were coming from the same source, in tune with Corbusier's scheme. However, I think the lighting has been
re-done now which does not look very good.

Were there any exhaust fans or ventilators planned in the skylights as shown in some of the archival drawings?

No, I do not recall this ever being planned or executed. Actually, the air conditioning was not done at one
consistent speed and these exhaust fans are very noisy to be put in a museum. It may have been thought of
by somebody but the idea was not executed. I remember we raised a question to Corbusier that there was no
ventilation system in the building design, but he did not answer to that right away. I have written about this in my
book. The next morning he came back with a solution. He decided to put ventilators behind the columns against
the outer walls in the galleries. Probably then the idea of exhaust system in the skylights may have been dropped
which I am not sure about. These ventilators were also covered with wire mesh from the outside to avoid birds
and insects from entering the galleries.

What do u think about the design of the gargoyle? Are you happy with the way it functions? When the wind
blows, it splashes water onto the facade and triggers the growth of algae or creates water stains on the
surface.

It is a natural process and water will splash around in strong winds. With time, bacterial growth or staining takes
place. Initially, the engineers did not agree to make such a long gargoyle on either sides of facade because they
had never made such a thing. They questioned Corbusier about its functioning and wanted to adopt a common
method using pipes for drainage. But, Corbusier said that water is not like grain, it will find its own way and asked
them not to worry about it.

What do you think about the interventions made to the building over time? Were you ever consulted by the
Museum authorities regarding any proposed changes to be made?

A lot of time has passed and over time many people came up with different ideas proposing various changes.
Like the adulatory glazing was painted in the auditorium entrance, installation of the grill against the windows
and the tar (bitumen) on the terrace etc. The surface of brick cladding was painted for projection show on the
front facade. I am really concerned about that, and I am eager to see what the conservation Architects will do
about that. I left the UT office in 1973 and from then on I have had no connection with any decision making or
changes to be made in the building.

How often did Le Corbusier visit the museum site? Did he get to see the starting of the construction? What was
Jeanneret's involvement?

I think he only came to the site once to see the location and check the conditions. The work was allotted to a
Calcutta based company, though I don't remember it now. Jeanneret did not visit this building. He was busy with
the capitol complex mostly. He was a very loaded person with maximum amount of work and so many duties.

A.2 Oral History Records of Dr. Harjeet Singh Dhillon, Retd. Executive Engineer,
Horticulture Dept. Chandigarh

What might have been the selection criteria of the trees in Chandigarh and particularly in the Sector 10
Cultural Belt?

Whenever we choose a tree species for plantation, we consider three to four factors. The first factor would be
that, if the climate of the area is suitable for the species or not; if not the tree won't grow. The second factor
would be the importance or type of the building around which the plantation is to be done. Whether it is a
monumental building, a religious building, a residential area or just road side plantation. Here the height of the
building and the available space is taken into consideration, because trees come in various shapes and heights.
Some trees grow vertically, others have a wide spread and some have horizontal branches, others have drooping
branches.

The Cultural Complex of Sector 10 has a number of very important buildings, like the Govt. College of Arts which
is a low height building, the Govt. Museum which is a square building and the Museum of Evolution. The tree
plantation was done with respect to the forms of all these buildings in the complex.

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The cultural complex has a great number of visitors from over the world. In order to receive these visitors there
are trees like Bottle Brush having drooping branches and leaves which have been planted along the inner side
of the front boundary wall as a sign of welcome. The front approach road running parallel to the site has been
planted with an avenue of Grevillea robusta which is a vertical tree, in order to create dominance. On the other
hand the plantation on the inner side of the site is focused towards camouflaging the buildings, softening the
hard concrete forms of the buildings and bifurcating the spaces around the buildings in order to provide an
individual atmosphere to every building in the complex. Eucalyptus trees divide the space between the Museum
of history and Museum of Science. On the south-west side of the site, Pine trees have been planted along the
Madhya-Marg which have an average height of 40 to 50 feet. These tall trees filter the horizontal rays of setting
sun, which gives a beautiful shadow on the grass, paved areas and the building as well. The south-eastern side
of the site also has a row of tall Pine trees along the boundary wall on the outer side and to contrast these
tall green trees, a row of lagerstroemia, which is a flowering tree, has been provided in the front along the
Jan-Marg. Throughout the summers this flowering tree is in full bloom from April to August which adds to the
colourful charm of the area. Apart from this there are some specimen trees planted in the complex, Dalbergia
lanceolatus for example, which has very shiny leaves and spherical foliage. Similarly, there is Kusum (Scientific
name - Schleichera trijuga), which is also a specimen tree. Although, it is not a flowering tree, its leaves turn
colourful in the months of March-April. These specimen trees have been planted in groups of 3 to 4 in the paved
plaza in front of the History museum and they create focus in the landscape, acting like a sculpture. The College
of Arts has been surrounded by trees which provide shade and flowers during summers in order to camouflage
the low height building.

When was the landscape design or the plantation plan prepared and by whom?

As far as I remember, Dr. Randhawa (Chief Administrator) along with Mr. Johal (XEN Horticulture) executed the
landscape plan of Museum and Art Gallery in 1958-59. I read the autobiography of Dr. Randhawa. He wrote it
in "Punjabi". He talks about his childhood, how he studied and when he came to Chandigarh for higher studies.
He also wrote about the Indo-Pak partition, about the migrating people and what was his role in rehabilitating
them. There is one chapter on the Museum and Art Gallery in his autobiography. He was the first Chief
Commissioner of Chandigarh. He was a lover of art, environment and he had a Masters degree in Botany which
gave him knowledge of plants and trees. During his official visits to other states or abroad, he used to discuss
with dignitaries or experts about plants or tree species and visited the nurseries. He used to bring back seeds
and plants with him to Chandigarh which was under development and he played a major role in its development.
Though there is no written evidence about how Dr. Randhawa prepared the plantation scheme for the Museum
and Art gallery, being a landscapist myself, I could read his mind and studied the existing landscape to write
about the justification of the plantation scheme in the book.

Le Corbusier who designed Chandigarh, gave the concept of tree plantation, which type of trees should be
planted on North-West to South-East roads, North-East to South-West roads and types of trees to be planted in
VIP houses with acres of garden spaces. Dr. Randhawa being a lover of Art, wrote in his autobiography that he
always had the idea of making a Museum and Art Gallery for Chandigarh in his mind. So, he went to Delhi and
got this project approved in a single day, although it takes years to get such projects approved. He considered
himself lucky enough that the secretary approved the project in such short time. Le Corbusier along with Dr.
Randhawa had thought of making 7 to 8 major buildings in the city like the high court, Assembly, secretariat
etc. and the Museum and Art Gallery was also one of them. For all these buildings they designed the landscape
based on "Purity". The overall concept was given by Corbusier and the plantation scheme developed by Dr.
Randhawa. The basic planning consisted of types of trees to be planted on the approach road for welcoming,
another type for domination and flowering trees for adding colour to the landscape and so on. All the tree
species were brought from other states, majorly South Indian states. Chandigarh was being developed as a
modern city at the time, and it was an opportunity to develop an exotic and unseen landscape. So, the local trees
of Punjab were planted in minimal quantity.

Tree Directory of Chandigarh mentions the types and number of trees in the city and its different areas. How
accurate is that information today and what does the directory say about the cultural belt of Sector 10?

The tree directory talks about all the types and species of trees planted in Chandigarh, whether they are on
road side, in the gardens or any other areas. There are some roads on which there are 20 to 25 species of trees
planted on a single road alone. This may be due to the negligence or due to non-availability of one particular
species to be planted on road side. So, the concept given by Corbusier has been violated in some areas. We
limited the list of trees to very important ones in the directory so that the volume does not become too big. I
have myself identified 225 species of ornamental trees in Chandigarh and it is on record.

There is another book, which is going to be published by the Forest Department on the heritage trees of
Chandigarh. We have prepared a list of 31 very old heritage trees which is going to be featured in this book. All
the heritage trees in Chandigarh have been preserved and protected by the administration. Very old trees like

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Peepal, Neem, Banyan and orchards of Mango trees in local villages were preserved. The Sher Shah Suri road
which crossed through the region had mango and Khajur trees along the road, which also have been preserved.
Wherever the old trees were found, either the planning was altered or such spaces were converted into parks.
Sector 37 Model School layout was changed because there were three very old mango trees on the site. Another
example is the UT Guest house in Sector 6, which had a very old Peepal tree. Orders were given to cut away the
tree but, when the case went to the Advisor, he visited the site himself and dismissed the orders to cut the tree,
as it was a heritage tree. Thereafter the design and location of the building within the site had to be changed by
the Architecture Department. It is the duty of the Advisor along with XEN Horticulture, to take up all the cases
of tree removal requests from 3pm to 5pm on Friday. Only after his permission is granted, the tree is allowed
to be cut. Every heritage tree in the city is being labelled and information boards are being erected in front of
these trees, which are also in the shape of a tree. The boards will contain the size and age of the tree along with
the name of the village which it belonged to and the written interview of the local people who are related to
that particular tree. As far as the cultural belt of sector 10 is concerned I don't think there is any old tree with a
heritage status in the area.

What do you think about the Landscape Design and Site selection for the Museum and Art Gallery as it is
situated on a higher ground within the complex?

The idea of placing the building on a higher ground within a site is called "Transition". Transition means treating
the site terrace wise and gradually moving towards lower levels. Take Secretariat in Sector 1 for example. The
height of the Secretariat building is having a height of 150 ft. approx. In order to counter the visual imbalance
in the area, the Geometric hill was made. The hill is covered with shrubs and trees of round shape, so that the
great height of the building is visually reduced and the round shaped foliage softens the straight and bold lines
of the concrete structure. In the Govt. Museum and Art gallery building the plantation is done in such a way that
it camouflages the building and gives a visual softness to the concrete and brick structure. The Alstonia trees in
the parking and near the vehicular entrance, which is generally a low height species, gained height due to close
plantation and pruning countering the height of the Museum and Auditorium building and its green leaves are
in contrast with the grey concrete.

When did you join the Department and what is your experience at the Dept. of Horticulture U.T. and with the
Govt. Museum and Art Gallery and the landscape of the city?

I joined the Department of Horticulture in August 1975. Working in the U.T. Office, with few months of experience,
the senior officials sent me to Dehradun in Jan 1976 to find and buy new species of trees and plants. I was
supposed to visit 2 to 3 nurseries in Dehradun. I was also guided to visit Forest Research Institute in Dehradun
and collect a list of rare plants and trees from there. I got a list of 50 rare trees and plants which had never been
planted in Chandigarh before. So, I chose the different species from the list in the nurseries and as per our XEN's
directions, I placed the order and returned back. We created a garden of unusual trees and plants in sec36
leisure valley where we planted these 50 species and they grew very well

The building and its landscape was already in place and completed. Over the years, I have observed that Govt.
Museum and Art gallery is a very important building but, the same importance has not been given to the
landscape around it. First of all the maintenance is very poor. Secondly, general public and tourists are not aware
of the vast variety of trees we have in our city. Even the Govt. staff are not able to identify the tree species, and
if one cannot identify, how can they choose a tree species. A couple of times I have stressed on this agenda
of spreading awareness about trees to the "Society of Trees" of Chandigarh. It is important to educate people
and making it easier for them to identify the trees in their surroundings. I believe, that all the tourist spots in
Chandigarh like the Sukhna Lake, Sector 17 Plaza, Govt. Museum and Art Gallery, all the main roads, Panjab
University Rose garden and Leisure valley should have labels on the trees with their respective Common name,
Botanical name and Family name. I remember once I met a couple from New Delhi sitting in the Rose Garden just
across the road to the Museum and Art gallery. They had a book of regional trees and they were trying to identify
the trees in the Garden with the help of the book but, failed to do so. Right then I promised them that whenever
you come again next time, you will find all the trees labelled with their names and the same year after the Rose
festival, I got 65 tree species identified and labelled. Every month with the help of Tree Lover Society we organize
tree walks in Chandigarh, where students from school, colleges and nature lovers and citizens participate and
learn the names, value, benefits and other properties of various trees.

Talking about the plantation of Museum and Art gallery complex, I remember that Eucalyptus trees, Alstonia on
the entry gate, bottle brush along boundary wall and Pine trees on the main road were already there before I
joined in 1975. Plantation is generally started simultaneously when the construction of the building begins. But,
other trees like Delbergia lenculatus, Lagerstroemia, other specimen trees and flowering trees were added after
1975 during my service. Even shrubs and flower pots have been added over time.

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What could have been the selection criteria for tree species by Dr. Randhawa?

The tree selection was purely experimental. Some of the main selected species were flowering trees. Gulmohar,
Cacius, Kachnar etc. These trees belong to humid climate or coastal areas where they flourish and have long
age. But, in Chandigarh their age was found to limited. After 25 to 30 years of age, they start declining. Reasons
for this age reduction could be the widening of roads, which lead to cutting of roots. Due to cutting of roots, the
trees went in shock. Second reason is the decreased water level of the area. The third factor is the increase in
pollution levels due to which the trees could not withstand the air change.

While selecting the trees factors like climate suitability would have been considered. Apart from that personal
preference also might have played a major role, because every person demands a flowering tree as it is
aesthetically appealing. Although the Concept of plantation tells a different story. The flowering trees bloom
only for 1 or 2 months in a year, rest of the year it remains with only leaves. Also the canopy of flowering trees
is small so, they are not fit for main roads. Main roads must have vertical, spreading and evergreen trees with
long lives. Chukrasia for example which is the most successful tree on road sides, Toona, Mahogany, Arjan and
Imli. Another factor is to create buffer, just like outside the rear boundary of the site parallel to Jan Marg has
been provided with a buffer of 5 rows of trees like Chukrasia, Grevillea robusta, Siris, Pilkhan etc. to create a
complete buffer from the road traffic. While on the inner side of the boundary flowering trees have been grown
to contrast the buffer.

How should the maintenance works be carried out for landscape of the complex?

The maintenance responsibility mainly lies with the Horticulture Dept. But the horticulture Dept. has limited
resources as they have to maintain the complete city. During my tenure, there was no maintenance scheme for
the Museum but, the horticulture staff was called on requirement basis by the Museum authorities. The Director
Museum and Art gallery shall take interest and appoint separate staff to take care of the complex landscape with
the guidance of the Horticulture Dept. U.T. There have to 8 to 10 permanent gardeners and one head of staff
appointed along with machines for pruning, mowing or cleaning etc. Regular maintenance schedule must be
followed. Trees need care only when they are growing, but after a few years depending on species to species
they hardly require special care. They shed leaves which needs cleaning and they may also get out of shape, for
which their pruning needs to be done from time to time in order to maintain a defined shape. Also, looking at
the tourist influx year round, there must be flowerbeds, shrubs planted for beautification which need regular
care along with timely mowing of grass. There is also a major lacking of landscape furniture for people to site and
enjoy the place. The sitting furniture shall be planned as per requirement for a single person, a couple, a family
with kids or for old people rather than just randomly placing benches in the landscape.

As per your study, what design language has been followed in the landscape of the Museum Complex?

For instance, Eucalyptus trees in the Museum complex are used to unify the respective spaces of the buildings
and to balance them Pinus longifolia trees have been planted. Moreover all the tall tree species in the complex,
like Eucalyptus, Bambik ciba and Pinus longifolia balance out each other in terms of height. The design principles
of landscape include Emphasis which in this case is created by the Building itself. So, the landscape design can be
used to either strengthen the emphasis, if the building is of human scale or weaken the emphasis if the building
is of monumental scale. Secondly there is Rhythm which can be created by repetition of plants or trees after
intervals, reminding the viewer of the same species. The third principle is "Contrast" which can be in texture,
shape and colour. If we have to give a spacious feel to a small area, trees with very small/thin leaves with fine
texture are planted and vice-versa. Fourth principle is "transition" as mentioned earlier. This is done in order to
either camouflage or to break monotony of the building.

The green belts spreading from sector to sector which also touches the South-eastern side of the site was
originally made for the pedestrians or cyclists. It also gave a linearity to the road avoid heavy traffic noise into
the site. The plantation of green belt is generally done by throwing seeds randomly or we group them into rows
of single, three, five or seven trees.

The sculptures have been added to the landscape of the Museum Complex over time. What role do they play
in the landscape?

During my tenure in the UT Horticulture Dept. I gave a concept of 13 gardens especially for the southern sectors
of Chandigarh, out of which the sculpture garden was proposed in the sector 10 Leisure valley in front of the
Museum and Art Gallery complex. Sculptures made by the students of College of Arts are marvelous, which were
then dumped or haphazardly displayed behind the arts college building due to which they didn't get recognition.
By displaying these sculptures in the open leisure valley, not only the students will be motivated but also their
work will be recognized, people will appreciate the art and it will add to the beauty of the landscape. Although
this proposal hasn't been completely implemented yet but, some of these sculptures now add to the beauty of

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the Museum complex itself. Eucalyptus and Pinus longifolio are used for massing; Bambic ciba, Jivaputra and
Delbergia lenculatus are a Specimen trees; Alstonia is used for low height massing; Grevilia robusta is used
for Dominance; Schleichera trijugga is a Specimen tree which changes colour with season; Pride of India,
Lagestroemia, Tecoma argentea and Chorisia speciosa are used to add colour

What do think about the storm water and water supply management of the site?

The Architect took care of the storm water from the roof by collecting them in gutters and using it as a natural
waterfall which falls onto the randomly placed stones in the circular pool in the front paved area. From here it
goes into the drains. This not only adds to the beauty of the landscape but, the splash of the water also gives
a cooling effect to the people sitting around. Back then there was no rain water harvesting schemes available.
However, Le Corbusier decided to use this water in some way, instead of just letting it go directly into the drains.
Now, you can see that a fountain has been added to the water body, which is an artificial method of creating
splash, which is not as per the original idea of the Architect. Apart form that, air conditioning units have been
added on the Eastern side of the building and to camouflage or hide that new plantation has been done around
it.

A.3 Oral History Records of Dr. B.N. Goswami, Member Museum Advisory Committee

Since when have you been associated with the Govt. Museum and Art gallery and in what capacity?

My association with the Govt. Museum and Art gallery has been close to 40 years long but not in a formal way, I
never held a position here. But, I have been associated as a member of several committees over the years, one
after another. Art purchase committee, advisory committee and book purchase committee for example. I am an
academician and used to teach at the University and held the position of Director for the University museum. So,
in this capacity I used to come here at the Museum and worked here with all the people here.

Please share some of your memories with us from the times when the museum was being constructed or after
the inauguration of the building.

I never saw the Museum during its construction; I saw it soon after the building was complete. The Chief
Commissioner at the time was Dr. M. S. Randhawa, who was a very legendary name in the region. The Museum
exists due to his contributions. He himself used to get all the works done here, supervision of the museum,
collection of art, etc. He was senior to me but, we were very good friends. There were times we used walk
around together and see the work happening in the museum. So, when I say that I have been associated with
the museum since 40 years, I may be wrong, it should be close to 50 years.

Dr. Randhawa had his own way of working and somehow I enjoyed that. He did not believe in roadblocks in the
way of his works and he also held a top position where he could make things happen. He has contributed a lot
in making this museum. I got a chance to assist him in the collection of art but, not much otherwise. He used
to take our advice at all times. The original setup of Museum galleries was done by Prof. Mathur’s sister, Ratna
Fabri who was married to Charles Fabri. Professor Mathur was also a member of faculty in Panjab University of
Arts and a dear friend of mine. While Ratna Fabri was designing the setup, we used to debate on how to do and
what to do. For instance, there was a very tall wall hanging made of jute, so we discussed how to display it in
the best possible way, and more preliminary level discussions while setting up the museum. I would not take any
credit for it, but yes we kept working.

Who played the main role in designing the Museum setup and who were the key persons involved in making
approvals and taking decisions?

Ratna Fabri was given the responsibility for the designing the setup, but there were some inputs from Dr.
Randhawa and a very few from me. The building as you already know was designed by Corbusier and S.D.
Sharma was involved in the construction. One thing was very clear that the decisions were taken in an informal
way. There were no minor hiccups which lingered in the work. Real work happens better in an informal setup
only. Dr. Randhawa had an amazing capacity to override conventions or bend the rules. Since his heart was in the
right place and he really thought for the city, all the decisions he took were for the betterment of the museum.
Ratna was also responsible for the lighting design along with the display. She must have had a technical expert
in her team who helped her with such aspects.

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What do you understand about Le Corbusier’s concept of “unlimited growth” which he kept in mind while
designing the Three Museums?

Corbusier thought of his building as a sculpture on a large scale. The concept of “unlimited growth” is a general
concept. It doesn’t apply to a particular building. It could be about the city or a complex. It can’t be applied to
a single building. He was an open minded person with a vision. He was not rigid in his thoughts but yes, he was
rigid in some things or we can say he was particular when he took inspiration from the things he saw. No human
is complete in himself, and one tends to take ideas from everywhere. He also took ideas and used them in his
own way.

This building we already know about, but Sanskar Kendra in Ahmadabad, which is structurally similar to this
building, have some problems. For example, ingress of air in the interiors of the building. These minor issues
are germane to architecture. Nothing is created like “Minerva from the head of Jove”. Only by using a building
for a time or couple of season changes, you will be able to tell about the shortcomings and flaws in it. Similarly,
architecture is never complete in itself. One has to make modifications, gaps have to be filled in, and infirmities
have to be removed.

Who do you think decided the colors of the walls and ceiling panels in the galleries?

Le Corbusier used to work with concrete in most of his buildings. And exposed concrete is not an attractive
material to look at; but it does not catch the eye. Human eye stops only where there is highlighting. Corbusier
was very conscious of this idea. I am very uneducated about him, I haven’t read any book about him.

Have there been any changes done to the original display over the years? If yes, by whom?

There haven’t been many changes in the display since the beginning. But, over the years whenever a senior
officer from the Administration visited or a bureaucrat became the Director, who is not conscious about Art
and Architecture, they would ask for some changes as per their desire which would be hard to resist. So, minor
tinkering did take place, but the basic structure of the galleries remained the same. Approximately 10% display
has been increased from the original. Gandhara sculptures have increased and coin display was added later.

What do you remember about the theft which occurred in 1970 and what changes were made to the museum
after that? According to you, how did those changes affect the Building?

The theft in 1970 created a great stir in the museum. And due to that many areas were blocked. The staircase
in the reception area for example. Earlier it was used by the staff members to access the office on the 2nd level.
Similarly many other changes were done, which were not well thought of or discussed properly.

What do you think about the museum setup today? Are there any changes you would want to do for the
betterment of the museum and which help retaining the original idea of the Architect?

I feel we can move the sculptures which are lying outside in the corridor indoors because they are hardly seen
by the visitors. Only the Jain Goddess and Ganapati sculpture which are in the way to the main door get the
attention of the people. So, they could be placed in the galleries for the people to see. There was a canteen at
the back side, which was a very important aspect of the museum. Not exactly a canteen but, a café should be
there in the museum. Although, I hardly visited the cafe in earlier times. It didn’t have the atmosphere of a café,
it was more like a glorified Dhaba.

After Corbusier’s death, who took over the project and who were the key persons responsible for the building
as per the original design by Corbusier? Were any changes were made by someone as per requirement?

Ar. M.N. Sharma who was the Chief Architect at that time and Ar. S.D. Sharma, the Assistant Architect were
certainly involved in completing the project. I saw M.N. Sharma many times on site. I have also seen Euli
Chaudhary a few times. Though, she was not formally appointed, but her suggestions must have been taken.
I wasn’t a daily visitor to the museum, so I do not know as much as the people who were regularly appointed.
Sometimes I was called upon, sometimes I came myself to read or to meet people working here.

Was the Auditorium in place when you first came here or was it being constructed at the time?

I remember having a discussion with Dr. Randhawa about the Auditorium, whether it should be made or not. I
am not sure but, it may have been left out of the original plan or it wasn’t sanctioned initially. But, I insisted that
the Auditorium should be made. A museum cannot function without an Auditorium. Eventually, Dr. Randhawa
decided to make it.

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Did it ever occur to you that while making his paintings in the Capitol Complex buildings or the tapestries ,
Corbusier might have painted the form and shape of the Museum based on his concept of unlimited growth,
inspired from the shell of a mollusc?

Corbusier was an heir to the European tradition. All these basic forms and shapes are from the time of Plato.
If you read about Plato, he says that there are basic forms derived from the nature which humans have made-
cube, pyramid, etc. So, Corbusier might have had all this in his mind. When he came to India, he might have
absorbed the local scene form whatever he saw. To be able to absorb is a gift, one should not be scared of it
and Corbusier was a brave man, who clearly reflected his ideas and inspirations in his paintings. So, yes it very
possible that he might have made the form of the museum in the tapestry.

If the Museum is brought back to its original state, what are your recommendations for the adaptive reuse
and modern security systems to be adopted without disturbing the original design and look of the building?

Looking at the displayed items in the museum, we can’t even guess the true value of art and artefacts. I believe
the value would be equal to the infrastructure of the complete sector in Chandigarh. So, while reversing the
changes done to the museum after the theft, one has to think out of the box so that the security of these
invaluable items is not compromised. Times have changed now and we are living in a dangerous world, but
something can be done for sure to strike a balance between the security measures and the look of the museum.

A.4 Oral History Records of Mr. C.K. Sharma, Museum Superintendent

Could you tell us a little bit about the Mural in the entrance lobby? And what changes do you see in the lobby
over time?

Mr. Satish Gujral made this mural. And I remember there was a door next to it which has been closed now. He
used to come here to make this mural himself and his wife accompanied him. He was not able to speak, so he
explained everything to his wife and she conveyed it further. It wasn’t here during the inauguration; it was made
a bit later. Dr. Randhawa commissioned it to Mr. Satish Gujral. Dr. Randhawa had a special place in his heart for
this museum. All the collections of paintings, sculptures and artefacts in the museum were done by him. It would
be safe to say that the museum exists today only due to Dr. M.S. Randhawa.

Another change in the entrance lobby is the staircase going upwards, which was blocked after the theft due
to security reasons. Otherwise we went up to our office using this staircase. The room for the curator behind
the lobby was also made later. It was all open earlier and we could look outside through this wide glazing. The
column like shaft next to the reception counter used to be exposed concrete finish, which has been painted
white now. Even the door on the shaft was either red or yellow in colour.

Please tell us about yourself when you joined the Museum and share your memories from that time. Also can
you remember anything about the theft which took place in the museum?

I joined here as a clerk on 14th February 1967 and retired in the year 2005. The museum was in the Arts College
building at that time. We had a small office there. Mr. Mohan Singh, who was a curator from Punjab was with
us in the office. Later, Surinder Kaur Dosanjh joined as an assistant curator. In 1968 when this building was
inaugurated, we shifted our office to the upper floor. We used to stay inside the museum and oversee everything.
Artists used to come here to work; I have seen the famous artist Sobha Singh coming here to finish an incomplete
painting of Guru Gobind Singhji. There is another painting of Guru Nanak Devji made by him, in which he has
painted his own reflection. One needs to keenly observe the painting to find resemblance of the face of Guru
Nanak Devji with Sobha Singh. So, whenever someone extraordinary used to come here or some event used to
take place in the museum, me and my colleagues used to come down from our office to see it. Mr. R.S. Madaan
was one of my colleagues at that time.

Mr. O.P. Kapoor who was Superintendent here is another important name, someone who has made a huge
contribution in establishing this museum. We all used to work so passionately, even upto 10.00pm in the night
under his leadership. We were not aware of the term “overtime” at then. All we knew was that we have to
establish this museum as quickly as possible. With full enthusiasm we played our part in correspondence and
writing letters to various companies and departments.

Later, when the theft took place, we realized that it wasn’t safe to work late at the museum. The technical staff
used to lock down the museum from outside and slide the keys in from under the door, while we used to work
inside. After finishing our work, we slipped the key out from under the door, and the guard used to unlock and
let us out and lock the door again. Things were not so unsafe back then.

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People were not aware of the great value of the things inside the museum and neither were we. But, after the
theft we learned the true value of the things kept here. I am not sure but, it was the night of 23rd-24th July 1970
when the theft took place. I was in New Delhi for a wedding that night and I remember we came to the museum
the next morning; I saw all the employees and guards of the museum were being beaten up and thrashed so
badly. They all were lined up and were being interrogated. But, those poor people were all innocent. Nobody
had even dreamt of a theft at the museum. We stood up for our staff and requested the police to leave the staff
alone, as we knew in our hearts that they could not do such a thing. People were honest back then and we had
trust in each other. The security guards from the police department deputed here were beaten very badly too,
as the theft happened under their noses. Later our office was shifted to the City Museum building.

You will be surprised to know that a while after the theft when things started getting back to normal; we received
a parcel from Lucknow. Mr. O.P. Kapoor saw that there was no name on the parcel. The moment he opened the
parcel, we were shocked to see that it had the stolen paintings in it. We checked the back side of the paintings to
see the stamp of the museum and it was confirmed that those paintings belonged to the museum. Immediately,
Mr. Kapoor called the police to inform about the parcel. The police took over and kept the parcel with them and
the investigation went on for long at a very high level. Later it was discovered that some foreigners were involved
in the theft and it was all very meticulously planned.

Earlier the security of the museum was managed by the Chandigarh police and the guards appointed by UT
Administration. After the theft, many changes were made here, like the grills were installed against all the
windows. Currently the security is also managed by the ITBP (Indo-Tibetan Border Police). The Engineering
Department made all the changes here and every decision was taken at a higher level, although approvals may
have been taken forcefully from architecture department too. All the extra doors in the galleries were closed
down with masonry and openings were closed with doors.

As per the current status of the Museum, what are the changes you see have been made from the time you
were here?

At our time, it was a very strict rule that even if a nail has to put on the wall we had to take permission from the
Architecture Department. But, after the theft there were many major changes made to the museum as we have
discussed earlier.

Did you see this building during its construction? If yes, have you seen Le Corbusier coming here anytime?

I haven’t seen Corbusier but I have seen M.N. Sharma and S.D. Sharma ji here many times. I saw this building
closely only when it was complete. The museum was in the Arts College when the construction was going on.
Actually, the site of the museum was a water pond originally so, the foundations of the building were made quite
deep. The building is so strong that it can withstand an earthquake easily.

What do you remember about Ratna Fabri, the designer of the interior setup?

As we can see in the double height gallery, there is a tall woven hanging made of jute. Ratna Fabri decided to
cover the high ceiling area of the first gallery with such tall hangings. Although now it has been hung against the
wall; originally it was in the centre along with the column and there was another full height hand-woven carpet.
It was a challenge to use the tall height of this room, so she thought of filling up this space with full height artistic
designer hangings. We used to be seated in the office on the third level, but we came down to see how the
gallery was being decorated. There were many decorative hangings, but with time they needed to be changed
as they might have been eaten by insects or some other reason.

What about the lighting scheme, is it the same as original, or do you see any changes now in the lights or any
other things?

There were no ceiling lights in the reception area. I remember it used to be dark here. The architect didn’t allow
us to put lights here but they were added later during my tenure. The lighting in the false ceiling is the same as
original. But, these hanging lights in the double height gallery were added later when an artist named Henry
Moore from U.K. had his exhibition here. The lights above the window in the textile gallery were put later. It was
observed that the lights being too high could not illuminate the area properly. But, Mr. Randhawa wanted the
lights to be away from the sculptures and artefacts, so that it does not affect them in any way. Even the lights in
the ceiling panels have been added later. The colour of the light was same as now. Only white tube lights were
installed. The continuous running lights running along the false ceiling is the only original lighting design. It used
to have a transparent plastic mesh covering, which is not there now. The mesh used to fall down because it was
so poorly installed. Either pigeons or other birds which entered the museum used to hit these lights while flying
and the mesh kept falling down at some place or the other. We used to run behind the birds to push them out of
the building, but the poor birds could not find a way out. They usually entered from the main gate as it remained

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open throughout the day. The curtains against the window in the textile gallery were also not there as far as I
remember. The flooring of the ramp is the same. There was a huge painting of Ajanta- Ellora on the wall adjacent
to the ramp, although it may have been removed due to damage.

As we can see the openings in the upper galleries have been blocked with collapsible M.S gates. Has this
change affected the circulation and accessibility?

The system of circulation was the same as it is now. The entries were closed keeping in mind the circulation
pattern of the visitors. First one enters the Gandhara section and then the miniature painting section and so on.

What changes do you see in the upper galleries?

There are many changes, like these showcases were smaller and now I see quite bigger ones. The curtains on
the windows of Director’s cabin have been added later. They were not there originally. The shaft in the gallery
was also in exposed concrete with a coloured door. It has been painted white now and the door has been hidden
behind the display panel. The entrance to the lift has also been closed with display panels. The lift might be of
no use now to the museum, although it was used to bring heavy sculptures initially. The painting of Guru Nanak
Devji used to be in the modern painting section. The paintings are usually taken to the lab for conservation
whenever required, and when they are displayed again, the location might have been changed. The curtains in
the library also have been added later.

The terrace of Guard’s room was supposed to be designed as a terrace garden as per Corbusier plan and maybe
an emergency exit too, but it was never used. The grills on the windows were added immediately after the theft,
but I think these grills in the clerestory have been added later to make sure all glass panes are secured with
fixed iron grills. All the galleries were open and interconnected, but now these glass doors have been added as
they needed to air condition the gallery. The glass panes in the clerestory also seemed to be changed. Originally,
translucent glass was used. The colour of ceiling panels in the library seemed to be changed now. It wasn’t white
originally, although I don’t remember exactly but it would have been red, yellow or black. It used to be really
hot in the library even at those times, otherwise rest of the building was fine. The sofa in the library is original
but the upholstery has been changed now. Dr. Randhawa used to come and sit here in the Director’s room. The
seating arrangement was different from what it is now. These curtains were not there in the Director’s room and
one used to get a very nice view of the Art college and the Shivalik hills in the backdrop from here. The clerestory
here in the Director‘s room was closed with this acrylic sheet in the same way, but it was transparent. It used to
catch dust which was visible from the transparent sheet, due to which they might have made it opaque.

Was it revealed after the investigation where the thieves entered the building to execute their plan?

Yes, we came to know about this in full detail. They entered from the door in the north-west facade on the
2nd level, which opens to the terrace of the temporary exhibition gallery. After the museum was closed in the
evening, one of the thieves stayed hiding inside. Back then we did not check properly. The security guard would
just call out if anybody is still there before locking. Late at night that man loosened the screws of the door
lock from inside and opened the door to let the other men who were waiting on the terrace of the temporary
exhibition gallery inside.

The showcases of the miniature paintings were of a special design earlier, although it is different now as they
were changed. The thieves with complete ease spent the full night and opened the frames. It wasn’t an easy job
to open the frames of these paintings. They must have acquired knowledge to do it. Only Gurdev Singh knew
how to open these frames. He had come from Patiala museum on deputation. He was a carpenter and promoted
to the post of caretaker (tehbildar). Only due to this reason he was very badly beaten up and tortured but he was
a very honest man. They stacked up the frames properly at a side and packed the paintings only. Then they left
from the same place where they entered from. Those frames are now kept away in storage somewhere as they
were replaced with new frames.

The full detail of investigation was also published in the newspaper. You can find it in Tribune from the 1970.
Some of the stolen paintings were sold to a lady in France. She had seen it in the news that such paintings have
been stolen from Chandigarh Museum because the incident went viral all around the world. She bought the
paintings and informed the police that this person sold the paintings to me. She did a good job in getting that
person caught but she was never given credit for it and neither was she paid back for the paintings; even this
thing kept coming in the news. Afterwards rest of the paintings came back in an unnamed parcel.

Was the staircase in the reception to the miniature section used by people?

We used this staircase to come up to our office here at the third level, which has been converted into a room
for the Holy Scriptures now. It was our office only until the theft happened and then we were shifted to the City

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Museum building. The staircase was never meant for visitor access. The coloured door of the staircase used to
remain open However, now it has been closed permanently and covered with display panels. The wood panelling
on the staircase going up to the office has been done later. It was exposed concrete earlier. These changes were
made after we shifted to the City museum building, which was still under construction at that time.

Was the guard room in the extended single story block the same as it was originally?

Yes it used to be a guard room then too, but it did not have toilets. They have been added much later. The guards
used to sleep outside on charpoys as it was hot inside the room. If you look at the north east façade of the
extension block, you can see that it used to be half veranda and half guard room. Later it must been closed to
accommodate the toilets and AC plant. Even the corridor spaces under the building was covered and converted
into store rooms with wooden partitions. All this was done during the term of director V.N. Singh.

What can you tell us about the water body at the front of the building?

I can tell you about the story behind the small stone like sculptures in the water body. We had here Gyan Singh,
who was an attendant from a local village. Mr. N. Deva Sahaye was our Director at that time and he wanted to
decorate the pool in some way. This attendant brought a stone from a river to show it to the director, which
might have taken its natural sculpture-like shape due to the flow of water. Mr. Sahaye really liked it and went
along with him to the river and collected some more such pieces. They were brought down to the museum
and installed in the pool with cement. He later became a curator at the Museum. Before him, Mr. Sarkar who
was the principal of Art’s College had an additional charge of directorship at the Museum too. The water body
was also filled up with water later in order to plant water lily. This was done by Mr. K.K. Sharma who was an
environmentalist. But now I see there is no water stored in it and fountains have been added, probably for the
sound and light show. I also remember that the water body was surrounded by an M.S railing some time later.
This has been removed now and a brick parapet has been made. This might have been done by CITCO when the
sound and light show was introduced.

Were these sculptures in the outside corridor initially planned as they are now?

Originally only two sculptures were kept in the corridor. One was the statue of Lord Ganesh and the Jain Devi.
Rest all have been added later over time. Maybe some have been brought out from the inner galleries. The
statue of Jain Devi was very heavy and was installed here with the help of a crane.

Do you remember anything about the Auditorium? Have you seen it under construction?

As far as I remember, when I came here the building of the auditorium was complete but the interiors were
being done. The basement in the auditorium was meant for the air conditioning system and the vents under
seats released cold air into the auditorium. It was all designed as per the latest/advanced technology available.
The cooling system was used for a while back then and the water body behind the auditorium was meant for
the cooling plant only. It was filled up with water and used to have fountains too. The acoustic panels have
been painted later I guess. Originally they were without paint and with the natural finish of hard board. The
ceiling is still the same as it is now in white color. The upholstery of the seats was bluish-grey leatherette. They
may have been changed later to brown leatherette after the original wore out. The older version of projection
system was manually operated, so the back entry was used by the projectionist to run that. The window above
the entrance door of the auditorium had transparent glass which has been painted white now. It used to have
maroon coloured curtains initially. These faded paintings on the exterior wall of the auditorium were done by
an artist quite later. But initially it was not allowed. The concrete surface was supposed to be kept untouched.

Was the underground cycle stand ever used?

It wasn’t initially planned, but later on it was made as a necessity. We all used to come on our cycles but there
wasn’t any designated parking for cycles available. It was used for a couple of years but, due to the problem of
water ingress, it was abandoned and converted into a scrap store.

What differences are there in the landscape from the beginning?

There is not much difference in the landscape but the trees used to be smaller in size and everything was visible
from faraway distance. One could see everything around the museum too. All the sign boards you see now have
been added later. The oldest trees here in the campus were the eucalyptus trees between the science museum
and Govt. Museum. Rest all were planted after the inauguration. The trees along the boundary wall were very
small as I remember.

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What was the locking procedure for the museum originally? Was it done in the same way as it is done now?

Earlier it was just locked with a key without any seal. The wax seal method was only adopted after the theft in
1970. This method is damaging the gate and it also gets stuck at times. Many times the lock smith had to be
called to repair it. This issue was brought up several times that the lock should be changed but, it cannot be
changed because it’s an original design by Le Corbusier. In the evening 15 minutes before the closing time a hand
held bell/gong was rung by the caretaker to announce the closing time and to make sure that all visitors come
out of the museum. This has been replaced by an electric bell. No checking was done before the theft. Now, after
ringing the bell the complete museum is thoroughly checked to ensure nobody is left inside.

What can you tell us about the canteen area? When was this area covered and converted into a child art
gallery?

The canteen was there until I retired in 2005, but I remember that Mr. V.N. Singh had hired artists and given the
canteen area to them after closing down the canteen. They used to sit here and paint on canvases.

Well, I have never seen this area closed. Today is the first time I am looking at these walls which have closed the
corridor space. This all used to be open when I was here. It’s quite surprising that one can’t even see the canteen
now. Otherwise the glazing of the canteen was visible from here and it had curtains inside. I remember there
used to be Security in-charge’s office (SHO) in this space under the ramp. The canteen was run by the Hospitality
Dept. and it was economic to have refreshment here. It also had furniture in it which was very strong and well
made. I remember a person who had come from France. He saw the furniture and he wished to buy the tables
in the canteen. The tables were designed by Corbusier I think, but the chairs were different, they were foldable
chairs. There was no heavy cooking done in the canteen’s kitchen. Only tea was made here and rest all came
packed from the Hospitality Dept. We all used to have a tea break here in the canteen. I am not happy to see
this area being converted into a gallery. They could have made the gallery somewhere else, and this should have
remained as it was. I feel, this intervention has dampened the beauty of the building.

What do you remember about the plaza area?

It used to be empty in the beginning. But, slowly it was decorated with these sculptures. Sculptures were bought
under the annual purchase and some of these sculptures were made by artist Shiv Singh. The boundary was of
the same height. The barbed wires was added later because the height was too small and people used to jump
over the wall to come in. The director V.N. Singh requested the Engineering Dept. to get this done. The railings
in the paved area were added by CITCO when the sound and light show was introduced. However, the paving
is original and no changes have been made to it. I remember the inauguration ceremony was held here in this
plaza. Tents were setup here; it was a very grand event. Many ministers of Punjab and eminent personalities
came for the event. I miss my colleagues from those days and it makes me happy remembering those incidents.

Do you have any memories of the City Museum building?

Originally this building was designed as an administrative block cum exhibition hall. The bottom floor was
exhibition hall and upper floor was the administrative block. We used have our office here for a couple of
years. Exhibitions were held on the ground floor. Bureaucratic officer who visited wished to make changes and
eventually it was converted into Architecture Museum. The terrace floor used to have a food stall when it was
converted into the Architecture Museum.

Since the time P.C.S. officers have been appointed Directors, they have been doing as they desire and they do
not consult the Architecture Dept. Earlier it was mandatory to consult the Architecture Dept. and nobody could
change anything without their consent. All the works used to happen in-house by the Engineering Dept. Now it is
tendered out to private contractors and consultants. Engineering Dept. used to do high quality work themselves,
but trends have changed now and the quality of work has degraded.

Since you have been associated with the museum from the beginning and for such a long time, what are you
recommendations for the betterment of the museum?

I started my career with the museum and retired from here in 2005. I gave my whole life to the museum. It is
very funny and you won’t believe me when I say that I see the museum even in my dreams. One thing I would
like to recommend is that the museum should be expanded. Art purchase is made every year and the collection
has increased over the years. However, instead of putting them on display, it has been kept in the store due to
shortage of space. Also, the lock system of the main gate should be changed. As far as the security is concerned,
the grill shall not be removed because in today’s world there are high chances of criminal activities. Right from
the beginning, we all have faced the problem of high temperature inside the museum, especially the third level.
It was very hard for us to sit here in the summers. So we always wished there was air conditioning in the building.

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A.5 Oral History Records of Mr. Janak Raj, Museum Caretaker

Since when have you been associated with the Govt. Museum and Art gallery and in what capacity?

I joined the museum as a "chaukidaar” (Guard) on 4th September 1986. The post of “chaukidaar” is such that he
has to become a caretaker after 5.00pm. Especially at the museum he has to take care and guard the invaluable
things kept in the building. I do my duty with full dedication and I remember where each and every artefact has
been placed in the museum.

What changes do you see have been made in the museum over time?

The sitting area in the reception is still the same but there was no souvenir shop here. There were a few books
related to the museum which were sold on the reception table itself. The metal grill against the windows of the
ground floor were added after I joined the museum. It was added around the year 1990 as far as I can remember,
which is almost 20 years after the theft. Prior to this, the grill was already added in the windows of first floor.
For the skylight, double grills have been installed both on the inside and outside. Earlier it was a single layer,
the second one was added later in 2004. This has made the cleaning or changing of the glass difficult. There are
some broken glass panes, but it is impossible to replace it with the grill in place. There were no curtains against
the ground floor windows, giving a clear view of the outside. These curtains have been added recently in 2002
-03. There was no office for the curator behind the reception. Instead it was an empty space which was meant
for the projectionist to sit and he was provided with a storage cupboard. A temporary partition with a steel door
was put to enclose the space.

What changes were done to the toilets and the reception area?

The flooring was terrazzo tile initially. Later it was changed twice, first in 2000-01 and later it was renovated
again in 2016 when the exhibition of fossils was put up. The French President and Indian Prime minister visited
the exhibition. During the same time, the false ceiling in the Curator’s office near the toilet block was done. The
toilets had one wash basin each and two WC’s. The Gent’s toilet had the same no. of urinals as now. This shaft
in the reception area was painted white in 1989 when an exhibition was put up by the Post Office Dept. The
reception area was also used for the exhibition, so the shaft and walls were painted white to suit the exhibition
setup. There used to be a passage adjacent to the mural as my seniors used to tell me, but I have never seen
it opened. However, it may have been permanently closed after the theft. The aluminium-glass door at the
entrance to the central gallery was added in 2000. It was installed to prevent the birds from entering the galleries.

What changes were done here in the central gallery?

The lights above the windows were added around 1998. There used be blinds here installed in 2000, which
were recently replaced with curtains in 2016. The hanging lights have been here before I joined the museum.
The partition near the staircase going to the terrace was added in 2002 and the furniture store was made in
2004-05. Earlier the light used to come in from the glazing and one could look outside from within the gallery.
All the furniture in the store is the damaged furniture of the galleries. This gallery used to have three to four tall
embroidered wall hangings which were suspended from the ceiling between the columns. The door leading
towards the child art gallery was already closed before I joined here. The child art gallery was made in 2006. The
display was different earlier. There used to be stone pedestals and sculptures in this gallery or wooden pedestals
for other lighter artefacts. Later the display was changed when Governor Jacob came in 1995-96. Everything was
encased in box type display units.

How often were the interior walls painted in the museum?

Earlier the white wash on the walls was redone every 3 years. But, now it’s not done regularly. It has been almost
6 years now since the walls were painted last. Similarly the coloured walls in the upper galleries also have been
painted many times, however the colour has been kept the same as original. Even the ceiling panels have been
painted twice under my watch. The mechanical ladder from the Electrical Dept. was used for painting these high
walls and ceilings.

What routine was practiced to close the museum when you joined the museum?

The same routine was performed as it is practiced now. But instead of an electric bell, a hand held bell was rung
at 4.30 pm, which meant that the visitors had another 10 minutes left. Then a second bell was rung at 4.40 pm
and the receptionist along with the curator and care taker took a round of the galleries to thoroughly check
everything. At 5.00 pm all the staff members gathered outside and the main door was locked and sealed with
the stamp of the museum in-charge. The electric bell was installed in 1994 or 1996, I don’t remember exactly.

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What changes have been made to the metal gallery?

The CCTV cameras were firstly installed in 1995 or 96 but they were quite less in number. Then in 1998 the
number was increased. There were no cameras outside the building but only in the galleries. The wiring and
conduiting along the ceiling was done for the CCTV cameras. Earlier there was only one conduit clamped to the
ceiling but, in 2008-09 the system was upgraded and more conduits were added. The big switches and the track
lights were installed in 1997-98 and they have been repaired and replaced a few times. The hanging metal light
fixtures are original design. The collapsible doors were also added later after my joining.

When was the air conditioning of the miniature gallery done?

The AC plant was installed in the miniature gallery under my watch in the year 2000 or 2002. The false ceiling
height was reduced to accommodate the HVAC ducts. During the same time, the aluminium-glass partition
was also added to enclose the miniature painting gallery. The AC unit was installed in the third level above the
miniature painting gallery. These pipes from the AC plant go to the cooling unit in the extended block near
guard’s room. To accommodate these vents the ceiling was punctured and they go down into the front corridor
space.

The Holy Scriptures that are kept at the third level now, where were they kept earlier?

The holy scriptures of Sikh religion were on display in the Natural History Museum. Later it was brought to the
main museum and kept in the room on the third level which was earlier the office for museum staff. This room
was not being used as the office was shifted to the City Museum after the theft took place. The room was initially
meant to be used by the Director, but it was used by the Curator and Assistant Curator. I never saw that room
being used as an office since I joined.

What was the original plan of lighting in the museum?

The lights running along the ceiling panels had a plastic jaali covering which broke and fell down due to pigeons
hitting against them. Then it was changed with translucent plastic sheets which can be still be seen in the Holy
Scripture room. But, that too didn’t prove to be durable enough. Much later, the complete fixture was changed
with one that had metal grating.

Do you have any information about the structure of the building?

I have been told by my seniors who worked here during the construction of the buildings, that the foundation of
this museum is as deep as half the height of the building above ground.

Was the cafeteria functioning when you joined the museum? Do you have any memories of the cafeteria?

The canteen had wooden furniture and metal folding chairs. There was a big counter made in concrete and
finished in terrazzo. Later, it was converted into the child art gallery by making wooden partitions. AC plant next
to the guard’s room was installed recently in 2008-09. To accommodate the AC plant the open veranda was
enclosed with a brick wall. Only the guard room was originally enclosed, rest of it was open from the northern
side. The entrance to the guard room was through the covered veranda where the AC plant has been placed.
The glazing of the cafeteria and the verandah in the extended block had space in between to cross by, so that all
three verandas around the cafeteria were connected.

When was the terrace waterproofing repaired or changed?

It has been repaired several times under my watch and I remember it was last done in 2008-09.

What about the toilets near the temporary exhibition area?

Those toilets were already there when I joined the museum. The original toilets behind them were not being
used at the time, since they were too small. Their access was through the secured area in front of the reserve
collection area, so they had to be closed down. They were never meant for the public use. The newer toilets
have also been renovated twice during my term here at the Museum.

When was the conservation lab setup in the museum?

The conservation lab was made in the year 1987 or 88, just a couple of years after I joined. Earlier the entire
space was an exhibition hall. There was also a toilet in that area, where the photo lab has been setup now. It was
meant for the visitors of the exhibition area.

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What can you tell about the cooling system under the auditorium?

The cooling system used to work when I joined here. There were big machines in the basement which used
to run with a belt and roll system. The water tank was connected to it and water came in with pressure and
cooled the air. Even the AC plant for the reserve collection used to be the same mechanism. Later with newer
technology, the updated machines have been placed in the same spaces now.

Was the lift ever used during your time?

I have never seen the lift being used. But, I have been told by senior employees that it was used to bring the
sculptures to the upper floor galleries.

What recommendations do you have for the functioning of the Museum and any other changes?

Firstly, the issue of maintenance is to be noted. For example, the pedestals for the sculptures have never been
painted or cleaned on my watch. The security of the museum is very poor and it needs to be improved as per
international standards. Basic systems like metal detectors, general security-check of visitors should be done.
A cloak room should be provided for the bags and luggage of the visitors. All this should be provided outside
at the entrance veranda. The CCTV system is very poor and unreliable. Infrared cameras should be installed for
surveillance during the night also.

The number of permanent staff is also decreasing every year, who are a major support for the management of
the museum. Positions are not being filled at the moment. Temporary staff cannot develop a sense of ownership
and responsibility towards the museum unlike a permanent staff. This museum is a place of national importance
and we have visitors visiting from world over on a daily basis. But there is no place for them to sit, relax or to
have some refreshment in the museum complex. Moreover there is no basic facility like drinking water available
here. One has to drink water from a tap near the boundary wall, which is an embarrassment for the visitors and
staff both. Even the toilets do not match the standard of the museum. The toilets are not clean most of the time
and they always stink. The cycle stand can be used as a cafeteria, because it is being used as a scrap dump. It can
also house a public toilet and a souvenir shop.

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 ANNEXURE
B: Assessments and Material Testing
 Conservation Planning for Government Museum and Art Gallery, Chandigarh

B.1 Glossary of Conditions for Building Assessment

B.1.1 Glossary of Condition for Exterior Concrete

CONDITIONS REPRESENTATIVE PHOTO DEFINITION LEGEND

MAJOR CRACKS Condition resulting
from separation of
one part from another,
more than 4 mm wide.

MODERATE Surface cracks /

CRACKS prominent cracks
which may become
severe in the future

EXPOSED REBAR Reinforcement bars

visible due to loss of
cover, possibly due
to deterioration of
surface.

LOSS OF Loss of concrete

MATERIAL material
creating a void, either
by erosion , water or
mechanical damage

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CONDITIONS REPRESENTATIVE PHOTO DEFINITION LEGEND

SPALLING Loss of cohesion
resulting in separation
from the base.

PAST Interventions
REPAIRS AND undertaken in the past
MAINTENANCE to repair or modify
that have altered
original character and
are sometimes carried
out with incompatible
materials
(Patch filling due to
loss of material or
filling of cracks or
pointing)
PAST Addition of new
INTERVENTIONS material to replace
(NEW original. May include
ADDITION) demolition/ removal of
original to incorporate
new additions
Addition of railings,
panels, partitions, etc.

BIRD Deposits of bird

DROPPINGS droppings

INFESTATION Insect nests

(yellow wasps,
termites , beehives

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CONDITIONS REPRESENTATIVE PHOTO DEFINITION LEGEND

EXPOSED METAL Presence of screws,
ANCHORS / nails, rods or metal
NAILS/ CLAMPS anchors on concrete
wall surface

WOOD INSERTS Presence of wooden

pegs in holes on
concrete wall surface

BIO GROWTH Presence of micro-

organisms such as
bacteria, algae, fungi
and lichen On concrete
surface

VEGETATION Growth of small

vegetation plants with
roots penetrating into
structure

SURFACE Surface erosion or loss

DETERIORATION of original finished
surface. Areas with
exposed coarse
aggregate missing
binding material

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CONDITIONS REPRESENTATIVE PHOTO DEFINITION LEGEND

SOILING Accumulation of
materials including
dirt on the surface
due to action of water,
pollution or any other
external factors. Dry/
inactive algae leaving
black stains.

RUST STAINS Reddish brown stains

due to presence of iron
oxides

SEEPAGE/ Active ingress of water

DAMP PATCHES/ in the form of stains
WATER STAINS (dry / active)

EFFLORESCENCE Presence of whitish,

powdery substance on
the surface composed
of salts.

DEPOSITS Accumulation of
extrinsic material
on concrete surface,
like paint, cement
splashes, residues
from repairs, graffiti

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B.1.2 Glossary of Condition for Exterior Brick Tiles

CONDITIONS REPRESENTATIVE PHOTO DEFINITION LEGEND

EXPOSED REBAR Reinforcement bars
visible due to loss of
cover, possibly due
to deterioration of
surface.

DAMAGED Damage due to

BRICKS mechanical action or
impact

OPEN JOINTS Loss of pointing mortar

from the joints

DETACHMENT Loss of cohesion

resulting in separation
of material from its
base.

DEFORMATION Slight shift or change

OR of brick tile from its
DISPLACEMENT original location
(out of plumb)

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CONDITIONS REPRESENTATIVE PHOTO DEFINITION LEGEND

PAST Interventions
REPAIR AND undertaken in the past
MAINTENANCE to repair or modify
that have altered
original character and
are sometimes carried
out with incompatible
materials

(Patch filling due to

loss of material or
filling of cracks or
pointing)

EXPOSED METAL Presence of screws,

ANCHORS / nails, rods or metal
NAILS/ CLAMPS anchors on concrete
wall surface

BIO GROWTH Presence of micro-

organisms such as
bacteria, algae, fungi
and lichen.

SOILING/ Accumulation of
staining (all materials including
black stains) dirt on the surface
due to action of water,
pollution or any other
external factors. Dry/
inactive algae leaving
black stains.

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CONDITIONS REPRESENTATIVE PHOTO DEFINITION LEGEND

DISCOLORATION Change in original
color of material due
to weathering or
change in composition
of material

SEEPAGE Active ingress of water

in form of stains (dry /
active)

EFFLORESCENCE Presence of whitish,

powdery substance on
the surface composed
of salts.

DEPOSITS Accumulation of
extrinsic material
like paint & cement
splashes, residues
from repairs

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B.1.3 Glossary of Condition for Metal

CONDITIONS REPRESENTATIVE PHOTO DEFINITION LEGEND

DAMAGED Damaged due to
MATERIAL mechanical action
or impact. Dents
and bulges on metal
surface.

PAST Interventions
REPAIRS AND undertaken in the past
MAINTENANCE to repair or modify
that have altered
original character and
are sometimes carried
out with incompatible
materials

[Welded joints
between metal door
panels]
PAST Addition of new
INTERVENTIONS material to replace
(NEW original. May include
MATERIAL) demolition/ removal of
original to incorporate
new additions.
Addition of grills, wire
mesh on doors and
windows and addition
of collapsible door to
create partition.
BIRD Deposits of bird
DROPPINGS droppings

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CONDITIONS REPRESENTATIVE PHOTO DEFINITION LEGEND

LOSS OF FINISH Loss of paint, polish
and exposing the
inner layer due to
mechanical damage,
scratches, wear and
weathering

RUST STAINS Reddish brown stains

due presence of iron
oxides

DEPOSITS Accumulation of
extrinsic material like
paint, seal wax and
cement splashes,
residues from repairs,
graffiti

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B.1.4 Glossary of Condition for Terrazzo

CONDITIONS REPRESENTATIVE PHOTO DEFINITION LEGEND

MODERATE Surface cracks /
CRACK prominent cracks
which may become
severe in the future

LOSS OF Loss of compositional

MATERIAL material
creating a void, either
by erosion , water or
mechanical damage

[Loss of grid pattern in

terrazzo tile on ramp
making its surface flat]

DAMAGED Damaged due to

MATERIAL mechanical action or
impact

OPEN JOINT Loss of pointing mortar

between the joints

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CONDITIONS REPRESENTATIVE PHOTO DEFINITION LEGEND

DETACHMENT Loss of cohesion
resulting in separation
of material from its
base.

PAST Interventions
REPAIRS AND undertaken in the past
MAINTENANCE to repair or modify
that have altered
original character and
are sometimes carried
out with incompatible
materials

(Addition of similar
tiles with different
composition of
material)
PAST Addition of new
INTERVENTIONS material to replace
(NEW original. May include
MATERIAL) demolition/ removal of
original to incorporate
new additions

[Addition of new tiles

in child art gallery]

SURFACE Surface erosion or loss

DETERIORATION of original finished
surface.

SOILING Generally,
accumulation of
materials including
dirt on the surface
due to action of water,
pollution or any other
external factors

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CONDITIONS REPRESENTATIVE PHOTO DEFINITION LEGEND

RUST STAINS Reddish brown stains
due to presence of iron
oxides

SEEPAGE/ Active ingress of water

DAMP PATCHES/ in form of stains (dry /
WATER STAINS active)

DEPOSITS Accumulation of
extrinsic material like
paint, seal wax and
cement splashes,
residues from repairs,
graffiti

B.1.5 Glossary of Condition for Fibreboard

CONDITIONS REPRESENTATIVE PHOTO DEFINITION LEGEND

LOSS OF Loss of compositional
MATERIAL material
creating a void, either
by erosion , water or
mechanical damage

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CONDITIONS REPRESENTATIVE PHOTO DEFINITION LEGEND

DAMAGED Damaged due to
MATERIAL mechanical action or
impact

DEFORMATION/ Slight shift or change

DISPLACEMENT/ of fiberboard panel
DISLODGED from its original
location

[Sagging fiberboard
panels]

PAST Interventions
REPAIRS AND undertaken in the past
MAINTENANCE to repair or modify
that have altered
original character and
are sometimes carried
out with incompatible
materials

(Addition of ply board

instead of fibreboard
panel)
PAST Addition of new
INTERVENTIONS material to replace
(NEW original. May include
MATERIAL) demolition/ removal of
original to incorporate
new additions

[Addition of new
fibreboard for
installation of air
conditioners]

SEEPAGE/ Active ingress of water

DAMP PATCHES/ in form of stains (dry/
WATER STAINS active)

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CONDITIONS REPRESENTATIVE PHOTO DEFINITION LEGEND

EFFLOROSENCE Presence of whitish,
powdery substance on
the surface composed
of salts.

B.1.6 Glossary of Condition for Glass

CONDITIONS REPRESENTATIVE PHOTO DEFINITION LEGEND

DAMAGED Damaged due to
MATERIAL mechanical action or
impact

[Cracked or broken
glass]

MISSING Missing glass panes

MATERIAL

OPEN JOINT Loss of pointing mortar

from the joints

[Loss of putty around

glass panes]

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CONDITIONS REPRESENTATIVE PHOTO DEFINITION LEGEND

DEFORMATION/ Slight shift or change
DISPLACEMENT/ of brick tile from its
DISLODGED original location

PAST Interventions
REPAIRS AND undertaken in the past
MAINTENANCE to repair or modify
that have altered
original character and
are sometimes carried
out with incompatible
materials

(Addition of clear glass

instead of tinted glass)

PAST Addition of new

INTERVENTIONS material to replace
(NEW original. May include
MATERIAL) demolition/ removal of
original to incorporate
new additions

[Addition of new
glass in undulatory
windows]

BIRD Deposits of bird

DROPPINGS droppings

DEPOSITS Accumulation of
extrinsic material like
paint and cement
splashes, residues
from repairs, graffiti

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B.1.7 Glossary of Condition for Wood

CONDITIONS REPRESENTATIVE PHOTO DEFINITION LEGEND

LOSS OF Loss of compositional
MATERIAL material
creating a void, either
by erosion , water or
mechanical damage

DAMAGED Damaged due to

MATERIAL mechanical action or
impact

[cracked or broken
wooden door shutters]

DPAST Addition of new

INTERVENTIONS material to replace
(NEW original. May include
MATERIAL) demolition/ removal of
original to incorporate
new additions

[Addition of new
wooden casing around
staircase railing]

SURFACE Surface erosion or loss

DETERIORATION of original finished
surface

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CONDITIONS REPRESENTATIVE PHOTO DEFINITION LEGEND

LOSS OF FINISH Loss of paint, polish
and exposing the inner
layer

DEPOSITS Accumulation of
extrinsic material like
paint and cement
splashes, residues
from repairs, graffiti

B.2 Sample Location for Material Testing

Sample for testing of white terrazzo was extracted from the Miniature art gallery on the first floor. The
black terrazzo sample was taken from the main staircase leading to the terrace. A fibreboard ceiling
panel which had been removed previously during repair work was taken as sample for testing.

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Fig. 231: Sample location for material testing of Concrete and Brick - Terrace level

Fig. 232: Sample location for material testing of Paint - Ground Floor (L); First Floor (R)

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Fig. 233: Sample location for material testing of Paint - Second Floor (L); Terrace Level (R)

B.3 Schedule of Material Tests

B.3.1 Tests for Concrete

Sampling of concrete to be done using:

ASTM C1324: Standard Test Method for Examination and Analysis of Hardened Masonry Mortar.

S.NO. TEST PURPOSE STANDARD SAMPLES LOCATION NO. OF

SAMPLES
1. Core cutting Chloride, Minimum 3" Clerestory Fin H2, G15', G8 3
sulphates, dia. cylindrical
Compressive core
strength, ratio
test, carbonation.
2. Compressive To determine IS 13311.1.1992; Clerestory Fin -H2, G15',G8 13
strength : the compressive IS 13311.2.1992 South-West Façade of
Rebound strength Auditorium wall -Panel No.
hammer B31,B30,A31,B10,B11 Gargoyle
-G10, G13, G15 Drain outer wall
near G13, Drain floor edge near
G15’
3. Phenolphthalein Carbonation No standards Clerestory Fin -H2, G15', G8, 15
test depth D12, A1’,D8’, B8’ Gargoyle
-G8,G13,G13’ South-West
Façade of Auditorium wall
-Panel No. B31,B30,A31,B10,B11
4. Chemical Chloride & RILEM TC 178- Clerestory Fin -H2, G15', G8, 10
Analysis Sulphates TMC D12, A1’,D8’, B8’ Gargoyle
concentration -G8,G13,G13’

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S.NO. TEST PURPOSE STANDARD SAMPLES LOCATION NO. OF

SAMPLES
5. Depth of cover To determine the No standards South-West Façade of Auditorium 11
depth of cover or wall -Panel No. B31, B30, B11
location of rebar Clerestory Fin -H2, G15', G8
5 other random locations
6. Ratio analysis Composition of Clerestory Fin -H2, G15', G8, D12, 15
the concrete and A1’,D8’, B8’ Gargoyle -G8, G13,
type and content G13’
of cement South-West Façade of Auditorium
wall- Panel No. B31, B30, A31, B10,
B11

B.3.2 Tests for Brick Tiles

S.NO. TEST PURPOSE STANDARD SAMPLES LOCATION NO. OF

SAMPLES
Brick removal South-East Facade above extension 2
block
North-East Facade of guard room
1. FESEM/EDS To study Brick sample 1,2
composition,
type and
constituents
2. Metal detector Distribution of No standards 3 sample areas on South east 4
metal strips facade
1 sample areas on South west
facade

B.3.3 Tests for Terrazzo

S.NO. TEST PURPOSE STANDARD SAMPLES LOCATION NO. OF

SAMPLES
Terrazzo removal White terrazzo (WT): First floor – 1 each
Miniature paintings gallery floor
tile
Black terrazzo (BT) : Service
staircase flooring
1. FESEM/EDS To study WT1, BT1
composition,
type and
constituents
2. XRD To study WT1
composition,
type and
constituents

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B.3.4 Tests for Fibre Board

S.NO. TEST PURPOSE STANDARD SAMPLES LOCATION NO. OF

SAMPLES
1. Light microscopy Study of 1
(LM) & Polarized composition and
light microscopy structure
(PLM).

B.3.5 Tests for Paint Analysis

S.NO. TEST PURPOSE STANDARD SAMPLES LOCATION NO. OF

SAMPLES
1. Stratigraphy Cross sectional 17
analysis of paint
layers

B.4 Material Test Results

B.4.1 The report of the tests conducted by Absolute Testing and Consultants is below:

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REPORT OF CONDITION ASSESSMENT

REBOUND HAMMER, ULTRASONIC PULSE VELOCITY

TESTS, FERROSCANNING, CARBONATION AND
CHEMICAL ANALYSIS
FOR

Government Museum and Art Gallery, Chandigarh

ABSOLUTE TESTING & CONSULTANTS

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Conservation Planning for Government Museum and Art Gallery, Chandigarh

1. INTRODUCTION

There is Government Museum and Art Gallery, Chandigarh at sector 10 Chandigarh. The
building was completed approximately in 1968. Absolute Testing & Consultants has given the
work to conduct non destructive testing of concrete element along with condition survey to
assess the quality of concrete by using non destructive testing methods ie ultrasonic technique
and Hammer rebound method. The details of reinforcement were obtained by using Ferro
scanning and Carbonation Test was conducted with Phenolphthalein based rainbow indicator.
The visual examination was carried to find out/ locate the dampness, cracks and other defects
in the buildings. The Building is multi-storied frame structure. The general health of building
is good.

1.1 Objective

The study involves determination of in-situ strength of building under investigation. The
buildings are being used for museum purposes.

The specific objectives of the study are to know:

• The present strength of concrete.
• The present quality of concrete.
• Visual inspection
NDT tests to assess the quality of concrete structures.
• To assess the existing quality and allowable characteristic strength of concrete elements, so
that the same can be utilized for overall structural safety appraisal of the structure if required.
• To diagnose the causes of the distress so as to undertake suitable remedial measures for
rehabilitation of the structure taking account of the causes

2. ASSESSMENT OF INTEGRITY OF STRUCTURES

Despite the high durability of concrete as construction material, there are occasions when a
structure shows signs of deterioration. Damage may occur from a variety of causes: accidental
overloading, foundation settlement, or (construction faults / poor detailing) poor workmanship.
An even more common cause of damage is corrosion of reinforcement, which leads to cracking
and spalling of the concrete cover.

Concrete structures that are in use under severe conditions need to be specifically inspected to
determine the extent of damage and assess Integrity of structures. Several techniques and
methods are available for assessing the condition of such structures.

The first step in successful integrating testing is to carry out a thorough investigation. It is
essential to determine if the major portion of the structure is of suitable quality. In addition,
knowledge of the intensity and extent of damage is required for executing an appropriate repair
scheme. The aim of the investigation should be:

♦ To identify the cause of the damage and the source of the problem;
♦ To determine the extent of damage;
♦ To determine material properties;
♦ To assess the safety and serviceability of the structure;
♦ To provide recommendations on remedial and preventive measures;

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♦ To estimate the cost of repair or replacement.

A typical investigation involves the following processes:-

♦ Inspecting the site, with special attention to potential safety hazards;
♦ Studying the design, construction details, and loading history of the structure;
♦ Planning a condition survey;
♦ Executing the condition survey;
♦ Laboratory testing of material samples secured from the structure;
♦ Analyzing and interpreting the acquired data;
♦ Load testing individual members, if necessary.

The different methods for inspecting concrete structures may be simply classified as:
♦ Visual
♦ Mechanical / physical inspection
♦ Chemical analysis, and
♦ Electrochemical testing

2.1 Initial Visual Inspection

Visual examination is the starting point of inspection. Cracks, rust staining, and spalling are
the most obvious defects which can be identified. Often the location of these can give a good
indication of the cause of the problem, but an open mind must be kept at this stage until further
investigation is undertaken to confirm the root cause. If visual inspection of a structure suggests
that a problem may be present, an in-depth examination should be carried out.

The purpose of the site inspection is to identify the type and age of construction, gravity and
lateral load resisting systems, and to make a preliminary assessment of the existing condition
of the structure. Visual defects may be related to poor workmanship or material deterioration.
These show up as excessive deflection and flexural cracking, while foundation movements may
cause diagonal cracks. Material deterioration is normally indicated by cracking and spalling. It
is particularly important to differentiate between the various types of cracks found.
Examination of crack patterns often suggests the most probable cause of the problem.

Access facilities are usually minimal, so the extent of examination is limited. Hammer- tapping
(to locate hollowness or delamination), and the use of the Schmidt Hammer, cover meter, or
crack width gauge are often helpful. Potential problems associated with cracking, excessive
deflections, water permeability, and evidence of corrosion should be specially noted. By
observing the site and examining pertinent drawings and records, the probable causes of
damage are deduced, and the areas of serious concern are located. It is often possible to judge
whether the damage is corrosion related and this is useful in planning the subsequent detailed
survey.

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2.2 Condition Survey

The purpose of the survey is to collect sufficient data to pinpoint the cause and source of the
problem and to determine the extent of the damage. Depending on the probable cause of the
damage, the site work involves a combination of the following processes:

♦ Detailed visual inspection;

♦ Survey of cracks, spalls, steel pitting and other defects;
♦ Potential mapping with half cell potentiometer, or similar instrument, that identifies zones
of high corrosion risk;
♦ Drilling holes or mini-cores for carbonation test and chloride content analysis;
♦ Coring of concrete for determination of strength and petrography examination;
♦ Measurement of concrete cover and reinforcing bar spacing with cover meter;
♦ Schmidt hammer test for Delamination or compressive strength (comparison only);
♦ Ultrasonic test for honeycombing depth of cracks, or compressive strength
(comparison only);
♦ Assessment of depth of discoloration (in the damage) with hammer and chisel.
.

CONDITION
SURVEY

SITE NDT RESULTS LAB TEST RESULTS

OBSERVATIONS

DESIGN RECORDS EXPERT

LOADING RECORDS KNOWLEDGE
INTERPRETATION

2.3 Physical and Mechanical Inspection

This comprises of a series of tests conducted physically on the structure to assess its condition.
This covers the range of nondestructive tests and semi destructive tests, conducted in-situ. The
various tests conducted are as follows:

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(a) Simple Hammer

A simple hammer can be effectively utilized to get an idea about the nature and extent of
damage in a distressed structure. The sound heard on tapping the surface indicates the
qualitative nature. A metallic sound indicates undamaged area while a dull thud indicates
delaminated areas. This simple instrument can throw light on the following aspects:
♦ Delamination of cover concrete
♦ Presence of honeycombs
♦ Sulphate attack

(b) Strength tests

The strength, integrity of concrete, presence of cracks and delamination are determined by the
following tests.

(i) Rebound Hammer Test:-

Purpose:-
This test gives a measure of the surface hardness of the concrete surface. Although there is no
direct relationship between this measurement of surface hardness and strength, an empirical
relationship exists.
Rebound hammer is the best known methods of comparing the concrete in different parts of a
structure and indirectly assessing concrete strength. The rebound hammer should be considered
as a means of assessing variations of strength within a structure rather than an accurate means
of assessing the strength.
Objective of testing:-
Rebound hammer test is performed to determine the following:
a.Surface hardness
b.Uniformity of concrete over the structure
c.Grade of concrete
d.Estimated strength which is derived from establishing a relationship between in-situ
core strength and rebound number.
References:-
 BS 6089:1981 and BS 1881:Part 202,
 IS13311(Part2):1992
 ASTM C 805-02
Influencing factors:-
Rebound hammer test results are considerably influenced by these factors:
 Size, shape and rigidity of the specimen
 Age of test specimen
 Smoothness of surface and internal moisture condition of the concrete
 Carbonation of concrete surface

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Testing Method:-
According to ASTM C 805-02 clause 7.1 the concrete members to be tested shall be at least
100mm thick and fixed within a structure. Towelled surfaces generally exhibit high rebound
numbers than screed or formed finishes. Do not compare the test results if the form material
against which the concrete is placed is not similar.
Heavily textured, soft or surfaces with loose mortar shall be ground flat with abrasive stone.
Smooth formed or towelled surfaces do not have to be ground prior to testing.
Also this test is not conducted directly over the reinforcing bars having cover less than 20mm.
The surface under test should be clean and smooth because rough surfaces cannot be tested as
they do not give reliable results. Dirt or other loose material on the surface can be removed
using a grinding stone prior to test

(ii) Ultrasonic Pulse Velocity Tests

2.1 Ultrasonic Pulse Velocity

Purpose
Although there is no fundamental relationship between pulse velocity and strength, an
estimation of strength can be obtained by correlation. The method has perhaps a greater
potential for comparing known sound concrete with affected concrete.
Ultrasonic pulse velocity is a means of assessing variations in the apparent strength of concrete.
The quality gradation of concrete can be appraised at best qualitatively as `excellent', `good',
`medium' or `doubtful'. The meanings of the term `excellent', `good', `medium' and `doubtful'
are based on ultra sonic pulse velocity measured at site and are as per the nomenclature of IS
13311(part-1): 1992.

Objective of testing:-
Ultrasonic pulse velocity test is used to establish the following:
 Homogeneity of concrete
 Presence of cracks voids, honeycombing and other imperfections
 Changes in the structure of concrete which may occur with time.
 Quality of one element of concrete in relation to another i.e. comparative quality
analysis and gradation of concrete.
 The values of dynamic elastic modulus of the concrete.

References:-
 BS 6089:1981 and BS 1881:Part203
 IS 13311:Part1:1992
 ASTM: C597-83.

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Influencing factors:-
The velocity of a pulse of ultrasonic energy in concrete is influenced by the stiffness and
mechanical strength of the concrete
 Moisture content: The moisture content of the concrete have a small effect in the
velocity and can increase the pulse velocity by 2%.
 Surface condition: The testing surface should be smooth any roughness cannot provide
reliable readings because of gap between transducers and testing surface.
 Temperature: Ideal Temperature is between 50C and 300C; Temperature between
300C to 600C can reduce the pulse velocity up to 5%; below freezing temperature results
in an increase the pulse velocity up to 7.5%.
 Stress: When concrete is subjected to a stress which is abnormally high for a quality of
concrete, the pulse velocity may be reduced due to development of micro-cracks.
 Reinforcing bars: The velocity measured in reinforced concrete in the vicinity of
reinforcing bars is usually higher than in plain concrete because pulse velocity in steel
is 1.2-1.9 times the velocity in plain concrete. Wherever possible, measurements should
be made in such a way that steel does not lie in the path of the pulse.

Testing method:-
According to IS 13311(Part1):1992 clause 5.2 transducers with a frequency of 50 to 60 kHz
are useful for most all round applications, and as per IS 13311(Part1):1992 clause 6.2 the path
length should be long enough not to be significantly influenced by the heterogeneous nature of
concrete. This test requires a flat surface generally only appropriate for un-spalled surfaces.
In view of inherent variability in the test results, sufficient number of readings should be taken
by dividing the entire structure in suitable grid of markings 30x30 cm or even smaller. Each
junction point of the grid becomes a point of observation.
There are three possible methods of testing according to the type of surface:

Table 1: Velocity Criterion for Concrete Quality Grading

[Ref: IS13311 (part-1)]
Sr. No. USPV by Cross Probing (km/sec) Concrete Quality Grading.
1. Above 4.5 Excellent

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2. 3.5 - 4.5 Good

3. 3.0 - 3.5 Medium

4. Below 3.0 Doubtful

TABLE - 2
IDENTIFICATION OF CORROSION PRONE LOCATIONS BASED ON
UPV AND HAMMER READINGS (IS: 13311 PART 1: 1992)
S.No Test Result Interpretation
1. High UPV values, high Not corrosion prone
impact hammer number

2. Medium range UPV values, Surface delamination, low quality of hammer

low impact numbers. Surface concrete corrosion prone

3. Low UPV high impact Not corrosion prone, however, to be confirmed by

hammer numbers chemical tests, carbonation, pH and
Phenolphthalein test values

4. Low UPV values, low impact Corrosion prone - requires chemical and
hammer numbers electrochemical tests

(iv) The compressive strength of core samples extracted from the RCC members.
Test Procedure for Concrete Core:
Conditions & Calculation for Core Strength
1. The diameter of core size: - The general rule adopted for fixing the core size, besides the
H/D ratio, is the nominal size of stone aggregate and the diameter should be not less than 3
times the maximum size of stone aggregate. Reference ASTM C-42 article clause number
6.1 and part 4 of IS: 1199-1959.

2. L/d ratio: Its value should be minimum 0.95 and maximum 2 (without capping but after
trimming). A higher ratio would cause a reduction in strength. L/d of the extracted core after
capping should be 1 < L/d <2. Capping size should be 0.5% of core diameter. Capping
thickness can’t be fixed it depends upon the diameter of the core. Reference code:- IS 516:
1959 Article clause number 4.3 and ASTM C-42 article clause number 6.1 and 6.5

3. Drilling operations: The strength of cores is generally less than that of standard cylinders,
partly as a consequence of disturbance due to vibrations during drilling operations. It disturbs
the microstructure of the concrete core (body centred cubic) so it affects the bonding between
aggregate to aggregate (direct strength of concrete). Whatever best precautions are taken during

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drilling; there is always a risk of slight damage.Reference code:- ASTM C-42 Article clause
number:- 4.1.1

4. The position of sample: - Core sample should be taken from near the middle of a unit of
RCC section. It should not be taken near fronted joint or obvious edge of a unit of deposit. A
concrete core taken from cover depth gives very lower strength because it mainly contains
cement slurry. Reference code: - ASTM C- 42 article clause number 4.2

5. Method of strength calculation: - Apply the compression load over the core sample at140
kg/sq cm/min rate of loading.

A. Cylindrical compressive strength (MPa) = Failure load (kN)/ Loading surface area
(m2 = Π.d2/4)
B. Correction factor = IS Code 516:1959 Page no 12 fig 1
C. Equivalent cube strength (MPa) = Cylindrical compressive strength×1.25
D. Interpretation Methodology and acceptance criteria: - Concrete construction should be
considered structurally adequate if the average of three cores from the questionable region is
equal to or exceed the 85% of specified strength as per ACI 318. IS 456: 2000 Sec 17.4.3
provides the below following acceptance criteria for core strength:
Average equivalent cube strength of the core > 85% of Grade of concrete. The least value
of individual equivalent cube strength of the core > 75% of Grade of concrete.

Figure 1 Government Museum and Art Gallery, Chandigarh

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(v) Carbonation test

Concrete is alkaline in nature. The pH value of concrete at the time of construction is around
12.5. During the course of time; carbon-di-oxide from external environment enters inside the
concrete. Because of the chemical action of carbon-di-oxide on calcium carbonate, the alkaline
environment changes to acidic environment. This is one of the necessary conditions for
corrosion. This change can be detected by phenolphthalein test. A solution of phenolphthalein
in dilute alcohol is usually used because it has a very strong dark blue colour that is easily
visible on any kind of concrete surface, which has retained its alkalinity. But it changes its
colour on the concrete surface which no longer remains alkaline due to the action of carbon-
di-oxide, thus paving the way for the corrosion of steel rebars. The change in colour of
phenolphthalein takes place as pH value changes from 12.5 towards lower pH. Once the pH
value reduces below 10, passive layer in the rebar is broken. The freshly broken concrete
surface is sprayed with phenolphthalein indicator solution. The outer most part of the freshly
broken concrete surface will be carbonated and will not be stained. The inner part of concrete
will not be carbonated. The boundary of color stain will clearly show how far carbonation has
penetrated into the concrete. The position of steel reinforcement at that zone is determined. If
carbonation has penetrated up to the steel reinforcement and beyond, the rusting is slow. When
concrete is alternatively wet and dry, the steel starts rusting rapidly. In case of salty
environment, the change of alkalinity and the presence of chloride fasten the rusting of steel.
Measuring the depth of carbonation into the concrete is a test, which can give warning of
rusting before serious damage will occur. A rainbow indicator gives the value of pH
TABLE- 3
PH RANGE OF CONCRETE WITH RESPECT TO COLOUR
Sr. No Colour pH
1. orange 5-6
2. Yellow 7-8
3. Green 9-10
4. Violet 11-12
5. Dark Blue 13

(vi) Chlorides and Sulphate Content Test:

DETERMINATION OF WATER SOLUBLE AND ACID SOLUBLE CHLORIDES IN HARDENED CONCRETE

INTRODUCTION:

Whenever there is chloride in concrete there is an increased risk of corrosion of embedded

metal. The higher the chloride content, or if subsequently exposed to warm moist conditions,
the greater the risk of corrosion. Chlorides in the concrete could be drawn from different
sources like aggregates, mix water, admixtures and cement and could lead to durability
problems namely, corrosion of reinforcing steel in concrete, if present in sufficient quantity.
Chlorides could be present in different degrees of binding in the concrete matrix and could be
determined as water soluble and acid soluble chlorides.
PREPARATION OF SAMPLE:

Sample is broken into smaller pieces by hammering carefully to avoid loss of smaller pieces.
Particles are crushed to less than 25 mm in maximum dimensions; care is taken to restrict
negligible levels of loss of fine particles. Crushed sample is sieved through 850 micron IS

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Sieve. Thoroughly blend the material by transferring it from one glazed paper to another at
least 10 times.

DETERMENATION OF SULPHATE CONTENT IN HARDENED CONCRETE

INTRODUCTION

Sulphates are present in most cements and in some aggregates; Exposure of concrete made
with Portland cement to sulphate salts can cause damage due to an expansive reaction between
the cement and the sulphate salt to form crystals of ettringite. Given adequate space to form,
the ettringite forms needle like crystals, causes an expansive reaction.
PREPARATION OF SAMPLE:

Sample is broken into smaller pieces by hammering carefully to avoid loss of smaller pieces.
Particles are crushed to less than 25 mm in maximum dimensions; care is taken to restrict
negligible levels of loss of fine particles. Crushed sample is sieved through 850 micron IS
Sieve. Thoroughly blend the material by transferring it from one glazed paper to another at
least 10 times.
As per IS-456(2000)The Permissible limit of chloride contents by weight of cement is 0.6%
and 0.15% is enough for onset of corrosion and permissible limit of sulphate contents by weight
of cement is 4%.

Figure 2 Extended fins at roof top of the building.

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Figure 3 Ferro scanning of the fins.

Figure 4 Rebound hammer Test at wall of Gargwell (rainwater drain at roof).

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Figure 5 Rebound hammer test of extended channel for pouring of rain water from roofslab
into the Gargwell (rainwater drain)

Figure 6 Carbonation test showing red colour over the concrete surface.

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Figure 7 loose concrete fallen down just by light tamping with hammer

Figure 8 Exposed reinforcement bar leads to corrosion of reinforcement, resulting in cracks &
spalling of concrete.

TABLE 4:
CLASSIFICATION OF STRUCTURAL DAMAGE
S.NO. Intensity Visual damage
1. Light Final crack (<1mm) light spalling at isolated spots

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2. Moderate Medium cracks (1-2mm) light spalling

3. Severe Wide cracks (<2mm) at different locations
4. Very severe Wide cracks

Planning the condition survey includes selection of the most appropriate tests, the
extent or number of test points to reflect the existing conditions of the structural members,
and the location of these test points. It is good practice to obtain sufficient test result to make
a statistical analysis. However, the number of test points adopted is usually a compromise
between reliability, time, cost, and damage. Sometimes the survey is carried out in two stages:
first, a preliminary survey with a few test points to establish the necessity for repair; and
second, a thorough survey to allow a repair scheme to be designed and cost estimated.
While a condition survey may begin with a definite plan, modifications often
become necessary as work proceeds and the initial test data becomes available. If the results
deviate significantly from expectation, the scope and nature of the survey should be modified
accordingly. Assessment of material strengths normally forms part of the condition survey.
This part of the work is essential if structural adequately is in doubt.
The concrete strength is determined by non-destructive testing on site. It is important
to distinguish between the concrete strength in general and the concrete strength of a particular
member. For general assessment, the sampling locations should be randomly chosen, and a
sufficient number of samples taken to arrive at a reliable indication of the average strength and
the degree of variation. Reinforcement corrosion has been recognized as one of the serious
problems in concrete structures as it contributes to substantial damage in a structure exposed
to aggressive environments. Corrosion results in the reduction of effective cross sectional area
of reinforcing steel and also results in cracking, spalling-delamination of cover concrete finally
leading to total failure of the structure.

FACTORS INFLUENCING CORROSION

The principal factors, which influence corrosion, are:

 pH value of concrete: The pH value of the fresh concrete is normally about 12-13 & thus
providing an alkaline environment to inhibit corrosion. This alkaline environment is largely
due to the generation of Ca (OH) 2, which is formed during the hydration of cement. If this
pH value reduces, the alkalinity reduces making the steel vulnerable to corrosion.
 Carbonation: Carbonation occurs when CO2 from air finds its way into the body of
concrete through its pores in presence of moisture & water forms carbonic acid which
neutralizes the Ca (OH)2 formed due to the reaction during setting of concrete thus reducing
the alkalinity of concrete. This process continues and destroys the passivation layer on steel.
Carbonation is dependent on humidity of environment & porosity or permeability of the
concrete.
 Chloride: The penetration of salt containing chlorides activates corrosion & destroys the
passivation. The sources for chlorides could be water used for concreting & curing or the
aggregates which may be contaminated with chlorides. Even chlorine gas from the
environment may enter through the pores in concrete. These chloride ions tend to destroy
the passivating film on steel making the surface activated locally forming a small anode
while the rest of passive surface serves as the cathode. Since the latter (cathode) is much

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larger, the dissolution of iron in the anode is highly localized and a pit is formed. The
chloride ions combine with water forming hydrogen chloride & hydroxyl ions. The
hydrogen chloride further prolongs the corrosion causing an increase in the pit depth
leading to pitting corrosion.
 Moisture: Corrosion is essentially an electrochemical reaction setting in galvanic cells &
difference in potential. This cell activity is aided by moisture content, which makes the
galvanic cell conductive.
 Oxygen: Oxygen plays a significant role in accelerating corrosion. The penetration of
oxygen in differential concentrations at different places causes formation of differential
aeration cells, which in turn produces potential difference, and flow of current. The oxygen
ingress depends on permeability, cracks, and cover thickness and water cement ratio.
 Permeability: The permeability (K) of concrete is one of the primary factors affecting the
rate at which salts, oxygen, moisture, etc. can penetrate into concrete and also influences
the behaviour of both steel & concrete. The permeability depends on factors like cement
content, water cement ratio, degree of compaction, age & curing of concrete.
 Cover: The cover thickness is also an important factor affecting corrosion, as the cover
thickness is the path through which salts, oxygen, moisture etc. penetrate to reach the steel
surface.
2.3 Mechanism and Principles of Corrosion
The alkaline environment of concrete protects the embedded reinforcement against corrosion.
Good quality concrete with low water cement ratio lowers the permeability minimizing the
penetration of chloride ion, carbon dioxide, oxygen and water. Chloride ions in the paste tend
to destroy the protective field formed on the steel by the alkaline environment. Higher the
chloride ion concentration, lower is the toleration of corrosion. This concept is also used while
protecting the concrete from corrosion depending upon the degree of aggressive environment.
It is well recognized that the corrosion of base metals in aqueous environs follows an
electrochemical mechanism. The corroding metal functions as a mixed electrode on which
anodic and cathodic sites are formed and corresponding reactions take place. Corrosion occurs
at anodic sites where the metal atoms pass into solution as positively charged hydrated ions
(anodic oxidation) and the excess free electrons flow through the metal to cathodic sites where
an electron acceptor, such as hydrogen ion or dissolved oxygen is available to consume them
(cathodic reduction).
Corrosion process of iron
The essential features of the process are:
1 A reactive metal which will oxide anodic ally to form soluble ions.
2. A reducible substance, which provides the cathodic reactant.
3. An electrolyte, which allows ions to move between anodic and cathodic sites.
The electrochemical behaviour of corroding metal implies the formation of electrolyte cell and
consequent current flow extensive of potential difference between local anodic and cathodic
sites.
Corrosion process of steel in concrete

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Corrosion is an electrochemical process and most common form of corrosion in concrete is in

an aqueous medium. The corrosion process is similar to the action, which takes places in a dry
cell battery. In the presence of aqueous medium, which acts as an electrical conductor, anode
is formed where the electrochemical oxidation takes place and cathode is formed where
electrochemical reduction occurs. Therefore at cathode the reduction takes place lowering the
size and therefore the structural ability to carry the stresses. Availability of oxygen, water and
chloride ions is the basic requirements for corrosion. There are five states of corrosion that may
occur in steel rebars in concrete. These are:
(a) Passive state
(b) The State of Pitting Corrosion
(c) State of General corrosion
(d) The state of active low potential corrosion
(e) Time dependence of corrosion states
a) Passive state
Cement concrete when dense and not contamination by carbonation, maintains a high alkaline
(pH 13) environment within the pore solutions of the hardened cement matrix. The high
alkaline environment is due to the availability of calcium, potassium, and sodium hydroxides
resulting from the reactions of the hydration process, in the presence of dissolved oxygen in
the pore- water.
In reinforced concrete members protection to steel rebar is imparted through quality concrete
and adequate cover thickness. However aggressive substances, either mixed in concrete or from
environments can penetrate into concrete and alter the pore- water composition thus
endangering the passive state of the concrete. The passivity break down occurs due to ingress
of chloride- ions (or presence of chloride- ions) and the corrosion mechanism follows an
electrochemical process in which the most concrete serves as the electrolyte. It is interesting to
note that penetration of chloride to the steel surface does not necessarily destroy passivity. A
zone of perfect passivity can exist at high levels of chloride concentration, and it is possible to
control the corrosion by maintaining a potential corresponding to this zone.
The electrochemical process considers reaction at anodic and cathodic sites of corroding steel
and the current flow between these two sites. These reactions can be expressed as given below:
Fe→2e + Fe++ →Fe (OH)2 ( ANODE)
1/2 O2 + H2 O+ 2e- →2 ( OH-) ( CATHODE)
4 Fe (OH)2 + 2 H2O + O2→ 4Fe(OH)3 ( RED RUST)
3 Fe + 8 OH - → Fe 3 O4 + 8e- + 4 H2 O (BLACK RUST)
(c) The State of Pitting Corrosion

The passivity of steel in an alkaline environment may be destroyed by the presence of chloride
ions. Pitting corrosion is therefore likely to occur in reinforced concrete containing significant
levels of chloride salts, derived either form the service environment or from the use of

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contaminated mix materials. This corrosion state is characterized by galvanic action between
relatively large areas of passive steel acting as cathode and small anodic pits where the local
environment, within the pits, develops a high chloride concentration and a depressed pH value.
For pitting to be sustained, it is necessary that a sufficient concentration of oxygen should be
available to cause polarization of the anodes to potentials more noble than the pitting (break
down) potential characteristic of the particular environment. State of General corrosion
The passivity of steel in non- buffered alkaline electrolytes requires a minimum pH value of
about 11.5 to be maintained. In concrete, general loss of passivity can, therefore, arise if the
pH value of pore- water at the depth of the reinforcement becomes substantially reduced from
its initial, high level. This can happen as a result of carbonation, which involves penetration
into the material of acidic gases (CO2 etc.) from the surrounding air and it gives rise to general
corrosion of the steel. More or less general corrosion may also be observed in reinforced
concrete, which has become contaminated with chloride ions to such an excessive level as to
cause virtually complete destruction of the passive film.
(c) The state of active low potential corrosion

In environments where the availability of oxygen is extremely limited, as is sometimes the case
for fully submerged or buried reinforced concrete, the limiting cathodic current density may
eventually become insufficient to maintain the passive film on steel. Under these
circumstances, the metal behaves 'actively' in the highly alkaline environment undergoing
uniform dissolution to form soluble Fe(OH)2 - ions. The corrosion potential is extremely low
owing to the restricted availability of the cathodic reactant.
(d) Time dependence of corrosion states

The state of corrosion of steel in concrete may be expected to change as a function of time. In
attempts to model this time dependent corrosion behaviour, it is convenient to distinguish the
following states:
The imitation period, during which the metal, having been embedded in concrete remains
passive whilst, within the concrete, environmental changes are taking place that, may
ultimately terminate passivity. The corrosion period, which begins at the moment of de-
passivation and involves the propagation of corrosion at a significant rate until a final state is
reached when the structure is no longer considered acceptable on grounds of structural
integrity, serviceability, or appearance?
TABLE- 5
CLASSIFICATION OF CORROSION
Carbonation of
concrete cover
S.No Intensity Cracking Spalling

1. Light Hairline cracks (0.1mm) Not apparent Partial

without rust stain

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2. Moderate Fine cracks (<0.2mm) with At isolated spots Partial

or without rust stain

3. Severe Extensive with rust stain Extensive corroded steel Complete

visible

4. Very Extensive and wide with Extensive; substantial Complete

severe rust stain steel pitting visible

3. CONCRETE DETERIORATION:
Concrete is a strong, versatile building material that has found favor with Architects, Engineers
as well as Builders due to the ease of production and capability of being moulded into any
shape and size. Its quality, performance and behavior however depend on a number of factors.
These are mainly related to the constituents and the method of production. In the earlier times
the period when most of the old RCC structures were built, the emphasis was on primarily the
28 days strength of concrete. Little was known about the long-term behavior of concrete
because IS 456 of 1964 (Code of Practice for Plain & Reinforced Cement Concrete), which
was in vogue, then was silent on this aspect. The general belief was that good quality concrete
was expected to last for at least a century. Though environmental factors were known to cause
damage to concrete but environmental factors were not considered of any major consequence.
It was therefore considered that concrete needed no protective coating or covering and so to
provide a unique character and also to ensure good quality concrete the formulators of the
specifications at that time decided to provide shutter finished RCC with no coating or plaster
to be provided over it for the sake of uniformity.

As time passed the concrete technologists realized the importance of durability and the effect
of the environmental factors on the performance of concrete. IS 456 of 1978 introduced for the
first time the aspect of ‘Limit State’ of Design for Concrete Structures.’ Among the various
Limit States that were set out to be satisfied, one of the important ones was the Limit State of
‘Durability’. However even this revision of the Code linked the durability to the ‘Condition of
Exposure’ to which the structure was to be exposed and a minimum content of cement to be
used was specified. This lead to over use of cement in may cases with no control on the water
cement ratio. The high cement content leads to high heat of hydration, which results in high
initial cracking. This coupled with uncontrolled water cement ratio lead to increased pores in
the body of the concrete. The formulators of IS 456 then realized the importance of
deterioration of concrete by the process of ‘Carbonation’ and hence the Fourth Revision issued
in the year 2000. This revision has now laid down the limits of minimum cement content as
well as the corresponding maximum water cement ratio for different conditions of exposure of

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concrete. This has been made possible with the advent of the water reducing admixtures for
concrete.

3.1. The Importance of Cover

Concrete is heterogeneous material and, therefore, non-homogenous. Such in homogeneity
occurs both at macro and micro levels. The cover has many non-visible micro cracks and these
acts as avenues for water and gas penetration. The cover, therefore, should be of proper quality,
depth and Bar Spacers could be incorporated to maintain even cover depths. It is observed that
when the permeability form work is uncontrolled, the water cement ratio needed is 0.10 more
and the cement content gets reduced by about 45 kg/m3 compared to the original concrete mix
and therefore, the cover becomes most vulnerable to attacks.
3.2. Carbonation of Concrete

Under pure solution of pH values of up to 12.5, the reinforcement in the concrete remains in
passivating conditions and does not initiate the process of corrosion. Carbonation is the effect
of CO2 from the atmosphere reacting with alkaline component in concrete Ca (OH)2 in the
presence of moisture thereby converting the calcium hydroxide to Calcium Carbonate. The pH
value of the pore water is reduced to less than 9.5, the reinforcement is no longer in the
passivating range and corrosion occurs.

3. RESULTS, ANALYSIS AND DISCUSSION

Visual Inspection:
 In some of the fins at roof the rusting and spalling has been observed. On tamping
with hammer hollow sound was also observed. This hollow sound indicates the cover
is detached from its parent concrete member.
 At some locations reinforcement bars were exposed and getting rusted as shown in
figure-8.
 At roof the roof treatment was damaged at various locations due to this water
stagnation takes place at the roof slab of the building.
 At some locations Plantation growth on the roof slab and in rainwater drain (gargwell)
was also observed.

TABLE-6
REBOUND HAMMER TEST RESULTS of Block-A
Sr. Location Rebound Number Average Compressive pH of Corrected
No. Rebound strength concrete Compressive
Number N/mm2 Strength
N/mm2
West elevation
1. B-31 51.5,56,45,52,53,54.5,53,53 52.3 34.09 5-6 20.45
2. B-30 52,53.5,47,57.5,50,58,50,49.5,46.5,53 51.7 33.13 5-6 19.87
3. A-31 51,44.5,54.5,49,52,55,37,39,51 50.3 30.97 5-6 18.58

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4. B-10 39.5.45.48.41.42.5.46.42.43.5. 43.4 22.24 5-6 13.34

(Near
crack)
5. B-11 52,50,54.5,43,52,52.5,55 51.4 32.16 5-6 19.92

6. G-10 50,36,31.5,48,31.5,32.5,42.5,56 47.5 27.08 5-6 16.24

destress
location
(Roof
cutout
gargwall)
7. G-10 56,52,57,51,50.5,56.5,62.5,60.5 55.75 40.23 5-6 24.13
sound
location
(Roof
cutout
gargwall)
8. G-13 19.5,10.5,15,14,19.5,25 19.6 7.08 5-6 7.08
9. G-13 46.5,53,54,55,42.5,46,40,47 48.1 27.87 5-6 16.77
10 G-13 60,53.5,52,54.5,44,45,54,56.5 56.3 41.31 5-6
(opposite
wall
drain)
11 G-13’ 43.5,33.5,50,45,30.5,37.5 35.4 15.15 5-6 24.76

Table-7
Ultrasonic Pulse Velocity Test Results of Block –A
Sr. Location UPV Method of Final UPV Results Direct Quality
No. Testing Proportionate Velocity
(IS, 5.4.1 13311 part)

1. B-31 2895 Indirect 3329 Medium

2. B-30 2028 Indirect 2332 Doubtful
3. B-10 1265 Indirect 1454 Doubtful
(Over the
crack)
4. Between B10 2623 Indirect 3016 Doubtful
& B-11

Table-8

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Concrete Cores Compressive Strength Test results.

Sr. Location/ Dia Area The H/D Maximum Measured Correction Corrected Equivalent
No. (mm) overall Load in Compressive factor after Compressive cube strength
Mark (mm2) height of Ratio (KN) Strength of Capping Strength of the of the
Test Core the specimen from Fig 1 specimen = concrete
with (Maximum of IS:516 measured determined
Capping Load/Cross- compressive by
(in mm) Sectional strength x multiplying
Area) Correction the Corrected
(N/mm2) Factor Cylinder
(N/mm2) Strength by
5/4 as per
Clause 5.6.1
of IS 516
(N/mm2)

1. G15 68.40 3676.0 117.59 1,72 92.1 25.05 0.968 24.25 30.31

2. G-8 68.40 3676.0 87.28 1.28 90.3 24.56 0.922 22.64 28.30

3. H-2 68.40 3676.0 102.24 1.49 69.1 18.80 0.944 17.75 22.19

Table-9
DEPTH OF COVER (FERRO SCANNING)
Vertical Horizontal
Sr. Location Minimum Maximum Minimum Maximum
No. (mm) (mm) (mm) (mm)
1 Point 1 39 54 43 64
front
2 Point 1 12 60 14 30
Back
3 Point 2 19 25 49 20
front
4 Point 2 14 25 18 56
Back
5 Point 3 13 43 38 59
front
6 Point 3 11 22 11 19
Back

7 Point 4 11 32 15 49
front
8 Point 4 9 14 15 45
Back
9 Point 5 13 39 13 53
front
10 Point 5 23 35 12 71
Back
11 Point 6 17 21 16 32
front

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12 Point 6 15 36 15 34
Back
13 Point 7 12 25 22 33
front
14 Point 7 31 60 20 29
Back
15 Point 8 14 57 50 68
front
16 Point 8 11 38 19 33
Back

Auditorium
17 B-31 34 45
panel
18 B-30 65 80
19 B-11 90 95

TABLE-10
Carbonation test Results of Block-A
Sr. No. Location pH of concrete
1. D-12 5-6
2. A-1’ 5-6
3. D-8’ 5-6
4. G-8’ 5-6
5. G-13 5-6
6. G13’ 5-6
7. B-8’ 5-6
8. C-16 5-6

Table- 4 chemical test results of concrete samples

S No. Name of Sample Sulphates Chlorides
(%) (%)
1 A1 1.22 AS-0.0185
WS-0.0488
2 Drain 1 0.88 AS-0.0248
WS-0.0392
3 Drain 1.246 AS-0.0176
WS-0.0296
4 C-16 2.97 AS-0.028
WS-0.0392
5 B8 1.20 AS-0.0214
WS-0.0427

6 D8 1.41 AS-0.0124
WS-0.0279
7 G13 0.74 AS-0.021

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WS-0.0199
8 UNKNOWN 0.29 AS-0.0149
WS-0.0210
9 D13 1.40 AS-0.0188
WS-0.0314
10 D12 1.42 AS-0.0198
WS-0.0248
11 MORTAR 1.20 AS-0.0196
WS-0.0389
12 C16 2.82 AS-0.0289
WS-0.0464
13 G8 0.69 AS-0.0172
WS-0.0272
14 G8 1.064 WS- 0.0322
AS-0.0118
15 H2 1.10 WS-0.0282
AS-0.0146
16 G15 1.14 AS-0.0188
WS-0.0138
Test Method: IS 14959 (Part 2) 2001RA 2016 & IS 2317 1975 RA 2015

Table- 11
Ratio of cement concrete samples.
S No. Name of Sample Result(cement: combined aggregates)
1 A1 1:2.2
2 Drain 1 1:3.43
3 Drain 1:3.28
4 C-16 1:129
5 B8 1:3.29
6 D8 1:1.90
7 G13 1:37
8 UNKNOWN 1:3.5

9 D13 1:3.32
10 D12 1:3.2
11 MORTAR 1:56
12 C16 1:90
13 G8 1:3.30
14 G8 1:2.05
15 H2 1:2.39
16 G15 1:1.90

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6.1 RESULTS & DISCUSSION

Based on the investigation & study carried out on various members, the following
conclusions are drawn.
i. The average relative strength of concrete varies from 7 N/mm2 to 24.76 N/mm2
corresponding to the rebound hammer test.
ii. The average relative strength of concrete varies from 22.19 N/mm2 to 30.31 N/mm2
corresponding to the core compressive strength test.
iii. The general quality of concrete is in the range of medium at one location &
Poor/doubtful at 3 locations where the tests were conducted corresponding to the
Ultrasonic Pulse Velocity test.
iv. The Ultrasonic Pulse Velocity Tests are conducted by direct and Indirect Method, as
per the IS-13311(Part-I) the indirect velocity is invariably lower than the direct velocity
on the same concrete element. This difference may vary from 5 to 20 percent depending
largely on the quality of the concrete under test.
v. The sulphates & chlorides are within the permissible limits.
vi. The minimum cover over the reinforcement is just only 9mm and at some locations the
reinforcement is exposed also.
vii. In buildings some of the fins show the cracks, on investigation of these cracks it was
found that these cracks are due to corrosion of reinforcement.
viii. The pH of concrete is decreased to 5-6 as shown in figure-6.
ix. The carbonation depth is increasing with the age of the structure. The rate of
carbonation is more than the normal concrete of sound quality. The variation is due to
deficiency in field practice and also the temperature and relative humidity in
Chandigarh are suitable for carbonation. And also the improper maintenance is one of
the reasons for more carbonation than normal.
x. Carbonation test result shows the pH of concrete is severely decreased towards acidic
side from its actual alkaline nature (12.5pH). This acidic environment of concrete is
responsible for the corrosion of steel reinforcement embedded in the concrete. Due to
corrosion the rust starts depositing over the steel reinforcement and starts increasing its
size, which results in development of internal stresses in the RCC member and hence
the cracks starts appearing over the concrete members. Further this process continues
and results in spalling of concrete and corrosion of reinforcement.
xi. The corrosion observed is more, where the cover is minimum and where the
carbonation is reached up to rebar level. And also local corrosion observed where the
bars are exposed. As the ingress of moisture increases, the corrosion also increases.
Because of fluctuations in temperature and relative humidity, exposed members are
more prone to corrosion.

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xii. From the results of above study, it was concluded that the deterioration in structures is
due to carbonation, acidic environment in building, deficiency in field practice,
improper maintenance etc. Further pollution level, fluctuations in temp and humidity
accelerated the above deterioration.
xiii. It was further concluded that, even though deterioration has taken place, the deflection
is not observed, if the deterioration is further continued, the structures may not serve
for its desired life.
xiv. To maintain the life of structure for its desired life, the deterioration should be
controlled.
xv. Lack of maintenance makes the external member more prone to cracking and
disintegration. In many fins vertical thin to wide cracks, drying shrinkage cracks and
disintegration observed indicate likely corrosion in the members.

CONCLUSIONS
The overall stability of various structures was found to be good. The major problem is the
reinforcement is getting corroded due to carbonation in the concrete. The level of corrosion is
high in some members and low in certain members depending upon the exposure conditions.
The defects identified are to be repaired in order to prevent further deterioration as soon as
possible.

Er. Ashish Kapoor

Chartered Engineer
AM1803681

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B.4.2 The report of the tests conducted by Sophisticated Analytical

Instrumentation Facility at Punjab University is below:

EDS Test of Brick Tile sample

Application Note

Spectrum: test 5213

Element Series unn. C norm. C Atom. C Error (3 Sigma)
[wt.%] [wt.%] [at.%] [wt.%]

Oxygen K-series 27.64 45.04 60.77 11.41

Silicon K-series 19.98 32.56 25.03 2.62
Aluminium K-series 6.21 10.12 8.10 0.99
Iron K-series 4.76 7.75 3.00 0.71
Potassium K-series 1.73 2.82 1.56 0.30
Magnesium K-series 0.72 1.18 1.05 0.23
Sodium K-series 0.33 0.53 0.50 0.18
Total: 61.38 100.00 100.00

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FESEM Test of Brick Tile sample

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EDS Test of Black Terrazzo Tile sample

Application Note

Spectrum: test 5205

Element Seriesunn. C norm. C Atom. C Error (3 Sigma)
[wt.%] [wt.%] [at.%] [wt.%]
Calcium K-series 23.56 43.81 23.37 2.51
Oxygen K-series 21.68 40.31 53.87 15.09
Carbon K-series 5.61 10.44 18.58 5.22
Silicon K-series 2.29 4.26 3.24 0.50
Aluminium K-series 0.64 1.19 0.94 0.26
Total: 53.77 100.00 100.00

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FESEM Test of Black Terrazzo Tile sample

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EDS Test of White Terrazzo Tile sample

Application Note

Spectrum: test 5203

Element Series unn. C norm. C Atom. C Error (3 Sigma)
[wt.%] [wt.%] [at.%] [wt.%]

Oxygen K-series 29.74 44.95 61.27 14.24

Calcium K-series 27.41 41.43 22.54 2.63
Carbon K-series 3.60 5.44 9.89 2.79
Silicon K-series 3.50 5.29 4.10 0.57
Aluminium K-series 1.23 1.86 1.50 0.30
Sulfur K-series 0.68 1.02 0.69 0.19
Total: 66.17 100.00 100.00

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Spectrum: test 5204

Element Series unn. C norm. C Atom. C Error (3 Sigma)
[wt.%] [wt.%] [at.%] [wt.%]

Oxygen K-series 19.36 33.12 50.59 13.69

Calcium K-series 24.66 42.17 25.72 2.61
Carbon K-series 3.46 5.93 12.06 4.17
Silicon K-series 0.41 0.70 0.61 0.21
Zirconium L-series 5.68 9.71 2.60 0.96
Magnesium K-series 4.90 8.38 8.43 1.04
Total: 58.47 100.00 100.00

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FESEM Test of White Terrazzo Tile sample

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XRD Test of Top layer of White Terrazzo Tile sample

Counts
GMAG TERRA220
8000

6000

4000

2000

0
20 30 40 50 60 70 80
Position [°2θ] (Copper (Cu))

Measurement Conditions: (Bookmark 1)

Dataset Name GMAG TERRA220

File name C:\XRD Data\October2019\GMAG TERRA220.xrdml

Sample Identification GMAG TERRA220

Comment Configuration=Reflection Spinner Stage, Owner=User-1, Creation

date=20-09-2016 16:48:22

Goniometer=PW3050/60 (Theta/Theta); Minimum step size 2Theta:0.001; Minimum step size

Omega:0.001

Sample stage=Spinner PW3064

Diffractometer system=XPERT-PRO

Measurement program=C:\PANalytical\Data Collector\Programs\10°-90°.xrdmp,

Identifier={50DFF4F9-B737-43FA-A617-FA0883B94F1C}

Batch program=C:\PANalytical\Data Collector\Programs\GENERAL.xrdmp, Identifier={B0748876-

7E9E-4232-9E0C-A5B1EDFA04A4}

PHD Lower Level = 6.52 (keV), PHD Upper Level = 12.80 (keV)

Measurement Start Date/Time 29-10-2019 11:41:47

Operator User

Raw Data Origin XRD measurement (*.XRDML)

Scan Axis Gonio

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Start Position [°2θ] 10.0084

End Position [°2θ] 89.9934

Step Size [°2θ] 0.0170

Scan Step Time [s] 29.2100

Scan Type Continuous

PSD Mode Scanning

PSD Length [°2θ] 2.12

Offset [°2θ] 0.0000

Divergence Slit Type Fixed

Divergence Slit Size [°] 0.4354

Specimen Length [mm] 10.00

Measurement Temperature [°C] 25.00

Anode Material Cu

K-Alpha1 [Å] 1.54060

Generator Settings 40 mA, 45 kV

Diffractometer Type 0000000011023505

Diffractometer Number 0

Goniometer Radius [mm] 240.00

Dist. Focus-Diverg. Slit [mm] 100.00

Incident Beam Monochromator No

Spinning Yes

Main Graphics, Analyze View: (Bookmark 2)

Peak List: (Bookmark 3)

Pos. [°2θ] FWHM Total [°2θ] d-spacing [Å] Rel. Int. [%] Area [cts*°2θ]

18.1116 0.1011 4.89401 0.65 5.30

20.9396 0.0717 4.23900 0.91 5.30

23.1333 0.0842 3.84174 6.32 65.54

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26.7129 0.0785 3.33450 2.33 23.40

28.6927 0.0431 3.10877 8.16 45.57

29.4191 4.1658 3.03364 0.56 374.55

29.4843 0.0792 3.02708 100.00 882.71

31.0139 0.0626 2.88118 21.10 137.39

31.5111 0.0929 2.83685 1.25 15.46

32.6808 0.5679 2.73793 0.79 72.45

34.1651 0.1997 2.62230 0.93 28.03

35.3815 0.1278 2.53489 0.47 8.81

36.0518 0.0883 2.48927 9.09 91.48

37.6611 6.1261 2.38652 0.23 227.08

39.4939 0.0982 2.27989 12.27 142.42

41.2020 0.1168 2.18923 1.41 20.47

43.2470 0.0865 2.09033 10.44 109.66

45.0321 2.5997 2.01153 0.25 99.30

47.2061 0.1301 1.92383 3.71 64.87

47.5894 0.1204 1.90923 13.02 182.74

48.6028 0.1056 1.87176 17.98 228.29

49.6982 0.0762 1.83304 0.88 7.21

50.5766 0.3280 1.80325 0.81 42.72

51.1277 0.1197 1.78510 1.20 11.59

52.1752 0.0920 1.75170 0.49 5.73

56.6500 0.1392 1.62348 1.41 21.14

57.4899 0.1303 1.60175 4.08 66.07

58.1842 0.1608 1.58428 0.39 5.64

60.0291 0.2299 1.53992 0.27 4.97

60.7633 0.1124 1.52306 4.57 60.15

61.4607 0.1382 1.50744 0.91 20.33

63.1548 0.1596 1.47102 0.53 12.48

64.7520 0.1449 1.43854 2.86 52.62

65.7044 0.2349 1.41997 0.69 13.10

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69.2899 0.0685 1.35499 0.75 6.99

70.3443 0.2053 1.33724 0.89 14.77

70.8178 0.0903 1.32946 2.29 21.57

72.9925 0.2608 1.29512 0.81 17.14

73.5425 0.0587 1.28679 1.36 8.62

77.2618 0.2520 1.23386 0.69 24.18

81.6343 0.3412 1.17846 0.63 34.67

83.8830 0.2509 1.15250 1.04 27.03

84.9014 0.1870 1.14126 0.77 17.67

88.7615 10.4364 1.10133 0.31 257.74

Counts
GMAG TERRA220
Calcite

98-002-1905

6000

4000
Calcite

2000
Calcite Calcite
Calcite

Calcite
Calcite
Calcite

Calcite
Calcite

Calcite
Calcite

Calcite
Calcite

Calcite

Calcite

Calcite

Calcite
Calcite

Calcite
Calcite

Calcite

Calcite

Calcite
Calcite

Calcite

0
20 30 40 50 60 70 80
Position [°2θ] (Copper (Cu))

B.4.3 The report of the tests conducted by INTACH is below:

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INTACH CONSERVATION INSTITUTES

RESEARCH WING

71, Lodhi Estate, K.K. Birla Lane, Delhi-110003

Phone: 011-24642172, E-mail Id: [email protected]

SAMPLE ANALYSIS SHEET UNDER LM/PLM

SAMPLE: Composite (Fiberboard) SOURCE OF SAMPLE: Corbusier Museum, Chandigarh

OBJECTIVES OF ANALYSIS : To know about nature and morphology of the sample.

TESTING AND COMPARISONS:

 The sample is examine using Light microscopy (LM) & Polarized light microscopy (PLM).
 The imaging is done under the reflected (4X, 10X, 20X, 40X) and transmitted light (20X).
 Sample was compared with different species of wood.
 The burning test is done under controlled conditions.

FINDINGS:

1. The sample is organic in nature.

2. The binding medium is synthetic in nature (matrix).
3. The sample does not contain coir.
4. The transverse section is showing straight cubical pattern of pores.
5. The radial section is showing parallel longitudinal fibers resembling bast fibers. Bast fibers are long
thick-walled cells harvested from the inner bark of hardwood trees. Flax and hemp are some
examples of bast fibers and are harvested from the stems. Salient features used to identify bast
fibers are thick walls, dislocations (also called kinks), long length, tapered ends and presence of
lumens (cavities).

CONCLUSIONS:

The sample is organic and is most probably a bast fiber board. Bast fibre reinforced boards are
bio-composites made of natural fibres such as kenaf, jute, flax, hemp, sisal, corn stalk, bagasse
or other grasses are embedded in a matrix.

1 **This is a scientific examination report only and in no way can be

treated as a statement of authenticity/ confirmation.

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Cross-sectional Imaging

Micrograph showing transverse section

Micrograph showing transverse section of sample, 4X, Micrograph showing transverse section of sample, 10X,
Reflected light, Copyright: INTACH, New Delhi Reflected light, Copyright: INTACH, New Delhi

Micrograph showing transverse section of sample, 20X, Micrograph showing transverse section of sample, 40X,
Reflected light, Copyright: INTACH, New Delhi Reflected light, Copyright: INTACH, New Delhi

2 **This is a scientific examination report only and in no way can be

treated as a statement of authenticity/ confirmation.

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Micrograph showing radial section

Micrograph showing radial section of sample, 20X, Micrograph showing radial section of sample, 20X,
Transmitted light(PPL), Copyright: INTACH, New Delhi Transmitted light(XPL), Copyright: INTACH, New Delhi

Garima S Raghav Date: 25/11/2019

Research wing
Art & Material Heritage Division
INTACH

3 **This is a scientific examination report only and in no way can be

treated as a statement of authenticity/ confirmation.

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Slide No.: 0110-0123

INTACH CONSERVATION INSTITUTES

RESEARCH WING

71, Lodhi Estate, K.K. birla Lane, Delhi-110003

Phone: 011-24642172, E-mail Id: [email protected]

CROSS-SECTION SAMPLE ANALYSIS SHEET

SAMPLE: Composite (WOOD/PLASTER) SOURCE OF SAMPLES: Corbusier Museum, Chandigarh

OBJECTIVES OF ANALYSIS: Stratigraphy to determine the number of paint layers present on each
sample.

SAMPLE NO.: S01 (Location: Next to granth sahib room- Old curator Room-Level 2)

REFLECTED LIGHT: 4x

CONCLUSION:

 Three distinct layers of plaster are visible under reflected light.

 There two paint layers (greenish black) distinctly visible.

1 **This is an examination report only and in no way can be treated as a

statement of authenticity/ confirmation.

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Slide No.: 0110-0123

SAMPLE NO.: S02 (Location: Guru granth sahib room-Level 3)

REFLECTED LIGHT: 4x

CONCLUSION:

 Two layers of plaster are visible under reflected light. One layer could be ground.
 Two layers of red paint (light and dark) are visible under reflected light.

SAMPLE NO.: S03 (Location: Guru Granth Sahib room- Toilet)

REFLECTED LIGHT: 4x

2 **This is an examination report only and in no way can be treated as a

statement of authenticity/ confirmation.

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Conservation Planning for Government Museum and Art Gallery, Chandigarh

Slide No.: 0110-0123

CONCLUSION:

 Three layers of plaster are visible under reflected light.

 Three layers of bluish white paint are clearly visible under reflected light.

SAMPLE NO.: T01 (Location: Staircase to Terrace)

REFLECTED LIGHT: 4x

CONCLUSION:

 Only one thick layer of plaster is visible under reflected light.

 Four layers of green paint (different tones) can be distinguished in reflected light image.

3 **This is an examination report only and in no way can be treated as a

statement of authenticity/ confirmation.

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Conservation Planning for Government Museum and Art Gallery, Chandigarh

Slide No.: 0110-0123

SAMPLE NO.: G01 (Location: Shaft Entrance)

REFLECTED LIGHT: 4x

CONCLUSION:

 Three white layers are visible under reflected light.

 These could be plaster, ground and paint or ground with two layers of paint.

SAMPLE NO.: G02 (Location: Reserve Gallery- Ground Floor)

REFLECTED LIGHT: 4x

CONCLUSION:

4 **This is an examination report only and in no way can be treated as a

statement of authenticity/ confirmation.

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Conservation Planning for Government Museum and Art Gallery, Chandigarh

Slide No.: 0110-0123

 A single layer of plaster is clearly visible under reflected light.
 A thin layer of black (could be dust and dirt) is present over the plaster layer.
 Two layers of green paint are visible in reflected light with a thin layer of probably dust in
between. This may indicate painting a second coating without cleaning.

SAMPLE NO.: G03 (Location: Reserve Gallery Miniature- Ground floor)

REFLECTED LIGHT: 10X

CONCLUSION:

 Three layers of white are visible under reflected light. These could be the plaster layers (two)
and a ground layer.
 One layer of red paint is visible in reflected light image.

5 **This is an examination report only and in no way can be treated as a

statement of authenticity/ confirmation.

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Slide No.: 0110-0123

SAMPLE NO.: F01 (Location: Shaft Door- pottery section-First floor)

REFLECTED LIGHT: 4x

CONCLUSION:

 Two layers of plaster clearly visible under reflected light. These may be a ground layer over
plaster.
 Two layers of white paint are distinctly visible.
 Wooden support is visible below the plaster layer.

6 **This is an examination report only and in no way can be treated as a

statement of authenticity/ confirmation.

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Slide No.: 0110-0123

SAMPLE NO.: F02 (Location: Gandhara Gallery)

REFLECTED LIGHT: 4x

CONCLUSION:

 A single ground/plaster layer is visible under reflected light.

 Four layers of dark paint (different tones) can be distinguished under reflected light.

SAMPLE NO.: F03 (Location: Shaft Door-Coin Gallery)

REFLECTED LIGHT: 4x

7 **This is an examination report only and in no way can be treated as a

statement of authenticity/ confirmation.

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Slide No.: 0110-0123

CONCLUSION:

 This sample shows that a red painted area is painted over with white.
 One layer of plaster, followed by ground and red paint is visible.
 Then a ground layer is present over the red paint layer.
 Two white layers are visible over the ground layer.

SAMPLE NO.: F04 (Location- Contemporary Gallery)

REFLECTED LIGHT: 4x

CONCLUSION:

 One layer of red coloured layer can be seen under reflected light.
 One layer of plaster is visible under reflected light.
 One layer of ground between paint and plaster layer is visible under reflected light.

8 **This is an examination report only and in no way can be treated as a

statement of authenticity/ confirmation.

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Slide No.: 0110-0123

SAMPLE NO.: F05 (Location: Shobha Singh Gallery-First floor)

REFLECTED LIGHT: 10x

CONCLUSION:

 Three layers of plaster are visible under reflected light.

 Two layers of paint are distinctly visible under reflected light.

9 **This is an examination report only and in no way can be treated as a

statement of authenticity/ confirmation.

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Slide No.: 0110-0123

SAMPLE NO.: F06

REFLECTED LIGHT: 4x

CONCLUSION:

 One layer of plaster is visible under reflected light.

 Four layers of paint, one green and three red, are visible under reflected light.

SAMPLE NO.: F07 (Location: Lift Door in stairwell- First floor)

REFLECTED LIGHT: 4x

10 **This is an examination report only and in no way can be treated as a

statement of authenticity/ confirmation.

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Conservation Planning for Government Museum and Art Gallery, Chandigarh

Slide No.: 0110-0123

CONCLUSION:

 Single layers of plaster is evidently visible with the wood support under reflected light.
 One layer of green paint is visible under reflected.

SAMPLE NO.: 001 (Location: Ramp railing)

REFLECTED LIGHT: 4x

CONCLUSION:

 On the metal surface two thin layers of dark blackish coating visible
 One layer of red colour is visible as the outermost layer under reflected light.

11 **This is an examination report only and in no way can be treated as a

statement of authenticity/ confirmation.

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Slide No.: 0110-0123

SAMPLE NO.: 002 (Location: Mumpty door)

REFLECTED LIGHT: 4x

CONCLUSION:

 On the metal surface two thin layers of greenish bluish colour are visible.
 One layer of red colour is visible as the outermost layer under reflected light.

SAMPLE NO.: 002 (Location: Library Main Door)

REFLECTED LIGHT: 4x

12 **This is an examination report only and in no way can be treated as a

statement of authenticity/ confirmation.

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Conservation Planning for Government Museum and Art Gallery, Chandigarh

Slide No.: 0110-0123

CONCLUSION:

 The metal surface is not visible.

 The paint flake sample has two distinct red layers.

Garima S Raghav

Conservator

Art & Material Heritage Division

INTACH

13 **This is an examination report only and in no way can be treated as a

statement of authenticity/ confirmation.

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 Conservation Planning for Government Museum and Art Gallery, Chandigarh

B.4.4 The report of the test conducted by Metal Detector is below:

South-West Elevation

South-East Elevation

Rebars detected

Replaced Brickwork

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 Conservation Planning for Government Museum and Art Gallery, Chandigarh

B.5 Inventory of Original Museum Furniture

A basic inventory showing the types and number of original furniture in the Government Museum and
Art Gallery is given below:

S.NO. NAME PHOTOGRAPH QUANTITY LOCATION

1. Sofa chair with 2 D.C Room
arms

2. Junior officer 2
table
GM/OT-10 D.C. Room
GM/lib/OT/2 Library

3. V-leg chair with 17 4- Art Gallery reception

arms 1- Metal Sec.
1-Gandhara Sec
2- Library
2- Child art Gall
2- Cont. Reserve collection
5 – Antiquity Reserve collection

4. 7 1-Miniature sec.
Chair arm-less 1-Contemp. sec
1-Child Art Gall.
2- Common Room- GCE46
1- Library C.Ed. 87
1- Cont. Sect. 163/8/

5. Study table 6+1 =7 Library

6 No’s [thick]
1 No’s [thin]

6. Easy sofa chair 12 Library – Chairman Room

with arms
GM/LH/CU.C- 1
GM/LH/CU.C- 2
GM/LH/CU.C- 3
GM/LH/CU.C- 4
GM/LH/CU.C- 5
GM/LH/CU.C- 6
GM/FCH - 1
GM/FCH - 2
GM/FCH - 3 502
2 without nos.

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 Conservation Planning for Government Museum and Art Gallery, Chandigarh

S.NO. NAME PHOTOGRAPH QUANTITY LOCATION

7. Senior Officer 1 Library – Chairman Room
table
GM/Lib/OT-1

8. Easy Sofa Chair 5 + 2 broken Common Room

with arms

9. Wooden chair 8 Common Room

with square
legs and woven GM/CH/72
cane seat GM/AG/c 5
GM/CH/51
GM/CH/54
GM/AG/c 17
GM/CH/59
10. 3 Common Room
Wooden chair
with woven GM/CH/10
cane seat GM/CH/CS- IO/
WC[c]9

11. Cross leg 2 Common Room

wooden Chair

12. Junior officer 2 No’s broken Common Room

table
GM/OT/9

13. Table with file 2 1 - Common Room

racks 1- contemporary reserve
collection

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 Conservation Planning for Government Museum and Art Gallery, Chandigarh

S.NO. NAME PHOTOGRAPH QUANTITY LOCATION

14. Wooden center 2 + 2 + 6 = 10 2-Contemporary reserve
table collection
2- Antiquity reserve
collection
6- Store [exhibition hall]

15. Glass show- 10 Metal Gallery

case GM/SC-1 TO 10

16. Glass Show- 3 Metal Gallery

case

17. 1 + 5=6 1 Metal Gallery+ 5 miniature

Display stand section
(Stone)

18. Glass Show- 13 Gandhara Section

case

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 Conservation Planning for Government Museum and Art Gallery, Chandigarh

S.NO. NAME PHOTOGRAPH QUANTITY LOCATION

19. Glass Show- 18 Gandhara Section
case
(16 display +1 behind screen +1
under Library stairs)

20. Write-ups 3+1+3 = 7 (3 Gandhara Section + 1 Cont.

boards Section + 3 Miniature Section)

21. 3 Gandhara Section

Pedestal fixed
on wall

22. Pedestal stand 3 Gandhara section (2 in glass

show-case)

23. Iron Pedestal 2 Gandhara Section (1 in glass

(3legs) show-case)

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 Conservation Planning for Government Museum and Art Gallery, Chandigarh

S.NO. NAME PHOTOGRAPH QUANTITY LOCATION

24. Stone Pedestal 1 Gandhara Section

(Round)

25. Wooden 3+2+3=8 3 Gandhara Section +2

Pedestal Contemporary Section +3
(Rectangular Textile section
18x9 blocks)

26. Wooden 1 Store [exhibition hall]

Pedestal
(Rectangular
blocks)

27. 2+1=3 (2 inside Gandhara Section

Wooden glass show-case + 1
Pedestal outside show case)
(Rectangular
24x9 blocks)

28. Wooden 1 + 1 =2 1 Gandhara section + 1 Textile

Pedestal Gallery
(Square 12 x12
blocks)

29. Wooden 1+3=4 1 Gandhara section + 3 Textile

Pedestal Gallery
(Square 9 x 9
blocks)

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S.NO. NAME PHOTOGRAPH QUANTITY LOCATION

30. Iron- Pedestal 1 Gandhara Section

31. Peedhas 6 + 7 =13 6 Miniature + 6 Contemporary

+1 Coins Gallery

32. Vertical display 6 Miniature

glass rack

33. Glass Show- 2 (small) +1 (Big) =3 Miniature

case

34. Glass Show- 2 Miniature

case

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 Conservation Planning for Government Museum and Art Gallery, Chandigarh

S.NO. NAME PHOTOGRAPH QUANTITY LOCATION

35. Screens 42 Miniature

36. Wooden-stand 1(Round) Contemporary

Section

37. Fixed hanging 16 Contemporary

Screens Section
(Vertical)

38. Fixed hanging 2 Contemporary Section

Screens
(Horizontal)

39. Moveable 23 Contemporary Section

Vertical Screens (1 17 Display + 3 under
chairman room stairs + 2 under
library stairs + 1 back side of
Brahm gallery)

40. Horizontal 2 Contemporary

Screens with Section
side stand (Half,
small)

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S.NO. NAME PHOTOGRAPH QUANTITY LOCATION

41. Horizontal 3 Contemporary
Screens Section
without stand
(Half, Big)

42. Wooden 3+1+5+7 +5 =21 3 -Contemporary gallery

pedestal with 1-Textile gallery
Iron stand 5- Contemp. Reserve collection
7- Store [exhibition hall]
5- Gandhara Gallery(2 in show-
case)

43. 2 Setees + 2 2 +2= 4 Library

Chairs Long setee - GM/SS.2
Broad setee -GM/
SS.2

44. Book- Racks 18 Library

GM/BS – 1 to GM/BS
-12 , GM/Lib/ BS - 25
to 30

45. Show- Case 1 (GM/B.S. -13) Library

46. Wooden Rack GM/CB-2 Library

47. Fixed Book Rack 6 GM/B.S. 14 to 19) Library

(Dr. Randhawa
section)

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S.NO. NAME PHOTOGRAPH QUANTITY LOCATION

48. Fixed Book 3 (GM/Lib/ B.S.-21 Library – Chairman Room
Rack to 23)

49. Fixed Book 3 Library - Chairman Room

Rack

50. Leatherite 1 Chairman Room

Chair GM/Lib/OC-1

51. 1 Near Reception

Settee GM/SS.3

52. Sofa- Chairs 2 Near Reception

GM/SS.4

53. Sofa 1 Near Reception

GM/SS.4

54. Table 1 Near Reception

GM/CT-3

55. Glass show- 7 Child Art Gallery

case (Square)

56. Auditorium 180 Auditorium

Chairs

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 ANNEXURE
C: Proposed Strategies
 Conservation Planning for Government Museum and Art Gallery, Chandigarh

C.1 Recommended Strategies for Tree Pruning ⁹⁴ ⁹⁵ ⁹⁶

1. Tree pruning exercise should take place as per the instructions/ directions of a Certified Arborist/
Horticulturist under direct supervision of a Garden Supervisor during his duty hours.
2. The various aspects and procedure for correct pruning practice with diagram is shown below:

C.1.1 Tools

• Hand pruning for small branches, up to about ½ -inch diameter.

• Loppers or a saw for larger branches or for species with hardwood.
• Long-handled loppers to remove larger-diameter branches, but
precise cuts are more difficult to make.
• Newer blade designs are able to cut large and small diameter
branches quickly and cleanly. Pruning saws are available with fixed
or folding blades, or mounted on a pole. Larger pruning saws are
sometimes used by professionals.
• Chainsaws are not recommended for general pruning, except by
professionals as a time saver.

C.1.2 Timing

• To minimize damage and synchronize with the natural growth cycle, winter pruning is recommended
(January, February).
• Heavy pruning in early spring (April, May) should be avoided as tree energy reserves are low.
• Timing for light pruning is less critical.
• For maximum display of spring flowering species, pruning after bloom (June or later) is better.
• Dead limbs and branches can be pruned at any time.

J F M A M J J A S O N D
BEST TIME   
WORST TIME  
LIGHT PRUNING          

C.1.3 Hierarchy of cutting

94. Basic Pruning Guidelines, Missouri Dept. of Conservation

95. http://www.peterborough.gov.uk/pdf/env_PruningTechniques.pdf
96. http://www.tlcfortrees.info/pruning_specifications.htm

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 Conservation Planning for Government Museum and Art Gallery, Chandigarh

C.1.4 Applying the three-cut method for larger diameter branches

• Branches 1” (25.4 mm) in diameter or

larger generally should be removed in
a series of three cuts. This will prevent
bark attached to the base of the cut
branch from stripping away bark on
the trunk as it falls.

C.1.5 Saving branch collars

• Trees produce natural chemicals to
prevent decay from entering the tree
at the base of each branch or limb.
• To preserve this chemical zone,
pruning should spare the slight swelling
or branch collar, at the branch base.
The resulting wound will be smaller
than if the branch were cut flush. This
rule applies to large limbs and small
branches.

C.1.6 Degree of pruning

• An important principle to remember
is that a tree can recover from several
small pruning wounds faster than from
one large wound.
• Only a small percentage of the live
part of a tree may be removed at one
time - a maximum of 25% in one year
for healthy, vigorous trees.
• The older and larger a tree becomes, the less energy it has in reserve to close wounds and defend
against decay or insect attack. The pruning of large mature trees should be limited to removal of dead
or potentially hazardous limbs.
• Weak or declining trees should be pruned still lesser.
• Severe pruning is absolutely undesirable as it may stimulate undesirable sprouting from the stem or
roots.
• Pruning more than 25 percent of the live crown annually of any tree two years in succession should
be strictly avoided.

C.1.7 Pruning for young trees to avoid future problems

• Simple hand-pruning tools can be used when a tree is young to
prevent future growth problems as well as inconveniences and the
need to remove large limbs later in its life.
• Young trees should be checked for any abnormality like forked
tops (double leaders) or low level branches, which should be gently
removed.

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C.1.8 General ‘DO’-s & ‘DON’T-s’ to be followed

• Established and maturing trees should be inspected every 2-3 years for pruning and maintenance
needs. The main concerns for pruning middle-aged and mature trees are: Removing the ‘Five D’s (Dead,
Dying, Damaged, Diseased and Deformed limbs).
• A Certified Arborist/ Horticulturist should review the bids for contract before they are made public
to contractors.
• Only contractors with a Certified Arborist/ Horticulturist on staff or retainer should be considered for
award of the pruning work. That Certified Arborist would be expected to make regular site visits (at
least weekly) for supervision.
• Only rope and saddle climbing gear without climbing spurs or spikes should be allowed for pruning
live trees (spurs and spikes wound trunks and allow decay organisms to enter the trunk, or they may
transfer diseases from tree to tree).
• All crewmembers should wear the appropriate safety gear: hard hats, eye protection, approved boots
etc.
• Pruning large trees can be dangerous. Hiring the services of a professional arborist is strongly
recommended, who will determine the type of pruning necessary to improve the health, appearance,
and safety of the trees. A professional arborist can provide the services of a trained crew, with all of the
required safety equipment and liability insurance.

C.2 Building Conservation Proposal Matrix

The tags given in the table below have been used in the Conservation Proposal drawings (Annexure D)
to identify the condition and its corresponding treatment proposed for the building.

Legend for Concrete:

CODE CONDITION TREATMENT TAG
CO- RC CRACKS • Clean grout CO-RC
• Fill the crack
C0- P1 LOSS OF MATERIAL • Provide/install patch CO-P1

CO- P2 EXPOSED REBARS • Clean Rebar CO-P2

(more than X mm long) • Remove loose concrete
• Provide/install patch
CO- P3 PAST REPAIRS • Remove old patch CO-P3
• Clean the rebar
• Coat the rebar
• Provide/install patch
CO- P4 DETACHMENT • Remove loose concrete CO-P4
• Clean the rebar
• Coat the rebar
• Provide/install patch
Legend for Brick Tiles:
CODE CONDITION TREATMENT TAG
Remove pointing and re-point all joints for brick cladding
BT-RE Dislodged/Deformation/ Re-secure Brick BT-RE
Detachment/ Displaced
BT- RR Exposed Rebar/metal strip Clean and prime metal surface and repoint BT-RR
joints

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 Conservation Planning for Government Museum and Art Gallery, Chandigarh

Legend for Terrazzo:

CODE CONDITION TREATMENT TAG
Remove pointing and re-point all joints for terrazzo tiles
TZ- NT1 Weathered Tile/ Loss of Replace weathered tiles with new TZ-NT1
Material
TZ- NT2 Past Repair Replace improper tiles with new matching TZ-NT2
tiles
TZ- NT3 Damaged Material Replace damaged tiles with new tiles TZ-NT3

TZ- RC Cracks Repair cracks by filling and refinishing the TZ-RC

surface
TZ- RE Detachment Re-secure detached tile TZ-RE

TZ- W1 Wooden Inserts - 1 Remove wooden Inserts and in-stall patch for TZ-W1
area less than 25% area
TZ- W2 Wooden Inserts - 2 For more than 25 % area remove and install TZ-W2
new tiles
Legend for Fibreboard:
CODE CONDITION TREATMENT TAG
FB-NB1 Seepage Replace damaged boards with new boards FB-NB1
(or salvaged from the areas under demolition)
FB-NB2 Past Repair For past patches more than 25% replace the FB-NB2
board with new and paint
FB- P1 Past Repair Provide patch of composite material for past FB-P1
repairs less than 25%
FB- P2 Damaged Material Provide patch of composite material where FB-P2
the fiber board has cracks or is damaged
FB- CP Efflorescence Clean and paint FB-CP

FB- RE Dislodged/ De-formed Re-secure dislodged or loose fibre boards FB-RE

Material
Legend for Acoustical Panels:
CODE CONDITION TREATMENT TAG
AP- RE Dislodged/ De-formed Re-secure dislodged or loose acoustical panels AP-RE
Material
AP- RP Loss of material Replace damaged panels with new panels AP-RP

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