Categories: ArchiSpeak

Living History Museum: A Marvellous Design by Architect Sunando Dasgupta

West Bengal Tourism Development Corporation Ltd. has proposed to set up a “Living History Museum for 19th Century Bengal” on the banks of the river Teesta Barrage, Gajoldoba, West Bengal, India. The proposed Site is approximately 15.6 acres and part of the Gajoldoba Mega Tourism hub spreading across 208 acres alongside the Barrage and has been a boon to migratory birds from Central Asia, making it an eco-sensitive zone. The objective of the Museum is to recreate historical settings, providing visitors with an experiential interpretation of the history of the 19th century Bengal Renaissance, catering to the population of North Bengal, and provide a boost to the eco-tourism of the region.

The sole initiator and donor of the project is the Government of West Bengal.

Project Details

Gross Floor Area	12000.00 sq m
Gross Volume	1,03,085.00 cu m
Construction costs	US$2.8million /INR 20.5 crore
Site area	63,131.00 sq m
Footprint area	10,115.00 sq m
Building height	15.0 m
Building depth	3.60 m

Further Relevant Key Figures

Envelope: Sloping berm:5550 m2.
Atrium:10000 m2.
Roof:1257 m2
Net Floor Area :11000.m2
Utilizable Area :10254m2
Gross Floor Area :12,000m2
Staff:30. Average footfall per day 1500 Gross Volume: Gross Floor Area:8.59

Materials

Walls: Stone Masonry, AAC block,

Inner Vault/sloping berm: Catalan roofing system. Cladding: Terracotta tile.

Flooring: In-situ Terrazzo.

Atrium: Re-cycled glass, steel.

Inner Core: RCC.

Display area: Earth, grass

Sections - The Atrium consisting of a 24m wide circular display zone,3.0 M below the existing ground level, houses the main exhibits.

CO₂ Lifecycle Assessment

Materials for structure and finishing is chosen to reduce CO2 emission for availability, production, installation, maintenance and re-cycling – – to synthesize sustainability, functions and aesthetics.

Use of RCC limited to 10% of GFA in inner core only, using Fly ash cement, recycled steel, local sand, aggregate.

Balance structure proposed in the Catalan roofing system, with terracotta/country tile cladding and recycled steel.

Central Atrium and all apertures proposed in recycled steel and glass. The use of aluminum eliminated. Hard floor areas proposed in cast-in-situ salvaged stone and cement mortar. Internal masonry in AAC blocks and external masonry in exposed random rubble. Low VOC paints used.1500 trees to be planted. Gas-fired power backup. Natural light and passive ventilation in 80% of GFA.

Site Plan: Eco-sensitive site beside barrage water body, bird sanctuary, 90% open are left for trees

Statements on Sustainability

A BIOCENTRIC DESIGN INTERVENTION FOR AN ECO-SENSITIVE ZONE

The concept genesis of this project was the commitment of keeping the flora, fauna and ecosystem of the land parcel untouched and manifesting a completely Bio-centric physical form. The Design takes a ‘Human Cage’ adaptation in the form of a conical, transparent skin atrium, to contain all activities of the Living History Museum under one roof – a radical deviation from conventional open-air museums, hence minimizing ecological damage through containment of wide-spread soil disturbance, pollution and human interference.

This achieves a symbiotic dialogue between ecosystem and structure, instead of human-imposed monologue – a site-responsive Museum, for promoting history, awareness, and participation. Metaphorically, it is an archetypal ‘Stupa’, symbolizing preservation and harmony.

Plan+1000 mm. Two large ambulatory connects lower ground, digital panorama through stairs and lifts.

A Sustainable Translation from Concept to Forms and Functions

The building is centrally located in with a small footprint area, allowing the green cover to be planted extensively. A sloping seamless conical shape, broken in parts by myriad curvilinear motifs to prevent bird collision casualties. The glass atrium blankets the central mass, insulating it and preventing external heat absorption.

The structure gently rises from the ground, allowing a subterranean exhibit area, minimizing heat load. Periphery is earth-bermed & provides protective embankment against floods, with sloping green terrace – punctured at places with louvres to provide natural ventilation. An inner sunken ground serves as the main exhibition area, retained as natural earth with greenery, reducing the use of concrete. Electric vehicles ply visitors from designated parking 10 km away.

Louvered openings around provide ample natural ventilation and glass atrium natural light.

Social Responsibility and Economic Models

The project opens avenues for knowledge transfer and assumes social responsibility through training, workshops, live shows, research, displays, digital experiences to simulating 19th century Bengal through spectacular displays and exhaustive use of vernacular materials produced locally to promote small scale enterprises and create employment opportunities.

Fostering and promoting art, literature and history, to attract a large cross-section of local population and visitors, nationally and internationally, assuring high sustainable footfall income for a better economic model.

The envelope structure also preserves and protects the exhibits (life-size models of habitats, large and small exhibits, craft bazaar, documents, murals, paintings) from direct weather, hence increasing the life span

Museum to portray 19th century Bengal in the context of Art, Culture, Literature, Architecture, Society.

Functional Spaces

Gate Complex: The Gate Complex is proposed as a unique juxtaposition of traditional Architecture of Bengal in the 18th Century and the free flowing organic character of the surrounding Environment and wildlife. It houses the entry and exit gate of pedestrian movement and also a separate gate for the vehicular ramp leading to the lower ground.

The Circular Atrium housing the main exhibits of the living history Museum. The entire ambulatory within the atrium is proposed to be around 3.0 M below the existing ground level (Sunken Ground) . This has been proposed to scale down the structure and merge it with the surrounding. The sloping sides are proposed in Catalan roof system with the green cover above with rectangular slit punctures for natural light and ventilation all around the atrium. This slope also provides a protection embankment for any flooding due to high flood levels in River Teesta. This core display area is adequate to house all the major re-constructed life-size displays. A Cafeteria for 100 pax, toilet blocks and other service zones are also tucked away in this zone.

Reconstructed structures, events , sculptures over natural ground under Catalan roof, glazed atrium.

The Inner Organs: The inner vaulted structure in Catalan roofing system running circumferentially below the Digital Panorama housing the supporting infrastructure and activities like conference hall, orientation centre, front office /reception, information kiosks, restoration centre, stores, security and control rooms. An open Air theatre is also within this enclosure. On the inner side around the vertical core leading to the Digital panorama is a spacious circular circulation zone which is exclusively set apart for a crafts bazaar and souvenir shops.

Digital Panorama: A 40.0 M diameter, and 11.0 M high cylindrical structure rising in the centre through a service core, around which the Atrium is proposed which houses a viewing platform in the centre, with projection facility above the platform and a 360-degree sheer wall for a unique digital experience. With this mega digital media and 10 M display arena in the front, all the aspects of the 19th Century Bengal can be covered with a combination of actual exhibits and an out of the world digital experience. Such facilities are becoming a mainstay mode of exhibition in major Museums all over the world

Ar. Sunando Dasgupta

The principal architect, Sunando Dasgupta and Associates. He made his own path in contemporary Indian Architecture gaining in notoriety and emerging as a brand Architect for National Level Science Cities and other Museum Architecture and State level Science Museums and Centers. He is the only Architect in India to have designed two Iconic Science City projects apart from several other State and District level Science Centers. Sunando's works, portray his obsession for immaculate space planning, his uncanny ability to juxtapose systems and style with ease and clarity, his deep respect towards vernacular and stark simplicity of forms. He emphasizes ’Buildings are just an extension of the natural habitat and must emerge from the surrounding and not impose on the surroundings.”