Museums play an important role in shaping our understanding of history and culture. They have traditionally played a crucial role in safeguarding and maintaining cultural artifacts, artworks and historical objects. They ensure that these items are protected and conserved and help people understand and appreciate the history and cultural significance. However, their design and curatorial practices have often been influenced by colonial perspectives and traditional design of museums tends to prioritize Eurocentric narratives.
The possible outcome of this study would be decolonizing museum design, to create spaces that honor historical richness and create a healthy relationship between past and present. The way museums are designed can influence how well they represent and celebrate historical narratives and cultural experiences. Architectural interventions will play an important role in connecting the past and present.
The concept ‘Portals of time’ refers to ‘Museums’ which are not just physical experiences but also symbolic or conceptual transitions between different times, spaces, or experiences.
Decolonization Of Museum Architecture
Introduction
Decolonization of museum design, exploring the need to shift from Eurocentric approaches to more inclusive and representative practices is discussed in this study. Historically, museums acted as colonial trophy cases, showcasing the wealth and power of colonizers through grand and hierarchical architecture. Decolonizing museum design means addressing the erasure of colonized cultures and integrating indigenous perspectives. Key principles of this approach include inclusivity, flexibility, and truth-telling, which help create spaces that represent diverse cultural narratives. Through collaborative design, museums can become spaces of social healing, offering a more comprehensive understanding of history and identity. Rethinking museum design is crucial for honouring diverse cultural stories and providing a fuller picture of our shared history. By moving away from traditional methods, museums can celebrate a wide range of cultural narratives and contribute to a more inclusive society. This transformative approach is vital for building a more equitable future.
Keywords:
Figure 1: Decolonizing Museums: Reimagining the Display of Cultural Heritage
Colonization is a historical process characterized by the establishment of control over foreign territories and peoples, often for the purpose of exploitation and settlement. This practice has profoundly shaped global dynamics, particularly during the age of European imperialism, where vast regions of Africa, Asia, and the Americas were subjected to foreign rule. Colonization typically involved the extraction of resources, the imposition of foreign cultural, political, and social systems, and the marginalization or erasure of indigenous cultures and identities.
Museum colonization refers to the ways in which many museums have inherited and perpetuated the legacies of colonialism through their collections and narratives. Many artifacts housed in museums were acquired during colonial periods, often through exploitative means such as looting, coercion, or outright theft. These institutions have historically presented these items within a Eurocentric framework, reinforcing colonial narratives that diminish the cultural significance of the artifacts to their original communities.
For example, renowned institutions like the British Museum and the Louvre contain vast collections of artifacts from colonized nations, such as the Benin Bronzes and the Rosetta Stone. The display of these items often omits the context of their acquisition, leading to a one-sided portrayal of history that prioritizes the perspectives of the colonizers while silencing indigenous voices.
on 2nd September 2024)
Museum Colonization
Figure 2: Colonial Museum, Museum of the Belgian Congo (Source: monument.palais-portedoree) (Accessed
Decolonization can be broadly defined as the process of reversing colonialism, both politically and culturally (Smith, L.T1, 2012). It involves the dismantling of colonial power structures and the restoration of autonomy and cultural identity to colonized peoples. Decolonizing museum design begins with the principle of inclusivity. Architectural spaces should reflect the diversity of the communities they serve. Learning to hold space is the ground work for decolonization and decolonization can only take place at an individual level. (Miranda Gonzales,). Architects, curators, and community members must work together to co-create spaces that honour and celebrate diverse cultural heritage (Miranda Gonzales,) In the context of museums, decolonization means inviting representatives of descendant communities to engage with collections and other aspects of the museum’s function as true partners. (Lonetree, A2 2012). This partnership approach ensures that the voices and perspectives of those whose cultures and histories are represented are integral to the museum’s operations and narratives. Reversing colonialism within museums also entails sharing authority with descendant communities (Phillips, R.B3, 2011). This means not only involving them in decision-making processes but also recognizing their expertise and leadership in curating exhibits, managing collections, and interpreting histories. By doing so, museums can correct historical imbalances and ensure that their practices reflect a more and inclusive approach to cultural heritage.
The Need for Decolonization in Museums
Decolonization in museums is a critical movement aimed at addressing the historical injustice associated with museum collections and practices. It involves several key components: Restitution and Repatriation: This entails returning artifacts to their countries of origin, acknowledging that many were acquired through unethical means. The movement for repatriation has gained momentum, with calls for museums to engage in meaningful dialogues about ownership and cultural heritage.
Narrative Shift: Museums are encouraged to reframe their exhibitions to include indigenous perspectives and narratives.
This means moving away from rytelling and actively engaging ries of the cultures from which the Collaboration with Source Communities: onization requires museums to work closely munities whose cultural heritage they collaboration can help ensure that exhibitions ful and accurately reflect the significance Cultural Sensitivity and Education: Museums visitors about the colonial histories behind tering a critical understanding of how these quired and their cultural importance to the
Figure 4: Reclaiming Cultural Narratives Through
Figure 3: Meaning of Decolonisation (Source: middlebury)
Eurocentric stowith the histoartifacts originate. Communities: Effective decolclosely with the comthey represent. This exhibitions are respectsignificance of the artifacts. Museums should educate their collections, fosthese artifacts were acoriginal communities.
The extent of decolonization needed in museums varies, but it is clear that significant changes are necessary. This includes: a. Structural Changes b. Ethical Acquisition c. Ongoing Dialog and Education.
a. Structural Change: Museums must reform their governance and decision-making processes to include diverse voices, particularly from marginalized communities. This structural transformation is essential for creating inclusive and representative narratives.
b. Ethical Acquisitions: Future acquisitions should be conducted ethically, with transparency and respect for the cultures involved. This shift in practice is crucial for trust building and accountability.
c. Ongoing Dialogue and Education: Decolonization is not a one-time act but an ongoing commitment to understanding and addressing colonial legacies. Continuous education and open discussions about these histories are vital for a more inclusive museum environment.
Much
is Needed
The architecture of museums has long been influenced by colonial power dynamics, prioritizing the perspectives and aesthetics of dominant cultures while marginalizing those of indigenous and minority communities. Historically, museums served as repositories for artifacts collected during imperial conquests, representing a one-sided narrative that glorified colonizers while portraying colonized cultures as exotic or inferior (Karen Duhamel4, 2018). A lot of people do not know, what does decoloniality actually means? (Shaheen Kasmani5, 2020). By reimagining architectural practices, we can create museum spaces that honour diverse cultural narratives and foster a more comprehensive understanding of history and identity. Museums were historically built as temples of art and culture reflecting Europe as the ideal image (Cinnamon Catlin- Legutko,2017). They have their origins in the colonial era, where they often functioned as trophy cases for colonialism. Looting art and cultural treasures from invaded countries was part of the colonial way. Museums are institutions that have a lot of work to do in terms of trust building and relationships building (Karen Duhamel, 2018).
How
Decolonization
? Through Inclusive and Respectful Museum Practices (Source: Canadian Museum Association) (Accessed on 2nd September 2024)
from North America.
These institutions reflected the wealth, power, and status of the colonizers, housing the exploits of empires and reinforcing hierarchical structures. Traditional museum architecture, characterized by Neoclassical and Beaux-Arts styles, featured imposing facades, symmetrical layouts, and monumental entrances, all of which conveyed a sense of permanence and dominance. (Lonetree. A, 2012). As Miranda Gonzales aptly puts it, “The arts are the way that we show society what is possible. The art sometimes imitates life and sometimes manifests it. It is time to decolonize, and that transformation is long overdue.”
Decolonization and decolonizing museums in particular have to do with combating the erasure of colonization and bringing forth indigenous world and view and perspectives because they have been under attack for so very long for centuries (Karen Duhamel, 2018). Colonization is characterised by the taking of land and decolonisation is going to have to be about writing these historical wrongs. (Kevin Lamonesux,2022). Decolonisation is a process and not a result (Karen Duhamel, 2018) involving the elimination of the colonial lens through which the indigenous experience is often shown.
In order to know where we want to go, we need to know where we have been. (Nikki Sanchez,2019). Decolonized Museum design prioritizes flexibility and adaptability. Rather than rigid, hierarchical layouts, museums should feature dynamic spaces that can be reconfigured to accommodate different types of exhibits and events.
This adaptability allows for a more fluid and inclusive representation of cultural narratives, accommodating temporary exhibitions, community gatherings, and participatory activities. Decolonizing Museum practices involve truth-telling, ensuring that the full measure of history is told. This means prioritizing native voices and perspectives, and dismantling power structures that oppress the colonized. By recognizing and addressing these tools of oppression and exploitation, museums can foster a deeper understanding of history and identity, promoting a more just and inclusive society. Decolonizing museum design requires a fundamental shift in institutional mindsets and practices. The decolonizing process is relinquishing power and control. (Miranda Gonzales).
Resistance to change can stem from entrenched power dynamics and a reluctance to relinquish control. Overcoming these barriers involves demonstrating the benefits of inclusive and collaborative design processes. Anticolonial methodologies must be in place, if we continue to use Eurocentric framework it is going to fail (Shaheen Kasmani). Decolonized museum design ultimately leads to more vibrant and relevant cultural institutions that better serve their communities. It challenges the traditional paradigms by questioning who the museum spaces serve and how they represent different cultures. Instead of imposing structures, decolonized designs prioritize inclusivity, accessibility, and cultural sensitivity.
Figure 7: Colonial acquisition of an Easter Island statue in a museum (Source: theskinny.co )(Accessed on 12th July,2024)
Figure 6: Symmetrical plan of Neo-classical style museum museum (Source: Pinterest) (Accessed on 12Th July 2024)
This means creating spaces that are welcoming to all visitors, regardless of their background, and ensuring that the architecture does not overshadow the cultural narratives being presented. It involves rethinking and challenging the traditional architectural paradigms that have long been associated with colonial power and dominance. By embracing collaborative design processes, museums can transform into spaces that honour and celebrate diverse cultural narratives.
Study of a Colonial Museum in India
The Indian Museum in Kolkata is considered as a colonial museum. Established in 1814 by the Asiatic Society of Bengal during British rule, it is one of the oldest museums in the world and the oldest in India.
The museum was founded as part of the colonial project to collect, classify, and display India’s cultural, archaeological, and natural heritage according to Western methods. Its collections initially reflected the British colonial perspective, with an emphasis on cataloging and exhibiting Indian history and culture for both British administrators and the local elite.
Figure 8: Indian Museum , Kolkata
(Source:
Symmetrical layout of the plan
Figure 9: Symmetrical layouts resembling layouts Traditional museum architecture, characterized by Neoclassical and Beaux-Arts styles.
WordPress)
Figure: Ground Floor Plan
Figure: First Floor Plan
Central garden divided into four parts
Colonaded Corridor
Doric columns arched openings
Over time, the Indian Museum has evolved, and its collections now include a broader and more diverse representation of India’s cultural heritage, spanning ancient artifacts, sculptures, natural history, and art. However, its origins and initial role in colonial knowledge production are deeply linked to the colonial period.
Today, the museum’s ongoing reinterpretation of its collections, including efforts to engage with India’s pre-colonial and post-colonial identities, offers opportunities to address and reassess its colonial past.
Inconclusion, the colonial museums are observed to have plans that are symmetrical, consisting of a central garden divided in four parts, Mostly influenced by Neo-classical and Beaux arts style.
Figure 12: Interiors of the Indian Museum
Figure 11: Zoological Gallery
Figure 10: View from Semi-open gallery of Museum
Colonaded Corridor
Colonaded Corridor
Colonaded Corridor Vaulted roofs
Cornice on walls
Natural light entering into structure
Colonaded Corridor
Colonaded Corridor
Study of Colonisation In Present Museum
During the colonial period, many museums in India and other countries were set up by the British to show things they collected from their colonies. These museums often presented history in a way that favored British views and ignored local perspectives. (Partha Chatterjee, 1993) There’s been effort to update museum exhibits to show a more accurate and respectful representation of culture and history.
The National Crafts Museum in Delhi, India displays various objects from different parts of India. Showcase India’s rich tradition of handicrafts. Perfect example to show case the local and national identity of crafts, that has been elaborated through architecture spaces, materials and other elements.
The National Crafts Museum
(Source: WordPress) (Accessed on 1st September 2024)
40% of the total area is occupied by the courtyards and exhibition spaces which act as the main focus of the museum.
Figure 16: First Floor Plan
Figure 15: Ground Floor Plan
Unbuilt Spaces
Unbuilt Spaces
Design of plan inspired from Borodudur
Design of plan inspired from
Design of plan inspired from
Design of plan inspired from Srirangam
(Source: WordPress) (Accessed on 1st September 2024)
Design of plan inspired from Borodudur
Plans of different temples incorporated in the museum
Charles Correa has inspired from the great Buddhist and Hindu temples of the past such as those in Bali (Besaki), Java (Borobudur) and southern India (Srirangam) which are structured around an open to sky ceremonial path. The crafts museum is organized around a central pathway, revealing a sequence of spaces along the pedestrian spine
Figure 17: Borodudur
Figure 18: Srirangam
Figure 19: Crafts Museum
Borodudur
Srirangam
Design of plan inspired from Sarkej Rosa
Design of plan inspired from bathing Ghats of Varanasi
Design of plan inspired from bathing Ghats of Varanasi
Design of plan inspired from Sarkej Rosa
Design spired Ghats
(Source: WordPress) (Accessed on 1st September 2024)
Plans of Sarkej Rosa and Varanasi Ghats incorporated in the museum
The stepping down of platforms and the actual use of steps to define both functions and edges of spaces echo the old bathing ghats of Varanasi and the Sarkej in Ahmedabad.
Figure 20: Sarkej Rosa
Figure 21: Bathing Ghats Of Varanasi
Figure 22: Crafts Museum
Design
inspired
Sarkej Rosa
of plan from Rosa
Design of plan inspired from bathing Ghats of Varanasi
Textile gallery hosts an extensive collection of traditional Indian textiles which covers the vast range of hand-woven an handcrafted techniques found throughout India.
The Folk and Tribal Craft gallery displays a diverse selection of paintings, sculptures and other daily objects from the folk and tribal traditions of India.
Bhuta sculpture gallery features a unique collection of sculptures of the Bhuta cult of coastal Karnataka. The Museums Bhuta cult collection is one of the largest in the world.
Court craft gallery features objects of exquisite craftsmanship and precious materials that were created for homes and palaces of the erstwhile nobility in India
(Source: WordPress) (Accessed on 1st September 2024)
Figure 23: Textile Gallery
Figure 24: Folk and Tribal Craft Gallery
Figure 25: Bhuta Sculpture Gallery
Figure 26: Court Craft Gallery
Explores the idea of puzzle box and use the platform of varying levels to articulate space.
Conclusion:
The National Crafts Museum in Delhi, designed by Charles Correa, exemplifies how architecture can contribute to decolonization by preserving dominance of Western architectural styles introduced during colonial rule. Its spatial organization reflects Indian cultural practices, reinforcing suring their survival and continued evolution.
Amphitheatre
Audio Visuals
Pathway
Figure 27: Section of Museum (Source: WordPress) (Accessed on 1st September 2024)
Inspired from bathing Ghats of Varanasi and Sarkej Rosa
and celebrating India’s indigenous craft traditions. The museum’s design draws inspiration from historical Indian structures, challenging the the relevance of these traditions in modern architecture. The museum plays a crucial role in the cultural revival of traditional crafts, en-
Demonstration Village Crafts
Terrace exhibits
Natural light entering into the structure
Buffer created between outdoor and indoor space
Inspired from bathing Ghats of Varanasi and Sarkej Rosa
Inspired from bathing Ghats of Varanasi and Sarkej Rosa
Virasat-E-Khalsa Museum
Virasat-E-Khalsa Museum, located at Anandpur Sahib was opened to the public in November 2011. The museum showcases 500 years of Sikh history, 300th anniversary of the Khalsa and the scriptures written by the 10th and the last Guru Gobind Singh, founder of the Sikh faith. This project is an inspiring tribute to the heroic and poignant saga of the Sikhs and Punjab.
national scale. Clad with local sandstone and evoking the fortress cities of Rajasthan, Gwalior and Punjab.
Clad with local sandstone and evoking the fortress cities of Rajasthan, Gwalior and Punjab.
The Virasat-E-Khalsa’s architect, Moshe Safdie, made use of modern architectural elements like stainless steel, glass, thematic carpets and many other traditional materials to mesmerize the beauty of the artifacts.The upwardly curving roofs of the museum’s tower-like galleries are covered in stainless steel, designed as counterpoint to the rich tradition of domes that crown sacred Sikh buildings such as the Golden Temple in Amritsar.
Consists of Library, Meeting Rooms, Mechanical rooms
The museum was dubbed as a ‘wonder in the making’ and has been conceived to project the history and culture of Sikhs and the Sikh history as celebrated warriors. It is the world’s foremost Sikh heritage museum that has got no precedent and beyond comparison.
Figure 27: Areal view of Virasat-E-Khalsa Museum (Source:World architecture Community + Author)(Accessed on 2nd September 2024)
Figure 29: Five Virtues of Sikh Religion (Source: Author)
Central Bridge
Central Bridge Boat Shaped Building
Clad with local sandstone
Clad with local sandstone
Auditorium
Figure 28: View towards Virasat-E-Khalsa from the walkway Museum (Source:World architecture Community + Author)(Accessed on 2nd September 2024)
The museum campus is composed of two functionally integrated sets of buildings. The Western complex forms the gateway for Anandpur Sahib, exhibition galleries, a two-storey research museum and reference library around a great reading room open to vistas of water gardens to house rare archival materials, books, journals as well as audio visual resources and a 400-seat auditorium to host seminars and cultural events.
Consists of a pointed stainless
Petal building/ Heritage Building/ Permanent Exhibit Building
Bridge
Cafeteria and Kitchen
Parking
Western Complex
Consists of Library, Meeting Rooms, Mechanical rooms
Eastern Complex
Auditorium
Figure 30: Master Plan of the Museum (Source: The Future of Design + Author) (Accessed on 2nd September 2024)
A 165-metre bridge from the western complex crosses a seven-acre network of reflecting pools, providing access to the eastern complex, which houses permanent exhibitions presenting Sikh history, religion, and culture arranged in groups of five, the galleries reference the five virtues of Sikh religion.
Exhibition Spaces
Central
The first block has been conceptualized as a boat, which is also the first gallery the visitors enter. It showcases the present culture of Punjab in a panoramic almost 360 degree view.
The second block is the flower shaped building. Depicting the five virtues - Sat (truth), Santosh (contentment), Daya (compassion), Namrata (humility) and Pyar (love).
The third block is a crescent shaped building with petal like projections forming its roof. The rooftops of all petals are covered with special stainless steel sheets, which symbolically reflects the skylight towards the Gurudwara.
The most interesting part within the Virasat-E-Khalsa is the chandelier. It is a unique art work made up with 2500 tails of Fiber Optics.
They are all hanging at an angle of 45° and at the end of the fiber tails hang 2500 crystals and the light is emitted from the tips of the crystals.
The visitors are greeted with the thought-provoking concept of Ek Onkar. This moon mantra echoes all round the exhibit with special sound effects situated in a drum-like building highlighting the core principles of Sikhism.
block 1
block 2
block 3
Figure 31: Master Plan of the Museum (Source: The Future of Design + Author) (Accessed on 2nd September 2024)
Figure 32: Chandelier representing thought-provoking concept of Ek Onkar (Source: Word Press) (Accessed
2024)
The first petal highlights stories related to Guru Nanak Dev with strong visual appearance leading to enrichd user experiences.
- The elements like floor, walls and ceiling contribute equally to create an enclosure resulting in pleasant impact on user’s mind.
- Ambience of space has been kept minimal, demonstrated in white, being focused through artificial lights.
Guru Amar Das
Guru Amardas Walkway in itself is a part of subsequent galleries which has been segregated into two with the help of a virtual ‘baoli. However, elements here resulting in feeing of mystery by providing surprising facts.
Guru Arjan Dev
Fifth gallery represents Guru Arjan Dev and reflects efforts made by him in his entire life. - Walls and floor play a major role in resulting space quality creating a feeling of grandeur.
- Floor acts as a major transition between spaces along with four arched gateways creating a distinctive essence.
Conclusion:
Angad Das
Guru Angad Walkway in itself is a part of subsequent galleries which has been segregated into two with the help of a virtual ‘baoli’.
- Colour is dependent on the aura of space created by artificial lights which keep users engaged in noticing activities.
- The form has derived from vertical elements; varying enclosures are created within movement.
Guru Ram Das
To highlight efforts made by Guru Ramdas during establishment of city of Amritsar and construction of city Ramdaspur, fourth gallery showcases him through narration of events. The space can be perceived through dramatic being governed by artificial lights.
The Virasat-E-Khalsa Museum in Anandpur Sahib, designed by Moshe Safdie, embodies decolonization by honoring Sikh history and culture through architecture that blends indigenous traditions with modern elements. Clad in local sandstone and evoking regional fortress cities, the museum reflects the Sikh heritage, countering colonial narratives that sought to diminish local identities. The design’s use of traditional materials alongside modern features, like stainless steel roofs reminiscent of Sikh domes, reclaims cultural identity. The thematic arrangement of galleries around the five virtues of Sikhism emphasizes core Sikh values, challenging colonial misrepresentations. Museum’s architecture and narrative celebrate Sikh heritage on an international scale, free from colonial distortions.
Guru Nanak Dev
Guru
Jayaprakash Narayan Interpretation Centre/ Museum of Socialism
The Jayaprakash Narayan Interpretation Centre/ Museum of Socialism in Lucknow, India is built on the idea of creating public architecture, whose design vocabulary endows a contemporary value to past events, but stands its ground with its ‘new-found’ institutional identity. The contemporary nature of the museum’s architecture takes responsibility for creating what will be tomorrow’s history, while narrating the current one. Although it celebrates and shares the ideology of socialism in retrospect, it also reflects the times we live in – both in its experience and space-making.
The Jayaprakash Narayan Interpretation Centre (JPNIC) is built on the idea of creating public architecture, whose design vocabulary endows a contemporary value to past events, but stands its ground with its ‘new-found’ institutional identity, reflecting the polarized views of civic authorities, curators, historians and the general public. The buildingthe parts and the whole do their best to communicate the essence of the Interpretation Centre which is about the idea of socialism and about the visionary –Jayaprakash Narayan (JP).
Figure 34: The three edges of the structure represents equality, brotherhood and freedom (Source: Archdaily )
Figure 33: Jayaprakash Narayan Interpretation Centre/ Museum (Source: Archdaily )
The monolithic and bold form of the building takes a stance, and exudes empowerment, saying that, be it a building or man, one must be undaunted while envisioning and realizing a dream. It is much like what we understand of JP’s life. Despite the scale and the unconventional shape, the building
with its clean and clear lines is deceptively simple. Just like the man it represents the profound depth and complexity is revealed on the inside and it only reinforces the notion of simplicity being rooted in deep- thought and reflection.
Entrance from lower level
Cutout in slab for allowing natural light and ventilation
Entrance to middle level also allowing light and air to circulate
Screen created as a background for the amphitheatre
design element used for covering rainwater harvesting tanks
Surrounding landscape
Figure 35: The three edges of the structure represents equality, brotherhood and freedom (Source: Author + Archdaily )
The architecture of the building blurs the boundaries of the role of architecture in spacemaking. The conception of the institution was a journey that evolved with the project. The architecture sits in conversation and merges seamlessly with museum and exhibition planning, experience design and landscape.
The centre serves as a gateway to the Jayaprakash Narayan International Centre and together, they ensure that an international flavour is imparted to the complex which in turn validates the recognition of the institution as an attempt to be an ambassador of the city of Lucknow.
outdoor space for contemplation, events, or reflection, possibly overlooking the surroundings with natural contours.
open space connected to water features or reflective pools. symbolize purity or reflection, relating to the legacy of Jayaprakash Narayan.`
The experience of the Interpretation Centre is through four thematic zones. The zone of absorption is where information about the life journey and values of JP is imbibed. The more interactive zone of realization facilitates a closer look at JP.
The zone of internalization allows time and space for introspection on the takeaway how one can take initiatives in their own life. The concluding zone a congregation place is meant to influence and inspire collective expression of the learning.
The journey is both literal and allegorical, all about movement. Physical navigation of space makes exhibits dynamic.
Figure 35: Section of Jayaprakash Narayan Interpretation Centre/ Museum Complex (Source: Architecture + Design) (Accessed on 1st September 2024)
Parking zone
Entry to the structure
Figure 36: Exhibits
Figure 37: Staircase Design
(Source: Architecture + Design) (Accessed on 1st September 2024)
Surrounding landscape
main museum building
Interpretation center
Step down area to access lower ground
large openings for entry and to allow natural light and air to enter the structure
Cutout in slab for allowing natural light and ventilation
The chronological narrative of JP’s journey is depicted in almost all mediums imaginable, not merely through a display of artefacts, but through a sequence of static, dynamic, sensorial and experiential moments that include his belongings, furniture, letters, cartoons and illustrations, poems and songs, oral archives,
Use of ramps to access upper levels
Entry from the lower floor also allows natural light to enter the structure
large openings to allow natural light and air to enter the structure
documentries, info-graphics and many new, automated and technologically saved user interfaces as holograms, projection mapping, kinetic installations and those that make the virtual as real as possible and appealing to wider and universal audiences.
Figure 38: Section of Jayaprakash Narayan Interpretation Centre/ Museum (Source: Architecture + Design) (Accessed on 1st September 2024)
Cutout in slab for allowing natural light and ventilation
Entrance to middle level also allowing light and air to circulate
Entry from the lower floor also allows natural light to enter the structure
+ Design) (Accessed on 1st September 2024)
Conclusion:
The Jayaprakash Narayan Interpretation Centre in Lucknow engages with decolonization by modernizing historical narratives and integrating contemporary values into its design. The museum’s bold, monolithic architecture reflects Jayaprakash Narayan’s vision and empowers a break from colonial aesthetic conventions. By incorporating interactive and technologically advanced
Entry from the allows natural the
exhibits, the museum provides a more democratic and participatory approach to history, challenging traditional top-down narratives. Its thematic zones facilitate both literal and allegorical exploration, making the presentation of socialism relevant to current and global audiences. Overall, the museum’s design and narrative approach aim to create a space that redefines historical interpretation and cultural identity.
Figure 39: Section of Jayaprakash Narayan Interpretation Centre/ Museum (Source: Architecture
The D.T. Suzuki Museum in Kanazawa, Japan is the physical manifestation of Zen philosophy. The purpose of the museum is to celebrate the work of D.T. Suzuki who is a well-known Zen philosopher.
the lower floor also natural light to enter structure
Path connecting the three blocksight to enter the structure
July,2024)
It is made of three structures arranged along the different gardens, connected through a path.
Figure 40: D.T. Suzuki Museum
Figure 41: D.T. Suzuki Museum (Source:Space-design.jp) Accessed on 12th
Figure 42: Master Plan of D.T. Suzuki Museum
block 1
block 2
block 3 D.T. Suzuki Museum
43: Transition from a dark space to a bright open space (Source:Space-design.jp) Accessed on 12th July,2024)
It takes us from a dark enclosed space into a bright open water garden. One of the reasons why the architect divided the museum into three structures is to avoid monumentality.
water body used between transition spaces
water body used between transition spaces Passage ways connecting the different block
44: Transition spaces (Source:Space-design.jp) Accessed on 12th July,2024)
The transition spaces provide with important moments between the structures that makes the visitors slow down and pause.
Figure
Figure
12th July,2024)
12th July,2024)
The exhibition spaces have little tokos, which are the little alcoves in Japanese homes. The meditation spaces provided an itself could be thought of as a toko since it transforms by framing moments as the seasons change or the light changes throughout the day.
“Emptiness which is conceptually liable to be mistaken for sheer nothingness is in fact the reservoir of infinite possibilities” - D.T. Suzuki
Conclusion:
By analyzing this study, it can be said that D.T. Suzuki Museum’s design reflects a respect and preservation of Japanese cultural and philosophical traditions, which aligns with the principles of decolonization by resisting Western-centric design and cultural narratives.
Figure 45: Meditation Space (Source:Space-design.jp) Accessed on
Figure 46: Exhibition Space (Source:Space-design.jp) Accessed on
Nezu Museum
The Nezu Museum in Japan is designed by Japanese architect Kengo Kuma. He visited museums all over the world to build this museum. The visitors reach the building from a high-end shopping street and suddenly they are pulled into a shadowy path under a massive roof with bamboo on either side. Once we enter the museum, there is a tall space with a big glass
wall and a view into the garden beyond. The roof of the structure reminds of a traditional Japanese house with the big eaves that shade and blur the boundary between the inside and out. The two layered eaves system give it a more intimate human dimension.
Figure 47: The Nezu Museum (Source: Kanpai Japan) (Accessed on 15th July 2024)
Figure 49: Shadowy path of the museum (Source: Kanpai Japan) (Accessed on 15th July 2024)
Figure 48: Interiors of the museum providing views into the garden (Source: Kanpai Japan) (Accessed on 15th July 2024)
Figure 50: Interiors of the museum providing views into the garden (Source: Kanpai Japan) (Accessed on 15th July 2024)
roof allowing for natural light to enter the structure
roof allowing for natural light to enter the structure
water body used between transition spaces
Shop, Reception, Exhibition
Figure 52: Aerial view of Roof (Source: Architecture Viva) (Accessed on 15th July 2024)
Figure 51: Roof from inside the museum (Source: Architecture Viva) (Accessed on 15th July 2024)
Figure 53: Master plan of the Nezu Museum (Source: Architecture Viva) (Accessed on 15th July 2024)
The wood fibers, cement boards for the ceiling and instead of stone or concrete they use cork boards on the floor which creates a softer experience The museum seamlessly blends in with the garden with a very quiet presence.
glass
Conclusion:
Overall, the Nezu Museum’s design reflects a commitment to decolonization through its integration of traditional Japanese architectural elements, use of local materials, and sensitivity to its environment. It resists imposing external influences and instead embraces and celebrates local culture and context.
Figure 54: Interiors of the museum providing views into the garden (Source: Nezu Museum) (Accessed on 15th July 2024)
Figure 55: Seamless blend of museum with garden (Source: Nezu Museum) (Accessed on 15th July 2024)
Figure 56: Garden outside the museum (Source: Nezu Museum) (Accessed on 15th July 2024)
allowing for a blend with garden pitched sloping roof garden
Sunita Shekhawat Flagship Store and Museum of Meenakari
The Sunita Shekhawat Flagship Store and Museum of Meenakari in Jaipur is a blend of Rajputana, Mughal, and Art Deco influences, designed by Studio Lotus to reflect the brand’s ethos of combining tradition with modernity. The building repurposes an existing concrete shell, maintaining its structure to minimize the carbon footprint while incorporating a distinct architectural vocabulary. Clad in Jodhpur red sandstone, the façade links the store to Rajasthan’s heritage and blends into Jaipur’s pink cityscape, while the double height entrance arch unifies the ground and first floors.
Inside, the three floors are connected by a striking sculptural staircase. The ground floor houses a museum-gallery dedicated to the Meenakari craft, the lower floor accommodates the store, and the upper floors serve as office spaces and potential luxury brand collaborations. The museum gallery tells the story of Meenakari.
The lower ground floor features a library lounge and four private pods for personalized client interactions, designed with frescoes depicting regional architecture and flora. Artisans specializing in miniature painting developed these frescoes over several months, adding a handcrafted touch to the space. The careful planning ensures that the retail experience feels intimate and personalized, with service corridors allowing for discreet interactions.
Figure 57: Museum of Meenakari (Source: Architectural Digest)
Figure 58: View of Museum of Meenakari (Source: Architectural Digest)
The design also integrates Rajasthan’s traditional craftsmanship with modern luxury, highlighting the synergy between artisans, architects, and clients. The project encourages a transformative retail experience where purchasing jewellery becomes secondary to the immersive environment and connection to cultural heritage.
The pods are clad in an off-white ‘araish’ lime stucco, semi-vaulted ceilings embellished with frescoes by artists specialising in miniature painting. Developed over several months in-situ by 12 artisans, the frescoes depict vignettes of the region’s architecture and flora and fauna
Figure 59: Architectural elements (Source: Architectural Digest)
(Source: Architectural Digest)
Figure 60: Jaali Work
Figure 62: The Exhibition Gallery (Source: Architectural Digest)
In terms of decolonization, the project practices revitalizing traditional Meenakari craftsmanship in a contemporary context. It celebrates local artistry, weaving it seamlessly into a modern architectural framework, thereby preserving and elevating Rajasthan’s culture. The museum gallery enhances the brand’s role in promoting a decolonized narrative by combining local techniques with design.
1. Retail Gallery
3. Rolex Store
4. Museum of Meenakari
5. Studio and Offices
The Museum of Art & Photography (MAP) in Bengaluru, India represents a modern approach to museum design, reflecting both contemporary aesthetics and functional requirements. The design emphasizes openness, flexibility, and integration with its urban context, aligning with its mission to present Indian art and culture through a contemporary lens.
(Source: Museum of Art & Photography) (Accessed on 28th August,2024)
The architectural design of The Museum of Art & Photography (MAP) seamlessly merges modern and traditional elements, creating a harmonious fusion that respects both contemporary and historical contexts. The building employs modern materials such as glass and concrete, which contribute to a sleek and innovative aesthetic. Modernity is thoughtfully balanced with traditional features, including the use of local stone and wood. These materials not only enhance the building’s visual appeal but also root it in its cultural and geographic context. Traditional patterns and elements in the museum’s design underscore the cultural significance of the exhibits and create a context that values Indian artistic traditions. This is different from colonial practices, which often removed or misunderstood the cultural context and importance of artifacts.
Figure 66: The Museum of Art & Photography, Bangaluru
Figure 68: Cultural Significance of the exhibited work
Figure 67: Fusion of modern and traditional materials
Figure 69: Fusion of modern and traditional materials
Conclusion
the Study:
1. Museum Purpose and Narrative Evolution
Colonial Museum
- Focused on Western curation of “other” cultures
- Exhibits reflected colonial superiority
- Artifacts depersonalized
2. Curation and Display Practices
Colonial Museum
- Divided art, history, and science into categories
- Emphasis on cataloging and classification
3. Architectural Approach
Colonial Museum
- European neoclassical styles imposed on local contexts
- Symbolizes colonial dominance
4. Visitor Engagement and Experience
Colonial Museum
- Passive, educational
- Exhibits are static
Present Museum
- Reclaims local history and culture through indigenous perspectives
- Celebrates cultural diversity and local traditions
- Contextually enriched and immersive storytelling
Present Museum
- Thematically arranges exhibits for holistic cultural context
- Focuses on dynamic and interactive presentations
Present Museum
- Blends modern architecture with indigenous design
- Reflects sustainability and cultural revival
Present Museum
- Interactive, participatory, and reflective
- Exhibits are dynamic, using multimedia and immersive design
Present museums break away from the colonial model by prioritizing indigenous narratives, integrating local architectural styles, and creating more immersive, engaging visitor experiences. They challenge past representations of history, reviving cultural heritage through design, curation, and storytelling techniques that promote inclusivity, decolonization, and cultural sustainability.
