After a Singapore Institute of Architects design competition in 2011 (which attracted a number of exciting entries) and 3 years of construction, the new Indian Heritage Centre at Little India is finally open to the public. It is the first in a series of new purpose-built cultural centres celebrating Singapore’s key demographic groups, soon to be joined by Wisma Geylang Serai and the Singapore Chinese Cultural Centre.
The new cultural building has opened to international critical acclaim, and urbanARCHnow was lucky enough to get an exclusive tour and interview with the architect to share with you here.
As I took in the setting, I saw the architect walk casually up the lane, stopping to say hello to various street vendors- he obviously knows them well. After a brief introduction, he proceeded to explain the concept of the building.
As in many good buildings, the idea is very simple. The structure and circulation is an interpretation of an iconic Indian archetype, the ‘Baoli‘ (step well), a traditional Indian construction type which is not specific to any race or religion within the diverse makeup of Indian culture. The ‘Baoli’ theme manifests itself in the glassy building facade, which is not merely a decorative feature, but also acts as a primary circulation device for the galleries- a vertical extension of the Singaporean ‘five foot way’. In an email conversation, Gaurang Khemka (founder of IHC urban design and general consultants Urbnarc) explained that in his home of Rajasthan in India, such stepped wells act as a gathering space for the community. This idea has been translated into a contemporary circulation device, acting as both a reflective social space and vertical circulation between the various levels of the museum.
The museum entrance is framed by a stunning 5m high stone portal with a warm teak timber door, hand-carved by Indian craftsmen to abstract motifs designed by the architect. Shand explained that most of the commonly seen carved motifs are specific to a subset of Indian culture, and that these abstract designs act as a more inclusive reference to diverse Indian sub-cultures.
Entering the lobby, Shand’s experience careful detailing and fine craftsmanship is evident. The detailing is impeccable, from the marble reception desk, warm timber clad walls, to the diagonal strip lights on the ceiling (echoing the baori pattern of the facade).
Shand says that “Through our experience designing high-end residential projects in the past, we are very familiar with paying acute attention to detail. This is no different in a civic project, and we were able to translate this attention to detail on a larger scale, to respond to the urban setting.”
The gallery circulation is top-down, and begins in a room-sized lift, which takes groups of visitors to the top floor. Due to the relatively large size of the galleries for the tight site (the building consists of a gallery and ancillary functions totalling about ~5000 square metres squeezed onto a tight, triangular site of approximately 900 sqm), this primary circulation lift doubles up as the cargo lift for changing exhibits.
The galleries are dark, dramatic museum spaces (by exhibition designers gsmprjct) which display artefacts from the heritage of Indians in Singapore.
Between each level of galleries, a moment of visual ecstasy is provided through a trip down a flight of ‘Baori’ stairs, suspended within a naturally-ventilated glass enclosure. Colourful graphics at one side contrast with panoramic view of the Singapore skyline and of Little India cityscape on the other.
At twilight, the glassy mirrored facade of the building lights up like an urban-scale lantern, showcasing the colourful graphics and the stepwell inspired stairs of the double-skin facade. Silhouettes walk up and down the interlocking stairs like a M.C. Escher drawing come to life.
Images by Robert Greg Shand, animation by urbanARCHnow.com
Read below for more on the Indian Heritage Centre in an interview with Robert Greg Shand:
The Key concept behind the building is the Baoli; an Indian Stepped Well, traditionally the source of water and a meeting point in a village, where stories are told and tradition is passed on. We saw the Indian Heritage Centre as an urban metaphor for the baoli, a node within the Little India Conservation District for the celebration of Singapore’s Indian Heritage.
Could you describe the interesting (advantageous/difficult) aspects of the site in Little India, and how this contributes to the design?
The challenging site for the Indian Heritage Centre (IHC), forced us to be more creative to meet the project brief. The IHC is built on an awkward triangular shaped site, in the heart of the ‘Little India’ conservation district, characterised by its eclectic mix of colourful shophouses, which are still the centre of trade for the Singapore Indian Community. The tight and challenging site dictated that space planning be very efficient to achieve the necessary floor space for the galleries. We achieved this by having just one lift that could be used for visitors, and to move exhibits into the galleries.
Circulation was planned such that visitors are taken to the uppermost gallery first at the 4th level, from where they move to the galleries at levels 3 and 2 via staircases within the façade.
We were also inspired by the traditional 5ft way (a 5ft wide covered walkway within the conservation district) within the conservation district. We sought to replicate this feeling in the IHC by creating a vertical circulation core within the façade that sits above the 5ft way, providing access between the galleries.
How do you think your experiences with high-end residential architecture translate into the design of a civic project?
Designing high-end residences requires a sound understanding of the context and a thorough understanding of the client in order to create spaces that enhance their lifestyle. For the IHC project we spent a lot of time researching the history of the Singapore Indian Community, and spent a lot of time with groups representing various segments of the Indian Community in Little India.
Through our experience designing high-end residential projects in the past, we are very familiar with paying acute attention to detail. This is no different in a civic project, and we were able to translate this attention to detail on a larger scale, to respond to the urban setting.
Other than scale, the primary difference to designing private houses (where the emphasis is on creating beautiful private spaces), is that a civic project requires an outward expression of the program, to invite the public into the building.
What was the most challenging part of designing a building celebrating Indian Heritage (as a non-Indian and in terms of designing in a way that equally represents the diverse cultures that make up Indian society)?
Whilst we have designed several high-end branded residences, based on international brands (eg. one residence was based on the Hermes ‘Why’ Yacht), it was truly a unique privilege to design a building to celebrate the heritage of an entire civilisation! The biggest challenge was how to equally represent the diverse culture and religions that make up Indian society. To address this, we created a unique contemporary motif for the building based on the stepped form of the Baoli. This is most evident in the structural off-form concrete columns, the glazed façade and external cladding, with subtle references being made throughout the building in the articulation of spaces and materials.
What do you think is the most successful aspect of the building?
Undoubtedly the most successful aspect of the building is the externalisation of the gallery experience in the glazed façade to passers-by in the streets of ‘Little India’. The façade was conceptualised as a multipurpose circulation space and an extension of the galleries (due to the very tight space constraints of the site), that cast visitors as part of a colourful, interactive art installation. Visitors move between galleries via staircases within this façade (which echo the motif of the baoli) against the backdrop of a colourful mural installation – a collage of archival images in a colour palette drawn from the surrounding colourful shop houses. The colourful mural can be changed periodically, allowing the identity of the building to evolve over time. At night the façade is lit, as colour changing LED lights dance across the façade to the rhythm of classical Indian music.
The Indian Heritage Centre is located at 5 Campbell Lane, and is open Tuesday-Thursday 10 am-7 pm, Fri-Sat 10am-8pm, Sunday & Public Holidays 10am-4pm (Closed on Mondays).
Admission is free for all Singapore Citizens & Permanent Residents, S$4 for visiting Adults.
Many thanks to Greg Shand for the tour and interview. The Indian Heritage Centre was designed by Robert Greg Shand Architects in collaboration with urban design and general consultants Urbnarc.
