INTRODUCTION

Heritage Center Design and Landmark Design

Heritage centers are facilities dedicated to preserving, interpreting, and promoting the cultural
heritage of a specific community or region. Landmark design involves the creation or
preservation of structures or sites that hold significant historical, cultural, or architectural
importance.
 1.1 Historical Background:
Early Preservation Efforts

- The concept of preserving cultural heritage dates back to ancient civilizations, where temples,
monuments, and artifacts were maintained to honor gods or commemorate significant events.

19th Century ; The rise of nationalism in the 19th century led to increased interest in cultural
heritage. Countries began to establish museums and cultural institutions to collect and display
artifacts.

- Notable examples include the establishment of the British Museum (1753) and the Louvre
(1793).

20th Century:- The formation of organizations like UNESCO in 1945 emphasized the
importance of cultural heritage on a global scale.

- The 1972 World Heritage Convention was a landmark agreement aimed at identifying and
preserving sites of cultural and natural significance worldwide, leading to the establishment of
heritage centers.

Contemporary Design:- Modern heritage centers are designed not only as repositories of
artifacts but also as community hubs that engage visitors through interactive exhibits,
educational programs, and cultural events.

Background of Landmark

Ancient Landmarks:- Early landmarks included structures such as pyramids, temples, and
fortifications that served as both cultural symbols and navigational aids.

Medieval to Renaissance:- Cathedrals and castles became prominent landmarks during these
periods, reflecting the power and influence of religious and royal institutions.

- The “Eiffel Tower” (1889) and “Statue of Liberty” (1886) emerged as symbols of
innovation and freedom in the late 19th century.

20th Century:- The rise of modern architecture introduced new styles and materials, leading
to iconic structures like the “Empire State Building” (1931) and “Sydney Opera House”
(1973).

- Landmark design began to focus more on urban integration and public spaces, emphasizing
the role of landmarks in community identity.
Contemporary Trends:- Today, landmark design often incorporates sustainable practices and
public engagement, with a focus on creating spaces that are accessible and meaningful to diverse
communities.

- The concept of "adaptive reuse" has gained prominence, transforming old structures into
functional landmarks that honor their history while meeting modern needs.

 Both heritage center design and landmark design have evolved significantly over time,
reflecting changing cultural values and societal needs. Today, these designs serve not
only to preserve history but also to engage and educate the community, fostering a deeper
understanding and appreciation of cultural heritage.
1.2 STATEMENT OF PROBLEM
Establishing a cultural heritage center in the wollo region, using spatial organization as an
architectural tool to ensure the safe preservation and display of cultural artifacts has
several key challenges. These include the importance of visualizing and connecting silos
of cultural heritage data to enhance the sensemaking process. In addition, capturing the
benefits of preserving cultural heritage sites, such as the site of the year , may require
addressing the low deficiencies in determining the value of cultural heritage sites for
future generations

1.3 AIMS OF THE STUDY

The aim of this research aims to design cultural heritage Centre where spatial organization
prioritizes both safe artifact preservation and engaging visitor experiences.
1.4 OBJECTIVES OF THE STUDY
To achieve the above objectives, the cultural heritage centers of the region preserve and display
cultural objects, to visitors and people. It will be designed to restore and demonstrate how to
build the houses in the areas here.
 INTERNATIONAL CASE STUDY
The Indian Heritage Centre in Little India, Singapore by ROBERT GREG SHAND ARCHITECTS

July 13th, 2018 by Sumit Singhal

Article source: ROBERT GREG SHAND ARCHITECTS

The Brief

The National Heritage Board wanted a sustainable contemporary building that would embrace the vibrant
streetscape of the area and its people. Singapore’s first Indian Heritage Centre (IHC) would feature small-
scale museum facilities as well as community and educational spaces.

The space requirement was for two large galleries for the permanent collection, a special gallery for
changing exhibitions, and an activity space for smaller groups that could be closed off when in use, or
opened up to complement the special exhibition gallery.

In terms of energy efficiency, the brief stipulated that while the environmental control requirements were
to be strictly adhered to for the galleries (relative humidity and temperature), the building should achieve
a minimum Green Mark GOLD rating
 Architects: ROBERT GREG SHAND ARCHITECTS

 Project: The Indian Heritage Centre

 Location: Little India, Singapore

 Photography: Aaron Pocock

 Design Team: Robert Greg Shand, Luther Maynard Sim, Avy Hizole Janda, Anna Lourdes
Dayan

 Client: NATIONAL HERITAGE BOARD (Singapore Govt)

 Main Contractor: Yong Xing Construction Pte Ltd

 Collaborator: URBAN ARCH PTE LTD – Urban Design

 Project Management: SIPM Consultants Pte Ltd

 Civil & Structural Engineer: Surbana International Consultants Pte Ltd

 Floors: 4

 Land Area: 1033.80m2

 Built-in GFA: 3089.68m2

 Total Floor Area: 3,010 SQM

 The
Concept and Design

The diversity and multi-faceted nature of Indian culture is captured in the use of a translucent shimmering
façade to create an impression of the IHC as a “shining jewel” in the day, and transforming into a
“glowing lantern” at night.

The most distinctive motif of the building is a pattern created from the geometry of the baoli, an Indian
stepped well that is a lifeline and traditional source of water, as well as a meeting point for the
community. The baoli also represents an active environment where the young and old interact, stories are
told, and tradition is passed on.

The baoli is translated onto the façade via the composition of the curtain wall glazing, with staircases
serving as a three-dimensional jali (intricate ornamental openwork typically found in Indian and Islamic
architecture), modulating light, air and views between the streetscape and the galleries. In opening up the
gallery experience to the street, visitors to the IHC become ‘actors’ against the colourful gallery wall,
enticing passers-by to look in and engage with the building
Another design inspiration is the five-foot way, which refers to the traditional five-foot wide covered
pedestrian walkways along rows of shop houses, usually found in Singapore and Malaysia. This concept
has been expressed as a vertical circulation core in the façade of the IHC. Staircases within the façade
provide access between the galleries, and afford visitors a visual connection to the street. Where there are
no stairs, apertures in the gallery wall act as small balconies for the display of changing exhibits that are
visible from the street as well as the gallery, further opening up the IHC experience to passers-by in the
street below.

The galleries were conceptualized as repositories of calm and reflection, and offer visitors a respite from
the hustle and bustle of Little India. Materials and lighting were designed to focus the visitor experience
on the objects and exhibits within the galleries. As the galleries are relatively small, dark surfaces are
used to increase the perception of depth, with lighting focused on the artifacts, which appear to float
within the space. The oscillation between light and dark, openness and closure — as visitors move
between the galleries via the façade staircase — enhances the visitor experience and reconnects them with
the street outside.
A unique part of the building is the design of the façade curtain wall glazing. The entire curtain wall is
suspended from the upper row of reinforced concrete landings. To keep steel member sizes to a minimum
and provide additional support, stainless steel tension wires were employed, while lateral movement is
controlled via connections to concrete landings at all levels.

The Artisanal Features

The intricately carved entry portal is the most significant architectural element of the building at street
level, and an important element in traditional Indian architecture. The objective was to create an
architectural language for the structure of the building, with the entry portal defining its identity.

The portal was carved in south India from three large blocks of granite, in a village near Mahabalipuram
(a UNESCO heritage site) in Tamil Nadu. The carving gives a tactile quality to the building entrance, in
contrast to the utilitarian and bare off-form finish of the other columns. A carved five-metre-high teak
door is tucked inside the portal, providing a further layer of richness and inviting visitors to approach and
touch the building.

The Materials

To allow the artwork and mural to take centrestage, natural and raw materials were mostly used for the
building. Teak, off-form concrete, steel, glass and plain granite are the primary materials used, with
travertine marble providing a focus in the lobby area. The travertine for the main reception counter and
one external feature wall was sourced from the Middle East. The blocks were handpicked and book-
matched to create a continuous pattern of the stone’s stratified layers. In a way, the travertine reflects the
multilayered richness of the Indian community in Singapore.
 The use of Colour and Lights on the Façade

The original proposal was to use the external wall of the galleries as a canvas for visual artists,
who would be commissioned to create colourful mural installations. The artwork would be
changed every three to five years, allowing the identity of the building to evolve over time.
Currently, the mural is a collage of archival images put together by the National Heritage Board.

The building comes to life with light in the evening. LED fixtures are integrated into the design
of the curtain wall structure. The lights on the mural wall can be dimmed to highlight the colour-
changing LED light fixtures as they dance across the façade, set to the rhythm of classical Indian
music. The ‘sequences’ for the LED lighting will be changed throughout the year to mark
festivals and special events within the IHC calendar.
 Sensitivity to its Historical Location

The massing of the building is stepped down, in keeping with the height of the surrounding
conservation shophouses. The entire roof top and garden on the fourth level is surrounded by
plants to help shield the M&E spaces on the roof top, provide shading from the morning sun, and
soften the look of the building when seen from a distance.

The urban design at street level allows the public to engage with the building and sit on the
column plinth, steps, and benches provided. Campbell Lane in front of the IHC was
pedestrianised by the Urban Redevelopment Authority (URA), with the intention of using it as
an activated public space and node for Little India. The paving pattern on the pedestrian street,
which was designed to echo the geometric motif of the IHC’s main façade, is aligned to the
gridlines of the building.