The Power Of Spatial Design
Ever since the birth of mankind, storytelling has been an essential part of human history. Generations are connected through the lessons, experiences and stories that are passed down by the ancestors. Such a trait of storytelling is often reflected in architectural spaces which is done by spatial design. This design strategy involves deliberate planning that narrates a story walking through the various zones. These zones are crafted by the architects using varying volumes, lights, materials etc. that speak to all the senses and to the heart, to create an immersive experience that helps visitors internalize the stories. Such design choices are not captive of language barriers, making the stories comprehensible to all.
Why Spatial Design Matters
According to Karen Franck and Quentin Stevens, museums with engaging spatial design demand attention and convert a passive observer to an active participant. Such museums then excel at imparting information as they create an everlasting emotional imprint. The Jewish Museum by Daniel Libeskind and The Virasat-E-Khalsa and two notable museums that have incorporated spatial design which can convey complex human emotions ranging from hope to despair. Their galleries remind us that architecture is more than being about aesthetics and functionality.

The Jewish Museum by Daniel Libeskind
Inaugurated in 2001, The Jewish Museum of Berlin exhibits the social, political and cultural history of the Jews in Germany, especially reflecting upon the repercussions of the Holocaust. The museum has a zigzag plan which symbolizes the broken star of David, a sacred symbol in Judaism. This structure is placed next to the original Prussian Court of Justice building, which now serves as the main entrance to this museum. The visitors enter through the Baroque building and descend through the stairs, as the entire spatial design is underground. The stairway leads to three different axial routes all of which tell a different story: the first leads to the dead end – Holocaust Tower; the second leads out of the building to the Garden of Exile & Emigration; the third and the longest path opens up to another flight of stairs called “Stairs of Continuity” which opens up to the museum, emphasizing the continuum of the history.
A 66-foot-tall “Tower of Holocaust” is the memorial with which Daniel intended to evoke despair amongst the visitors. The entire tower is stark, hollow and dark which feels oppressive. Although the starkness is pierced by a small and only source of light. The light against the cold concrete wall symbolizes the hope the Jews had while still being trapped under Nazi rule. At the bottom of the tower, 10,000 screaming iron faces cover the land. This structure is the memorial to those lives lost during the Holocaust. Apart from the tower, another spatial feature that Libeskind added is the “Garden of Exile”. The garden comprises a grid of 49 concrete columns covered with foliage and open to the sky. This space is dedicated to those Jews who were saved by migrating to other nations but were forced to start afresh, similar to an exile. One feels lost and disoriented among the huge columns but feels elated when one looks up at an open sky.

Virasat-e-Khalsa by Moshe Safdie
Established in 2011, Virasat-e-Khalsa is a heritage museum situated on a 75-acre site in Anandpur Sahib, the birthplace of Khalsa, Punjab. The entire complex is divided into a western wing which has a library, auditorium and temporary exhibitions, and an eastern wing, for the permanent exhibits. The eastern wing is made of three structures, one with sloping galleries to mimic the striking skyline of the local fortress, one in the shape of a flower and lastly one in the shape of a boat. Both the wings are connected by a 540-feet long bridge. The entire museum complex is surrounded by a reflective pool which looks magnificent when lit up at night. The spatial design of this museum depicts the struggle, courage, sacrifice and excellence of the community since the birth of Khalsa.
The flower-shaped building has 5 petal-shaped galleries. 5 because the number represents the five core principles of the religion. Each gallery is dedicated to unravelling the story and chronicles of Sikh Gurus, from their birth to salvation. The gallery at the highest altitude is dedicated to Guru Granth Sahib. Within those galleries, each story is presented by breathtaking murals,hand-woven tapestry from local craftsmen, light and sound installation, diorama, etc. All those exhibits are planned in accordance with spatial design to ensure that the visitor has an outlasting experience.

Comparing the Two Case Studies
The two examples that we saw above are designed for an immersive experience. However, their approaches differ from one another. For instance, Libeskind’s museum has elements which are stark and convey emotions like despair. The Jewish Museum confronts its visitors with discomforting truth engaging with challenging history. Safdie’s museum is more spiritual in the atmosphere that it creates. The soft sound of Ik-Onkar, and the light and warm colours on the interiors and the installations, contribute equally in celebrating the identity of the religion along with reverence. Both the projects highlight versatility of spatial design.
In today’s world, where everyone has a presence on social media, experiencing something in real life is the utmost achievement. Hence inspired by the art of storytelling, designers are now employing spatial design to create spaces that offer more than functionality. These spaces deliver a story and produce a memorable experience for the visitor. This technique is fairly used while designing museums, galleries, centres, sets, shops etc. Two excellent examples of this include Virasat-e-Khalsa and the Jewish Museum. Both projects showcase how spatial design can intrigue people to know more about the past. By doing so, architecture turns into a medium of communication and expression.
Reference:
Zumthor, P. (2006c) Atmospheres: architectural environments. surrounding objects. http://ci.nii.ac.jp/ncid/BA77504088.
Stevens, Q. and Franck, K.A. (2015) Memorials as spaces of engagement, Routledge eBooks. https://doi.org/10.4324/9781315747002.