The Living and Learning Design Center Craft Museum, also referred to as LLDC, is located in Ajrakhpur, a town rich in cultural heritage and artistic flair. LLDC is more than just a museum; it’s a creative hub where the modern and the old coexist peacefully. Its objective is to revitalize the indebted community and improve the lives of the people living there by bringing art right to their doorstep. Not just to look at it, but to participate and even make a livelihood out of it. LLDC involves more than just education; it involves upholding customs while welcoming advancement.
The living and learning design centre craft museum, commonly known as LLDC, is located in the town renowned for its art, Ajrakhpur. The aim of this institution is to bring together the new and the traditional, providing design education and showcasing art to enhance the opportunities for the residents and revitalize the region. However, behind the establishment of this institution lies a disaster. The earthquake of 2001 not only caused physical damage but also deeply shook the indigenous people of the region, disrupting their livelihoods. The culture, much like the buildings destroyed by the sudden and severe earthquake, faced the threat of disappearing. In response to this significant problem, the living and learning design centre was conceived as a solution.
The Living and Learning Design Center was designed to be a place where the community could develop, learn, and come together to preserve and advance their culture in the aftermath of the earthquake. It was envisioned as a meeting point where the region’s unique, indigenous design would be blended with the modernity required at the time, creating a space accessible to all where people could come together to uphold their values.
Indigo Architects, in explaining their design strategies, begin with their approach to the land. The site, located in Paddhar Village, is covered with region-specific mango, chickoo, and coconut palm trees. According to the master plan they developed, the design consists of three main sections: the museum, the crafts school, and the residential area.
The designers arrange large, solid volumes to create a spectacular and functional architectural design for the museum. Conidial skylights, which are designed in order to filter out dust and unwanted factors that can cause users discomfort due to Paddhar’s arid climate, are a unique feature of the design. These skylights let the natural light in and provide a comfortable environment for visitors and all users to appreciate the exhibitions.
Apart from the main building, there are side corridors and covered spaces intended for workshops and craft shows. Users are able to experience several parts of the museum at the same time since these portions are connected to the main structure as porous extensions. The purposeful fluidity and adaptability of the design facilitate impromptu and participatory experiences, leaving visitors with a remarkable and unforgettable experience.
There are four galleries in the museum, along with a space for temporary exhibits. The main gallery, which holds the permanent collection from Shrujan’s ‘Design Center on Wheels’ program in Bhujodi, is the main attraction. Eleven beautiful embroidered panels make up this collection, which has been painstakingly documented over time.
The other galleries also feature traditional artifacts that shed light on Kutch’s indigenous people’s everyday lives and textile arts. The DCOW conservation block and archive form the heart of the museum, protecting these priceless cultural treasures.
In addition, the museum offers a comprehensive experience to its visitors with additional features like a library, an instructional auditorium, classrooms for artisans, and information kiosks outside the galleries.
Sustainability, just as it has found its place in our lives, occupies a significant role in the world of design as well. Sustainable design decisions, a common feature of all good designs, carry extra importance for a community recovering from an earthquake. According to explanations from Indigo Architects, the most crucial aspects they addressed when initiating this endeavor were economy and materials. The use of locally sourced materials not only contributes to the economy but also to sustainability in design. The designers’ goal was to ensure user comfort through the use of these materials and sustainable solutions.
The design office used lime and fly ash bricks that were manufactured right there on the site using waste carbide lime slurry, sand, and ash to reduce cost while obtaining the required strength and thermal stability compared to any other material. As it is explained by the design office, lime mortar was prepared on site by slaking lime in large ponds and grinding it with sand and crushed brick. Gauged lime mortar was used in the masonry work, and natural lime plaster using traditional methods was used in three coats in some areas. (Indigo Architects, 2015) To cool the structure, designers stored rainwater with the use of harvesting tanks integrated into the design of foundations. In addition to that, grey water usage was also calculated with the decentralized wastewater treatment system (DEWATS).
By preserving and reviving Kutch’s history, culture, and people, LLDC fosters a collective memory of the space. By means of education, it guarantees that these stories live on and develop, serving as a monument to Kutch’s fortitude and inventiveness while respecting its history and looking forward to the future.
References:
LLDC (2015) Indigo. Available at: https://indigo-architects.com/project/lldc/
Ray, A. (no date) Shrujan LLDC Museum, Behance. Available at: https://www.behance.net/gallery/6939281/Shrujan-LLDC-Museum.
The Living and Learning Design Centre – LLDC Craft Museum (no date) Shrujan LLDC. Available at: https://shrujanlldc.org/#about-us
