Analysis of Gandhi Smarak Sangrahalaya
By Architect Charles Correa (1963)
Nakshatra Rajeev Punjabi
“Simplicity is the essence of universality.”
- Mahatma Gandhi. (Gandhi, M, n.d.)
The Gandhi Smarak Sangrahalaya, located on the west bank of the Sabarmati Ashram on Ashram Road in
Ahmedabad, Gujarat, India reflects the simplicity of Gandhiji’s life. The museum lies where he lived from
1917 to 1930 (Gandhi, M, 2021) and is surrounded by greenery. Its immediate context is well crafted and
manicured, planned and planted shrubs and trees that surround and compliment the building. It is a
humanly scaled, modest and truthful structure. In its height and verticality, it is short and only comprises
one storey. The spaces are horizontal, dispersed and appear free owing to their open spatial quality. The
sangrahalaya has several open and semi open spaces and can accommodate a large number of people
without appearing crowded. As a tourist site the spaces are cleverly devised to not let a visitor feel or
experience the crowd even when it might be so. Even the closed areas have several openings, marked with
horizontal wooden louvres. There are direct visual and physical connections between the different types
of spaces. The building through its courtyards is very well connected to its exterior context and is one
with the surrounding nature. As one moves towards the building, it is a calming experience. There is a
noticeable transition from the outside, busy ashram road to the quiet, peaceful atmosphere created inside.
Alternatively, one can easily walk past the museum too, as it is not loud and demanding and blends in
with the serene green landscape.
Built by Architect Charles Correa, the construction of the Sangrahalaya began in 1958 with 51 modular
units (6x6m) surrounding a water court. The complex was finally completed in 1963 where it was
inaugurated by Pandit Jawaharlal Nehru. The museum houses Gandhiji’s books, letters, and photographs
etc. The memorial is modest and humanly scaled and through its architecture finds a contemporary
expression for the spirit of swadeshi. The museum exhibits modernist functional planning and combines
Hindu architecture with the idea of isotropy. The modular unit is designed to allow easy extension in the
future and emphasises how a single element makes a whole (Gandhi, M, 2021).
The museum has a modular grid organisation. These modules are six by six metres and are repeated
throughout the building, thus we also see repetition in the Sangrahalya’s massing. While each square
module is symmetrical in itself, the overall design is asymmetrical and different parts of the building
follow different axes. The building is integrated with its site and gardens. There are three main divisions
of spaces. First, there are five functional enclosed spaces that house the contents of the museums. While
they consist of the same modules, they vary minorly in lighting, temperature, location which provide
slightly different experiences for each. Second, are the semi open corridors that connect these spaces to
one another and also to the third, open spaces. The open spaces are in the form of open to sky courtyards
which act as the museum’s connection to nature and the surrounding free space.
The building’s circulation path is open and undefined. Through the semi open corridors, there are several
permutations and combinations of routes that can be followed. The circulation can be described as the
path passes through as the spaces spill into and lead to one another through these corridors. They also
have great internal as well as external views. With large circulation spaces being provided there is no
clear axis to be followed and thus allows one the freedom to explore, meander and carve their own
experience and journey through the building while ensuring smooth transitions between the different
spaces.
The functional spaces of the building are scattered. The commonality between them is that all these five
utilitarian spaces are modules enclosed by brick walls and wooden louvres and they all surround and open
out into a central open to sky shallow pool. These serve the following purposes; Letters, Office, Meetings,
Books, Photos and paintings. While these enclosed spaces contain the information and artefacts of the
museum, the semi open and open spaces do not have any defined functions as such. They blend into each
other and can be used for interaction, engagement, connecting the other spaces or simply as connections
to nature by providing visual and physical links. There is no hierarchy of spaces, the museum provides
that freedom to the visitor. All the spaces are placed by the architecture of the building at the same
pedestal and it is left to a visitor’s discretion to form opinions about the different spaces, their functions
and importance.
The museum follows a material palette of brick columns, concrete beams, wooden doors and louvres,
ceramic roof tiles and kota stone flooring. The building has a simple column and beam load bearing
structure. The wooden roof has boards which are nailed underneath the joists and the ceramic tiles are
placed atop the joints. This roof rests on the concrete beams and channels which direct the rain water.
These in turn transfer the load to the red brick columns which are H shaped and close to 800 mm wide.
These stand on a thin layer approximately 20mm of kota stone flooring. This is spread on a concrete
foundation, raised 300mm above ground. The relationship between the walls, roof and floor with respect
to each other is modest and humble. The plinth of the building is also not too high; it is grounded. The
building's exterior of exposed brick and ceramic tiles have been slightly affected by weathering and are
subject to degradation due to dripping water. However, the concrete seems to be in great condition and the
interior wood doors and flooring also are very well taken care of.
There are three distinct types of spaces in the building. Enclosed (utility spaces), semi-open (corridors)
and open to sky (courtyards) spaces. The interior of the building is textured similar to the exterior. It is
marked with reddish brown, rough brick columns, smooth and cool grey concrete beams and brown wood
textured roofs. The flooring is grey kota stone with white strips of marble and has a smooth, clean finish.
The entire museum is essentially partitionless apart from the enclosed spaces, closed off by wooden
doors. Owing to their spatial quality, most of the spaces are brightly and naturally lit and well ventilated.
The enclosed spaces have the option to allow natural light and air to enter or can even block it out by
closing the louvred windows and providing an artificially lit, relatively dimmer atmosphere. From the
semi open spaces, there are direct visuals and views of the garden. However, the enclosed spaces, dealing
with more serious, formal information do not have a view of these gardens. They are meant for learning,
observing and absorbing the knowledge of the past and are not focussed on staying connected to nature.
Most of the spaces have views between the building and can look into one another save the blockage by
the columns and the doors in the case of the closed spaces.
The Gandhi Smarak Sangrahalaya, a museum’s architecture, differs from others in many ways. A
comparison can be made with the Chhatrapati Shivaji Maharaj Vastu Sangrahalaya, formerly known as
the Prince of Wales Museum in Mumbai. The latter was built during the British reign by a British
architect, George Wittet, and exhibits Indo Saracenic architecture, a revivalist form used majorly during
the late 19th century. On the other hand, the former, was built by an Indian architect, in a free India, post
partition, honestly and simply based on Gandhiji’s ideals and successfully mirrors his lifestyles. In doing
so it is more of a memorial, an ode to Bapu, rather than a conventional museum. Its essence is thus
different from the others and Charles Correa has successfully achieved that. For example, like in most
museums, as well as in the Prince of Wales, the entrance as well as the structure itself is grand and large
and not at all humanly scaled. To add to its grandeur it is marked with elements like an arched pavilion, a
dome rising above interesting arches, a pillared hall, small jalis and beautifully and skillfully carved
geometric patterns adorning these elements. (Chhatrapati Shivaji Maharaj Vastu Sangrahalaya, n.d.) On
the other hand, Gandhi sangrahalaya is devoid of such extravagant beauty. Instead, its module with its hut
shaped roof takes us back to the architecture seen in Indian villages, often representing people’s roots and
origin. Its core principle of simplicity does not allow or require such excessive ornamentation and it
makes a visitor feel humble rather than overwhelmed. The power it holds is very different, in fact the
architecture of the buildings hands over all power to the visitors and does not boast any of its own.
While the following arguments may be debatable for such a wonderful monument, they are something to
consider. Since it is located in Ahmedabad the Smarak Sangrahalaya faces harsh sun and hot weather
conditions. The summers of Gujarat are truly quite unbearable. In such a site context, one might question
the excessive open spaces provided in the museum. Are so many open courtyards truly beneficial and
could they have been utilised better? Are they really necessary when the museum is placed in a
geographical location where the sun rays are sharp for most of the year? In addition, the industrialization
and redevelopment of the riverfront of the sabarmati river changes things for the ashram. The river does
not flow as naturally as it once did and its banks are now surrounded by built form that is potentially
causing harm to the peaceful, natural environment the Ashram once provided. In such changing times and
conditions, will the Gandhi Smarak Sangrahalaya stand the test of time in terms of the experience it aims
to create for the visitors? While the museum blends in well with its natural surroundings, it is also quite
easy to miss it. Perhaps not a grander entrance, but a more defined and pronounced one could draw people
towards it.
Keeping in mind all these criticisms, the museum designed by Correa is still one of the most brilliant built
forms in India. From its core concept, to the design, to its skillful execution, it is of great architectural
value. The structure is successful in providing a serene, peaceful, calm, informative, contemplative and
introspective environment and masterfully captures Gandhi's ideals of simplicity and frugality.
Bibliography
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Gandhi, M. (n.d.). Mahatma Gandhi Quotes About Simplicity. A-Z Quotes. Retrieved October 23, 2022, from
https://www.azquotes.com/author/5308-Mahatma_Gandhi/tag/simplicity
Gandhi, M. K., & Gandhi, M. (2021, February 18). Gandhi Memorial Museum (Sabarmati Ashram) / Charles
Correa. ArchEyes. Retrieved October 23, 2022, from
https://archeyes.com/sabarmati-ashram-museum-gandhi-residence-charles-correa/
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