Ahmedabad Artscape Revitalised by RMA’s Adaptive Re-use of Kasturbhai Lalbhai Bungalow

This homage to Late Kasturbhai Lalbhai has been planned in three independent structures on the same premises located in Shahibaug. The main bungalow, a sprawling colonial affair of numerous rooms and halls laid out in grandiose proportions, was built in 1905 and a smaller two-storey structure behind it, housing the family kitchen and staff quarters, designed by British architect Claude Batley, was built in 1930. Both these served the Lalbhai family till the 1980s after which they had descended to disuse, and have now been completely restored to their original grandeur.

Any endeavour in heritage conservation can be judged mainly by the resistance to the temptation of overlaying the original work with one’s own creative ideas or sense of style, and the applied adherence to authenticity of detail, craftsmanship, materials and finishes – all difficult to source by virtue of being consigned to the redundancy of a different era. The Kasturbhai Lalbhai Museum project passes this very fundamental test with flying colours, as is evident in the faithful restoration of each detail. The numerous rooms dispensed on two main levels around a central courtyard are finished with different types of flooring like Kotah stone, sandstone, ceramic tiles, different coloured mosaics and different inlay patterns. The perforated jaali insets and wooden louvres that the doors and windows are adorned with have been brought back to life. Every detail of the polished wood staircase as well as the cast iron spiral one are in their original form. Even the exteriors are neatly salvaged with the typical moulded cement balustrades around balconies painted in impeccable white shades and topped with sloping roofs covered with slate tiles.

The interior displays in the main bungalow are further proof of faithful restraint applied to preserve the original ambience. The mere availability of space has not tempted a profusion of irrelevant displays to be put up but has been utilised to focus on the family’s limited but priceless collection of art works and period furniture. Late Kasturbhai’s living room, often graced by the likes of Sardar Patel, his bedroom, library and even bath have been brought back to life to give visitors an experience of the bygone era. 

The Lalbhai family’s personal art collection painstakingly curated over 200 years displayed in the various rooms of this bungalaow includes works from different art schools like Bengali, Rajasthani, Pahari, Persian, Mughal as well as Tibetan Thangkas and painted postcards of the pre-independence era. Treasures like miniatures and bronze collections from the Tagore family can be seen in perfect preservation. This collection of artworks and antiques which find a place here by merit of historical relevance or personal attachment can be enjoyed in an immersive homely ambiemce.

The second structure on the campus is the rear staff quarter building adapted into a gallery for temporary art displays. Achieved by placing a non-invasive, removable and visually contemporary glass structure on the terrace of the existing building, the gallery plans to be open to holding curated exhibition events of contemporary artists’ works. This, coupled with an open air amphitheatre for talks and workshops, is visualised to attract a steady flow of art aficionados to the venue.

The third structure in the Museum’s plan is to be located partially underground and is awaiting completion. It is a gallery being built to record and display the Lalbhai family’s, and particularly Kasturbhai’s, socio-cultural legacy and contribution to society. Later to be covered up by earth filling topped by lush lawns leaving only the entrance visible amidst the greens, this space will lend a sense of completion to the history being documented by this museum.