Bihar Museum / Maki and Associates + Opolis

Bihar Museum, at Patna, India, by Maki and Associates with Opolis Architects

Maki and Associates' design for the Bihar Museum creates an engaging and appropriately-scaled response to a prominent site and an ambitious, multi-faceted museum program. The Museum houses a rich variety of treasures from the region, and includes event and education spaces that nurture a newfound sense of pride and connection to Bihar’s storied history.
Bihar Museum / Maki and Associates + Opolis

Maki and Associates’ design for the Bihar Museum creates an engaging and appropriately-scaled response to a prominent site and an ambitious, multi-faceted museum program. The Museum houses a rich variety of treasures from the region, and includes event and education spaces that nurture a newfound sense of pride and connection to Bihar’s storied history.

Bihar Museum at Patna
Axonometric View

The generous 5.3 hectare plot along Patna’s Bailey Road allowed for a variety of site planning approaches, while demanding sensitivity to its low-scale surroundings and prominent tree growth. In response to this context, Maki and Associates conceived the Bihar Museum as a “campus” – an interconnected landscape of buildings and exterior spaces that maintains a modest but dynamic profile, in harmony with existing site conditions. Each program zone (entrance / event, museum exhibition, administration, and children / educational) has been given a distinct presence and recognizable form within the complex. These zones are linked together via interior and exterior courtyards and corridors, ensuring that all spaces retain a connection to the surrounding landscape while remaining sheltered and comfortable throughout the year.

Maki-BiharMuseum-Plan
Site Plan
Maki-Bihar Museum - Elevation
Maki-Bihar Museum - Elevation Elevation

This constant presence of the natural environment within the Museum “campus” creates a rich, unique experience with each visit, one that changes with the time and seasons. It is hoped that this will encourage repeat visitors, and – together with world-class permanent and temporary exhibits – ensure that the Bihar Museum has a lasting educational impact for the children of Bihar and other visitors from across the world.

The Museum’s exterior is characterized by extensive use of weathering steel, a durable material that complements its context and creates a dignified contrast to the surrounding greenery. The weathering steel symbolizes India’s historical achievements in metallurgy as well as its current prominence within the international steel industry (of which Bihar’s rich natural resources have played a critical role). It is supplemented with stone, terracotta, and glass finishes – a modern material palette with clear connections to Bihar’s past and future.

The project was selected as the winner of an International competition in 2011 (other competitors were Coop Himmelblau, Norman Foster and Partners, Snohetta, and Studio Daniel Libeskind). The building began construction in June 2013 and was largely complete by October 2017. Exhibition installation is on-going and will be completed in 2018.

Project facts:

Name of the project, location: The Bihar Museum, Patna, India

Name of the firm (Architectural), location: Maki and Associates (Tokyo) in association with Opolis (Mumbai)

Client: Department of Art, Culture, and Youth (DACY), Government of Bihar, India

Design team:

Maki and Associates: Fumihiko Maki, Principal
Tomoyoshi Fukunaga, Director
Michel van Ackere, Associate
Tatsutomo Hasegawa, Associate
Hisashi Nakai
Yoshihiko Taira
Issei Horikoshi
Kiwon Kim

Opolis: Rahul Gore and Sonal Sancheti

Principals Tejesh Patil, Project Architect
Rahul Lawhare
Swapnil Kangankar
Akul Modi

Consultants:

Programming / Master Planning / Exhibition Design: Lord Cultural Resources (Mumbai / Toronto)

Structural: Mahendra Raj Consultants Private Limited (New Dehli)

MEP: Design Bureau (Mumbai)

Landscape: Ohtori Consultants Inc. Environmental Design Institute (Osaka) Forethought Design Consultants (Pune)

Lighting: AWA Lighting Designers (Mumbai / New York)

Site area: 53,480 square meters

Roof area: 19,716 square meters

Built-up area: 25,410 square meters

Projected completion: Building – 2017 
                                          Exhibitions – 2018

Leave a Reply

Your email address will not be published. Required fields are marked *

This site uses Akismet to reduce spam. Learn how your comment data is processed.

Recent

Folles de la Salpétrière, (Cour des agitées.) (Madwomen of the Salpétrière. (Courtyard of the mentally disturbed.))

Gender. Hysteria. Architecture. | “How Did a Diagnosis Learn to Draw Walls?”

Did these spaces heal women or teach them how to disappear? Aditi A., through her research study as a part of the CEPT Writing Architecture course, in this chapter follows hysteria as it migrates from text to typology, inquiring how architectural decisions came to stand in for care itself. Rather than assuming architecture responded to illness, the inquiry turns the question around: did architecture help produce the vulnerability it claimed to manage?

Read More »
Gender, Hysteria, and Architecture - The Witch Hunt. Henry Ossawa Tanner. Source - Wikiart

Gender. Hysteria. Architecture. | “When Did Care Become Confinement?”

Was architecture used by society to spatially “manage” women and their autonomy? Aditi A., through her research study as a part of the CEPT Writing Architecture course, examines the period before psychiatry, when fear had already become architectural, tracing how women’s autonomy was spatially managed through domestic regulation, witch hunts, informal confinement, and early institutional planning.

Read More »

A Modernist’s Doubt: Symbolism and the Late Career Turn

Why did acclaimed modernist architects suddenly introduce historical symbolism like arches, decorative elements, and other cultural references into their work after decades of disciplined restraint? Sudipto Ghosh interrogates this 1980s-90s symbolic turn as a rupture in architecture, questioning whether this represents an authentic reconnection with content and memory, or is it a mere superficial gesture towards absent meanings. Drawing from Heidegger’s analysis of the Greek temple, he distinguishes two modes of architectural representation, ultimately judging that this turn was a nascent rebellion against modernism that may have failed to achieve genuine integration of context, material, and memory.

Read More »

Featured Publications

New Release

We Are Hiring

Stories that provoke enquiry into built environment

www.architecture.live

Subscribe & Join a Community of Lakhs of Readers