IRJMSH Vol 15 Issue 3 [Year 2024] ISSN 2277 – 9809 (0nline) 2348–9359 (Print) User perception of Eco-Museum Design in Indian context Yashvi Jha¹, Balpreet Singh Madan ² ¹ Scholar, B. Design, Department of Art & Design, School of Design Architecture and Planning, Sharda University 2 Assistant Professor, Department of Art & Design, School of Design Architecture and Planning, Sharda University Abstract: The establishment of multiple museums in different Indian cities is a manifestation of the growing emphasis on heritage protection in the country. In addition to providing ideas for environmentfriendly designs, strategies for conservation and preservation; an eco-museum raises public awareness of historical events and advances their knowledge of them. This study examines how traditional museum practices can be integrated with eco-friendly techniques to support the longterm conservation and future preservation of our cultural heritage. This has been achieved by reviewing the literature, which includes case studies of existing museums round the globe, research papers, journals and online articles. An understanding of general operation, activities, and design elements that may be incorporated in the proper design and development of an eco-museum is provided by the survey of regular museum visitors. The study's conclusions include recommendations for the proper construction of an eco-museum in India as well as the general opinions of museum visitors on design elements, exhibit strategies, and technological developments in museums. Keywords: Cultural heritage, Eco-museum, Heritage, Sustainability, Museum Restoration 1. Introduction: The most recent definition of Eco Museum is: “a community-based museum or heritage project that supports sustainable development” (Davis 2007). It includes traditional museum techniques of collecting, interpreting, studying, exhibiting, and preserving (Walter, 1989). However, ‘eco’ in Eco Museum means ‘house’ or ‘living space’ and an Eco Museum is defined as a kind of museum that is for, by, and about people at home in their environment (Keyes, 1992). Eco-museums combine traditional museum principles with environmentally conscious practices and sustainable technologies. It recognises that the welfare of current and future generations depends on the preservation of our natural environment as well as cultural heritage. The Eco Museum concept integrates the fields of ecology, sustainable development, and heritage preservation to offer a harmonious and sustainable approach to protecting our cultural assets. Another significant aspect of eco-museums is linked with heritage conservation which itself is an unavoidable part of our cultural identity and a helpful tool for appreciating the past, understanding the present, and shaping the future. Cultural asset preservation has undergone a paradigm shift in recent years, from conservation to a more comprehensive and environmentally conscious policy. This evolving notion led to the creation of the Eco Museum, which concentrates on restoring historic buildings and sites while coming up with ecologically friendly plans for conservation and long-term preservation. International Research Journal of Management Sociology & Humanity ( IRJMSH ) www.irjmsh.com Page 73 IRJMSH Vol 15 Issue 3 [Year 2024] ISSN 2277 – 9809 (0nline) 2348–9359 (Print) 1.1 Problem Statement There is a dearth of understanding regarding environmental museums in India because the concept is not well known there. As a result, people don't comprehend eco museums. Therefore, not many people are aware of the environmental museum's significance. 1.2 Aim & Objective: This paper aims at investigating the awareness of eco-museums and related aspects among Indian citizens  To identify and study several global eco-museums for enhanced knowledge of museum design principles.  To use restoration for protection and maintenance of our natural and cultural heritage.  To develop innovative, eco-friendly methods for managing and safeguarding cultural resources; to involve local communities in sustainable development and historical preservation. 2. Eco Museum «If you see life in a museum, it is because you are looking through the window.>> (Tomislav Šola, 2012). "The museum to historically explore the life of local residents, and the development process of natural environments and social environments, and to contribute to local community development through preservation, cultivation and exhibition of natural and cultural assets in the field," according to Eco Museum founder Georges Henri Riviere, is the definition of Eco Museum. The European Network of Eco-Museum has another definition. "A dynamic way to preserve, interpret, and manage the inheritance of local community for the sustainable development of the community" is how an eco-museum is defined. 2.1 Historical Background The Eco Museum idea was first developed in France in the 1970s to encourage all-encompassing viewpoints on historical legacies. The objective was to incorporate material objects, locations, and constructed structures that were imbued with cultural practices, habits, and rituals that are regarded as components of "living heritage." The approach was expanded to incorporate natural heritage, such as important wildlife habitats, native flora and fauna, and geomorphology sites, as the idea gained traction. Following World War II, when many traditional communities were devastated, historic sites were demolished, and customs started to shift, the idea for the Eco Museum was born. This sparked a movement in France throughout the 1960s to promote the preservation of certain components. Furthermore, it is associated with the concept of musée éclaté, a type of open museum (Nazariadli, Rayatidamavandi, 2011). International Research Journal of Management Sociology & Humanity ( IRJMSH ) www.irjmsh.com Page 74 IRJMSH Vol 15 Issue 3 [Year 2024] ISSN 2277 – 9809 (0nline) 2348–9359 (Print) An Eco Museum can be defined as a venue where the local community uses its unique character to express and promote its cultural heritage. This concept has influenced and challenged the conventional notion of the museum as well as contributed to socio-cultural and environmental development (Donghai, 2008). Traditional museums and eco museums differ greatly from one another, especially when it comes to how local communities are involved in legacy protection and how history is displayed (Figure 1). Figure 1: The Overview of the Differences between Traditional Museums and Eco museums. Source(s): Maggi and Falletti 2000, Perella et al. 2010. CRITERIA MUSEUM ECOMUSEUM Reference scope Focus of interpretation Organizational priority Benchmark audience Political control Building Collection Disciplinary Visitors Museum and its bodies Main aims Conservation/ Education Place Heritage (in holistic sense) Interdisciplinary Transdisciplinary Community Community and its bodies Development of the local community 2.2 The framework for sustainable development The idea of sustainable development dates back to the late 1980s and has its roots in a report prepared by the Brundtland Commission entitled “Our Common Future” (UN, 1987). Sustainable development is built around three pillars: social advancement, economic prosperity, and ecological balance. The first pillar, ecological balance, stands for awareness of how humans interact with the environment and the effort to preserve it in its purest form, reduce adverse effects, and safeguard non-renewable resources. The second pillar, known as economic expansion, refers to turning a profit for the business while taking social and environmental implications into consideration. The goal of the last pillar, social advancement, is to raise people's standard of living. Gender parity, adequate provision of social services like health and education, equal distribution, and participation. Sustainable development and sustainable tourism share many of the same objectives. The first objective, ecological in nature, is to lessen pollution brought on by tourism while protecting natural resources for tourism requirements. Ensuring the well-being of the local population and ensuring the most efficient use of tourism infrastructure are the main objectives of the second purpose, which is economical. The final one, social, focuses on securing adequate employment opportunities in the tourism sector, providing leisure opportunities for locals, and boosting locals' involvement in tourism policy. (Identifying factors influencing Poland's rural tourism destinations' development, 2002). International Research Journal of Management Sociology & Humanity ( IRJMSH ) www.irjmsh.com Page 75 IRJMSH Vol 15 Issue 3 [Year 2024] ISSN 2277 – 9809 (0nline) 2348–9359 (Print) 2.2 Case Studies Case Study 1: Smritivan Earthquake Memorial / Vastushilpa Sangath Architects: Vastushilpa Sangath Area: 19100 m² Year: 2023 City: Bhuj Country: India Figure 2: Site top view | Source: www.dezeen.com Figure 3: Site plan | Source: www.dezeen.com On January 26, 2001, at 8:46 a.m., an earthquake struck Gujarat's Kutch region. With a magnitude of 7.6 on the Richter scale, it killed 13,805 people and profoundly shook many more. Billions of habitats, properties, and infrastructure were destroyed. It is impossible to map the trauma it created. Kutch is accustomed to nature's unpredictable ways. Its origins date back at least 4500 years, to the Harappan civilization. It has seen multiple natural disasters during this time, including as cyclones and droughts. As a result, a resilient culture has developed. Since water is still the rarest natural resource in the area, water plays a central role in the ecology, economy, culture, social structure, festivals, and struggle for existence. "Plant a tree for each victim" was the specific directive given by Gujarat's then-chief minister and current prime minister, Narender Modi. Figure 4: Site Elevation | Source: www.dezeen.com International Research Journal of Management Sociology & Humanity ( IRJMSH ) www.irjmsh.com Page 76 IRJMSH Vol 15 Issue 3 [Year 2024] ISSN 2277 – 9809 (0nline) 2348–9359 (Print) A brief that is both straightforward and meaningful. Because a tree represents hope, rebirth, and the start of a new chapter in life. What more fitting way to remember those who have lost their lives than with a symbolic act of regeneration? The idea of creating a forest was also implied by the planting of trees. The forest also represents a group composed of numerous distinct individuals. Figure: 5 Site Location- Bhuj, Gujarat, India Source: Google This implied two pathways that were entwined for us. There was a road that provided trees with nutrition and endurance in an arid place like Kutch, and there was also one for the families of the victims who would come as pilgrims to commemorate their loved ones. The identification of native species, the water's routes, the soil and nutrients it picks up along the way, and—above all—the layout of the tanks and locations where the water could slowly seep into the ground were all included in the help. Small-scale reservoirs were then thoughtfully planned into the 452 acres as the idea developed. Approximately 199 acres of the first phase have now been completed. The monument and Smritivan experience evolve as nature heals and horticulture expands. Gradually, the varied flora will develop into an ecosystem that will blend in with the constructed structures, finally combining them into a single, harmonious web of green and blue. Hence, Smritivan is a living remembrance and a tribute to the tenacity and hope of Kutch rather than a static memorial or a garden. Last but not least, Smritivan is designed to be a lively public area. Thus, a sun point was also formed in addition to the reservoirs. Perched atop the hill, it provides contemplative views over the town. It represents the motion of the sun and moon as a lune-solar calendar, with various incisions made in the ring's circumference designating days with cultural importance. Connecting oneself to the cosmic so serves to remind one of the greater cosmic happenings that one is momentarily a part of. International Research Journal of Management Sociology & Humanity ( IRJMSH ) www.irjmsh.com Page 77 IRJMSH Vol 15 Issue 3 [Year 2024] ISSN 2277 – 9809 (0nline) 2348–9359 (Print) Case Study 2: Partition Museum, Amritsar, Punjab The separation Museum meticulously maps the Partition with a narrative arc that starts prior to the division, progresses through the independence movement, the early cries for separate countries, and concludes with the separation and its aftermath. Figure 6: Site Facade | Source: www.travelogyindia.com The People's Museum, which was established with the intention of representing the Partition from their point of view, is the Partition Museum. Much of the collections are made up of relics that Partition Survivors and their families have generously given. When people were uprooted, they brought what little they could, and these artefacts have come to symbolise losses and sufferings endured as well as important moments in the events' history. Because of the sudden separation of the country, many people had little time to gather their goods before leaving their homes forever, creating uncertainty and confusion. The Partition Museum also acquired functional artefacts that people brought across in addition to nostalgic pieces. Figure 7 & 8: Site Facade | Source: Google Artists often used painting as a means of expressing their emotions when reflecting on the atrocities of Partition, although as Krishen Khanna puts it, "We were able to do it only much later." At that point, getting out and saving our lives were the most important things. Satish Gujral goes back and forth, recalling his experience escorting migrants to the opposite side of the border. Gujral didn't recognise or admit for a long time that the horrors of the Partition had a significant impact on his creativity. S.L. Parasher, whose artwork is recognised for its strong lines and the clarity with which he represented motion, worked and lived in multiple camps for refugees before beginning to reconstruct his life. These painters captured the anguish of the time. Despite the stark differences in their works, they all depict comparable subjects. At the Partition Museum, limited edition copies of paintings by these three artists are on show alongside Arpana Caur's provocative and very moving piece, "1947," in an attempt to create a complete picture of the effects of the 1947 divide on people. International Research Journal of Management Sociology & Humanity ( IRJMSH ) www.irjmsh.com Page 78 IRJMSH Vol 15 Issue 3 [Year 2024] ISSN 2277 – 9809 (0nline) 2348–9359 (Print) The Museum is a multi-sensory experience that records the voices of individuals who have been silenced throughout history using audio-visual stations placed throughout its 14 galleries. The Museum is currently airing more than 100 interviews. Furthermore, our archive is expanding all the time and will be accessible to scholars, researchers, and everybody else interested in the history of the Partition. The Partition Museum seeks to become a central location for information and stories about the Partition. We are always seeking further oral histories, documents, and film, as well as using any and all resources that may be helpful to us in accomplishing our objectives. 3. Material and Method: The main objective of this paper is to understand the perception of users regarding development of eco-museums in India. Review of literature provides an insight to the key aspects of ecomuseums, through books, journals, articles, case studies, online research papers etc. Questionnaire, consisting of open-ended as well as close-ended questions, regarding awareness of eco-museums and related aspects; contributes to understanding of user perception of the eco-museum concept in India. Based on collected data and its analysis, conclusions have been framed in line with the user’s point of view and their responses. 3.1 Results & Discussions The primary emphasis of Davis (2011) was on the importance of heritage conservation and in situ notions in creating a feeling of place and community in an eco-museum. These topics were also thoroughly discussed in (Davis, 2008), where he clarified that the word "eco" in Eco museums related to both the natural world and people, and that community development rather than the frozen preservation of legacy was the best use of it. Some authors voiced objection to the idea of an eco-museum, while the majority of writers supported it. The topic of whether Eco museums actually fulfil their purpose or are just historical depictions was raised by (Hubert, 1985). (Debary, 2004) brought up a similar issue while discussing the conflict between the preservation of the past and an emphasis on the future, as well as the potential for memories to be formed at the price of ties to the future. One example of this is how exhibitions at Eco Museums often ignore historical conflicts, creating an idealised and distorted picture of the past. 4.Survey Eco museums are essential for maintaining cultural legacy, raising public awareness of environmental issues, and encouraging sustainable behaviour. But their ability to be effective depends on their ability to recognise and cater to the needs and preferences of their guests. For eco museums to keep improving their services and strengthening their community impact, they depend on the opinions and satisfaction of their patrons. International Research Journal of Management Sociology & Humanity ( IRJMSH ) www.irjmsh.com Page 79 IRJMSH Vol 15 Issue 3 [Year 2024] ISSN 2277 – 9809 (0nline) 2348–9359 (Print) Table I: Age of users This chart shows that vast majority of 61.7% of all respondents are of the age in between 20-25, 19.1% are in the age group 18-20, 12.8% are 35-40 and so on have express interest in an ecomuseum. Table II: Gender of users This chart shows that 59.6% of the respondents are female and 38.3% are male. Table III: Occupation of users This chart shows that vast majority of 59.1% of all respondents express primarily engagement in an eco-museum. International Research Journal of Management Sociology & Humanity ( IRJMSH ) www.irjmsh.com Page 80 IRJMSH Vol 15 Issue 3 [Year 2024] ISSN 2277 – 9809 (0nline) 2348–9359 (Print) Table IV: Country of users This chart shows that the vast majority of 97.9% of all respondents from India and rest from different country USA. Table V: Awareness of users about the topic This chart shows that the majority of 51.1% respondents are aware of the concept of an eco- museum, 38.3% are no aware of what an eco-museum is and 10.6% have responded to maybe. Table VI: Frequency of visits by the users This chart shows that the majority of 63.8% of respondents visits museum on the need basis, 23.4% visits museum on yearly basis, 6.4% visit museums on monthly basis, 4.3% visits on daily basis and last 2.1% visits museums on weekly basis. International Research Journal of Management Sociology & Humanity ( IRJMSH ) www.irjmsh.com Page 81 IRJMSH Vol 15 Issue 3 [Year 2024] ISSN 2277 – 9809 (0nline) 2348–9359 (Print) Table VII: Users satisfaction of museum This chart shows that the majority of 44.7% of respondents have a neutral overall experience at a museum, 40.4% have agreeable overall experience and last 14.9% are strongly agreeable with their overall experience at a museum. Table VIII: Techniques used for interaction of the users This graph shows that according to the respondents 59.6% expressed that the technique which should be used to promote a museum and about its activities is through tv and films, other 53.2% supports brochures, leaflets, 34% supports radio broadcasting, 31.9% expressed we should use books to promote museums, other 31.9% supports information meetings, and 2.1% expressed that the technique we should use are artefacts and experience centres, and social media. Table IX: Importance of sustainable practices for users This chart shows that the majority of 42.6% of respondents expressed that it is important for them to support sustainability, 27.7% of respondents expressed that it is slightly important for them to support sustainability, 21.3% of respondents expressed that it is fairly important for them, 6.4% of respondents expressed that it is only slightly important for them to support and last 2.1% of respondents expressed that it is not at all important for them to support sustainability. International Research Journal of Management Sociology & Humanity ( IRJMSH ) www.irjmsh.com Page 82 IRJMSH Vol 15 Issue 3 [Year 2024] ISSN 2277 – 9809 (0nline) 2348–9359 (Print) Table X: Importance of heritage conservation This chart shows that the majority of 51.1% of respondents expressed that it is very important for them to conserve heritage, 21.3% of respondents expressed that it is fairly important for them, 17% of respondents expressed that it is important for them, and last 10.6% of respondents expressed that it is only slightly important for them to conserve heritage. Table XI: Users appreciation for local culture and craft This chart shows that the majority of 53.2% of respondents strongly agree that a museum should support the local culture and, craft, 38.3% of respondents agreed that this statement, 6.4% of respondents are neutral about this statement and last 2.1% of respondents strongly disagree that a museum should support the local culture and, craft. Table XII: Users perception on what a museum should include This graph shows that according to the respondents 57.4% expressed that the kind of cultural and historical objects a museum should include are tradition secular buildings and historical mining, extraction, and technological installations, other 48.9% expressed it should include churches, temples, Tsvetkovs, and synagogues, other 42.6% % expressed it should include military objects, International Research Journal of Management Sociology & Humanity ( IRJMSH ) www.irjmsh.com Page 83 IRJMSH Vol 15 Issue 3 [Year 2024] ISSN 2277 – 9809 (0nline) 2348–9359 (Print) 31.9% % expressed it should include ruins, abandoned settlements and last 27.7 % % expressed that the kind of cultural and historical objects a museum should include are cemeteries, necropolis. Table XIII: Users opinion on facilities provided This graph shows that according to the respondents 76.6% expressed that they would like to go a museum that provides protection to cultural heritage, other 63.8% expressed that they would like to go a place that provides protection to decreasing air, water, and soil…, 57.4% and 55.3% expressed that they would like to go a museum that provides protection to animals and plants, active participation and health protection, 48.9% and 44.7% expressed that they would like to go a museum that provides protection to climate and waste recycling and segregation and lastly 31.9% expressed that they would like to go a museum that provides protection to reduction of resource use. Table XIV: Users suggestions for improving museum This are the following suggestion provided by the respondents are:  Better involvement through entertaining activities  To make it interesting and organise some fun events there  Constantly maintaining museum is important  Providing fun activities  Making it more interactive! We've advanced so much in technology, integration of that in museums would surely enhance the experience.  They should work on their advertisement for more popularity. International Research Journal of Management Sociology & Humanity ( IRJMSH ) www.irjmsh.com Page 84 IRJMSH                    Vol 15 Issue 3 [Year 2024] ISSN 2277 – 9809 (0nline) 2348–9359 (Print) In some books and facilities Make it more interactive Museum should provide experience of that particular area when it is used Creating a welcoming environment They should be aware what we need It should always be a memorable experience so a museum should have something that interests everybody Museum must have a guide to elaborate Make A Game Out of It Build Better Infrastructure Make it very easy to find your way out of it Descriptive visual info to be heard in each space as many are not interested in reading the entire information. Improving a museum involves enhancing visitor experiences, engaging with the community, and staying relevant in a rapidly changing world. Use of waste products, to promote sustainability Museums are magical places. They have the power to make us stop and wonder and be curious, to challenge our views, and ask new questions. Therefore, a museum needs to offer variety of experience to the visitor through practical implementation of the world. another thing they can do is to collect feedback of the visitor for better implications in future. Next thing they can do is to make museum more convenient for the youth - the future of the country, in all aspects. With support of local community and awareness campaign More awareness about museums among every age groups Museums preserve our Culture, Heritage, technology, History, etc. etc. ...for our upcoming generation to generations to feel proud on our ancestors. Hence it becomes very much important to improve the structure of these museums. And in order to do the same in the present scenario, latest technologies must be adopted. They need to be aware what people want Interactive Exhibits, Educational Programs, Accessibility and Community Involvement  Aware other 5.Conclusion The review suggests that sustainability could be the unifying core feature of eco-museology. Sustainability has the power to build links between democratic values, environmental conservation, community involvement, and culture and environment. The socio-cultural sustainability category also includes questions regarding tourism and the revival of old production methods, as well as questions about ethnic and cultural identity. Articles on management discussed how to accomplish the many sustainability objectives. One tool available here is the Eco Museum evaluation indicators, which also enable empirical study. International Research Journal of Management Sociology & Humanity ( IRJMSH ) www.irjmsh.com Page 85