A visit to the V&A's latest exhibition gave a short but insightful look into the new architecture style that was developed in West African countries and India under British colonial rule during the 1940-50s.
'Tropical Modernism: Architecture and Independence' highlights the change about of this distinctive colonial architecture into a symbol of a countries’ progress and political aspirations.
Above: (Top) Mfantsipim School, Cape Coast, by Fry, Drew & Partners, film still from 'Tropical Modernism: Architecture and Independence'. Above (Bottom) Book: Community Building in the upper region of Ghana.
Below: Jane Drew and Maxwell Fry with a model of one of their many buildings for the Gold Coast, 1945. Image courtesy RIBA.
Led by British architects Jane Drew and Maxwell Fry, Tropical Modernism was an attempt to offset calls for independence by funding modern education and public infrastructure projects. They adapted the Modernist style for hot and humid climates, often dismissing local building traditions.
Commenting on the lack of indigenous architecture, they set about inventing an architecture which "specifically met the needs of West Africans".
Above: Scott House, Accra by Kenneth Scott, film still from 'Tropical Modernism- Architecture and Independence'
Above: Postcards from Ghana 1959-73 Unknown photographer
Following independence, India and Ghana reclaimed ‘Tropical Modernism’. Local designers were tasked to create an alternative Modernist language with a new fusion of modern and traditional forms.
Modernisation and industrialisation were seen as the key to national self-sufficiency.
The employment and training of local architects allowed for more appropriate schemes with better understanding, rejecting some of the less considerate western ideals of big name architects like Le Corbusier.
Above: Architect drawing for Chandigarh.
Newly independent, Modernism took hold in India, with prime minister Nehru’s plans for first modernist city in the world to be built from scratch.
These “Temples of Modern India” intended to show the expression of the nations faith in the future. He believed they would be free from the "colonial baggage" of the past.
Sketch perspective for informal sector for Linear City, Chandigarh by Aditya Prakash
Above & Below: Le Corbusier's plan for Chandigarh, one of the first Modernist Cities.
Above: Building Chandigarh by hand. Here labour costs were less than use of expensive machinery, film still from the exhibition.
Above: Ashanti Stool, Opuku Ware School, designed by Drew and Fry. Background image, Brise Soleil, was based on an Ashanti stool.
Going against the traditional European Modernist's rejection of ornament, Drew and Fry incorporated local symbols to give a sense of “fantasy”. The background image above features a Brise Soleil that is based on an Ashanti stool.
I particularly enjoyed the variety of geometric patterns seen in the Ghanaian Brise Soleil. These now iconic lattice works brought in the local influence that was initially denied in favour of cleaner more minimal design aesthetic.
Tropical Modernism: Architecture and Independance
Closes Sunday, 22 September 2024
