In 1957, a road inspector named Nek Chand initiated a remarkable project in Chandigarh, in northern India. Chand began creating a magical world in a secluded forest using only his bare hands and recycled materials. His creation, known as the Rock Garden featured palaces, waterfalls, and sculptures inspired by his home village in what is now Pakistan. Despite facing demolition orders from authorities upon discovery in 1973, the Rock Garden was ultimately preserved due to public demand, evolving into a sprawling 16-hectare testament to outsider architecture that attracts thousands of visitors daily. Chand's creation starkly contrasts the monumental modernist structures designed by Le Corbusier, for which Chandigarh is renowned. While Le Corbusier's designs embody rationality and order, Chand's garden exudes an irregular, introspective charm.
The Dichotomy of Architectural Styles in Chandigarh
The exhibition "Tropical Modernism: Architecture and Independence" at the Victoria and Albert Museum, which tells the story of power and freedom against the backdrop of colonial rule and independence in India and Ghana, is set up by juxtaposing these architectural styles. Both nations, under the leadership of individuals like Jawaharlal Nehru and Kwame Nkrumah, aimed to use modern architecture to represent advancement and national identity. However, navigating the intricacies of modernity and craft proved to be a complex challenge.
The Influence of Jane Drew and Maxwell Fry
At the heart of the exhibition lies the evolution of architectural expression in India and Ghana. Central figures such as Jane Drew and Maxwell Fry played pivotal roles in introducing continental modernism to these regions. Commissioned by the British government to design public projects in Ghana, Drew and Fry later contributed to the planning of Chandigarh, collaborating with Le Corbusier to realize Nehru's vision for a new capital city. Their efforts, however, revealed paradoxes inherent in modernist architecture, which was initially associated with European imperialism.
Modernist ideas found fertile ground in warmer climates and adapted to local conditions with features such as overhanging roofs and perforated screens to combat the harsh sun. Concrete, once a symbol of machine-age precision, took on a labor-intensive, muddy quality in Chandigarh, reflecting the collaborative efforts of men, women, children, and donkeys in its construction. Despite these adaptations, architects like Fry and Drew often overlooked indigenous architectural traditions, favoring abstract patterns and rigid design principles.
The Emergence of a New Generation of Architects
It was not until a new generation of African and Indian architects emerged that a more nuanced approach to modernism began to take shape. Organizations that fostered a new generation of architects who combined modernist methods with indigenous sensibilities were Kwame Nkrumah University of Science and Technology in Ghana and Chandigarh design teams. These institutions placed a high value on local talent. Modernism was redefined by architects like Ghana's John Owusu Addo and India's Balkrishna Doshi and Aditya Prakash, who created innovatively designed spaces that were attuned to their respective cultures.
The exhibition's exploration of tropical modernism reveals a diverse spectrum of architectural expression. From grandiose government projects to the grassroots creativity of figures like Nek Chand, the exhibition offers a glimpse into the dynamic forces shaping the built environment in the 20th century. As the exhibition concludes with the tumultuous downfall of Nkrumah and the dismantling of his statues, it prompts reflection on the complex interplay of power, freedom, and creativity in the architectural landscape. While Tropical Modernism refrains from drawing definitive conclusions, it serves as a testament to the enduring quest to make sense of profound societal transformations through creative endeavors.
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