Architecture, Revolt and Modernism at the V&A
The V&A’s latest exhibition unpacks the relationship between art, revolution, and new beginnings…
By
Rhea Mathur
May 16, 2024
Tropical Modernism is a style of architecture that blossomed in India and West Africa in the 1940s-1950s. Initially devised as a tool to pacify calls for independence in these countries, it quickly became a symbol of their unoppressed identities. Designed by Jane Drew and Maxwell Fry after the Second World War, Tropical Modernism perfectly encapsulates a shift in our global history.
The exhibition begins with an introduction to Jane Drew and Maxwell Fry, situating the architects on the Gold Coast (now recognised as Ghana) at the end of the War. Initially involved in the planning of the towns in West Africa, the two architects stayed on after the War, and were soon given a sum as large as six billion pounds in today’s currency to modernise the architecture in the British colonies. The large sum corresponded with the Empire’s need to pacify constant calls for independence in West Africa and India. This architectural development, for this reason, was meant to prove an improvement in the quality of life in these countries and represent the supposed need for the Empire in the twentieth century.
Drew and Fry’s ideas for new architecture were radical; they were among Britain’s first Modern architects and were inspired by modernist designs by the Swiss-French architect, Le Corbusier and Walter Gropius, a leading advocate in Germany. Prioritising function, this 1920s European Modernism favoured clean lines, flat roofs and large pieces of glass in its construction. When introduced in Britain, these ideas were quickly rejected as they could not replace the established ornate houses and intricate designs.
With the large funds, Drew and Fry attempted to instead work with modernising the colonies while also adapting the architecture to the temperature in these countries. The result of this was Tropical Modernism, embracing the European focus on concrete, glass and steel buildings while also including minimalist features such as brise soleils, adjustable louvres and wide eaves. These were not only modern but also kept the architecture naturally cool and helped it adapt to the local climate. Providing ventilation and shade, these designs quickly changed the landscape of these regions - meanwhile, the political landscape was also changing just as quickly.
Looking closely at Chandigarh
With India gaining its independence in 1947, tropical modernism became internationally known as a form of architecture representing a modern and interconnected world, without any colonial associations. Under Prime Minister Jawaharlal Nehru, the country explored it while looking to formulate the new modern Indian identity. Large migrations due to the Partition between Pakistan and India also meant that architecture and city planning were crucial for finding homes for refugees in a country with new borders.
When looking at Tropical Modernism in India, the exhibition draws a large focus to Chandigarh. Chandigarh was Nehru’s creation of something new. With colonial impact throughout the nation including New Delhi, the capital, Chandigarh was planned by Nehru as a city that stood independent of the looming past. He invited Drew and Fry, who in turn enlisted Corbusier to design the city. Working with local architects, they built the city and designed its architecture, focusing specifically on the climate and needs of the locals.
In this section, the exhibition focuses on Nehru’s Modernist vision and his incorporation and development of the new Indian identity away from Empire. Providing jobs to young architects, Nehru called for a united nation, at a time when the Partition left the country even further fragmented than the British Empire itself.
Marking the new architecture in West Africa
Kwame Nkrumah, the first Prime Minister of Ghana, shared a similar outlook towards Tropical Modernism as Nehru. He also saw it as the physical manifestation of liberation from the British Empire, as well as a symbol for the cultivation and prosperity of new ideas. In the third and last rooms of the exhibition, the V&A focuses on Nkrumah’s efforts towards rebuilding the country and liberating his people from slavery.
For Nkrumah, it was important to develop a new identity that included all of Africa, not just Ghana. He used music, art, dance and architecture as tools to bring people together and help them bond after years of trauma and violence. Inspired by Nehru, Nkrumah also created the manufacturing city - Tema, which replicated Chandigarh’s design. With industrialisation already at its global peak, Africa and India aimed to include factories and facilitated their economies within their modern vision of their countries.
With a myriad of paintings, plans, maps and photographs, this exhibition comes across as a collage of history. At times chaotic, it brings together the extraordinary era of revolution in the 1940s and 1950s. It focuses on references to clothes, films, art, the shifts in identity and new inspiration for the leaders. Architecture, in this context, shines forward as an important focus for the countries as a symbol of change and hope for the future.
One of the most fascinating pieces of art included in this exhibition is the geodesic dome made by students of Kwame Nkrumah’s University of Science and Technology. Constructed in about 1964, the dome is six feet wide, created from aluminium and hangs suspended from the ceiling. Found in KNUST’s engineering workshop storage in 2023 during research for the exhibition, the structure is known to have been made under the tutelage of Buckminster Fuller, a reputed American architect. The structure itself is mesmerising. It looms large in the West African section of the exhibition, made from the symmetry of multiple perfectly measured shapes. With an unusual, flower-like design working across the structure, it appears almost like a bouquet dangling from the ceiling, impregnating the public with fresh and creative, new ideas.
Tropical Modernism: Architecture and Independence is showing at V&A South Kensington until 22nd September.
Tropical Modernism is a style of architecture that blossomed in India and West Africa in the 1940s-1950s. Initially devised as a tool to pacify calls for independence in these countries, it quickly became a symbol of their unoppressed identities. Designed by Jane Drew and Maxwell Fry after the Second World War, Tropical Modernism perfectly encapsulates a shift in our global history.
The exhibition begins with an introduction to Jane Drew and Maxwell Fry, situating the architects on the Gold Coast (now recognised as Ghana) at the end of the War. Initially involved in the planning of the towns in West Africa, the two architects stayed on after the War, and were soon given a sum as large as six billion pounds in today’s currency to modernise the architecture in the British colonies. The large sum corresponded with the Empire’s need to pacify constant calls for independence in West Africa and India. This architectural development, for this reason, was meant to prove an improvement in the quality of life in these countries and represent the supposed need for the Empire in the twentieth century.
Drew and Fry’s ideas for new architecture were radical; they were among Britain’s first Modern architects and were inspired by modernist designs by the Swiss-French architect, Le Corbusier and Walter Gropius, a leading advocate in Germany. Prioritising function, this 1920s European Modernism favoured clean lines, flat roofs and large pieces of glass in its construction. When introduced in Britain, these ideas were quickly rejected as they could not replace the established ornate houses and intricate designs.
With the large funds, Drew and Fry attempted to instead work with modernising the colonies while also adapting the architecture to the temperature in these countries. The result of this was Tropical Modernism, embracing the European focus on concrete, glass and steel buildings while also including minimalist features such as brise soleils, adjustable louvres and wide eaves. These were not only modern but also kept the architecture naturally cool and helped it adapt to the local climate. Providing ventilation and shade, these designs quickly changed the landscape of these regions - meanwhile, the political landscape was also changing just as quickly.
Looking closely at Chandigarh
With India gaining its independence in 1947, tropical modernism became internationally known as a form of architecture representing a modern and interconnected world, without any colonial associations. Under Prime Minister Jawaharlal Nehru, the country explored it while looking to formulate the new modern Indian identity. Large migrations due to the Partition between Pakistan and India also meant that architecture and city planning were crucial for finding homes for refugees in a country with new borders.
When looking at Tropical Modernism in India, the exhibition draws a large focus to Chandigarh. Chandigarh was Nehru’s creation of something new. With colonial impact throughout the nation including New Delhi, the capital, Chandigarh was planned by Nehru as a city that stood independent of the looming past. He invited Drew and Fry, who in turn enlisted Corbusier to design the city. Working with local architects, they built the city and designed its architecture, focusing specifically on the climate and needs of the locals.
In this section, the exhibition focuses on Nehru’s Modernist vision and his incorporation and development of the new Indian identity away from Empire. Providing jobs to young architects, Nehru called for a united nation, at a time when the Partition left the country even further fragmented than the British Empire itself.
Marking the new architecture in West Africa
Kwame Nkrumah, the first Prime Minister of Ghana, shared a similar outlook towards Tropical Modernism as Nehru. He also saw it as the physical manifestation of liberation from the British Empire, as well as a symbol for the cultivation and prosperity of new ideas. In the third and last rooms of the exhibition, the V&A focuses on Nkrumah’s efforts towards rebuilding the country and liberating his people from slavery.
For Nkrumah, it was important to develop a new identity that included all of Africa, not just Ghana. He used music, art, dance and architecture as tools to bring people together and help them bond after years of trauma and violence. Inspired by Nehru, Nkrumah also created the manufacturing city - Tema, which replicated Chandigarh’s design. With industrialisation already at its global peak, Africa and India aimed to include factories and facilitated their economies within their modern vision of their countries.
With a myriad of paintings, plans, maps and photographs, this exhibition comes across as a collage of history. At times chaotic, it brings together the extraordinary era of revolution in the 1940s and 1950s. It focuses on references to clothes, films, art, the shifts in identity and new inspiration for the leaders. Architecture, in this context, shines forward as an important focus for the countries as a symbol of change and hope for the future.
One of the most fascinating pieces of art included in this exhibition is the geodesic dome made by students of Kwame Nkrumah’s University of Science and Technology. Constructed in about 1964, the dome is six feet wide, created from aluminium and hangs suspended from the ceiling. Found in KNUST’s engineering workshop storage in 2023 during research for the exhibition, the structure is known to have been made under the tutelage of Buckminster Fuller, a reputed American architect. The structure itself is mesmerising. It looms large in the West African section of the exhibition, made from the symmetry of multiple perfectly measured shapes. With an unusual, flower-like design working across the structure, it appears almost like a bouquet dangling from the ceiling, impregnating the public with fresh and creative, new ideas.
Tropical Modernism: Architecture and Independence is showing at V&A South Kensington until 22nd September.
Tropical Modernism is a style of architecture that blossomed in India and West Africa in the 1940s-1950s. Initially devised as a tool to pacify calls for independence in these countries, it quickly became a symbol of their unoppressed identities. Designed by Jane Drew and Maxwell Fry after the Second World War, Tropical Modernism perfectly encapsulates a shift in our global history.
The exhibition begins with an introduction to Jane Drew and Maxwell Fry, situating the architects on the Gold Coast (now recognised as Ghana) at the end of the War. Initially involved in the planning of the towns in West Africa, the two architects stayed on after the War, and were soon given a sum as large as six billion pounds in today’s currency to modernise the architecture in the British colonies. The large sum corresponded with the Empire’s need to pacify constant calls for independence in West Africa and India. This architectural development, for this reason, was meant to prove an improvement in the quality of life in these countries and represent the supposed need for the Empire in the twentieth century.
Drew and Fry’s ideas for new architecture were radical; they were among Britain’s first Modern architects and were inspired by modernist designs by the Swiss-French architect, Le Corbusier and Walter Gropius, a leading advocate in Germany. Prioritising function, this 1920s European Modernism favoured clean lines, flat roofs and large pieces of glass in its construction. When introduced in Britain, these ideas were quickly rejected as they could not replace the established ornate houses and intricate designs.
With the large funds, Drew and Fry attempted to instead work with modernising the colonies while also adapting the architecture to the temperature in these countries. The result of this was Tropical Modernism, embracing the European focus on concrete, glass and steel buildings while also including minimalist features such as brise soleils, adjustable louvres and wide eaves. These were not only modern but also kept the architecture naturally cool and helped it adapt to the local climate. Providing ventilation and shade, these designs quickly changed the landscape of these regions - meanwhile, the political landscape was also changing just as quickly.
Looking closely at Chandigarh
With India gaining its independence in 1947, tropical modernism became internationally known as a form of architecture representing a modern and interconnected world, without any colonial associations. Under Prime Minister Jawaharlal Nehru, the country explored it while looking to formulate the new modern Indian identity. Large migrations due to the Partition between Pakistan and India also meant that architecture and city planning were crucial for finding homes for refugees in a country with new borders.
When looking at Tropical Modernism in India, the exhibition draws a large focus to Chandigarh. Chandigarh was Nehru’s creation of something new. With colonial impact throughout the nation including New Delhi, the capital, Chandigarh was planned by Nehru as a city that stood independent of the looming past. He invited Drew and Fry, who in turn enlisted Corbusier to design the city. Working with local architects, they built the city and designed its architecture, focusing specifically on the climate and needs of the locals.
In this section, the exhibition focuses on Nehru’s Modernist vision and his incorporation and development of the new Indian identity away from Empire. Providing jobs to young architects, Nehru called for a united nation, at a time when the Partition left the country even further fragmented than the British Empire itself.
Marking the new architecture in West Africa
Kwame Nkrumah, the first Prime Minister of Ghana, shared a similar outlook towards Tropical Modernism as Nehru. He also saw it as the physical manifestation of liberation from the British Empire, as well as a symbol for the cultivation and prosperity of new ideas. In the third and last rooms of the exhibition, the V&A focuses on Nkrumah’s efforts towards rebuilding the country and liberating his people from slavery.
For Nkrumah, it was important to develop a new identity that included all of Africa, not just Ghana. He used music, art, dance and architecture as tools to bring people together and help them bond after years of trauma and violence. Inspired by Nehru, Nkrumah also created the manufacturing city - Tema, which replicated Chandigarh’s design. With industrialisation already at its global peak, Africa and India aimed to include factories and facilitated their economies within their modern vision of their countries.
With a myriad of paintings, plans, maps and photographs, this exhibition comes across as a collage of history. At times chaotic, it brings together the extraordinary era of revolution in the 1940s and 1950s. It focuses on references to clothes, films, art, the shifts in identity and new inspiration for the leaders. Architecture, in this context, shines forward as an important focus for the countries as a symbol of change and hope for the future.
One of the most fascinating pieces of art included in this exhibition is the geodesic dome made by students of Kwame Nkrumah’s University of Science and Technology. Constructed in about 1964, the dome is six feet wide, created from aluminium and hangs suspended from the ceiling. Found in KNUST’s engineering workshop storage in 2023 during research for the exhibition, the structure is known to have been made under the tutelage of Buckminster Fuller, a reputed American architect. The structure itself is mesmerising. It looms large in the West African section of the exhibition, made from the symmetry of multiple perfectly measured shapes. With an unusual, flower-like design working across the structure, it appears almost like a bouquet dangling from the ceiling, impregnating the public with fresh and creative, new ideas.
Tropical Modernism: Architecture and Independence is showing at V&A South Kensington until 22nd September.
Tropical Modernism is a style of architecture that blossomed in India and West Africa in the 1940s-1950s. Initially devised as a tool to pacify calls for independence in these countries, it quickly became a symbol of their unoppressed identities. Designed by Jane Drew and Maxwell Fry after the Second World War, Tropical Modernism perfectly encapsulates a shift in our global history.
The exhibition begins with an introduction to Jane Drew and Maxwell Fry, situating the architects on the Gold Coast (now recognised as Ghana) at the end of the War. Initially involved in the planning of the towns in West Africa, the two architects stayed on after the War, and were soon given a sum as large as six billion pounds in today’s currency to modernise the architecture in the British colonies. The large sum corresponded with the Empire’s need to pacify constant calls for independence in West Africa and India. This architectural development, for this reason, was meant to prove an improvement in the quality of life in these countries and represent the supposed need for the Empire in the twentieth century.
Drew and Fry’s ideas for new architecture were radical; they were among Britain’s first Modern architects and were inspired by modernist designs by the Swiss-French architect, Le Corbusier and Walter Gropius, a leading advocate in Germany. Prioritising function, this 1920s European Modernism favoured clean lines, flat roofs and large pieces of glass in its construction. When introduced in Britain, these ideas were quickly rejected as they could not replace the established ornate houses and intricate designs.
With the large funds, Drew and Fry attempted to instead work with modernising the colonies while also adapting the architecture to the temperature in these countries. The result of this was Tropical Modernism, embracing the European focus on concrete, glass and steel buildings while also including minimalist features such as brise soleils, adjustable louvres and wide eaves. These were not only modern but also kept the architecture naturally cool and helped it adapt to the local climate. Providing ventilation and shade, these designs quickly changed the landscape of these regions - meanwhile, the political landscape was also changing just as quickly.
Looking closely at Chandigarh
With India gaining its independence in 1947, tropical modernism became internationally known as a form of architecture representing a modern and interconnected world, without any colonial associations. Under Prime Minister Jawaharlal Nehru, the country explored it while looking to formulate the new modern Indian identity. Large migrations due to the Partition between Pakistan and India also meant that architecture and city planning were crucial for finding homes for refugees in a country with new borders.
When looking at Tropical Modernism in India, the exhibition draws a large focus to Chandigarh. Chandigarh was Nehru’s creation of something new. With colonial impact throughout the nation including New Delhi, the capital, Chandigarh was planned by Nehru as a city that stood independent of the looming past. He invited Drew and Fry, who in turn enlisted Corbusier to design the city. Working with local architects, they built the city and designed its architecture, focusing specifically on the climate and needs of the locals.
In this section, the exhibition focuses on Nehru’s Modernist vision and his incorporation and development of the new Indian identity away from Empire. Providing jobs to young architects, Nehru called for a united nation, at a time when the Partition left the country even further fragmented than the British Empire itself.
Marking the new architecture in West Africa
Kwame Nkrumah, the first Prime Minister of Ghana, shared a similar outlook towards Tropical Modernism as Nehru. He also saw it as the physical manifestation of liberation from the British Empire, as well as a symbol for the cultivation and prosperity of new ideas. In the third and last rooms of the exhibition, the V&A focuses on Nkrumah’s efforts towards rebuilding the country and liberating his people from slavery.
For Nkrumah, it was important to develop a new identity that included all of Africa, not just Ghana. He used music, art, dance and architecture as tools to bring people together and help them bond after years of trauma and violence. Inspired by Nehru, Nkrumah also created the manufacturing city - Tema, which replicated Chandigarh’s design. With industrialisation already at its global peak, Africa and India aimed to include factories and facilitated their economies within their modern vision of their countries.
With a myriad of paintings, plans, maps and photographs, this exhibition comes across as a collage of history. At times chaotic, it brings together the extraordinary era of revolution in the 1940s and 1950s. It focuses on references to clothes, films, art, the shifts in identity and new inspiration for the leaders. Architecture, in this context, shines forward as an important focus for the countries as a symbol of change and hope for the future.
One of the most fascinating pieces of art included in this exhibition is the geodesic dome made by students of Kwame Nkrumah’s University of Science and Technology. Constructed in about 1964, the dome is six feet wide, created from aluminium and hangs suspended from the ceiling. Found in KNUST’s engineering workshop storage in 2023 during research for the exhibition, the structure is known to have been made under the tutelage of Buckminster Fuller, a reputed American architect. The structure itself is mesmerising. It looms large in the West African section of the exhibition, made from the symmetry of multiple perfectly measured shapes. With an unusual, flower-like design working across the structure, it appears almost like a bouquet dangling from the ceiling, impregnating the public with fresh and creative, new ideas.
Tropical Modernism: Architecture and Independence is showing at V&A South Kensington until 22nd September.
Tropical Modernism is a style of architecture that blossomed in India and West Africa in the 1940s-1950s. Initially devised as a tool to pacify calls for independence in these countries, it quickly became a symbol of their unoppressed identities. Designed by Jane Drew and Maxwell Fry after the Second World War, Tropical Modernism perfectly encapsulates a shift in our global history.
The exhibition begins with an introduction to Jane Drew and Maxwell Fry, situating the architects on the Gold Coast (now recognised as Ghana) at the end of the War. Initially involved in the planning of the towns in West Africa, the two architects stayed on after the War, and were soon given a sum as large as six billion pounds in today’s currency to modernise the architecture in the British colonies. The large sum corresponded with the Empire’s need to pacify constant calls for independence in West Africa and India. This architectural development, for this reason, was meant to prove an improvement in the quality of life in these countries and represent the supposed need for the Empire in the twentieth century.
Drew and Fry’s ideas for new architecture were radical; they were among Britain’s first Modern architects and were inspired by modernist designs by the Swiss-French architect, Le Corbusier and Walter Gropius, a leading advocate in Germany. Prioritising function, this 1920s European Modernism favoured clean lines, flat roofs and large pieces of glass in its construction. When introduced in Britain, these ideas were quickly rejected as they could not replace the established ornate houses and intricate designs.
With the large funds, Drew and Fry attempted to instead work with modernising the colonies while also adapting the architecture to the temperature in these countries. The result of this was Tropical Modernism, embracing the European focus on concrete, glass and steel buildings while also including minimalist features such as brise soleils, adjustable louvres and wide eaves. These were not only modern but also kept the architecture naturally cool and helped it adapt to the local climate. Providing ventilation and shade, these designs quickly changed the landscape of these regions - meanwhile, the political landscape was also changing just as quickly.
Looking closely at Chandigarh
With India gaining its independence in 1947, tropical modernism became internationally known as a form of architecture representing a modern and interconnected world, without any colonial associations. Under Prime Minister Jawaharlal Nehru, the country explored it while looking to formulate the new modern Indian identity. Large migrations due to the Partition between Pakistan and India also meant that architecture and city planning were crucial for finding homes for refugees in a country with new borders.
When looking at Tropical Modernism in India, the exhibition draws a large focus to Chandigarh. Chandigarh was Nehru’s creation of something new. With colonial impact throughout the nation including New Delhi, the capital, Chandigarh was planned by Nehru as a city that stood independent of the looming past. He invited Drew and Fry, who in turn enlisted Corbusier to design the city. Working with local architects, they built the city and designed its architecture, focusing specifically on the climate and needs of the locals.
In this section, the exhibition focuses on Nehru’s Modernist vision and his incorporation and development of the new Indian identity away from Empire. Providing jobs to young architects, Nehru called for a united nation, at a time when the Partition left the country even further fragmented than the British Empire itself.
Marking the new architecture in West Africa
Kwame Nkrumah, the first Prime Minister of Ghana, shared a similar outlook towards Tropical Modernism as Nehru. He also saw it as the physical manifestation of liberation from the British Empire, as well as a symbol for the cultivation and prosperity of new ideas. In the third and last rooms of the exhibition, the V&A focuses on Nkrumah’s efforts towards rebuilding the country and liberating his people from slavery.
For Nkrumah, it was important to develop a new identity that included all of Africa, not just Ghana. He used music, art, dance and architecture as tools to bring people together and help them bond after years of trauma and violence. Inspired by Nehru, Nkrumah also created the manufacturing city - Tema, which replicated Chandigarh’s design. With industrialisation already at its global peak, Africa and India aimed to include factories and facilitated their economies within their modern vision of their countries.
With a myriad of paintings, plans, maps and photographs, this exhibition comes across as a collage of history. At times chaotic, it brings together the extraordinary era of revolution in the 1940s and 1950s. It focuses on references to clothes, films, art, the shifts in identity and new inspiration for the leaders. Architecture, in this context, shines forward as an important focus for the countries as a symbol of change and hope for the future.
One of the most fascinating pieces of art included in this exhibition is the geodesic dome made by students of Kwame Nkrumah’s University of Science and Technology. Constructed in about 1964, the dome is six feet wide, created from aluminium and hangs suspended from the ceiling. Found in KNUST’s engineering workshop storage in 2023 during research for the exhibition, the structure is known to have been made under the tutelage of Buckminster Fuller, a reputed American architect. The structure itself is mesmerising. It looms large in the West African section of the exhibition, made from the symmetry of multiple perfectly measured shapes. With an unusual, flower-like design working across the structure, it appears almost like a bouquet dangling from the ceiling, impregnating the public with fresh and creative, new ideas.
Tropical Modernism: Architecture and Independence is showing at V&A South Kensington until 22nd September.
Tropical Modernism is a style of architecture that blossomed in India and West Africa in the 1940s-1950s. Initially devised as a tool to pacify calls for independence in these countries, it quickly became a symbol of their unoppressed identities. Designed by Jane Drew and Maxwell Fry after the Second World War, Tropical Modernism perfectly encapsulates a shift in our global history.
The exhibition begins with an introduction to Jane Drew and Maxwell Fry, situating the architects on the Gold Coast (now recognised as Ghana) at the end of the War. Initially involved in the planning of the towns in West Africa, the two architects stayed on after the War, and were soon given a sum as large as six billion pounds in today’s currency to modernise the architecture in the British colonies. The large sum corresponded with the Empire’s need to pacify constant calls for independence in West Africa and India. This architectural development, for this reason, was meant to prove an improvement in the quality of life in these countries and represent the supposed need for the Empire in the twentieth century.
Drew and Fry’s ideas for new architecture were radical; they were among Britain’s first Modern architects and were inspired by modernist designs by the Swiss-French architect, Le Corbusier and Walter Gropius, a leading advocate in Germany. Prioritising function, this 1920s European Modernism favoured clean lines, flat roofs and large pieces of glass in its construction. When introduced in Britain, these ideas were quickly rejected as they could not replace the established ornate houses and intricate designs.
With the large funds, Drew and Fry attempted to instead work with modernising the colonies while also adapting the architecture to the temperature in these countries. The result of this was Tropical Modernism, embracing the European focus on concrete, glass and steel buildings while also including minimalist features such as brise soleils, adjustable louvres and wide eaves. These were not only modern but also kept the architecture naturally cool and helped it adapt to the local climate. Providing ventilation and shade, these designs quickly changed the landscape of these regions - meanwhile, the political landscape was also changing just as quickly.
Looking closely at Chandigarh
With India gaining its independence in 1947, tropical modernism became internationally known as a form of architecture representing a modern and interconnected world, without any colonial associations. Under Prime Minister Jawaharlal Nehru, the country explored it while looking to formulate the new modern Indian identity. Large migrations due to the Partition between Pakistan and India also meant that architecture and city planning were crucial for finding homes for refugees in a country with new borders.
When looking at Tropical Modernism in India, the exhibition draws a large focus to Chandigarh. Chandigarh was Nehru’s creation of something new. With colonial impact throughout the nation including New Delhi, the capital, Chandigarh was planned by Nehru as a city that stood independent of the looming past. He invited Drew and Fry, who in turn enlisted Corbusier to design the city. Working with local architects, they built the city and designed its architecture, focusing specifically on the climate and needs of the locals.
In this section, the exhibition focuses on Nehru’s Modernist vision and his incorporation and development of the new Indian identity away from Empire. Providing jobs to young architects, Nehru called for a united nation, at a time when the Partition left the country even further fragmented than the British Empire itself.
Marking the new architecture in West Africa
Kwame Nkrumah, the first Prime Minister of Ghana, shared a similar outlook towards Tropical Modernism as Nehru. He also saw it as the physical manifestation of liberation from the British Empire, as well as a symbol for the cultivation and prosperity of new ideas. In the third and last rooms of the exhibition, the V&A focuses on Nkrumah’s efforts towards rebuilding the country and liberating his people from slavery.
For Nkrumah, it was important to develop a new identity that included all of Africa, not just Ghana. He used music, art, dance and architecture as tools to bring people together and help them bond after years of trauma and violence. Inspired by Nehru, Nkrumah also created the manufacturing city - Tema, which replicated Chandigarh’s design. With industrialisation already at its global peak, Africa and India aimed to include factories and facilitated their economies within their modern vision of their countries.
With a myriad of paintings, plans, maps and photographs, this exhibition comes across as a collage of history. At times chaotic, it brings together the extraordinary era of revolution in the 1940s and 1950s. It focuses on references to clothes, films, art, the shifts in identity and new inspiration for the leaders. Architecture, in this context, shines forward as an important focus for the countries as a symbol of change and hope for the future.
One of the most fascinating pieces of art included in this exhibition is the geodesic dome made by students of Kwame Nkrumah’s University of Science and Technology. Constructed in about 1964, the dome is six feet wide, created from aluminium and hangs suspended from the ceiling. Found in KNUST’s engineering workshop storage in 2023 during research for the exhibition, the structure is known to have been made under the tutelage of Buckminster Fuller, a reputed American architect. The structure itself is mesmerising. It looms large in the West African section of the exhibition, made from the symmetry of multiple perfectly measured shapes. With an unusual, flower-like design working across the structure, it appears almost like a bouquet dangling from the ceiling, impregnating the public with fresh and creative, new ideas.
Tropical Modernism: Architecture and Independence is showing at V&A South Kensington until 22nd September.
Tropical Modernism is a style of architecture that blossomed in India and West Africa in the 1940s-1950s. Initially devised as a tool to pacify calls for independence in these countries, it quickly became a symbol of their unoppressed identities. Designed by Jane Drew and Maxwell Fry after the Second World War, Tropical Modernism perfectly encapsulates a shift in our global history.
The exhibition begins with an introduction to Jane Drew and Maxwell Fry, situating the architects on the Gold Coast (now recognised as Ghana) at the end of the War. Initially involved in the planning of the towns in West Africa, the two architects stayed on after the War, and were soon given a sum as large as six billion pounds in today’s currency to modernise the architecture in the British colonies. The large sum corresponded with the Empire’s need to pacify constant calls for independence in West Africa and India. This architectural development, for this reason, was meant to prove an improvement in the quality of life in these countries and represent the supposed need for the Empire in the twentieth century.
Drew and Fry’s ideas for new architecture were radical; they were among Britain’s first Modern architects and were inspired by modernist designs by the Swiss-French architect, Le Corbusier and Walter Gropius, a leading advocate in Germany. Prioritising function, this 1920s European Modernism favoured clean lines, flat roofs and large pieces of glass in its construction. When introduced in Britain, these ideas were quickly rejected as they could not replace the established ornate houses and intricate designs.
With the large funds, Drew and Fry attempted to instead work with modernising the colonies while also adapting the architecture to the temperature in these countries. The result of this was Tropical Modernism, embracing the European focus on concrete, glass and steel buildings while also including minimalist features such as brise soleils, adjustable louvres and wide eaves. These were not only modern but also kept the architecture naturally cool and helped it adapt to the local climate. Providing ventilation and shade, these designs quickly changed the landscape of these regions - meanwhile, the political landscape was also changing just as quickly.
Looking closely at Chandigarh
With India gaining its independence in 1947, tropical modernism became internationally known as a form of architecture representing a modern and interconnected world, without any colonial associations. Under Prime Minister Jawaharlal Nehru, the country explored it while looking to formulate the new modern Indian identity. Large migrations due to the Partition between Pakistan and India also meant that architecture and city planning were crucial for finding homes for refugees in a country with new borders.
When looking at Tropical Modernism in India, the exhibition draws a large focus to Chandigarh. Chandigarh was Nehru’s creation of something new. With colonial impact throughout the nation including New Delhi, the capital, Chandigarh was planned by Nehru as a city that stood independent of the looming past. He invited Drew and Fry, who in turn enlisted Corbusier to design the city. Working with local architects, they built the city and designed its architecture, focusing specifically on the climate and needs of the locals.
In this section, the exhibition focuses on Nehru’s Modernist vision and his incorporation and development of the new Indian identity away from Empire. Providing jobs to young architects, Nehru called for a united nation, at a time when the Partition left the country even further fragmented than the British Empire itself.
Marking the new architecture in West Africa
Kwame Nkrumah, the first Prime Minister of Ghana, shared a similar outlook towards Tropical Modernism as Nehru. He also saw it as the physical manifestation of liberation from the British Empire, as well as a symbol for the cultivation and prosperity of new ideas. In the third and last rooms of the exhibition, the V&A focuses on Nkrumah’s efforts towards rebuilding the country and liberating his people from slavery.
For Nkrumah, it was important to develop a new identity that included all of Africa, not just Ghana. He used music, art, dance and architecture as tools to bring people together and help them bond after years of trauma and violence. Inspired by Nehru, Nkrumah also created the manufacturing city - Tema, which replicated Chandigarh’s design. With industrialisation already at its global peak, Africa and India aimed to include factories and facilitated their economies within their modern vision of their countries.
With a myriad of paintings, plans, maps and photographs, this exhibition comes across as a collage of history. At times chaotic, it brings together the extraordinary era of revolution in the 1940s and 1950s. It focuses on references to clothes, films, art, the shifts in identity and new inspiration for the leaders. Architecture, in this context, shines forward as an important focus for the countries as a symbol of change and hope for the future.
One of the most fascinating pieces of art included in this exhibition is the geodesic dome made by students of Kwame Nkrumah’s University of Science and Technology. Constructed in about 1964, the dome is six feet wide, created from aluminium and hangs suspended from the ceiling. Found in KNUST’s engineering workshop storage in 2023 during research for the exhibition, the structure is known to have been made under the tutelage of Buckminster Fuller, a reputed American architect. The structure itself is mesmerising. It looms large in the West African section of the exhibition, made from the symmetry of multiple perfectly measured shapes. With an unusual, flower-like design working across the structure, it appears almost like a bouquet dangling from the ceiling, impregnating the public with fresh and creative, new ideas.
Tropical Modernism: Architecture and Independence is showing at V&A South Kensington until 22nd September.
Tropical Modernism is a style of architecture that blossomed in India and West Africa in the 1940s-1950s. Initially devised as a tool to pacify calls for independence in these countries, it quickly became a symbol of their unoppressed identities. Designed by Jane Drew and Maxwell Fry after the Second World War, Tropical Modernism perfectly encapsulates a shift in our global history.
The exhibition begins with an introduction to Jane Drew and Maxwell Fry, situating the architects on the Gold Coast (now recognised as Ghana) at the end of the War. Initially involved in the planning of the towns in West Africa, the two architects stayed on after the War, and were soon given a sum as large as six billion pounds in today’s currency to modernise the architecture in the British colonies. The large sum corresponded with the Empire’s need to pacify constant calls for independence in West Africa and India. This architectural development, for this reason, was meant to prove an improvement in the quality of life in these countries and represent the supposed need for the Empire in the twentieth century.
Drew and Fry’s ideas for new architecture were radical; they were among Britain’s first Modern architects and were inspired by modernist designs by the Swiss-French architect, Le Corbusier and Walter Gropius, a leading advocate in Germany. Prioritising function, this 1920s European Modernism favoured clean lines, flat roofs and large pieces of glass in its construction. When introduced in Britain, these ideas were quickly rejected as they could not replace the established ornate houses and intricate designs.
With the large funds, Drew and Fry attempted to instead work with modernising the colonies while also adapting the architecture to the temperature in these countries. The result of this was Tropical Modernism, embracing the European focus on concrete, glass and steel buildings while also including minimalist features such as brise soleils, adjustable louvres and wide eaves. These were not only modern but also kept the architecture naturally cool and helped it adapt to the local climate. Providing ventilation and shade, these designs quickly changed the landscape of these regions - meanwhile, the political landscape was also changing just as quickly.
Looking closely at Chandigarh
With India gaining its independence in 1947, tropical modernism became internationally known as a form of architecture representing a modern and interconnected world, without any colonial associations. Under Prime Minister Jawaharlal Nehru, the country explored it while looking to formulate the new modern Indian identity. Large migrations due to the Partition between Pakistan and India also meant that architecture and city planning were crucial for finding homes for refugees in a country with new borders.
When looking at Tropical Modernism in India, the exhibition draws a large focus to Chandigarh. Chandigarh was Nehru’s creation of something new. With colonial impact throughout the nation including New Delhi, the capital, Chandigarh was planned by Nehru as a city that stood independent of the looming past. He invited Drew and Fry, who in turn enlisted Corbusier to design the city. Working with local architects, they built the city and designed its architecture, focusing specifically on the climate and needs of the locals.
In this section, the exhibition focuses on Nehru’s Modernist vision and his incorporation and development of the new Indian identity away from Empire. Providing jobs to young architects, Nehru called for a united nation, at a time when the Partition left the country even further fragmented than the British Empire itself.
Marking the new architecture in West Africa
Kwame Nkrumah, the first Prime Minister of Ghana, shared a similar outlook towards Tropical Modernism as Nehru. He also saw it as the physical manifestation of liberation from the British Empire, as well as a symbol for the cultivation and prosperity of new ideas. In the third and last rooms of the exhibition, the V&A focuses on Nkrumah’s efforts towards rebuilding the country and liberating his people from slavery.
For Nkrumah, it was important to develop a new identity that included all of Africa, not just Ghana. He used music, art, dance and architecture as tools to bring people together and help them bond after years of trauma and violence. Inspired by Nehru, Nkrumah also created the manufacturing city - Tema, which replicated Chandigarh’s design. With industrialisation already at its global peak, Africa and India aimed to include factories and facilitated their economies within their modern vision of their countries.
With a myriad of paintings, plans, maps and photographs, this exhibition comes across as a collage of history. At times chaotic, it brings together the extraordinary era of revolution in the 1940s and 1950s. It focuses on references to clothes, films, art, the shifts in identity and new inspiration for the leaders. Architecture, in this context, shines forward as an important focus for the countries as a symbol of change and hope for the future.
One of the most fascinating pieces of art included in this exhibition is the geodesic dome made by students of Kwame Nkrumah’s University of Science and Technology. Constructed in about 1964, the dome is six feet wide, created from aluminium and hangs suspended from the ceiling. Found in KNUST’s engineering workshop storage in 2023 during research for the exhibition, the structure is known to have been made under the tutelage of Buckminster Fuller, a reputed American architect. The structure itself is mesmerising. It looms large in the West African section of the exhibition, made from the symmetry of multiple perfectly measured shapes. With an unusual, flower-like design working across the structure, it appears almost like a bouquet dangling from the ceiling, impregnating the public with fresh and creative, new ideas.
Tropical Modernism: Architecture and Independence is showing at V&A South Kensington until 22nd September.
Tropical Modernism is a style of architecture that blossomed in India and West Africa in the 1940s-1950s. Initially devised as a tool to pacify calls for independence in these countries, it quickly became a symbol of their unoppressed identities. Designed by Jane Drew and Maxwell Fry after the Second World War, Tropical Modernism perfectly encapsulates a shift in our global history.
The exhibition begins with an introduction to Jane Drew and Maxwell Fry, situating the architects on the Gold Coast (now recognised as Ghana) at the end of the War. Initially involved in the planning of the towns in West Africa, the two architects stayed on after the War, and were soon given a sum as large as six billion pounds in today’s currency to modernise the architecture in the British colonies. The large sum corresponded with the Empire’s need to pacify constant calls for independence in West Africa and India. This architectural development, for this reason, was meant to prove an improvement in the quality of life in these countries and represent the supposed need for the Empire in the twentieth century.
Drew and Fry’s ideas for new architecture were radical; they were among Britain’s first Modern architects and were inspired by modernist designs by the Swiss-French architect, Le Corbusier and Walter Gropius, a leading advocate in Germany. Prioritising function, this 1920s European Modernism favoured clean lines, flat roofs and large pieces of glass in its construction. When introduced in Britain, these ideas were quickly rejected as they could not replace the established ornate houses and intricate designs.
With the large funds, Drew and Fry attempted to instead work with modernising the colonies while also adapting the architecture to the temperature in these countries. The result of this was Tropical Modernism, embracing the European focus on concrete, glass and steel buildings while also including minimalist features such as brise soleils, adjustable louvres and wide eaves. These were not only modern but also kept the architecture naturally cool and helped it adapt to the local climate. Providing ventilation and shade, these designs quickly changed the landscape of these regions - meanwhile, the political landscape was also changing just as quickly.
Looking closely at Chandigarh
With India gaining its independence in 1947, tropical modernism became internationally known as a form of architecture representing a modern and interconnected world, without any colonial associations. Under Prime Minister Jawaharlal Nehru, the country explored it while looking to formulate the new modern Indian identity. Large migrations due to the Partition between Pakistan and India also meant that architecture and city planning were crucial for finding homes for refugees in a country with new borders.
When looking at Tropical Modernism in India, the exhibition draws a large focus to Chandigarh. Chandigarh was Nehru’s creation of something new. With colonial impact throughout the nation including New Delhi, the capital, Chandigarh was planned by Nehru as a city that stood independent of the looming past. He invited Drew and Fry, who in turn enlisted Corbusier to design the city. Working with local architects, they built the city and designed its architecture, focusing specifically on the climate and needs of the locals.
In this section, the exhibition focuses on Nehru’s Modernist vision and his incorporation and development of the new Indian identity away from Empire. Providing jobs to young architects, Nehru called for a united nation, at a time when the Partition left the country even further fragmented than the British Empire itself.
Marking the new architecture in West Africa
Kwame Nkrumah, the first Prime Minister of Ghana, shared a similar outlook towards Tropical Modernism as Nehru. He also saw it as the physical manifestation of liberation from the British Empire, as well as a symbol for the cultivation and prosperity of new ideas. In the third and last rooms of the exhibition, the V&A focuses on Nkrumah’s efforts towards rebuilding the country and liberating his people from slavery.
For Nkrumah, it was important to develop a new identity that included all of Africa, not just Ghana. He used music, art, dance and architecture as tools to bring people together and help them bond after years of trauma and violence. Inspired by Nehru, Nkrumah also created the manufacturing city - Tema, which replicated Chandigarh’s design. With industrialisation already at its global peak, Africa and India aimed to include factories and facilitated their economies within their modern vision of their countries.
With a myriad of paintings, plans, maps and photographs, this exhibition comes across as a collage of history. At times chaotic, it brings together the extraordinary era of revolution in the 1940s and 1950s. It focuses on references to clothes, films, art, the shifts in identity and new inspiration for the leaders. Architecture, in this context, shines forward as an important focus for the countries as a symbol of change and hope for the future.
One of the most fascinating pieces of art included in this exhibition is the geodesic dome made by students of Kwame Nkrumah’s University of Science and Technology. Constructed in about 1964, the dome is six feet wide, created from aluminium and hangs suspended from the ceiling. Found in KNUST’s engineering workshop storage in 2023 during research for the exhibition, the structure is known to have been made under the tutelage of Buckminster Fuller, a reputed American architect. The structure itself is mesmerising. It looms large in the West African section of the exhibition, made from the symmetry of multiple perfectly measured shapes. With an unusual, flower-like design working across the structure, it appears almost like a bouquet dangling from the ceiling, impregnating the public with fresh and creative, new ideas.
Tropical Modernism: Architecture and Independence is showing at V&A South Kensington until 22nd September.
Tropical Modernism is a style of architecture that blossomed in India and West Africa in the 1940s-1950s. Initially devised as a tool to pacify calls for independence in these countries, it quickly became a symbol of their unoppressed identities. Designed by Jane Drew and Maxwell Fry after the Second World War, Tropical Modernism perfectly encapsulates a shift in our global history.
The exhibition begins with an introduction to Jane Drew and Maxwell Fry, situating the architects on the Gold Coast (now recognised as Ghana) at the end of the War. Initially involved in the planning of the towns in West Africa, the two architects stayed on after the War, and were soon given a sum as large as six billion pounds in today’s currency to modernise the architecture in the British colonies. The large sum corresponded with the Empire’s need to pacify constant calls for independence in West Africa and India. This architectural development, for this reason, was meant to prove an improvement in the quality of life in these countries and represent the supposed need for the Empire in the twentieth century.
Drew and Fry’s ideas for new architecture were radical; they were among Britain’s first Modern architects and were inspired by modernist designs by the Swiss-French architect, Le Corbusier and Walter Gropius, a leading advocate in Germany. Prioritising function, this 1920s European Modernism favoured clean lines, flat roofs and large pieces of glass in its construction. When introduced in Britain, these ideas were quickly rejected as they could not replace the established ornate houses and intricate designs.
With the large funds, Drew and Fry attempted to instead work with modernising the colonies while also adapting the architecture to the temperature in these countries. The result of this was Tropical Modernism, embracing the European focus on concrete, glass and steel buildings while also including minimalist features such as brise soleils, adjustable louvres and wide eaves. These were not only modern but also kept the architecture naturally cool and helped it adapt to the local climate. Providing ventilation and shade, these designs quickly changed the landscape of these regions - meanwhile, the political landscape was also changing just as quickly.
Looking closely at Chandigarh
With India gaining its independence in 1947, tropical modernism became internationally known as a form of architecture representing a modern and interconnected world, without any colonial associations. Under Prime Minister Jawaharlal Nehru, the country explored it while looking to formulate the new modern Indian identity. Large migrations due to the Partition between Pakistan and India also meant that architecture and city planning were crucial for finding homes for refugees in a country with new borders.
When looking at Tropical Modernism in India, the exhibition draws a large focus to Chandigarh. Chandigarh was Nehru’s creation of something new. With colonial impact throughout the nation including New Delhi, the capital, Chandigarh was planned by Nehru as a city that stood independent of the looming past. He invited Drew and Fry, who in turn enlisted Corbusier to design the city. Working with local architects, they built the city and designed its architecture, focusing specifically on the climate and needs of the locals.
In this section, the exhibition focuses on Nehru’s Modernist vision and his incorporation and development of the new Indian identity away from Empire. Providing jobs to young architects, Nehru called for a united nation, at a time when the Partition left the country even further fragmented than the British Empire itself.
Marking the new architecture in West Africa
Kwame Nkrumah, the first Prime Minister of Ghana, shared a similar outlook towards Tropical Modernism as Nehru. He also saw it as the physical manifestation of liberation from the British Empire, as well as a symbol for the cultivation and prosperity of new ideas. In the third and last rooms of the exhibition, the V&A focuses on Nkrumah’s efforts towards rebuilding the country and liberating his people from slavery.
For Nkrumah, it was important to develop a new identity that included all of Africa, not just Ghana. He used music, art, dance and architecture as tools to bring people together and help them bond after years of trauma and violence. Inspired by Nehru, Nkrumah also created the manufacturing city - Tema, which replicated Chandigarh’s design. With industrialisation already at its global peak, Africa and India aimed to include factories and facilitated their economies within their modern vision of their countries.
With a myriad of paintings, plans, maps and photographs, this exhibition comes across as a collage of history. At times chaotic, it brings together the extraordinary era of revolution in the 1940s and 1950s. It focuses on references to clothes, films, art, the shifts in identity and new inspiration for the leaders. Architecture, in this context, shines forward as an important focus for the countries as a symbol of change and hope for the future.
One of the most fascinating pieces of art included in this exhibition is the geodesic dome made by students of Kwame Nkrumah’s University of Science and Technology. Constructed in about 1964, the dome is six feet wide, created from aluminium and hangs suspended from the ceiling. Found in KNUST’s engineering workshop storage in 2023 during research for the exhibition, the structure is known to have been made under the tutelage of Buckminster Fuller, a reputed American architect. The structure itself is mesmerising. It looms large in the West African section of the exhibition, made from the symmetry of multiple perfectly measured shapes. With an unusual, flower-like design working across the structure, it appears almost like a bouquet dangling from the ceiling, impregnating the public with fresh and creative, new ideas.
Tropical Modernism: Architecture and Independence is showing at V&A South Kensington until 22nd September.
Tropical Modernism is a style of architecture that blossomed in India and West Africa in the 1940s-1950s. Initially devised as a tool to pacify calls for independence in these countries, it quickly became a symbol of their unoppressed identities. Designed by Jane Drew and Maxwell Fry after the Second World War, Tropical Modernism perfectly encapsulates a shift in our global history.
The exhibition begins with an introduction to Jane Drew and Maxwell Fry, situating the architects on the Gold Coast (now recognised as Ghana) at the end of the War. Initially involved in the planning of the towns in West Africa, the two architects stayed on after the War, and were soon given a sum as large as six billion pounds in today’s currency to modernise the architecture in the British colonies. The large sum corresponded with the Empire’s need to pacify constant calls for independence in West Africa and India. This architectural development, for this reason, was meant to prove an improvement in the quality of life in these countries and represent the supposed need for the Empire in the twentieth century.
Drew and Fry’s ideas for new architecture were radical; they were among Britain’s first Modern architects and were inspired by modernist designs by the Swiss-French architect, Le Corbusier and Walter Gropius, a leading advocate in Germany. Prioritising function, this 1920s European Modernism favoured clean lines, flat roofs and large pieces of glass in its construction. When introduced in Britain, these ideas were quickly rejected as they could not replace the established ornate houses and intricate designs.
With the large funds, Drew and Fry attempted to instead work with modernising the colonies while also adapting the architecture to the temperature in these countries. The result of this was Tropical Modernism, embracing the European focus on concrete, glass and steel buildings while also including minimalist features such as brise soleils, adjustable louvres and wide eaves. These were not only modern but also kept the architecture naturally cool and helped it adapt to the local climate. Providing ventilation and shade, these designs quickly changed the landscape of these regions - meanwhile, the political landscape was also changing just as quickly.
Looking closely at Chandigarh
With India gaining its independence in 1947, tropical modernism became internationally known as a form of architecture representing a modern and interconnected world, without any colonial associations. Under Prime Minister Jawaharlal Nehru, the country explored it while looking to formulate the new modern Indian identity. Large migrations due to the Partition between Pakistan and India also meant that architecture and city planning were crucial for finding homes for refugees in a country with new borders.
When looking at Tropical Modernism in India, the exhibition draws a large focus to Chandigarh. Chandigarh was Nehru’s creation of something new. With colonial impact throughout the nation including New Delhi, the capital, Chandigarh was planned by Nehru as a city that stood independent of the looming past. He invited Drew and Fry, who in turn enlisted Corbusier to design the city. Working with local architects, they built the city and designed its architecture, focusing specifically on the climate and needs of the locals.
In this section, the exhibition focuses on Nehru’s Modernist vision and his incorporation and development of the new Indian identity away from Empire. Providing jobs to young architects, Nehru called for a united nation, at a time when the Partition left the country even further fragmented than the British Empire itself.
Marking the new architecture in West Africa
Kwame Nkrumah, the first Prime Minister of Ghana, shared a similar outlook towards Tropical Modernism as Nehru. He also saw it as the physical manifestation of liberation from the British Empire, as well as a symbol for the cultivation and prosperity of new ideas. In the third and last rooms of the exhibition, the V&A focuses on Nkrumah’s efforts towards rebuilding the country and liberating his people from slavery.
For Nkrumah, it was important to develop a new identity that included all of Africa, not just Ghana. He used music, art, dance and architecture as tools to bring people together and help them bond after years of trauma and violence. Inspired by Nehru, Nkrumah also created the manufacturing city - Tema, which replicated Chandigarh’s design. With industrialisation already at its global peak, Africa and India aimed to include factories and facilitated their economies within their modern vision of their countries.
With a myriad of paintings, plans, maps and photographs, this exhibition comes across as a collage of history. At times chaotic, it brings together the extraordinary era of revolution in the 1940s and 1950s. It focuses on references to clothes, films, art, the shifts in identity and new inspiration for the leaders. Architecture, in this context, shines forward as an important focus for the countries as a symbol of change and hope for the future.
One of the most fascinating pieces of art included in this exhibition is the geodesic dome made by students of Kwame Nkrumah’s University of Science and Technology. Constructed in about 1964, the dome is six feet wide, created from aluminium and hangs suspended from the ceiling. Found in KNUST’s engineering workshop storage in 2023 during research for the exhibition, the structure is known to have been made under the tutelage of Buckminster Fuller, a reputed American architect. The structure itself is mesmerising. It looms large in the West African section of the exhibition, made from the symmetry of multiple perfectly measured shapes. With an unusual, flower-like design working across the structure, it appears almost like a bouquet dangling from the ceiling, impregnating the public with fresh and creative, new ideas.
Tropical Modernism: Architecture and Independence is showing at V&A South Kensington until 22nd September.
