By: Arushi Aditi
This exhibition presents the evolution of architecture in India and Ghana throughout the transition from colonial rule to independence under the leadership of Jawal Lal Nehru and Kwame Nkrumah. These leaders attempted to infuse a sense of modernism into the existing culturally rich architecture (a concept pioneered by British architects, Jane Drew and Maxwell Fry to combat humid weather conditions in West Africa in the 1940s), shown in this exhibit through the technicalities of the discipline, alongside the intricate historical, political and social repercussions within both nations.
The overarching themes are well-presented through a beautiful setup that runs through the creation of Tropical Modernism as an architectural model, then through the respective colonial history of both countries under study, next tackling the complex political and social impacts of said changes. Preliminary drawings and artifacts were utilised to reflect the technical architectural processes such as that of devising Chandigarh’s monumental modernist government buildings by Le Corbusier. Closing with a thirty-minute documentary on the architecture school inaugurated at the Kwame Nkrumah University of Science and Technology (Knust) to ameliorate national youth employment and engagement, alongside integrating country-specific architectural approaches, it highlights Nkrumah’s controversial authoritarian rule and its impacts on his modernist visions for Ghana.
The technical architectural components were well-explored, yet in a simplistic manner considerate of viewers lacking a well-informed background in the discipline such as myself. It delved into specific projects which used lighter materials such as glass and incorporated more stylised ventilation, signifying the environmental and economic importance of Tropical Modernism in warmer climates.
What I personally loved the most about the exhibition was its implicit, yet prominent emphasis on the political nuances. While highlighting the role architecture plays to symbolise freedom and national power, it also questioned the post-colonial and neo-imperial paradoxes. Starting with Tropical Modernism being a very Western concept experimented on African countries, propelling an idea of North-South imposition, the exhibition questions the choice of embracing the modernist changes. When running towards modernist architecture, does one run away from colonial imposition or rather one’s authentic national identity?
Accordingly, the exhibition documented the progression of modernist architecture in relation to post-colonial politics, exposing unique contrasts. Nehru’s strong, positive influence on Indian citizens allowed for the sustainability of his architectural paradigm changes. In contrast, Nkrumah’s over-prioritization of African unity and thus, arguably described as neglect of the Ghanaian public, resulted in not only the downfall of his leadership, but also his policy visions for embracing modernist architecture.
It may be my childhood spent in India and Ghana itself that engulfed me into the rich historic and complex political undercurrents presented throughout the exhibition. However, what I find even more riveting is the interdisciplinary approach that congregates the technical architectural aspects paralleled alongside their historical and political implications. Intellectually challenging multiple elements of social development in the Global South through a primarily architectural lens, this exhibition presents an incredibly imaginative and contemporary perspective.
