Archival Image in Tropical Modernism exhibition at the V&A London
CategoriesInterior Design

Tropical Modernism exhibition explores “the politics behind the concrete”

Archival Image in Tropical Modernism exhibition at the V&A London

London’s Victoria and Albert Museum has launched its Tropical Modernism exhibition, which highlights the architectural movement’s evolution from colonial import to a “tool of nation building”.

According to the Victoria & Albert Museum (V&A), the exhibition aims to examine the complex context, power dynamics and post-colonial legacy of tropical modernism – an architectural style that developed in South Asia and West Africa in the late 1940s – while also centralising and celebrating its hidden figures.

Archival Image in Tropical Modernism exhibition at the V&A LondonArchival Image in Tropical Modernism exhibition at the V&A London
London’s V&A museum has opened a major exhibition exploring tropical modernism

“Tropical modernism is experiencing something of a modish revival as an exotic and escapist style popular in verdant luxury hotels, bars and concrete jungle houses,” the exhibition’s lead curator Christopher Turner told Dezeen.

“But it has a problematic history and, through an examination of the context of British imperialism and the de-colonial struggle, the exhibition seeks to look at the history of tropical modernism before and after Independence, and show something of the politics behind the concrete,” he continued.

Installation shot of Tropical Modernism exhibition at the V&A LondonInstallation shot of Tropical Modernism exhibition at the V&A London
The exhibition traces the evolution of tropical modernism within a South Asian and West African context

The exhibition follows the V&A’s Tropical Modernism exhibition at the 2023 Venice Biennale, which revealed the team’s precursory research on tropical modernism in a West African setting.

For the in-house iteration of the exhibition, additional architectural models, drawings and archival imagery have been introduced to interrogate tropical modernism in India alongside the African perspective.

Exhibition materials line a series of rooms within the V&A’s Porter Gallery, divided by brightly coloured partitions and louvred walls referencing tropical modernist motifs.

Installation shot of Tropical Modernism exhibition at the V&A LondonInstallation shot of Tropical Modernism exhibition at the V&A London
Archival imagery, architectural drawings and physical models line the gallery rooms

The exhibition begins by tracing tropical modernism back to its early development by British architects Jane Drew and Maxwell Fry. Stationed together in Ghana from 1944, Drew and Fry adapted international modernism to the African climate, proposing functional over ornamental design.

Drew and Fry would also become part of the Department of Tropical Studies at the Architectural Association (AA), which exported British architects to the colonies from 1954 in a bid to neutralise calls for independence.

Installation shot of Tropical Modernism exhibition at the V&A LondonInstallation shot of Tropical Modernism exhibition at the V&A London
The exhibition aims to centralise local professionals who have gone widely unrecognised for their contributions to the movement

The exhibition continues by spotlighting local Ghanaian figures who worked with Fry and Drew, noting the power shifts that were taking place behind the scenes to reappropriate the architectural style for an emerging era of colonial freedom.

Influential political leaders Jawaharlal Nehru in India and Kwame Nkrumah in Ghana are the exhibition’s key personas, framing the evolution of tropical modernism from conception to regionalisation.

Installation shot of Tropical Modernism exhibition at the V&A LondonInstallation shot of Tropical Modernism exhibition at the V&A London
Gallery rooms are divided by brightly coloured partitions informed by tropical modernist motifs

“The heroes of our exhibition are Nehru and Nkrumah, the first prime ministers of India and Ghana,” Turner explained. “Tropical modernism, a colonial invention, survived the transition to Independence and was appropriated and adapted by Nehru and Nkrumah as a tool of nation building.”

“Nkrumah, who sometimes sketched designs for the buildings he wanted on napkins, created the first architecture school in sub-Saharan Africa to train a new generation of African architects, and this institution has partnered with us on a five-year research project into tropical modernism.”

Archival image of University College Ibadan used in Tropical Modernism exhibition at the V&A LondonArchival image of University College Ibadan used in Tropical Modernism exhibition at the V&A London
According to the V&A’s research, tropical modernism shifted from its western Bauhaus roots towards a localised vernacular styles

Through a host of physical models and artefacts, the city of Chandigarh becomes the exhibition’s narrative focal point for tropical modernism in India.

Under prime minister Jawaharlal Nehru, Chandigarh was the first large-scale modernist project, recruiting Drew and Fry along with French architect Le Corbusier to plan the ideal utopian urban centre.

As with Nkrumah – who saw how the Africanisation of architecture could become a symbol of progress and change – the exhibition also aims to highlight Nehru’s ambitions for a localised modernism drawing from the Indian vernacular, rather than the Western Bauhaus style.

The display culminates in a video featuring 16 key tropical modernist structures, interspersed with interviews and footage explaining the social and political context behind each building’s realisation.

“We made a three-screen 28-minute film, shot in Ghana and featuring panoramic portraits of over a dozen buildings, cut with archive footage from the time and interviews with architects like John Owusu Addo and Henry Wellington, and Nkrumah’s daughter, the politician Samia Nkrumah,” said Turner.

Archival image of Maxwell Fry and John Noah used in Tropical Modernism exhibition at the V&A LondonArchival image of Maxwell Fry and John Noah used in Tropical Modernism exhibition at the V&A London
The exhibition aims to address gaps in the museum’s African and South Asian studies

According to Turner, the exhibition begins to address gaps in the V&A’s collections and archives pertaining to architecture and design in the global south.

“Archives are themselves instruments of power, and West African and Indian architects are not as prominent in established archives, which many institutions have now realised and are working to address,” Turner explained.

“Tropical modernism was very much a co-creation with local architects who we have sought to name – all of whom should be much better known, but are excluded from established canons.”

Installation shot of Tropical Modernism exhibition at the V&A LondonInstallation shot of Tropical Modernism exhibition at the V&A London
The display will inhabit the V&A’s Porter Gallery until 22 September 2024

Bringing tropical modernism back into contemporary discourse was also important to the V&A as a timely investigation of low-tech and passive design strategies.

“Tropical modernism was a climate responsive architecture – it sought to work with rather than against climate,” Turner said.

“As we face an era of climate change, it is important that tropical modernism’s scientifically informed principles of passive cooling are reexamined and reinvented for our age,” he added.

“I hope that people will be interested to learn more about these moments of post-colonial excitement and opportunity, and the struggle by which these hard-earned freedoms were won.”

Image of video used in the Tropical Modernism exhibition at the V&A LondonImage of video used in the Tropical Modernism exhibition at the V&A London
A 28-minute video captures footage of remaining tropical modernist structures at the end of the exhibition

The V&A museum in South Kensington houses permanent national collections alongside a series of temporary activations and exhibitions.

As part of London Design Festival 2023, the museum hosted a furniture display crafted from an Alfa Romeo car by Andu Masebo and earlier in the year, architect Shahed Saleem created a pavilion in the shape of a mosque at the V&A as part of 2023’s Ramadan Festival.

The photography is courtesy of the Victoria & Albert Museum.

Tropical Modernism: Architecture and Independence will run from 2 March to 22 September 2024 at the V&A Museum in London. For more events, exhibitions and talks in architecture and design visit the Dezeen Events Guide.

Reference

Electrifying motorcycles in Southeast Asia
CategoriesSustainable News

Electrifying motorcycles in Southeast Asia

Electrifying motorcycles in Southeast Asia

Spotted: Electric motorcycles, while currently a small percentage of vehicles on the road, are becoming more common, and the global market is expected to grow steadily between 2022 and 2030. Currently valued at more than $30 billion (around €28.7 billion), electric motorcycles are becoming more desirable as technology develops and governments provide incentives for their use. Personal transport by motorbike is particularly common in the 10 countries that make up the Association of Southeast Asian Nations (ASEAN). Indonesia, Vietnam, the Philippines, and Thailand are exhibiting the highest rates of growth of sales of motorcycles. 

Determined to be a part of that expansion while also pushing the industry to become more sustainable is Singapore-based Sleek EV. The electric motorcycle company offers three models designed for all aspects of urban driving. The Sleek One is the most affordable model and is designed for relatively smooth daily commutes. The Sleek Type V is stronger, heavier, and made for more robust rides. The Sleek Type V – GT is the sportiest model with the biggest power capacity. All the models use Bosch motors and Samsung batteries, with the dashboards providing dashboard easy-to-read information in daylight and at night. 

The bikes range in power from 1500 to 4000 watts and are drivable in one of three modes: eco, standard, or sport. In all three motorbikes, the battery reaches a full charge in three and a half hours or can be charged more slowly overnight. Users can either charge their battery while it’s in the bike or remove it for charging via a home electrical socket.  

The company recently closed a pre-series A funding round led by venture capital fund Orzon Ventures. The money raised is earmarked for the expansion of its partnerships with motorbike dealers throughout Thailand. 

Springwise’s archive includes other examples of electric motorbike startups and redesign projects that are making it easier for communities to make the switch from petrol-powered to renewable energy transport options.

Written By: Keely Khoury

Reference

Meandering rattan structure in a dining room by Enter Projects Asia
CategoriesInterior Design

Rattan installation meanders through Thai art gallery by Enter Projects Asia

Meandering rattan structure in a dining room by Enter Projects Asia

Architecture studio Enter Projects Asia has completed a private gallery for a collector in Chiang Mai, Thailand, featuring an undulating rattan structure designed by an algorithm that weaves its way in and out of the building.

The 2,000-square-metre gallery complex comprises gardens, water features and a series of pavilions for displaying the owner’s collection of silverware, fine china and porcelain, including what is reportedly the largest collection of Wedgwood porcelain in Southeast Asia.

Meandering rattan structure in a dining room by Enter Projects Asia
A rattan installation weaves throughout the gallery

Enter Projects Asia, which is based on the Thai island of Phuket, developed a holistic proposal for the project that spanned everything from spatial planning to lighting and furniture, with the fluid rattan structures providing a consistent element throughout the scheme.

The aim was to create a less “clinical, antiseptic” interpretation of a traditional gallery, based on the studio’s research into parametric design and dynamic forms, Enter Projects Asia director Patrick Keane explained.

Inside of a rattan pod with built-in shelving
The overhead rattan structure drops down to form several pods

“We sought to create an immersive experience, giving the space a warmth and depth uncharacteristic of conventional art galleries,” he said.

The gallery features two wings arranged on either side of a central entrance. Each wing contains an exhibition space, with a private dining area also accommodated in the larger of the two volumes.

Meandering rattan structure around a courtyard tree
The gallery complex also includes gardens

The rattan installation begins at the entrance and traces an overhead route through the building, seamlessly transitioning between inside and outside.

At several points, the suspended structure drops down to create bulbous open-sided pods, incorporating shelves for displaying artworks and objects.

Meandering rattan structure by Enter Projects Asia
The rattan structure weaves in and out of the building

The installation’s complex form was generated using generative design software and is intended to simulate the movement of clouds and steam.

Its shape seems to change constantly when viewed from different perspectives, adding visual dynamism to the interior.

Lighting integrated within the overhead structure creates a warm glow both during the day and night, while concealed lights illuminate the display areas.

The three rattan pods – measuring five, four and three-and-a-half metres in height respectively – were fabricated in a factory during the coronavirus lockdowns before being transported to the site and assembled.

Meandering rattan structure by Enter Projects Asia
Lighting was incorporated into the rattan shapes to create a warm glow

Enter Projects Asia regularly works with rattan palm, which is a naturally abundant resource in the region. Previously, the studio produced a similarly sculptural wickerwork installation for an office and factory building in Waregem, Belgium.

During the pandemic, the practice also launched an initiative called Project Rattan that focuses on creating bespoke rattan furniture and lighting using local craft skills.

Meandering rattan structure incorporated into outdoor landscaping by Enter Projects Asia
The rattan structure creates a cohesive scheme throughout the gallery

According to Keane, the fast-growing palm species are well suited to use in interior design, offering a sustainable alternative to conventional building materials.

“It is not hard to be sustainable in construction if we adapt to our environment,” he said. “Why would we use synthetic, toxic plastics when we have all the noble materials we need at our fingertips?”

Inside of a rattan pod with built-in shelving
The bulbous shapes were created with parametric design software

Keane founded Enter Projects in 2005 after completing his studies in Australia and the USA. Since relocating to Asia, the firm’s projects aim to combine a focus on innovation with a strong sustainable agenda.

Previously, a rattan studio the practice designed for yoga brand Vikasa was named leisure and wellness interior project of the year at the 2020 Dezeen Awards.

The photography is by William Barrington-Binns.



Reference

China to use robots to 3D print the second-largest hydroelectric power station in Asia
CategoriesSustainable News

China to use robots to 3D print the second-largest hydroelectric power station in Asia

China to use robots to 3D print the second-largest hydroelectric power station in Asia

Spotted: China recently announced the construction of a massive dam on the Yellow River in Qinghai Province. The hydroelectric power station will be the second-largest in Asia. At 390-feet tall, the dam will be similar in height to the Three Gorges Dam (594 feet tall) – which is currently the biggest hydroelectric power plant in the world.

As the world moves to stop burning fossil fuels, two of the most popular renewable energy sources are solar and wind. Despite solar and wind power getting most of the attention, hydropower is more efficient and has a higher output capacity. In such a spirit, China’s Yellow River dam will show that hydropower is still a viable option for generating large amounts of renewable electricity.

Construction of the Yangqu Dam is well underway, and plans are for it to be built entirely by robots, without any human labour. The use of artificial intelligence (AI) and robots for construction is not only faster and more efficient – it also eliminates the need for human labour, which can be expensive and dangerous. In the case of the Yangqu Dam, using robots will also help to ensure that the dam is built to exact specifications.

In 2024, the first section of the Yangqu Dam will become operational. The entire project is expected to be completed the following year. Once complete, the dam is predicted to generate almost five billion kilowatt-hours of electricity per year, according to the South China Morning Post. That’s half a billion more than Arizona’s Hoover Dam – which is 726 feet tall and took 5 years to build. Ninety-six people also died during construction of the Hoover Dam. It is hoped that with 3D modelling and robotics, Yangqu Dam will be built without such risks.  

Other construction innovations involving robots recently spotted by Springwise include autonomous robots that reduce construction errors at the start of projects, a carbon-negative construction company that uses robotic builders, and the world’s largest 3D-printed building constructed by a robotic construction company.

Written By: Katrina Lane

Website: jst.tsinghuajournals.com

Reference

A platform to formalise the domestic work sector in Southeast Asia
CategoriesSustainable News

A platform to formalise the domestic work sector in Southeast Asia

A platform to formalise the domestic work sector in Southeast Asia

Spotted: Modern day slavery still takes place in many forms, including among domestic workers. In Malaysia, many domestic workers come from Indonesia, the Philippines, and Cambodia, and are vulnerable to slave-like work and living conditions. Moreover, they often lack the agency to report any abuses against them. 

Pinkcollar is a platform on a mission to  formalise the domestic work sector in Southeast Asia. To do so, the company has devised a transparent and ethical job-search and recruitment process that connects domestic workers and household employers. 

In addition to hosting employer and maid profiles, Pinkcollar also offers bespoke features to assist and support users throughout the employment term. For example, it has created a productivity and assistance toolkit to aid the working experience, and a ratings-system and a community forum for employers and maids. It has also developed educational materials for domestic workers to take advantage of during their rest-days.

The company foresees a number of key challenges that the platform will need overcome. These include building social awareness among employers in host-countries, and ensuring access to the platform for the demographic groups that most need it – groups that often lack digital skills. Ultimately, the goal is to build a ‘trust’ community with users on the platform.

Another innovation spotted by Springwise that tackles modern slavery is softeware that helps businesses eliminate their slavery footprint.

Written By: Katrina Lane

Email: hello@hirepinkcollar.com

Website: hirepinkcollar.com

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