Exhibiting (at) ‘Modern Indian Architecture’
The architecture and design fraternity celebrated young upcoming designers in an exhibition titled ‘RAW Collaborative’ in Ahmedabad earlier this month. Organised for three consecutive years, this event has always been hosted in Le Corbusier’s Mill Owner’s Association building.
Exhibitions are a powerful marketing tool. They provide a platform to promote one’s product or service to people and give a platform to meet existing and potential customers. Usually, the focus of the exhibition is the products on display and architecture, as it does in everyday life, recedes to the background.
However, when design exhibitions are hosted in historically celebrated architectural venues, how does it affect the exhibit? What kind of backdrop will that architecture make? What becomes of the permanent architectural icon and the temporal exhibited items?
Before that, a little background about Le Corbusier -
One of the most celebrated and influential architects of the 20th century, Le Corbusier, is a French architect who was a pioneer in changing the face of post-war architecture in the World that brought in the ‘Modernist’ style of architecture. Post-1920s, he indulged in exploring exposed concrete and monumental scales, which came to be known as ‘brutalism.’
Le Corbusier’s influence on contemporary architecture is immeasurable. He helped form the basis of almost all modernist architecture and urban planning, with virtually all contemporary theory essentially acting as a continuation of, or a rejection of, his ideals. Beyond that, he established the very way in which architecture is practiced today.
His role in Post-Independence Modern India’s architecture has been seminal. He was invited by then Prime Minister Jawaharlal Nehru to design a modern city for India — Chandigarh. India showcases some of Corbusier’s best works, including the Mill Owner’s Association Building in Ahmedabad, which built in 1954 has become the face of RAW Collaborative.
It is not that iconic structures do not host exhibitions. However, seldom do buildings not intended to be used as an exhibition gallery be used as one. And the thumb rule of exhibition space is that the focus should be the exhibited product and the architecture usually recedes to the background, like it usually does.
However, Le Corbusier’s Mill Owners’ hardly receded to the background. One couldn’t help but notice the magnificence of the icon amidst the exhibiting activities. It could be said that the building was one of the exhibits too. Very much a part of the narrative of the exhibition, it highlighted the products in the foreground, without taking a back seat itself. The rawness of grey concrete, its fierce contrast with the yellow wall, and the overwhelming proportions that Corbusier designed- are an integral part of the whole curated experience that RAW has been all about since its inception in 2017.
While such an exhibition is a celebration of young new ideas and about providing them with a platform. Another way to look at it is how such events could be one way to conserve ‘modern’ heritage.
Now, heritage in India is a dated concept where post-independence structures aren’t considered heritage structures. The lack of carving details or a monarchical history makes the structure’s history less important to the authorities that hold power to grant historic buildings heritage statuses. Of course, there are other reasons (hopefully). Still, when such important structures are not given due credit, they usually risk being taken down. A recent scare to Louis Kahn’s IIM structure taught us that.
While the authorities might not have granted the modern Indian architectural marvels any security of conservation, such events and exhibitions in the structure’s premises could contribute to raising funds for the conservation of this ‘ modern heritage.’ The concept is similar to how palaces and forts in India are better maintained when commoditised and capitalised as hotels and wedding venues. Additionally, such events enable people to engage with the built environment of such celebrated structure, which would otherwise not be possible due to them being private properties.
What I found the most beautiful at the event was the interdependence of the old and the new. Events in historic structures are experiences. You just don’t see the exhibition- when you actually visit, the spaces engage with all your senses which should not be limited to just sight. The need for an experience makes the building all the more significant. The old permanent building and the new temporary exhibition created a vital dialogue, with poetic quality of spaces engaging with fresh young ideas in a celebration of design.
At RAW, both the exhibits (young and old) juxtaposed yet beautifully supported each other. In a way, the event was a testimony of how far Indian architecture and design have come. A question that stays is- Is this the future of heritage conservation of such iconic buildings? Maybe it is. As long as it keeps these significant architectural structures standing and accessible, I ain’t complaining.
