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Design 360 chandigarh full#
It’s a sweeping, occasionally heartbreaking exhibition full of big ideas and beautiful work, too much of it not widely known.
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“The Project of Independence: Architectures of Decolonization in South Asia, 1947-1985,” at the Museum of Modern Art - organized by Martino Stierli and a team of curators and advisers - surveys Sri Lanka, Pakistan, India and Bangladesh in the wake of the dissolution of the British Raj. Its layout took inspiration from the Greek architect Constantinos Doxiadis’s plans from the 1960s for Islamabad, the new capital of Pakistan, but also from the old walled cities of Multan and Lahore. Lari hoped the project could become a template for housing large masses of people.
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Anguri Bagh was a masonry development of shaded streets, sun-bleached courtyards and two- and three-story homes, constructed by mostly unskilled laborers using community-sourced bricks. De Silva gave Ceylonese autonomy a new architecture.ĭuring the early 1970s, the Pakistani architect Yasmeen Lari was experimenting with a different idea for housing. Ceylon, now Sri Lanka, had lately declared its independence. She conjured up airy interiors of fluid space for family gatherings and Buddhist ceremonies, the rooms circulating around a sweeping staircase, the building made with homegrown timbers like jak and halmilla.ĭe Silva’s design responded sensibly to Ceylon’s tropical climate and treated European modernism as another tool in a toolbox already stocked with local traditions, materials and techniques. She floated living quarters above gardens on slender concrete pilotis. Back in the 1950s, the architect Minnette de Silva pioneered a new version of the modern house in Ceylon.