Warm Modernity, Indian Architecture building democracy

Warm Modernity, Indian Architecture Building Democracy An Exhibition on the Origins of Participatory Architecture and further Fortune curatorship | Maddalena d’Alfonso advisory | Rahul Mehrotra photo | Marco Introini art direction |Stefano Mandato Tehoretical contributors | P. Brescia, B.V. Doshi, E. Fiscon, J. Galli, I. Mahajan, C. Menon, A. Nurra, I. Paoletti, R. Rewal. Minimum 72square meters maximum 120 square meters Exposition “Warm Modernity, Indian Architecture Building Democracy” is a book that acquires three-dimensionality becoming the Exposition Design about the book itself, as an architectural and urban intellectual adventure. Warm Modernity tends to converge different design disciplines in a creative way: by pure research on contemporary issues concerning the origins and the history of Participatory Architecture, through the conception of a graphic design able to mark India’s identity in a globalized World, until the realization of an artistic and original photographic Survey. The Exposition concept is organized into three part. 1. Importing Modernity in a new post II world war National Sovereignty: Indian Tropical Constant, tipical of the Underdeveloped Countries, with a short biographical selection of five Modern Architects, who have theorized the harmony between the Garden City and the Siedlungen. _Essay by Maddalena d’Alfonso titled: The Indian Paradigm: definition of the modern tropical Landscape _Annex text by Paolo Brescia 2. Modernity as a tool for post-colonial Democracies: Three models of modern cities - capital, industrial - for refugees - with an original photo survey realized in 2015 by the landscape Italian Photographer Marco Introini. _Interview with Balkrishna Doshi and A.J. Krishna Menon _Text by Jacopo Galli 3. Worldwide consequences of the Warm Modernity. With a short biographical selection of five Architect, who have contributed to the Indian Protocol and then worked and projected in the tropical belt or in the underdeveloped countries between the ‘60 and the ‘80. _Essay by Maddalena d’Alfonso titled: What are we talking about when we talk on Participatory Architecture? _Annex text by Ingrdi Paoletti _Interview with Rahul Mehrotra Visual Project The Art Direction, the Visual Project and the Exposition Design, coordinate coherently the essential elements of one specific Identity, at the same time showing an Indian identity based especially on elements of the Modernity worldwide recognized. The colour code used is characterized by a strong duotone of warm colours such as auburn and reds of the ground. They recall the typical ancient textile design colours. The Logotype is declined by an experimental typeface, that came from the assembled components of Gandhi’s glasses. The typographic code applies cuts and visual weights dynamically, by using a specific lettering in the texts. The infographic design, the outline of information and the mental maps diagrams are useful to transfer notions, historical memory and events far from the main stream of knowledge to common people. The resulting is a Visual Project and a Design Exposition that tell us about India, its imagery, signs and colours, together with a restitution of its version of a further Modernity bottom-up based, likewise globalized. ‘Warm Modernity, Indian Architecture Building Democracy’ is an innovative Visual Design Process declined in both, in the pages of the Book and in the Exhibition Design The Exposition Space is divided into 3 contemplative and study rooms and 2 information book paths. Forex Panels _1 Introductory text _3 Geographical Panels identifying the Tropical Constants _5 Panels with a short bio and projects of Modern Architect _3 Panels with drawings of the Indian Cities, defining different practices of Participatory Architecture _3 Panel with geographical connection of the International Architect present in India during Independence _12 Panels with the Theoretical Essays _1 Table and 4 chairs with the visualization of incremental construction of the cities in Participatory Architecture. _3 Geographical Panels on Migration of Architectural Ideas in Post-Colonial Age. Photos 60 Photos fine art (black and white) revealing the modernity of Indian cases, by Marco Introini Relax and consultation area _Table with books and drawings _1 Square table 150x150 Naòs System structure in polished aluminium with triangular section with a central plan in clear glass and under-wood. _4 Chair, Playwood Vitra black with sections in ash wood colour _4 Chair, Playwood Vitra color with sections in natural ash wood Technical details The exhibition consists of four freestanding elements composed by 6 panels each plus applied communication on forex in black. Number of 24 metal panels dimensions: 95 cm x 230cm 25mm thickness composed of two faces in a calamine sheet with a thickness of 1,5mm and a sheet metal face of the same thickness copper. Structure in square tube 25mm x25mm sheet with three hinges for the union of three panels in composition. The copper plating of the panels was obtained from a copper colour anodizing bath. The in calamine steel panels were treated with a transparent paint opaque as not to affect the naturalness of iron sheet. The embroidery design Mandala Opening the exhibition was printed directly on copper panels with water paint in brown colour. 60 Photos fine Art 380x290mm supported by 60 photographs brings protected by a plexiglass 300 of thickness and size of 380x 290mm plus, all the applied communication on forex in black. The 60 photographs bring trays were painted white. The photographic images of the exhibition have been applied with special magnets to the faces of the walls.