Journal of the Indian Institute of Architects Refereed Journal of Iia Issn-0019-4913 July 2021 Volume 86 Issue 07 Rs
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
ABE Journal, 14-15 | 2019 Refugee Artists, Architects and Intellectuals Beyond Europe in the 1930S and
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Open Access LMU ABE Journal Architecture beyond Europe 14-15 | 2019 Building the Scottish Diaspora Refugee Artists, Architects and Intellectuals Beyond Europe in the 1930s and 1940s: Experiences of Exile in Istanbul and Bombay Artistes, architectes et intellectuels ayant fui l’Europe dans les années 1930 et 1940 : expériences de l’exil à Istanbul et Bombay Burcu Dogramaci and Rachel Lee Electronic version URL: http://journals.openedition.org/abe/5949 DOI: 10.4000/abe.5949 ISSN: 2275-6639 Publisher InVisu Electronic reference Burcu Dogramaci and Rachel Lee, « Refugee Artists, Architects and Intellectuals Beyond Europe in the 1930s and 1940s: Experiences of Exile in Istanbul and Bombay », ABE Journal [Online], 14-15 | 2019, Online since 28 July 2019, connection on 23 September 2019. URL : http://journals.openedition.org/ abe/5949 ; DOI : 10.4000/abe.5949 This text was automatically generated on 23 September 2019. La revue ABE Journal est mise à disposition selon les termes de la Licence Creative Commons Attribution - Pas d'Utilisation Commerciale - Pas de Modification 4.0 International. Refugee Artists, Architects and Intellectuals Beyond Europe in the 1930s and ... 1 Refugee Artists, Architects and Intellectuals Beyond Europe in the 1930s and 1940s: Experiences of Exile in Istanbul and Bombay Artistes, architectes et intellectuels ayant fui l’Europe dans les années 1930 et 1940 : expériences de l’exil à Istanbul et Bombay Burcu Dogramaci and Rachel Lee Introduction 1 During the first half of the twentieth century visual artists, architects and intellectuals from Europe sought refuge in global metropolises. -
A Novelist, Short Story Writer As Well As an Art Critic, Mulk Raj Anand (1905
A novelist, short story writer as well as an art critic, Mulk Raj Anand (1905-2004) was among the first few Indian writers in English who gained international recognition early in his life. His novels Untouchable (1935) and Coolie (1936) impressively articulate the abuses of an exploited class. A dynamic personality, impeccably dressed Anand befriended great writers like E.M. Forster, Herbert Read and George Orwell. Till 1947, he spent half his time in London and half in India. It was therefore inevitable for him to be drawn to India’s struggle for independence. The most important influence upon Anand was that of Gandhi who shaped his social conscience. With success, Anand came to firmly believe that a writer’s work is an illustration of a ‘fiery voice of those people who through his own torments...transmutes in art all feeling...thus becoming the seer of new vision...’ Anand was proactively associated with the Progressive Writers’ movement of India and was one of the moving spirits behind the drafting of its first manifesto. Equally noteworthy was his passion for the arts whose best expression were the issues of Marg which he founded and edited for a quarter century. Even after he withdrew from its editorship, it continued to be the leading art journal of India. This book is the first ever attempt to put together the biography of such a vibrant personality who left no stone unturned to realise his dreams. With Raja Rao and R.K. Narayan, Anand is regarded as one of the founding fathers of the Indian English novel. -
Drawing Between the Lines: Intersections of Gender, Narratives and Representations
Drawing between the Lines: Intersections of Gender, Narratives and Representations A thesis submitted to the Graduate School of the University of Cincinnati in partial fulfillment of the requirements for the degree of MASTER OF ARCHITECTURE In the School of Architecture and Interior Design of the College of Design, Architecture, Art, and Planning May 2011 by Czaee Malpani B.Arch, TVB School of Habitat Studies, 2007 Committee Chair: Aarati Kanekar, Ph.D Supporting Chair: Michael McInturf, M.Arch Committee Member: Vincent Sansalone, M.Arch II abstract Predicated on the notion that architectural identity is inextricably linked and produced through the architectural representations, this thesis argues that the identity so produced is gendered masculine through its dependence on ideals of objectivity, universality, and normativity. It specifically investigates the role of narratives, either as the singular or meta-narrative of the discipline or the obviation of the ‘other’ narratives, in generating an identity which is rendered hegemonic and patriarchal. Within this paradigm, issues of linearity and translation which inform architectural representations, are raised and questioned. The project explores the translation of narratives through examining the autobiography of one of the first South-Asian female (trained ‘modernist’) architect, Minnette De Silva, to understand how her narratives can be employed not just to facilitate the design process for an exhibition that allows an experiential insight into her life and work (not mutually exclusive), but create representations of her representations such as to retain her narratives and make the same accessible. Rather than depend on normative plans, sections or elevations, the method of representation uses structuring mechanisms such as multi-temporality and multi-spatiality by playing with techniques of scale and repetition, which have been borrowed from ‘other’ forms of indigenous art, such as Warli Art. -
ABE Journal, 14-15 | 2019 Refugee Artists, Architects and Intellectuals Beyond Europe in the 1930S and
ABE Journal Architecture beyond Europe 14-15 | 2019 Building the Scottish Diaspora Refugee Artists, Architects and Intellectuals Beyond Europe in the 1930s and 1940s: Experiences of Exile in Istanbul and Bombay Artistes, architectes et intellectuels ayant fui l’Europe dans les années 1930 et 1940 : expériences de l’exil à Istanbul et Bombay Burcu Dogramaci and Rachel Lee Electronic version URL: http://journals.openedition.org/abe/5949 DOI: 10.4000/abe.5949 ISSN: 2275-6639 Publisher InVisu Electronic reference Burcu Dogramaci and Rachel Lee, « Refugee Artists, Architects and Intellectuals Beyond Europe in the 1930s and 1940s: Experiences of Exile in Istanbul and Bombay », ABE Journal [Online], 14-15 | 2019, Online since 28 July 2019, connection on 23 September 2019. URL : http://journals.openedition.org/ abe/5949 ; DOI : 10.4000/abe.5949 This text was automatically generated on 23 September 2019. La revue ABE Journal est mise à disposition selon les termes de la Licence Creative Commons Attribution - Pas d'Utilisation Commerciale - Pas de Modification 4.0 International. Refugee Artists, Architects and Intellectuals Beyond Europe in the 1930s and ... 1 Refugee Artists, Architects and Intellectuals Beyond Europe in the 1930s and 1940s: Experiences of Exile in Istanbul and Bombay Artistes, architectes et intellectuels ayant fui l’Europe dans les années 1930 et 1940 : expériences de l’exil à Istanbul et Bombay Burcu Dogramaci and Rachel Lee Introduction 1 During the first half of the twentieth century visual artists, architects and intellectuals from Europe sought refuge in global metropolises. As hubs of globalizing modernism these cities were places of entrance, transition and creativity for people fleeing their native countries due to changes in political systems, dictatorships and wars, repression, persecution and violence. -
Multi-Media Artist Sana Arjumand Is a Leading Figure in the Current
PRESS RELEASE Figure/Landscape – Part One Featuring works by M. F. Husain, George Keyt, Anjolie Ela Menon, Akbar Padamsee, Sudhir Patwardhan, Jehangir Sabavala, Sadequain, F. N. Souza, Jagdish Swaminathan and more Aicon Gallery, New York: 28 October – 20 November 2010 Opening Reception: Thursday October 28, 6:00pm – 9:00pm Throughout the course of modern Indian art, the dual themes of landscape and the figure, and the interaction between the two, have occupied Indian artists significantly more so than artists working in the Western modernist tradition. In part, this may be traced back to the reluctance by early practitioners of Indian modernism to commit totally to abstraction. Unlike their European counterparts, Indian artists such as M. F. Husain and F. N. Souza, among others, remained committed in their work to figurative references to both landscape and the individual, perhaps as an assertive method through which to impart a unique cultural identity to the their ongoing modernist experiments. Partha Mitter has argued that the Industrial Revolution in the West, and the subsequent feelings of alienation and angst it bred amongst individuals, helped give rise to the radically distorted and fragmented techniques that became the hallmark of much of European modernism. However, Mitter argues that India, in the first part of the twentieth century at least, was still largely a non-industrial country with a certain level of socio-economic cohesion binding together much of the population. Mitter argues that it was this sense of shared cultural experience, already rapidly disintegrating in Western societies, that shaped the unique paths India’s early modern artists collectively began to explore.