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Journal articles on the topic 'Architecture, British colonial'
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1
Anuradha, V. "18TH CENTURY URBANIZATION IN SOUTH INDIA AND TRANSFORMATION INTO BRITISH IMPERIAL ARCHITECTURE WITH SPECIAL FOCUS ON URBAN SPACES OF BANGALORE." JOURNAL OF SOCIAL SCIENCE RESEARCH 10, no. 1 (October 25, 2017): 1995–98. http://dx.doi.org/10.24297/jssr.v10i1.6600.
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The colonial structures that still stand today in India are the product of careful fabrication of British thought. The British government was afraid of what kind of legacy they would leave behind when exiting India in 1947. Today, years after the independence of India, one is still able to see such a legacy in stone: the colonial architecture and cities that are still in existence. The styles of architecture employed by the British Raj were systematically chosen, dependent on the location and utilization of a given city. The British were trying to consecrate their power through architectural representation. Trying to legitimize British rule, architects wanted to tie the architecture of the British with former Indian rulers, yet still create an effect of British grandeur. The examples illustrate that location and utilization were indeed crucial determinants of colonial style.
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Islam, Muhaiminul, and Hasan Muntasir. "Tropicality of Colonial Heritage Buildings in a Deltaic Landscape: British Colonial Architecture in Khulna." eTropic: electronic journal of studies in the tropics 19, no. 2 (December 21, 2020): 72–96. http://dx.doi.org/10.25120/etropic.19.2.2020.3762.
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During the 17th-18th century colonial period on the Indian subcontinent, British colonial architecture flourished – including in the Bengal Delta. Although colonial architecture was inherently different from the traditional architecture of this tropical region, the monsoon climate and deltaic landscape forced colonial style buildings to incorporate a number of tropical architectural features to ensure climatic comfort. In the contemporary period, due to pressure from population density, many colonial buildings have been demolished and replaced with multi-story buildings. However, the tropical forces of this deltaic region need to be evaluated in order to re-create climate responsive architecture. This study aims to identify tropical architectural features inherent within colonial buildings of Khulna, Bangladesh, a city which formed a junction in the deltaic region during the colonial period. Four colonial buildings have been selected as case studies: two residential buildings, one mixed-use building, and a school. Tropical features were analysed from photographic data, and reproductions of plans and sections of the selected buildings, in order to reveal the significant tropical architectural features of these colonial period buildings. The case studies reveal structural and design elements that aided ventilation and air flow, and controlled solar radiation, humidity and driving rain. The findings aim to encourage practicing architects to rethink climate responsiveness in contemporary buildings in Bangladesh, by revealing how, a century ago, colonial buildings were influenced by the tropical deltaic climate, which impacted foreign architectural ideology and practice.
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Sasi, Ashwini. "Redefining: Cultural Impression in Princely States During Colonial Period." Resourceedings 1, no. 2 (November 27, 2018): 88. http://dx.doi.org/10.21625/resourceedings.v1i2.325.
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India is well diverse with a variety of cultural and traditional practices. Impact of age-old practices redefined the idea of culture and tradition, not only as a hereditary system, but also as part of art and architecture. Factors such as the cultural changes between North and South India, impact of the British, changes in spatial organization and patriarchy and matrilineal system drew an impact on cultural impression of India through time.
Palaces (04th —18th century) and the lifestyle of the heirs, being a soul example to exhibit the Indian uniqueness, gradually inclined towards British culture and morals. This influence brought a change in the architectural design of palaces, which is the core study area in the thesis.
Comparing the architectural planning of palaces from the 13th to the 18th century showed a clear change on how British influenced Indian palace design. This became one of the finest reasons to identify cities with palaces based on their culture and tradition, and on art and architecture. In addition to finding how it has brought the influential change and what is the present scenario of the same palaces.
The architectures that were adopted in India was a form of true traditional architecture which is been followed through a very long time and hence it was collaborated with Italian, French, Indo Sarcenic or European style.
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Micots, Courtnay. "Status and Mimicry." Journal of the Society of Architectural Historians 74, no. 1 (March 1, 2015): 41–62. http://dx.doi.org/10.1525/jsah.2015.74.1.41.
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Status and Mimicry: African Colonial Period Architecture in Coastal Ghana looks at Anomabo, a historically significant port, as a case study to examine hybrid African colonial period architecture in coastal Ghana, formerly known as the Gold Coast Colony. Between the 1870s and 1920s, numerous residences with façades inspired by British styles were built for and by Africans in Anomabo. Courtnay Micots examines these houses as reflections of a deliberately constructed hybrid style of architecture with exteriors appropriated from the Italianate and Queen Anne styles of nineteenth-century England and interior plans utilizing borrowed and local elements. This hybrid architecture in colonial Ghana reflects status, modernity, and resistance to British hegemony. Through close analysis of five residences and the potential motivations of their patrons, Micots shows these houses to be markers of selfhood and cultural belonging, local forms that were refashioned to counter the growing authority of the British administration.
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Mohammad, Mahizan Hijaz, and Aznan Omar. "Colonial Architecture on Local History Through Glass Sculpture." Idealogy Journal of Arts and Social Science 6, no. 1 (April 28, 2021): 17–26. http://dx.doi.org/10.24191/idealogy.v6i1.250.
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The aim of this paper is to study the aspect of colonial building that relates to local history. The history of tin mining is to be acknowledged and understand as important to the local. Local history has been part of important aspect in a developing community. It signifies engagement of the link between the present and the past. It helps the community to learn about the events that has happened and in the Malaysian context, the history of the British colonial is the most relevant for it is visibility due to the architectural ruin that is on location. The method applied is Critical Self reflections and studio experimentation. Samples and images of location on site retrieved to study the visual aspect of the buildings and applied as part f the artwork. Artwork explorations are conducted to relate the material and techniques to the context of the study. The British occupation existed in Malaysia for more than two hundred years from 1795 until 1957. In Malaysia generally there are four typical colonial styles of architecture which are Moorish, Tudor, Neo Classic and Neo Gothic (A Ghafar Ahmad, 1997). The tin mining industry has brought merchant and workers to Central Perak such as Gopeng and Batu Gajah. According to (Syed Zainol Abidin Ibid,1995), during 1900 till 1940s, there are three architectural style that influenced the construction of commercial building and shop houses which are adaptation style, eclectic and Art Deco. However, after time the Colonial buildings have decayed and turn into ruins. The beauty and style of the Colonial architecture has inspired the researcher to study the building since it is visible in the surrounding central Perak and keeps an interesting story of the past. Working with glass, the researcher will fabricate the idea of colonial building and glass as a work of art.
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Soomro, T. A., M. A. Soomro, A. N. Laghari, D. K. Bhangwar, and M. A. Soomro. "Fading Legacy of the Architectural Heritage of the Historic Core of Karachi." Engineering, Technology & Applied Science Research 8, no. 2 (April 19, 2018): 2735–40. http://dx.doi.org/10.48084/etasr.1779.
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In 1839 British East India Company captured the town of Karachi. After an effortless resistance from the locals the fort was conquered by the British commander sir Charles Napier. The village of Kolachi then was annexed to British India and the city was labeled as Karachi. With the British occupation a phase of new sophisticated architecture and development started. Before that the city was based upon the vernacular mud architecture. These developments resulted in an influx of economic migrants who helped in making Karachi as a multinational and a multicultural city. This paper investigates the architectural attributes that the historic core of the city offers. It also discusses the side by side development of the native and British towns. The paper also researches about the existing state of the architecture precedent of the British colonial past of the city and the urban blight occurred to them over time in various forms like vandalism, encroachments, illegal repairs, etc.
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Waits, Mira Rai. "Imperial Vision, Colonial Prisons:." Journal of the Society of Architectural Historians 77, no. 2 (June 1, 2018): 146–67. http://dx.doi.org/10.1525/jsah.2018.77.2.146.
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Prison construction was among the most important infrastructural changes brought about by British rule in nineteenth-century India. Informed by the extension of liberal political philosophy into the colony, the development of the British colonial prison introduced India to a radically new system of punishment based on long-term incarceration. Unlike prisons in Europe and the United States, where moral reform was cited as the primary objective of incarceration, prisons in colonial India focused on confinement as a way of separating and classifying criminal types in order to stabilize colonial categories of difference. In Imperial Vision, Colonial Prisons: British Jails in Bengal, 1823–73, Mira Rai Waits explores nineteenth-century colonial jail plans from India's Bengal Presidency. Although colonial reformers eventually arrived at a model of prison architecture that resembled Euro-American precedents, the built form and functional arrangements of these places reflected a singularly colonial model of operation.
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Liscombe, Rhodri Windsor. "Modernism in Late Imperial British West Africa: The Work of Maxwell Fry and Jane Drew, 1946-56." Journal of the Society of Architectural Historians 65, no. 2 (June 1, 2006): 188–215. http://dx.doi.org/10.2307/25068264.
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This article situates the educational architecture of Maxwell Fry and Jane Drew in British West Africa in 1946-56 in the context of late British colonial policy. The analysis extends discursive readings of architecture with contemporary literary texts as aspects of what might be termed the material cultural fabric. These different forms of articulation illuminate the sociocultural dynamic underlying the migration of modernism in the postwar era, and the extent to which the movement affected and was appropriated by British colonial enterprise. It also discloses modernism's simultaneous disruption and reinforcement of the objectives of modernity, among which were the ideological and technical systems of British imperial expansion. On this basis, it is argued that Fry and Drew were constrained in their endeavor to resolve the divergent expectations within modernist theory concerning the application of universal principles to local conditions, and thus also in their aim of initiating a legitimate modern African architecture.
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Liscombe, Rhodri Windsor. "Refabricating the Imperial Image on the Isle of Dogs: Modernist Design, British State Exhibitions and Colonial Policy 1924–1951." Architectural History 49 (2006): 317–48. http://dx.doi.org/10.1017/s0066622x0000280x.
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Historical analysis of the 1951 Festival of Britain has tended to overlook its ideological genealogy, and also to give less consideration to the Exhibition of Architecture, Town Planning and Building Research at Lansbury in Poplar on the Isle of Dogs than to the architecture and displays at the South Bank site (Figs 1 and 2). That genealogy reflects an intersection between the formulation of colonial policy and the adaptation of Modern Movement theory and practice during the final phase of British imperialism. Consequently the purpose of this paper is to recover various aspects of this intersection, during the nearly three decades from the British Empire Exhibition of 1924. Focusing on design practice in the Empire, especially the national exhibition buildings erected at those major international expositions that led up to and culminated in the Festival of Britain, it also examines the wider representation of architectural and colonial development in professional media and public propaganda.
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Adam Che Yusof, Muhammad, and A. Ghafar Ahmad. "Architecture typology of a British-era colonial schools at the World Heritage Sites of Georgetown and Melaka: Impact on heritage building conservation sector." SHS Web of Conferences 45 (2018): 01004. http://dx.doi.org/10.1051/shsconf/20184501004.
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Colonial schools are among the most valuable and precious treasures from the British administration era. The architectural characteristics of the schools contain a wealth of meaning and philosophy in each of the building details that is not found in modern schools nowadays. However, in this era of rapid development, the status of colonial schools is unclear in terms of their heritage status and significance towards society or even the authorities. Moreover, some colonial schools that are now overshadowed by new buildings that were built inside of the school compound and its surrounding. Besides, the local authorities themselves are lacking on the documentation of colonial schools in terms of their value, and the principles behind the architectural style of the colonial schools that could prove beneficial to many parties later as a reference. This article will outline the method to handle this issue besides suggesting a relationship between the value of the colonial architecture and its history at both heritage sites of Georgetown and Melaka. Besides that, we will also classify different colonial schools according to their architectural style. To ensure the objectives are achieved, qualitative methods will be applied including several approaches such as descriptive method, historical method and content analysis method. Hence, this research can serve as a reference point and documentation, especially for conservation purposes of colonial schools. In addition, the local authorities can also improve their Conservation Management Plan (CMP) by adding a colonial schools sector for conservation work and later guidelines. This research will hopefully also encourage the younger generation on the importance of skills and knowledge in the heritage building conservation sector.
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Shuja, Shajeea, and Rabela Junejo. "Appropriating Indo-Saracenic style: Bhai Ram Singh’s contributions to the architectural identity of 19th century Lahore." Journal of Traditional Building, Architecture and Urbanism, no. 1 (November 20, 2020): 357–68. http://dx.doi.org/10.51303/jtbau.vi1.363.
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After 1857, when India became a direct colony of the British Crown, was the architectural style adopted by the colonial masters an attempt at subverting the local identity and reasserting their supremacy via architecture or was its purpose to engage their institutions with their context? Was the Indo-Saracenic style of architecture anachronistic and reductive in nature or was it a way to draw on the past? What role did the Jeypore Portfolio play in negotiating colonial intent by appropriating traditional building culture? How did Bhai Ram Singh mediate an identity for 19th century Lahore by contextualizing Indo-Saracenic architecture? This exploratory study attempts to answer these questions using existing literary sources and by considering buildings designed by Bhai Ram Singh in the city of Lahore. The paper also critically evaluates the agency of the Jeypore Portfolio for Indo-Saracenic architecture, how it reduced the centuries-old local building tradition to a limited palette of details, and Bhai Ram Singh’s attempts to re-inform it from the native’s perspective.
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Mizuta, Susumu. "Making a Mint: British Mercantile Influence and the Building of the Japanese Imperial Mint." Architectural History 62 (2019): 89–111. http://dx.doi.org/10.1017/arh.2019.4.
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AbstractThe Japanese Imperial Mint, which began its operation producing gold and silver coins in Osaka in 1871, has come to represent the self-modernisation of Japanese architecture and society more generally, both in its industrial purpose and western classical style. This article focuses on the planning, construction and socio-spatial design of the mint to resituate the project in the context of British imperial expansion. New archival research in both Japan and Britain, enabling close analysis of overlooked drawings and documents, establishes the Japanese Imperial Mint's dependence on the transfer of men, machinery and plans from the former Hong Kong Mint, mediated and managed by the two firms Glover & Co and Jardine Matheson & Co. This article thus not only sheds new light on these two individually important buildings in colonial and imperial history, and the engineers involved, but illuminates the relationship between British colonial architecture and the activities of British merchants at the edge of empire in East Asia in the nineteenth century.
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Ellis, James. "Anglican Indigenization and Contextualization in Colonial Hong Kong: Comparative Case Studies of St. John’s Cathedral and St. Mary’s Church." Mission Studies 36, no. 2 (July 10, 2019): 219–46. http://dx.doi.org/10.1163/15733831-12341650.
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Abstract The British Empire expanded into East Asia during the early years of the Protestant Mission Movement in China, one of history’s greatest cross-cultural encounters. Anglicans, however, did not accommodate local Chinese culture when they built St. John’s Cathedral in the British Crown Colony of Hong Kong. St. John’s had a prototypical English style and was a gathering place for the colony’s political and social elites, strengthening the new social order. The Cathedral spoke a Western architectural language that local residents could not understand and many saw Christianity as a strange, imposing, foreign religion. As indigenous Chinese Christians assumed leadership of Hong Kong’s Anglican Church, ecclesial architecture took on more Chinese elements, a transition epitomized by St. Mary’s Church, a Chinese Renaissance masterpiece featuring symbols from Taoism, Buddhism, and Chinese folk religions. This essay analyzes the contextualization of Hong Kong’s Anglican architecture, which made Christian concepts more relevant to the indigenous community.
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Aslam, Seemin. "Exploring The Colonial Era Developments of The Mall Road, Lahore." Journal of Art Architecture and Built Environment 2, no. 1 (June 2019): 30–46. http://dx.doi.org/10.32350/jaabe.21.03.
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Lahore, a city with Aurenhammer, is the second largest city of Pakistan. The antiquities of Lahore span over three historic periods including pre-colonial, colonial and post-independence periods. Colonial period laid the foundations of modern Lahore with Indo- Islamic style of architecture. To connect Anarkali with the new British administrative area known as Mian Mir Cantonment, a public road was built that was later named Mall Road. This research paper is a descriptive evaluation of the literature available on Mall Road, Lahore and is an attempt to disclose the concept of this road and to unveil the developments on this promising public road made by the British; hence, it will provide the reader a glimpse of the Mall Road, Lahore. This paper concludes the Mall Road as the representative of a rich urban character and as a hub of different activities which made it the spine of the city during the colonial era.
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Duffy, Aoife. "Legacies of British Colonial Violence: Viewing Kenyan Detention Camps through the Hanslope Disclosure." Law and History Review 33, no. 3 (July 9, 2015): 489–542. http://dx.doi.org/10.1017/s0738248015000267.
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A number of works have recently been published that seek to re-narrate colonial histories, with a particular emphasis on the role of law in at once creating and marginalizing colonial subjects.1Focusing on mid-twentieth century detention camps in the British colony of Kenya, this article illuminates a colonial history that was deeply buried in a Foreign and Commonwealth Office (FCO) building for many years. As such, the analysis supports the revelatory work of David Anderson and Caroline Elkins, who highlighted the violence that underpinned British detention and interrogation practises in Kenya.2In particular, the article explores recently declassified colonial files, and pieces together a picture of administrative subterfuge, suppression of facts, and whitewashing atrocities, threaded through with official denial, which long outlived its colonial genesis. Against the hypothesis that detention laws created an architecture of destruction and concomitant custodial violence in Kenya, the article establishes that an accountability deficit is the legacy of detention without trial as it was practiced in colonial Kenya. By untangling a complex web of colonial records and government papers relating to Kenya, this article reveals the often insurmountable pressure that was exerted to conceal evidence of detainee violence, and the role of a highly sophisticated propaganda machine that controlled the public narrative of a violent incident when outright denial was impossible.
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Damodaran, Vinita. "‘Natural Heritage’ and Colonial Legacies: India in the Nineteenth Century." Studies in History 29, no. 1 (February 2013): 1–20. http://dx.doi.org/10.1177/0257643013496684.
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The article examines the ways in which the British imperial context, ideologies relating to national heritage—both cultural and natural—were not just extended but developed in a colonial context, and how they have been subsequently redefined and reconstituted in the post-colonial era. From a nineteenth-century romantic antiquarianism drawn to the ruins of a lost civilization, we can see the growth in status of scientific disciplines of archaeology and palaeontology and natural history in the colonies, and an equivalent diffusion of heritage legislation from the Indian subcontinent to East and Southern Africa and even to metropolitan Britain by men like Lord Curzon, Viceroy of India, whose interest in monumental architecture led him to protect the Taj Mahal and later to take these interests to Britain where he was instrumental in helping to formulate the ancient monuments’ consolidation and amendment Act in 1913.
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Ovais, Hira. "COMMUNITY AND ARCHITECTURE: CONTRIBUTION RETROSPECT IN KARACHI DURING THE BRITISH RAJ." Journal of Research in Architecture and Planning 15, no. 2 (December 25, 2013): 55–73. http://dx.doi.org/10.53700/jrap1522013_5.
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Communities play a vital role in the development of any society, both in terms of political and commercial ambiance and culture and social character which contributes in the city formation. Karachi is an excellent example of it. Over the years the city has evolved from wilderness to being the most populous city of the world. It houses many imported traditions, which have mixed with local values over the years. Karachi, in 1900s was dominated by many ethnic communities, which resulted in the rise of a class system, which in turn lead to the emergence of communal enclaves to create a sense of communal values. Until independence of the sub-continent in 1947, these communities worked together and flourish Karachi. Saddar Bazaar, the city centre of Karachi was mainly occupied by these communities. Saddar was laid as a camp by the British in the late nineteenth century and was later used not only as a marketplace, but also consisted supporting functions like storage facilities, religious places, schools, coffee houses, cinemas, bars, billiard rooms, restaurants and residential areas. The merchants who came from India started their commercial activities here. During the Colonial rule, Saddar flousrished not only in terms of trade and commerce, but also in terms of architecture. By the 19th century the British had already established a design language for the architecture of the public buildings of the sub-continent. But after the involvement of the localcommunities, this language was transformed and either hybrid forms were created (i.e. blending of European features with balconies and chajjas of different proportions) or purely local architectural forms based on the requirement of the locals were constructed. The transformation of European architectural language and its ornamentation into local buildings were observed in many structures. Some of them were built by British architects and engineers and others by the local firms under the British influence. This paper documents and analyses two such hybrid design buildings, which reflect the lifestyles of the communities through the built form characteristics, details and formal and spatial characteristics.
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Mat Nayan, Nadiyanti, David S. Jones, and Suriati Ahmad. "Unravelling Layers of Colonial and Post-Colonial Open Space Planning and Heritage: The Identity of [Padang] Merdeka Square, Kuala Lumpur, Malaysia." Environment-Behaviour Proceedings Journal 4, no. 11 (July 14, 2019): 151. http://dx.doi.org/10.21834/e-bpj.v4i11.1721.
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In 1880, when the British moved their Federated Malay States administrative centre to Kuala Lumpur, the Padang quickly became a symbol of British economic and administrative colonisation, and a nucleus of the socio-cultural development of Kuala Lumpur. This paper discusses the layers of history, symbolism and cultural values that the Padang contributes to the socio-cultural tapestry of both Kuala Lumpur and Malaysia, and the lack of relevant planning and heritage measures to conserve these attributes and characteristics. The conclusions offer avenues to engage with pre- and post-colonisation that enable re-making and the conservation of the iconic space of Kuala Lumpur.Keywords: Urban open space; Merdeka Square; Kuala Lumpur City Hall; National Heritage Act 2005eISSN: 2398-4287 © 2019. The Authors. Published for AMER ABRA cE-Bs by e-International Publishing House, Ltd., UK. This is an open access article under the CC BYNC-ND license (http://creativecommons.org/licenses/by-nc-nd/4.0/). Peer–review under responsibility of AMER (Association of Malaysian Environment-Behaviour Researchers), ABRA (Association of Behavioural Researchers on Asians) and cE-Bs (Centre for Environment-Behaviour Studies), Faculty of Architecture, Planning & Surveying, Universiti Teknologi MARA, Malaysia.DOI: https://doi.org/10.21834/e-bpj.v4i11.1721
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Rehman, Nida. "Primary Materials." Comparative Studies of South Asia, Africa and the Middle East 40, no. 3 (December 1, 2020): 565–83. http://dx.doi.org/10.1215/1089201x-8747526.
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Abstract This article explores plants, seeds, soils, and other nonhuman actors as archival and architectural agents within the history of Lahore's urban landscape, as seen from the ground. It traces the halting efforts of the Agri-Horticultural Society of Punjab to enact regional improvement through the development of agricultural and botanical expertise at the advent of British colonial rule in the province, focusing on the materialization of this work in the society's gardens in Lahore. Foregrounding the contingencies of everyday garden making and maintenance, the article posits nonhuman ecologies as a materially diverse and ephemeral architecture and archive of landscape. It argues that, in helping assemble and modulate the society's efforts to model improvement, conduct plant testing, and develop an ornamental garden, plants, seeds, and soils become unlikely and sometimes unruly aesthetic and historical actors, furthering but also unsettling improvement discourse while relocating its historical effects from the region to the city, and providing new readings of the colonial urban landscape.
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Prince, Paul. "Colonial Housing Reform and Transitions in Architecture in the Bella Coola Area of British Columbia." Historical Archaeology 50, no. 2 (June 2016): 47–68. http://dx.doi.org/10.1007/bf03377325.
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Reisz, Todd. "Identifying a Local in Gulf Cities." International Journal of Middle East Studies 50, no. 3 (August 2018): 559–61. http://dx.doi.org/10.1017/s0020743818000545.
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Depending upon how you approach the matter, it is either humdrum or complicated to ask an architect how he would improve the Gulf region's built environment. Humdrum, because that is what architects do every day: say how they can improve what was done poorly before them. Complicated, because there's a frustrating modern history of experts coming to the Gulf to do just that. In the Arab Gulf countries, architecture is most often assumed to result from imported expertise, certified and purchased abroad. The foundation of that assumption rests in the late colonial British management of Gulf cities. Colonial officers, most often referred to as political agents or political residents, harnessed the built environment to visually convey the bureaucratic order that the British government was instituting where it had suppressed it in the decades before. Modern architecture served as a sleight of optics to foster economic improvement and political stability. It was less style, more content. Literally, the contents of the building: medical machines, cadastral maps, canned foods, air conditioning. In this way, the architect was perceived as a herald and packager of promised technological improvements from afar. And, in many ways, he or she still is perceived as such. And that's a problem worth touching upon.
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Sidorova, S. E. "EAST INDIAN AND OTHER DOCKS IN LONDON: IMPERIAL ARCHITECTURE, COLONIAL TRADE AND POSTCOLONIAL MEMORY." Journal of the Institute of Oriental Studies RAS, no. 3 (13) (2020): 190–205. http://dx.doi.org/10.31696/2618-7302-2020-3-190-205.
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The article concentrates on the colonial and postcolonial history, architecture and topography of the southeastern areas of London, where on both banks of the River Thames in the 18th–20th centuries there were located the docks, which became an architectural and engineering response to the rapidly developing trade of England with territories in the Western and Eastern hemispheres of the world. Constructions for various purposes — pools for loading, unloading and repairing ships, piers, shipyards, office and warehouse premises, sites equipped with forges, carpenter’s workshops, shops, canteens, hotels — have radically changed the bank line of the Thames and appearance of the British capital, which has acquired the status of the center of a huge empire. Docks, which by the beginning of the 20th century, occupied an area of 21 hectares, were the seamy side of an imperial-colonial enterprise, a space of hard and routine work that had a specific architectural representation. It was a necessary part of the city intended for the exchange of goods, where the usual ideas about the beauty gave way to considerations of safety, functionality and economy. Not distinguished by architectural grace, chaotically built up, dirty, smoky and fetid, the area was one of the most significant symbols of England during the industrial revolution and colonial rule. The visual image of this greatness was strikingly different from the architectural samples of previous eras, forcing contemporaries to get used to the new industrial aesthetics. Having disappeared in the second half of the 20th century from the city map, they continue to retain a special place in the mental landscape of the city and the historical memory of the townspeople, which is reflected in the chain of museums located in this area that tell the history of English navigation, England’s participation in geographical discoveries, the stages of conquering the world, creating an empire and ways to acquire the wealth of the nation.
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Bremner, G. Alex, and David P. Y. Lung. "Spaces of Exclusion: The Significance of Cultural Identity in the Formation of European Residential Districts in British Hong Kong, 1877–1904." Environment and Planning D: Society and Space 21, no. 2 (April 2003): 223–52. http://dx.doi.org/10.1068/d310.
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In this paper we discuss the role and significance of European cultural identity in the formation of the urban environment in 19th-century and early-20th-century British Hong Kong. Our purpose is to offer an alternative reading of the social history of Hong Kong-the orthodox accounts of which remain largely predominant in the general historical understanding of that society-by examining the machinations that surrounded attempts by the European colonial elite to control the production of urban form and space in the capital city of Hong Kong, Victoria. Here the European Residential District ordinance of 1888 (along with other related ordinances) is considered in detail. An examination of European cultural self-perception and the construction of colonial identity is made by considering not only the actual ways in which urban form and space were manipulated through these ordinances but also the visual representation of the city in art. Here the intersection between ideas and images concerning civil society, cultural identity, architecture, and the official practices of colonial urban planning is demonstrated. It is argued that this coalescing of ideas, images, and practices in the colonial environment of British Hong Kong not only led to the racialisation of urban form and space there but also contributed to the apparent anxiety exhibited by the European population over the preservation of their own identity through the immediacy of the built environment.
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Soomro, Tania Ali, Mohsin Ali Soomro, and Hummaira Kanwal. "Heritage at Stake: Discourse Concerning the Causes of Damages Occurred to the Historic Hostel Structures Built in British Era in Karachi." July 2019 38, no. 3 (July 1, 2019): 819–34. http://dx.doi.org/10.22581/muet1982.1903.23.
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Karachi being the first born city of the colonial architecture in Sindh Pakistan has the honor of housing very important and diverse ornamental architectural master pieces. Along with the commercial nucleus; Karachi emerged as a regional educational hub after the partition of the Indian subcontinent in 1947 with several hostel structures and studio apartments. These structures are among the better examples of the pre-colonial and post-colonial architectural influence in the region. Few of them (still surviving) are incorporated in the national list of protected heritage under Sindh Cultural Heritage Preservation Act 1994. This research paper is focused on “the lost importance of the three different hostel (boys’ hostels only) premises in the historic core of the city of Karachi”. Despite possessing similar functions in the past and having the same status of the declared protected heritage at present, each of them has different use and conservation status at present. None of the buildings have endured the original function. This research focuses the reasons of the non-continuation of the original function and the impairments caused to the buildings due to this reason. Methodology followed for the research includes analysis of available archives, physical observation, photographic documentation and interviews with the local inhabitants of the neighborhood. The results and the findings of this research portray that eroding hostel culture has subjected those structures to slow and painful death of their original purpose. These buildings, once popular in the area, are now fading fast and perhaps will cease to exist in the near future unless the immediate precautionary measures are taken. The main conclusion drawn in this paper is that “it is important to preserve those historic premises as they are of significant historic character that remained associated with a number of key political and social personalities of the region. Moreover, they play a vital role in the general architectural value of the region”.
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Mitter, Partha. "The Early British Port Cities of India: Their Planning and Architecture Circa 1640-1757." Journal of the Society of Architectural Historians 45, no. 2 (June 1, 1986): 95–114. http://dx.doi.org/10.2307/990090.
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The paper investigates the principal architectural considerations that governed the evolution of Madras, Bombay, and Calcutta, the three British colonial port cities of India, and seeks to answer the question of whether and to what extent these cities were planned. The extreme view in this debate on planning is taken by Sten Nilsson in his European Architecture in India, where he claims that the cities were based on strict symmetrical grid planning and were inspired by the Renaissance urban ideal, unlike traditional "organic" Indian cities. The paper questions this in view of the clear evidence that the British East India Company, unlike the French, was hostile to any ambitious urban planning on the part of the settlements. The hypothesis is further strengthened when one analyzes the ground plans of these cities, which show that defense considerations discouraged any symmetrical central planning, even though the streets were laid out in straight lines. In the absence of a central planning code, like the Royal Ordinance of 1573 for Spanish colonies, the building projects proceeded from the growing urban requirements of these settlements. The projects themselves were modest and defense naturally dominated building activities, mainly because these tiny enclaves were surrounded by hostile local and European powers. The growing needs of the inhabitants could not be neglected, however, and churches and hospitals came next in order of priority. The governors' mansions, on the other hand, had a position of peculiar importance in these port cities as they were meant to be a clear and visible symbol of authority. Not least interesting in these conurbations was the confluence of two traditions, Western and Eastern, though it must be added that the predominant style tended to be European, and mostly contemporary Tuscan. The conclusion reached is that while there was hardly any grandiose, symmetrical, total planning in these port cities, the city fathers did not neglect to make them habitable and even pleasant by developing gardens and parks in them.
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Chattopadhyay, Swati. "Blurring Boundaries: The Limits of "White Town" in Colonial Calcutta." Journal of the Society of Architectural Historians 59, no. 2 (June 1, 2000): 154–79. http://dx.doi.org/10.2307/991588.
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Scholars assume colonial Calcutta was a dual city split into "black" and "white" towns. The critical aspect of colonial Calcutta, however, did not lie in such divisions, but in the blurring of boundaries between the two. The rhetorical categories of "white" and "black" towns were used to sustain the British desire to maintain difference in a city in which everyday life compromised such distinctions. The central argument of this essay rests on an analysis of a clearly distinguishable "pattern" of nineteenth-century colonial buildings that borrowed from indigenous as well as foreign sources. It is only by juxtaposing the spatial analysis with written and pictorial documentation that we can understand how these spaces operated in everyday practice. The attempt is to bridge the gap between rhetoric and practice, and to suggest that the spatial structure of Calcutta, from the building scale to the city scale, spoke of the hybrid conditions of colonial culture-a hybridity that did not simply reside in the native body and the native city, but one that the colonizers themselves inhabited.
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Leão, Rui, and Charles Lai. "Tropical Modernity: A Hybrid-Construct in South China." Tropical Architecture in the Modern Diaspora, no. 63 (2020): 56–61. http://dx.doi.org/10.52200/63.a.9u06q3rs.
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Parallel to the discourse of Tropical Architecture and the work of UK architects in the British colonial territories in the Middle East, Africa, and India after the WWII, climate adaptation designs or devices such as brise-soleil, perforated cement bricks, sun shading screens, courtyards, etc., started to emerge in modernist buildings in Asia. This article is a preliminary survey of these cases in Hong Kong and Macau since the 1950s. It discusses how tropicality was used in response to the post-war revisionism of Modern Movement that placed emphasis on local identity and culture.
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TOYOYAMA, AKI. "Visual Politics of Japanese Majolica Tiles in Colonial South Asia." Journal of Indian and Asian Studies 01, no. 02 (July 2020): 2050010. http://dx.doi.org/10.1142/s2717541320500102.
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This paper examines the political, socio-economic, and cultural aspects of Japanese decorative tiles or the so-called majolica tiles widely diffused in colonial South Asia in the early twentieth century. A tile became a popular building material in European countries by the first half of the nineteenth century, and European tiles spread over the world with the expansion of colonialism. Japan in the making of a modern nation established domestic manufacturing of tiles mainly after British models, and the industry’s rapid development was helped by the First World War (1914–1918) and the Great Kanto Earthquake (1923). The Japanese tile industry successfully entered into foreign markets, among which India was the largest and most important market that resulted in developing a variety of new Indian or Hindu designs associated with the rise of nationalism and mode of consumption. Not only within India, tiles, however, also played a crucial role in formulating cosmopolitan identities of migrant mercantile networks exemplified by the Chettiar architecture in South and Southeast Asia. However, in the late 1930s, cosmopolitanism shared by different communities in colonial urban settings became overwhelmed by nationalisms as seen in Sri Lanka where Japanese majolica tiles were differently used as a means to express religiously-regulated nationalisms in the Chettiar and Sinhalese Buddhist architecture. Thus, the analysis reveals visual politics of different religious nationalisms symbolized by Japanese majolica tiles in the interwar period that still structure the present visualscapes.
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KHORAKIWALA, Rahela. "Legal Consciousness as Viewed through the Judicial Iconography of the Madras High Court." Asian Journal of Law and Society 5, no. 1 (January 8, 2018): 111–33. http://dx.doi.org/10.1017/als.2017.33.
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AbstractThe Madras High Court located in Chennai, India, was established in 1862 when India was under colonial rule. It continues to exist in post-independence India after merging into the Indian legal system. In this study, I argue that the architecture and judicial iconography of the Madras High Court building reflects a recurring historical tension between Indian and British concepts of justice. This is continually reflected in the semiotics of the legal space of this high court which in turn influences the legal consciousness of the court personnel who utilize this space. This architecture and iconography of the Madras High Court constitutes, preserves, and reinforces the ambivalent legal consciousness of those who created, occupy, and visit this space. The contemporary legal consciousness of the court personnel is thus seen to have deep historical roots.
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Kavuru, Manogna, and Elisabetta Rosina. "IR Thermography for the Restoration of Colonial Architecture in India—Case study of the British Residency in Hyderabad, Telangana." Journal of Cultural Heritage 48 (March 2021): 24–28. http://dx.doi.org/10.1016/j.culher.2021.01.009.
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Elkin, Daniel, Gerhard Bruyns, and Peter Hasdell. "Appropriate construction technologies for design activism: Material research practices in response to globalisation." Architectural Research Quarterly 22, no. 4 (December 2018): 290–309. http://dx.doi.org/10.1017/s1359135518000507.
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Workers in Hong Kong made plastic flowers, incense before that, and consumer goods throughout the city's provincial, Imperial, and colonial periods. Kowloon Peninsula's deep harbour and proximity to shipping lanes gave rise to exportoriented industries long before imperialistic conflicts changed their ownership from Chinese to British, and back again. Making things in this context served to define self-motivated enterprise. Hong Kong Chinese people made most of their export goods following a low material investment, labour-intensive model. Workers hand-painted ceramics and toys more often than their employers invested in better plant to replace their work.
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Munasinghe, Harsha. "Proclaiming Colonial Urban Heritage: Towards an Inclusive Heritage-interpretation for Colombo’s Past." Journal of Contemporary Urban Affairs 6, no. 1 (July 1, 2021): 1–12. http://dx.doi.org/10.25034/ijcua.2022.v6n1-1.
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Colombo, Sri Lanka’s commercial capital is a forceful creation of European colonialists who occupied the island for over four centuries. Its urban structure displays the social fragmentation sought by the rulers. Colombo elaborates an extraordinary process of city-making, stratified with its Dutch-origin, British-reshaping, and post-colonial adaptation. Proclaiming such a contested past as an inheritance requires an inclusive heritage interpretation. The recent renovation of monumental buildings for potential market values and demolishing minor architecture do not display such a heritage interpretation. This, placing undue attention on a selected social group, is found to be further emptying the compartmentalized city. The exclusion of some sub-societies also cost possible stewardship to urban heritage. Having observed the non-sustainability of current heritage-interpretation practised in Colombo, we searched for alternative means to unify societies in time-space thus sustaining the diversity of urban spaces. Our empirical studies have established the need to integrate the inherent cultural values of the colonial-built urban fabric in heritage interpretation. The results of vibrant heritage-interpretation results have been studied through a literature survey with aims to contribute towards the development of an inclusive heritage interpretation practice to protect Colombo’s colonial past sustainably.
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Naik Dessai, Sanket Suresh. "Software Design and Development of Beverage Vending Machine System Using ARM Architecture with LPC2148." International Journal of Reconfigurable and Embedded Systems (IJRES) 4, no. 1 (March 1, 2015): 13. http://dx.doi.org/10.11591/ijres.v4.i1.pp13-21.
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<p>Beverage vending machine systems are becoming popular in the Indian market.These systems are today available in Indian MNCs and some top rated restaurants and hotels.In most systems the operation are carried manually by the operator in which the billing and change making is carried out by the owner who runnig the shop or restaurant.In India tea and coffee habits were cultured by the colonial rule of the British and the Portuguese,even tody the colonial rule had been over but the habits of tea and coffee beverage consumptions becomes as the routine daily life.Hence there is a need to understand beverage vending machine systems to serve the Indian Market.</p> <p>In this paper,a critical analysis of requirement has been carried out and the system design had been arrived at.The system requirement demand an ARM based controller for better system performance.To meet the system performance criteria and richest of peripherals an LPC2148 with low cost had been selected.The system is more efficient to analyse the change making and the identification had been carried out using the motors,LCDs,water heater,solenoid valve,money box,change making and dispensing unit.</p> <p>The system is tested and validated for the specified test cases.The milk motor run for 10 rotations to drive 200 milligrams of milk powder to the container to make to tea or coffee beverage.In this system a stepper motor had been used can be replaced by using dc motors to avaoid power losses.In future an ATM or credit card based payment system can be incorporated to these systems.</p>
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Chang, Jiat-Hwee, and Anthony D. King. "Towards a genealogy of tropical architecture: Historical fragments of power-knowledge, built environment and climate in the British colonial territories." Singapore Journal of Tropical Geography 32, no. 3 (November 2011): 283–300. http://dx.doi.org/10.1111/j.1467-9493.2011.00434.x.
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Glendinning, Miles. "“Una lezione di civiltà”: New Zealand House, the British Embassy in Rome, and the Modernist Architecture of Post-colonial Diplomacy." Fabrications 14, no. 1-2 (December 2004): 83–101. http://dx.doi.org/10.1080/10331867.2004.10525195.
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Kanika Bansal. "Impact of British Raj on the Education System in India: The Process of Modernization in the Princely States of India – The case of Mohindra College, Patiala." Creative Space 5, no. 1 (July 3, 2017): 13–28. http://dx.doi.org/10.15415/cs.2017.51002.
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British rule is said to have been responsible for the modernization witnessed in the Indian civilization. The impact of this process was quiet evident from the changes adopted by the Indians in their life style, thinking processes, attires, food and education. Besides the advancements made in the spheres of roads, transports, postal services etc, their rule acted as a significant period of transition from the indigenous style of education to western education. The foundations were laid by the East India Company and the Christian Missionaries to employ Indians for administrative tasks as well as to serve their political, economical and colonial interests. Originally the access to education was limited to the royal families, as the British were of the opinion that Indians could become aware of their rights and positions and protest against their Raj posing a threat to the British establishment in India. Lord Curzon’s efforts in the 20th century gave way to spread of higher education within the masses and channelized Indian education system. However the rulers of the Princely States in of India who were granted autonomy by the British to manage their own kingdoms acted as major agents to undertake the social and educational reforms within their territories. With the spread of education from elementary to higher levels, many new schools, universities and other institutions were developed during this period which are symbols of educational advancement as well as hold high architectural merit. Patiala, aprime princely state is a well known academic centre also important for its rich culture since the British Raj. Education in Patiala originated under the Maharajas with the opening of the school of languages in 1860A.D. With the introduction of Mahindra College (the first Degree College in a city) in 1870, became came an important educational centre. It was the only college between Delhi and Lahore for a long time that promoted contemporary higher learning in Northern India. The historic college building represents an aesthetic mix of regional interpretation of Indo-Saracenic style of architecture. Later on many educational institutes catering to medical facilities, sports education etc. was set up in this princely state. This paper is thus an attempt to explore the education reforms during the British Raj, the changes that happened and their triggers. It also brings out reforms initiated in Princely States specifically Patiala as a seat of learning and a detailed study of the Mohindra College, Patiala, that represents an excellent example of educational institutions developed during the 19th century. The present study was done as a part of an academic project undertaken during Masters of Architecture under the able guidance of Prof Kiran Joshi..
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Wood, Peter. ""... from teat-jerk to quidnunc": A.R.D. Fairburn and the Formation of an Ideology of Architectural Nationalism in New Zealand." Architectural History Aotearoa 3 (October 30, 2006): 44–51. http://dx.doi.org/10.26686/aha.v3i.6799.
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In 1934 ARD Fairburn published the essay "Some Aspects of N.Z. Art and Letters" in the journal Art in New Zealand. In it he criticized Alan Mulgan's book Home: A Colonial's Adventure, which had been first published in 1927, and was reprinted in 1934. It was, in Fairburn's view, an account unacceptably steeped in romantic melancholy for a distant motherland that was no longer as germane as it had once been. Instead he proposed looking to the American Transcendentalists Twain and Thoreau for direction.
Also published in 1934 was a small book from the New Zealand Institute of Architects called Building in New Zealand. In it the NZIA made a case for the professional and social responsibilities of the architect in New Zealand and it is best described as conservative. However it is pertinent that this book was edited by Alan Mulgan. Here the role of the architect in cast in practical terms that bear direct comparison to the code of practice issue for the Royal Institute of British Architects. Mulgan's contribution to discussion on New Zealand architecture is limited to this publication, and it is likely his editorship of Building in New Zealand was motivated more by depression economics than architectural interest. However this book is still an important summary of the profession at that time, and it links architecture to Mulgan's romantic writings though the reiteration of a colonial fountainhead. By contrast Fairburn would go on to champion a national voice for New Zealand's writers, artists, and architects. Moreover he established a close relationship with Vernon Brown, and was to associate with Bill Wilson and the Architectural Group. Indeed, the limited writings available from these architectural associates often echo Fairburn's 1934 call for an antipodean "honesty" in "our" buildings.
It is in the immediate post war period that the emergence of a national architectural expression in New Zealand is most celebrated, being lead in Auckland by Brown, Wilson, and the Architectural Group. However an examination of the writings by Fairburn and Mulgan shows that the elements of the debate were already in place well before then. I conclude that the antecedent for the emergence of debate on a national architectural character appears, however unintentionally, in the 1934 writings of Fairburn and Mulgan. Critical to this is discussion on we mean by "honest" architectural work.
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Hosagrahar, Jyoti. "Mansions to Margins: Modernity and the Domestic Landscapes of Historic Delhi, 1847-1910." Journal of the Society of Architectural Historians 60, no. 1 (March 1, 2001): 26–45. http://dx.doi.org/10.2307/991677.
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This essay examines the ways in which the private, domestic landscape of historic Delhi changed between 1847 and 1910. I look at Delhi's ubiquitous introverted courtyard house, the haveli, during a time of dramatic cultural dislocation. Modernity and the British colonial presence together had the consequence of fragmenting sprawling princely mansions to modest dwellings and tenement houses or redefining them as more rational and efficient homes. Tracing the transformation of the haveli in form and meaning serves as a mirror to the changes in the city during the time. In Delhi, monolithic and oppositional categorization of "traditional" and "modern" masked more complex identities as the quintessential "traditional" city grew and changed in ways that were distinctly "untraditional." The landscapes of domestic architecture reveal a city struggling to define itself as modern-on its own terms.
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Abraham, Santhosh. "The Keyi Mappila Muslim Merchants of Tellicherry and the Making of Coastal Cosmopolitanism on the Malabar Coast." Asian Review of World Histories 5, no. 2 (October 4, 2017): 145–62. http://dx.doi.org/10.1163/22879811-12340009.
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Abstract The Keyi Mappila Muslim merchants of Tellicherry (Thalassery) on the Malabar Coast were one of the few early modern Indian merchant groups who succeeded in carving out a powerful political and social configuration of their own on the western coast of the Indian Ocean during the British period. Today, several branches of Keyi families remain a cultural unit in the Islamic community of Kerala. This article attempts to locate the group in the larger theoretical context of Indian Ocean cosmopolitanism and argues that the Keyis developed a distinct and significant type of coastal cosmopolitanism in an Indian Ocean setting; Chovakkaran Moosa, an influential merchant from a Keyi family during the colonial period, serves as a representative figure. Through their trade and financial relationships with British and local elites, and the characteristic architecture of their warehouses, residences, and mosques, the Keyis successfully integrated the practices of a global cosmopolitan space into a local vernacular secluded commercial space. This article presents a synthesis of a lively coastal urban and local rural cosmopolitanism that included several networks and exchanges, foreign and native collaborations, and an amalgamation of local and external cultural spheres.
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Turkan, Zihni. "Sustainability in the Formation and Development of Historical Cities: “Nicosia Historical City Texture”." European Journal of Sustainable Development 9, no. 2 (June 1, 2020): 250–62. http://dx.doi.org/10.14207/ejsd.2020.v9n2p250.
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The formation of the historical city texture of Nicosia, the capital of Cyprus, began during the Lusignan Period. St. Sophia Cathedral and St. Catherine Church, which have an important place in the formation of the texture, are two of the few works of art still surviving today. Being a period of destruction for the city, in general, The Venetian Period provided the city walls to Nicosia which still surround the historical texture. The Ottoman Period brought a change to the historical city texture and Islamic culture and Turkish Architectural construction style replaced the Christian cultures. A number of architectural works from this period, still existing within the walled city of Nicosia, provided a great contribution to the formation and development of the present day texture, as well as for its sustainability. The British Period is one which brought novelty to the city texture of Nicosia. With demolition of historical works and changes in the street and square dimensions, British Colonial Architecture displays the traces of the recent past. The administrative buildings constructed in place of the demolished Lusignan Palace, still serve at present. With the beginning of the Period of the Republic in 1960, Nicosia underwent a fast process of development as an important capital in the Middle East. The traditional visuality in the city texture left its place to contemporary constructions and formations. The inter-communal conflicts, which started in 1964 on the other hand, negatively affected the formation and development of the city texture, and there was a period of stagnation until the 70s. The new developments observed since the 70s and the insufficiency of precautions to protect historical texture, caused a deterioration the city texture. With the position of an open-air museum, Nicosia with its history of over twenty-five centuries has a very rich historical city texture with the legacies of various cultures which reigned over Cyprus and is sustainable in the present, and is therefore an important cultural and touristic center Keywords: Cyprus, Nicosia, Historical City Texture, Walled City, Sustainability.
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Mat Nayan, Nadiyanti, Mohd Khedzir Khamis, Siti Rasidah Md Sakip, and Norhafizah Abdul Rahman. "Sydney Lake: The historical park of KL." Asian Journal of Quality of Life 3, no. 10 (March 18, 2018): 149. http://dx.doi.org/10.21834/ajqol.v3i10.111.
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In 1888, a first recreational area was created in Kuala Lumpur as a place for the British residents. Now, after more than 120 years this lake area still exists. Reintroducing the Sydney Lake Garden as the historical park is not about enhancing the colonial heritage but more on the history that this area once had. With the used of Greater Kuala Lumpur/Klang Valley (GKL/KV) as one of the main references, this paper will try to relate it on reviving this recreational area as one of new tourist attraction of Kuala Lumpur, the Sydney Lake Historical Park.Keywords: Heritage Conservation; Historic Park; Heritage Place; Greater Kuala Lumpur/Klang Valley (GKL/KV)eISSN 2398-4279 © 2018. The Authors. Published for AMER ABRA cE-Bs by e-International Publishing House, Ltd., UK. This is an open access article under the CC BY-NC-ND license (http://creativecommons.org/licenses/by-nc-nd/4.0/). Peer–review under responsibility of AMER (Association of Malaysian Environment-Behaviour Researchers), ABRA (Association of Behavioural Researchers on Asians) and cE-Bs (Centre for Environment-Behaviour Studies), Faculty of Architecture, Planning & Surveying, Universiti Teknologi MARA, Malaysia.
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Syjuco, Stephanie. "Speculative Propositions: A Visual Pattern Sampler." ARTMargins 4, no. 3 (October 2015): 65–80. http://dx.doi.org/10.1162/artm_a_00123.
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During World War I, a peculiar example of disruptive patterning was developed to adorn British and American battleships. “Dazzle camouflage” as it was known, did little to “hide” the vessels themselves. Rather, its function was to confuse enemy aim by utilizing chaotic black-and-white patterns. Vintage photographs of these ships provide startling visuals of a kind of graphical warfare. At first glance, the extreme angles and cutout shapes conjure everything from European Modernist abstraction, Russian Constructivism, and colonial ethnic and tribal patterning, to later forms of Op art and design. As an artist researching these images, I began speculating on the side-effects of their routes as global visual transmitters of conquest and empire. What if these patterns, likened to war paint and symbolic markers of dominance, were altered to show their transmission onto other forms, such as modern architecture, commodities, and trade/transit routes—a sort of cross-pollination of hybridity and influence across cultures and continents? How can these patterns be employed by unexpected “clients” of economic and cultural colonialism? How can colonized forms misappropriate this visual technique for themselves? Speculative Propositions: A Visual Pattern Sampler is the result of this exploration.
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Aydınlık, Sevil, and Hıfsiye Pulhan. "Education in Conflict: Postwar School Buildings of Cyprus." Open House International 44, no. 2 (June 1, 2019): 68–76. http://dx.doi.org/10.1108/ohi-02-2019-b0009.
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The terms cyprus, conflict, crisis and war have been almost inextricably intertwined throughout the history of this Mediterranean island. The education system played an important role socially and school buildings played an important role visually first in the dissemination of nationalism when the ethno-nationalist movements within the turkish and greek-cypriot communities increased dramatically under British colonial rule (1878-1960), and later in the dissemination of internationalism in the mid-twentieth century. Despite the increased conflict and nationalism, which was reflected by neo-greek architectural elements, the striking impact of the international style turned school buildings into representations of the communities' attitudes towards modernism. By the mid-1940s these attitudes towards modernism also served as a latent way for communities' identity struggles and for the sovereignty of each community to exist. After world war ii the style embodied by many school buildings conveyed science-based modern thought; modernization attempts for political, economic and social reforms; and the strong commitment of the first modernist cypriot architects to the spirit of the time and the philosophy of the modern. Under this scope, postwar school buildings in cyprus are identified as unique artifacts transformed from an ‘ethnicity-based' image into an ‘environment-based' form that is more associated with the modernization, decolonization and nation-building processes from which local nuances of mainstream modernism emerged. At this point the modernization process of the state, identity struggles of the communities and architects' modernist attempts could be interpreted as providing a fertile ground for new social and architectural experiments, and could answer questions about how postwar school architecture managed to avoid reference to historical, ethnic and religious identities when there was an intentional exacerbation of hostility between the two ethnic communities and about school buildings predominantly followed principles of the international style even though both the greek and turkish-cypriot education systems were instrumental in strengthening local nationalisms and even ethnic tensions.
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Turner, Emily. "The Church Missionary Society and Architecture in the Mission Field: Evangelical Anglican Perspectives on Church Building Abroad, c. 1850-1900." Architectural History 58 (2015): 197–228. http://dx.doi.org/10.1017/s0066622x0000263x.
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The Gothic Revival occupies a central place in the architectural development of the Church of England in the nineteenth century, both at home and abroad. Within the expanding British colonial world, in particular, the neo-Gothic church became a centrally important expression of both faith and identity throughout the second half of the nineteenth century. From a symbolic and communicative perspective, the style represented not only a visual link to Britain, but also the fundamental expression of the Church of England as an institution and of the culture of Englishness. As such, it carried with it a wide range of cultural implications that suited the needs of settler communities wishing to re-established their identity abroad. Expansion during this period, however, was not only limited to the growth of settler communities but was also reflected in growing Anglican missions to the non-Christian peoples of annexed territories. The two primary organs of the Church of England in the field, the Society for the Propagation of the Gospel (SPG) and the Church Missionary Society (CMS), actively employed the revived medieval style throughout the Empire as missions were solidified through infrastructure development. As a popular style with direct connotations to the Christian faith, revived medieval design became increasingly popular with Anglican missionaries abroad in the period between the early 1840s and the end of the century. Not only did its origins in ecclesiastical buildings make it attractive, but it was also stylistically distinctive, and set apart as a sacred style from both secular and ‘heathen’ structures.
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Jazeel, Tariq. "Book review: Colonial modernities: building, dwelling and architecture in British India and Ceylon. Edited by Peter Scriver and Vikramaditya Prakash. London and New York: Routledge. 2007. ix + 287 pp. £28.99/$50.95 paper. ISBN 9780415399098." cultural geographies 16, no. 1 (January 2009): 140–41. http://dx.doi.org/10.1177/14744740090160010607.
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Windover, Michael. "Exchanging Looks: ‘Art Dekho’ Movie Theatres in Bombay." Architectural History 52 (2009): 201–32. http://dx.doi.org/10.1017/s0066622x00004196.
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Bombay of the interwar years was a city in transition. TheUrbs Prima in Indus, and second city of the British Empire, became increasingly both a site of nationalist sentiment and a conduit of cosmopolitan cultural and economic currents. Its urban fabric witnessed the shift from colonial, Victorian city tomodernemetropolis. Captured in A. R. Haseler’s dramatic aerial photograph from the mid-1930S (Fig. 1), the Regal Cinema stands out against the Indo-Saracenic monuments of late imperial Bombay — notably George Wittet’s Gateway of India (1924) seen at the top of the photograph, his Prince of Wales Museum (1923) — its gardens on the bottom left — and, on the right, his Royal Institute of Science (1920). Although not a government-commissioned building, to the right of the Gateway, on the waterside, is the Taj Mahal Hotel (1903), a luxurious structure intended by the Parsi industrialist, Jamsetji N. Tata, to be a location for inter-cultural relations. Extending this type of space to some degree, the Regal was built by another Parsi, Framji Sidhwa, in 1933. The cinema marked the beginning of a decade-long building boom that corresponded with a significant population increase, as more and more migrants joined the city’s growing industrial workforce.The Art Deco styling of the new financial, residential, and commercial buildings, like the Regal, celebrated and framed a modern public culture which responded to the unique socio-political realities of interwar Bombay. ‘Public culture’, a term developed by Arjun Appadurai and Carol Breckenridge, is conceptualized here as a dynamic process of indigenization, one that takes into account the global flow of ideologies through human migration and especially by mass media, one that destabilizes the ‘high-low’ binary and avoids the homogenizing terminology of ‘westernization’ or ‘Americanization’. The Art Deco cinema might be considered a crossroads where the often interpenetrating and sometimes competing narratives of commerce, nation, empire and formations of modern subjectivities intermingled: a nexus of cultural, economic, technological and political flow. The use of Art Deco is important in the context of Bombay as the style signified modernity and a particular sense of cosmopolitanism on the one hand, and yet resonated with or extended pre-existing cultural traditions in a distinctly local manner on the other.
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Choi, Tina Young. "THE LATE-VICTORIAN HISTORIES OF INDIAN ART OBJECTS: POLITICS AND AESTHETICS IN JAIPUR'S ALBERT HALL MUSEUM." Victorian Literature and Culture 41, no. 2 (February 15, 2013): 199–217. http://dx.doi.org/10.1017/s1060150312000356.
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Recent guidebooks for the Westerner traveling to Northern India generally refer the prospective visitor to a common range of cities around Delhi – Agra, Jaipur, and Udaipur; within these, the Taj Mahal, Jaipur's Pink City and nearby Amber Fort, and Udaipur's glamorous lake palaces usually merit must-see status. Until its refurbishment a few years ago, the Albert Hall Museum, an elaborate structure with old-fashioned interiors and a location a kilometer south of Jaipur's city center, ranked as a second- or even third-tier tourist attraction; travel guides from recent years mention it with indifference, describing its collections as “dusty” and “fine, if carelessly exhibited” (Bindloss and Singh 170), or even suggesting that “a slow circular turn around the building in a car will suffice” (Frommers 520). Yet a century ago the Museum proudly occupied a primary place in British travel guides to India. It opened with ceremony and fanfare in 1887, and by 1898 almost three million Indian and over ten thousand European visitors had passed through its doors (Hendley, Report 9). A striking example of colonial architecture, constructed of white stone with numerous courtyards, covered walkways, and ornamented domes (Figure 1), it was regarded as perhaps the most noteworthy edifice within a noteworthy Indian city. Thomas Holbein Hendley, resident Surgeon-Major in Jaipur, chief curator for the 1883 Jaipur Exhibition, and the Albert Hall Museum's Secretary and tireless champion, recommended that travelers in Jaipur for a single day make two visits, both morning and evening, to the site, and that those with an additional day to spend in the city schedule a third visit. Murray's Handbook for Travellers in India, Burma and Ceylon concurred, describing it as “a beautiful museum – an Oriental South Kensington, suitably housed” (174), and just after the turn of the century, English journalist Sidney Low recalled that it was “the best museum, with one exception, in all India, a museum which, in the careful selection and the judicious arrangement of its contents, is a model of what such an institution ought to be” (114).
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Ricketts, Shannon. "Belmopan: a New Capital for a New Country." Brasilis, no. 43 (2010): 78–81. http://dx.doi.org/10.52200/43.a.smv82dgu.
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As the British colony of British Honduras prepared for independence, it adopted two important symbols of its emerging identity; the name of Belize was chosen for the new country and a new capital was planned from which this emerging nation would be governed. That new capital was called Belmopan and was to be established inland from the old coastal capital of Belize City. Designed by the British planning and architectural firm of Norman and Dawbarn, this new city followed in the tradition of British Garden City planning, making discrete references to the Mayan heritage of the region, while using the modernist architectural vocabulary typical of so much of the infrastructural development taking place at this time in various nations emerging from colonial status.
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Keys, Cathy. "Diversifying the early history of the prefabricated colonial house in Moreton Bay." Queensland Review 26, no. 01 (June 2019): 86–106. http://dx.doi.org/10.1017/qre.2019.5.
Full textAbstract:
AbstractThe history of prefabrication in settler Australia is incomplete. The use of prefabricated and transportable buildings in existing Australian architectural histories focuses on colonial importation from Britain, Asia, America and New Zealand. This article, however, argues for a more diverse and local history of prefabrication — one that considers Indigenous people’s use of prefabrication and draws on archaeological research of abandoned military ventures, revealing an Australian-made, colonial prefabricated building industry that existed for over 40 years, from the 1800s to the 1840s. A more inclusive architectural history of prefabrication is considered in relation to a case study of the first European house erected in Moreton Bay at the British penal outpost of Red Cliffe Point (1824–25), a settlement established partly to contribute to British territory-marking on Australia’s distant coastlines. While existing histories prioritise transportability and ease of assembly as features of prefabricated buildings, this research has found that ease of disassembly, relocation and recycling of building components is a key feature of prefabrication in early abandoned British military garrisons.
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Holland, Jessica, and Iain Jackson. "A Monument to Humanism: Pilkington Brothers’ Headquarters (1955–65) by Fry, Drew and Partners." Architectural History 56 (2013): 343–86. http://dx.doi.org/10.1017/s0066622x00002537.
Full textAbstract:
The architect Maxwell Fry (1899–1987) is widely recognized as one of the key protagonists in the development of Modernist architecture in Britain. Discussion of this role perhaps inevitably tends to focus on Fry's early involvement in the Modern Architectural Research (MARS) Group and his inter-war work, particularly his prestigious partnership with the Bauhaus-founder Walter Gropius. Post-war, emphasis shifts to Fry's advancement of ‘Tropical Architecture’ in former British colonies with his wife and partner, the architect Jane Drew (1911–96). Despite a string of important commissions on home soil, their post-war work in Britain has been sidelined due to a historical narrative focused on the rise of ‘New Brutalism’. This article contributes to a reassessment of Fry, Drew and Partners’ work in 1950s and 1960s Britain. It uses the Pilkington Brothers’ Headquarters (1955–65) in St Helens as a case study to examine post-war industrial patronage and how this affected the architectural approach of the project's lead designer, Maxwell Fry. In particular, it investigates his background in civic design at Charles Reilly's Liverpool School of Architecture. Furthermore, it examines Fry's reassessment of pre-war Modernist theory and practice during the mid-1950s and his response to the younger generation of MARS members, such as the Smithsons and Denys Lasdun.