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Notion Of India

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About Project

We recognize in any case the “necessity” of the sculpture to be an imperative significance of the “social” mission it would assume. The attempt of the sculpture to define “The Notions of India” – beyond all intellectual good faith – of imposing a form by us, but rather it be engaging, ever changing and validating that sublimation by the people and for the people. 




300 sqm
Chetan, Govind Raj, Akshitha.

So if we are to confront the subject of ideology of the sculpture from this perspective, we would have been successful in an attempt to shed light on “The Notions Of India” which is ever changing, evolving, chaotic and pluralistic. Accepting this approach, we considered the formation of a sculpture as regards to its implication for the city. To capture the formal reality of the sculpture in the cities, it is no longer a question of ache typical schemes of order, but of accepting the anti-perspective character of the sculpture in the urban space. Even the sculpture as reference point, has a new meaning: in its variety, the people to form part of the sculpture, which supplements the comforting rhetorical of evolving, changing and pluralistic as described. The appeal to the pluralistic nature implies at once an appeal to original purity of the act of being a part of the process of forming the sculpture and also an understanding of the eminently organic character typical of the cities of India. We do not know to what degree the sculpture could change, what is certain is that the sculpture as an intervention in the cities landscape as a tool could be an “natural” reality of the ever evolving cities, people, culture and Notion of India. So this sculpture to describe the notions of India is Ever Evolving, Ever Changing, Pluralistic – Learning from History aiming at the Future.

Our aim was to create a sculpture that is not only iconic but also is interactive. The idea  was  that sculpture  should  not   be  placed  just as  an exhibit  but  should  be able to engage  people.  The  core  principle  used  for making this sculpture is  interlocking  lightweight  triangular  or  polygonal  facets  consisting  of  skeletal  struts  in  a  geometrical  pattern, making  the  sculpture rigid  yet  dynamic  in  nature  thus  articulating  the idea  of India  for  today  and  tomorrow. Steel  hollow  sections  would  be  the  preferred  for  the  struts   as  it  has high  tensile strength,  excellent  bending  strength. The  light  weight  hollow  sections  enables  lighter structure  thus  making  it  possible  for  the  people  to  engage  with  the  sculpture  with ease. The   structure   will be long  lasting  when   steel  hollow  sections   are  used  as  there won’t  be   risk of  brittle  fracture as  it has high levels of formability  and  has  dimensional  consistency. The steel struts are joined with Mero nodes. The  connector  node  will  allow  the  mobility  of  the tubular struts, one  can  change  the  form  of  the  sculpture  by  simply  pushing  and  pulling  the struts. The  sculpture forms  a  pavilion  by  varying   the  heights  of  the placement  of  the  triangular  or  polygonal  facets, creating a place of social aggregation and free expression. It is characterized by a strong presence of colours, divided into segments for each functional area, providing dynamism and character, the distinctly coloured pavement marks the walk way , the curved green nooks placed around the walk way makes a vibrant collision .  The play  of  variation  of  heights of  the triangular  or  polygonal  facets,  not  only  makes  the  sculpture abstract   and iconic  but  also  allows visitors  all age  groups  to learn through observation, engagement and active participation to interact with  the  sculpture. The facets are brought closer to the ground aiming to create play zones for the children. Provision of seating is also made with facets. The divergent ways of interaction, engagement and communication  with the dynamic sculpture resonates to the very essence of our mother land India.