Notion Of India
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.
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.