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Re-evaluating Critical Regionalism: An Architecture of the Place

• Written by Andreea Cutieru
• Published on August 09, 2021

In his 1983 now-classic essay Towards a Critical Regionalism , Six Points of an Architecture of Resistance , Kenneth Frampton discussed an alternative approach to architecture, one defined by climate, topography and tectonics, as a form of resistance to the placeness of Modern Architecture and the gratuitous ornamentation of Postmodernism . An architectural attitude, Critical Regionalism proposed an architecture that would embrace global influences while firmly rooted in its context. The following explores the value and contribution of Frampton’s ideas for contemporary architecture.

An influential architectural concept, Critical Regionalism emerged within the context of the first Venice Architecture Biennale in 1980, curated by Paolo Portoghesi and titled The Presence of The Past . That edition of the Biennale sought to discover the direction of the practice after Modernism and, through its Strada Novissima, catalyzed the internationalization of Postmodernism . Part of the curatorial team, Kenneth Frampton , disagreed with this somewhat mimetic interpretation of cultural heritage, arguing that there is a different way for architecture to move beyond Modernism without returning to the architectural language of the past. His counterproposal came to be defined as Critical Regionalism.

What is Critical Regionalism?

First coined by architectural theorists Alexander Tzonis and Liane Lefaivre in the early 1980s, the term critical regionalism was used by Frampton to define an attitude of resistance against a globalized, generic architecture. Not to be confused with regionalism - an architecture specific to a certain region- or a version of vernacular, Critical Regionalism was a mediating position where universality met elements derived from the particularities of a place, in what Frampton, as the leading theorist of the concept, described as " the idiosyncrasies of place" finding "their expression without falling into sentimentality" . Citing as examples the work of Alvar Aalto , Jørn Utzon, or Alvaro Siza , and subsequently, Louis Barragan or Carlos Ruis Villanueva, Frampton’s text was also directed at bringing into focus architects at the periphery of the starchitect system.

"Critical Regionalism", Frampton writes in his seminal essay , "necessarily involves a more directly dialectical relation with nature than the more abstract, formal traditions of modern avant-garde architecture allow" . As a method, Critical Regionalism argues for an architecture that enhances the qualities of the landscape, in contrast to the superimposition of form on existing topography. At the same time, it involves a reciprocal relationship between the context and the new architectural objects and proposes references to local definitions of space, limits, public and private. More than a postmodernist collage of local elements and global influences, Critical Regionalism seeks to integrate qualities like local light, tectonics into the contemporary architectural framework. In addition, it promotes “a tactile sensitivity”, emphasizing the experiential value of the place.

Its Value for Contemporary Architecture

As it defined a method, an attitude, Critical Regionalism hasn’t come to define a particular architecture, with its interpretations and exponents varying widely. However, its value lies in the fact that it highlighted a practice where architecture is relinked to context and place . Frampton’s ideas of an architecture that is sensitive to tectonics, materiality, to the particularities of a site are equally valid today. Several architects, like Belgian practice BC Architects & Studies , still find the concept relevant for their practice, as it provides a framework for mediating between local and global, between historical, cultural references and contemporary design strategies. What defined a new approach in the 1980s is now fully integrated into the architecture practice.

At the same time, in an increasingly globalized environment where architecture seems to become more uniform, critical regionalism still provides a framework for subtle ways for referencing the local, not only as an act of resistance against the commodification of architecture but as an effort to create a more sustainable architecture. Contemporary bioclimatic design, the use of low-carbon or local materials are paths towards a practice informed by local knowledge, thus towards a form of Critical Regionalism.

While the concepts of Critical Regionalism have become standard practice in recent decades, its seminal text has been mainly relegated to architectural history. In light of current re-readings of other historical architectural moments like Postmodernism , this re-evaluation of critical regionalism provides a framework for positioning contemporary attitudes within the architecture practice.

 References

• Kenneth Frampton, Towards a Critical Regionalism. Six Points for an Architecture of Resistance, 1983
• Avermaete, T., Patteeuw, V., & Szacka & Hans TeerdsLéa-Catherine, Revisiting Critical Regionalism , in OASE #103, Critical Regionalism. Revisited , 2019
• De Cooman, K. Beyond Critical Regionalism. Grey Zones and Radicality in Contemporary Practice, in OASE #103, Critical Regionalism. Revisited , 2019

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Space, Place, Narrative: Critical Regionalism and the Idea of Home in a Global Age

How to become modern and, simultaneously, return to sources, how to integrate historical progress and the preservation and availability of cultural traditions has been variously described as a major dilemma of modernity. Underlying this dilemma are differing notions of home and of the role of places and regions in a staggeringly globalized, technology-driven civilization. Regionalist movements, such as Agrarianism in the South of the US, have thrived on their antipathy to a fast changing modern world; they have also promulgated a renewed sense of place and a return to regional history and traditions. The essay discusses critical regionalists’ celebration of the local and the region; in so doing it also looks at two representatives of opposing notions of home in modernity, Martin Heidegger and Emmanuel Levinas. Finally, it contends that it is primarily by way of narrative and storytelling that a sense of place, of being-in-the-world can be reconstructed.

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Local Identities Global Challenges

Re-reading critical regionalism, fall conference proceedings.

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Author(s): Kelly Carlson-Reddig

It can be said that the “project” of critical regionalism in architecture remains unfinished. As a practice, critical regionalism, distinct from vernacular and romantic regionalism, was a tangent of late modernism. As a specific subject of architectural discourse, its genesis may be traced to the writings of Alex Tzonis and Liliane Lefaivre, who first coined the term in 1981. Among the most provocative contributions to the discourse is surely the collection of essay variations written by Kenneth Frampton under titles such as “Towards a Critical Regionalism: Six Points for an Architecture of Resistance” and “Ten Points on an Architecture of Regionalism: A Provisional Polemic”. In each of these essays, Frampton begins with introductory reflections on the challenge of negotiating global and local circumstances in architectural practice. His articulation of the broad field is then followed by specific “points”–comparisons of dichotomous practices, akin to oppositional twins. In each of the points, one twin embodies the humane and place-specific traits of critical regionalist architecture—experience, place, architectonic, natural, and tactile characteristics. The second twin represents its superficial and generic nemesis—information, space, scenography, artificial, and predominately visual qualities. The texts are exquisitely adept in articulating the territory of the discourse, and proposing many of its relevant terms. I have regularly employed these texts in the context of architecture design studio as catalysts for critical and integrated examination of site, place, tectonics and program. Through this, I have come to regard the potential for further exploration, not of Frampton’s broad argument, nor by a proposal for additional points. Rather, this papers aims to articulate more detailed characteristics and modes of critical regionalist architecture, toward greater depth in architectural analysis, and greater instrumentality in critical regionalist design practice. Two loci are identified for appending greater detail to the frame of Frampton’s critical regionalist polemic—one related to content, and the other related to method. The first, related to content, appends itself to the “points”, or the identified traits of critical regionalism. These points—experience, place, architectonics, nature, and tactility–are broad categories that can support more detailed articulation. For example, if we cite the “architectonic” nature of critical regionalism (as opposed to its “scenographic” antithesis), more specific sub-traits can be identified—for example, materiality, practices of detailing, or the tectonic or stereotomic basis architecture may be critically rooted in place. But what makes a practice in one of these sub-realms critical, as opposed to a merely historical reenactment of the vernacular, or far worse, a sentimental scenographic reference? Here, the second facet of this paper builds additional detail, and suggests methodological filters for critical design consideration. One notion regarding the difference between critical regionalism and historic reenactment is the characteristic of defamiliarization, defined as “the artistic technique of forcing the audience to see common things in an unfamiliar or strange way, in order to enhance perception of the familiar”. This paper examines how defamiliarization may exist or be brought to regional conditions, in order to render them conspicuous, hence raising our perception.

Volume Editors Ikhlas Sabouni & Jorge Vanegas

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CRITICAL REGIONALISM IN THE POST-COLONIAL ARCHITECTURE OF THE INDIAN SUBCONTINENT

Critical Regionalism as expounded by Kenneth Frampton has found its use in many parts of the world as a reaction to the international architecture practised in the Western world. India, which was deprived of exposure to the advanced developments in architecture in the US and Europe was at one stroke brought into world contact after gaining independence. This paper traces the exposure of the Indian architects to Western training and philosophy and how they developed their works to suit the regional context. Important aspects of the paper are mentioned below: ‒ International exposure of the Indian architects after independence. ‒ Their designs and their approaches to the creation of an Indian flavour on their return to homeland. ‒ Examined the works of a few prominent architects and inferred on their special regional contributions.

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Frontiers of Architectural Research, 2018

Critical regionalism is an architectural concept that seeks to balance local needs and capabilities with the progressive lessons of modernisation. Critical regionalism has been an influential architectural approach in postcolonial Indian architecture. Even before the term was coined in the 1980s, architects in India had subconsciously begun pursuing the ideas of critical regionalism in designing their buildings. The degree of influence of critical regionalism on postcolonial Indian architecture has varied over the course of time as a result of economic, political and social changes. This paper identifies key architectural projects realised in India since 1947 that adhere to the ideas and principles of critical regionalism. The identified regionalist projects have been categorised according to their building programmes and significant examples in each building type are discussed chronologically while bringing forth their qualities that make them regionalist in first place. By focussing on regionalist projects of significance in each building type, the paper highlights that critical regionalism is capable of producing potent architecture to cater to any building programme.

Arjun Appadurai’s observations of contemporary Indian society, and its identity productions –– or as he calls it ‘Production of locality’ –– necessitates one to think about the issues of identity productions in contemporary Indian architecture as well. This paper is a reaction to, and questions the possibly superfluous concern advanced in recent times by most contemporary writers and practitioners of architecture in India - that of losing one’s architectural identity in the wake of globalization. In addition, this paper will also demonstrate and support the possible application of Tzonis and Lefaivre’s theory of Critical Regionalism for solving the contemporary issues of identity constructions in Indian architecture. The paper however does not posit that Tzonis and Lefaivre’s Critical Regionalism is the best and only solution for solving the problems of identity constructions confronting post-independence contemporary architecture in India. It anticipates a possible solution.

Modernism movement has started in India around 1920 dominated by British trained architects and it got continued till the independence of India in 1947. After independence, the government architects in CPWD and many British architects have continued the practice in India but these were not different then International style of modernism. After so much of slavery under the Mughal and British, the Indians have lost their own identity and seeking this identity was very difficult and important at all level i.e. economic, social and cultural level. Joseph alien stein the British architect who got settled in India has stared new era by mixing regional context of India along with Modernism. His project India International center (1959-62) clearly shows regionalism through use of courtyard, jail work along with Modernism principles of minimalism and simplicity in form. Charles Correa has completed his M.Arch in 1955 from Massachusetts Institute of Technology (MIT) and started his practice in India. He has designed Gandhi Smarak Sangrahalaya at Sabarmati Ashram, Ahmedabad (1958-63) and this project has given new identity to Indian Architecture through mixing of vernacular or traditional architecture along with modernism later called " Critical Regionalism " Charles Correa has done so many work based on this philosophy of " Critical Regionalism " in his career and this paper will explore only few project to showcase the concept of " critical regionalism " in his works.

One could hardly imagine a time more exciting for an Indian architect to start a career than at the close of the 1940s, when India had just gained freedom from colonial rule. In many places around the world this was the time when enormous funds were invested in new and often very novel urban developments that were to provide, for better or worse, the model of metropolitan life for the generations to come. By that time, it was generally believed that architecture and urban planning have the power to shape human habits and inspire worldviews. This was also true for India, and at this particular moment it was crucial for decision makers and for the designers to decide on what style and what planning philosophy should they stake. What should the background image of the new Republic of India be, what values should be put through, what goals should be proclaimed? In my presentation, I am going to focus on these decisive years of modern architecture in India and on its major figures.

Frontiers of Architectural Research, 2020

This paper presents the results and analysis from an interview study conducted with practitioners of architectural regionalism in India. The interviews sought to gain in-depth understanding of the strategies, mechanisms, and tools they employ to realize contextualized architecture that responds to local needs and potential. A sample composed of nine eminent Indian architects who regularly integrate the ideas of critical regionalism in their designs is selected and subsequently interviewed with regard to the varied aspects of their architectural practice. Findings are useful for practitioners and scholars of contemporary architecture in India for understanding the means employed by leading regionalist architects, while placing their work in the context of local building traditions, urban landscape, sociocultural conditions, technology, and climate.

In this paper we address the role of architectural criticism in the conception and practice of modernism in India – since post-independence till the present. India has witnessed a vast difference in the culture of the built environment. And as Modern Style of architecture arose from enormous transformations in the west during the late 19th, and flourished to India, Architectural Criticism says, it’s about time, that a new style of architecture, a style that describes the ‘Indianness’, originates, takes over, describes, and flourishes to bring a new face to the context of Architecture in India.

SHODHKOSH : Journal and visual performimg arts, 2023

At the time of Independence of India, the challenge was to create an image of a progressive nation through the mode of architectural expression to celebrate nation's independence. Though it couldn't happen right away as the majority of Indian architects at the time of independence were under the influence of architecture of the Britishers or were working in the architectural firms established by British architects. So, the change was gradual with its inception in pre-independence era of 1930s and 1940s, when some of the foreign architects designed and executed their projects with European expressionism and Bauhaus thinking in the country. But these were isolated efforts and could not take the shape of an architectural movement. These waves of rationalist thoughts kept on smoldering with war between the Revivalist and the Rationalists thoughts propagators throughout 1940s as well as at the time of independence and immediately after it. The journey progressed further with the arrival of foreign trained Indian architects. They brought with them ideas of modernism and thinking of Bauhaus rationalism. This movement further got expedited when the political patronage threw its weight behind rationalist thoughts over the Revivalist by inviting international Master of Modern Architecture to design on the Indian soil. Thus, this study is an effort to throw the light on the journey of Indian architecture from Swadeshi movement of 1930's to Rationalist Modern architecture immediately after independence.

RePLITO Digital Knowledge Archive, 2023

It may be no coincidence that both the redefinition of the societal role and influence of architects and an increased desire to effectively counter the ‘placelessness’ of a uniform global architecture are currently reviving an interest in the concept of critical regionalism. Initially, the term was more strongly associated with a postcolonial identity formation of young nation-states, in which a new generation of architects no longer simply ‘transferred’ modernist architecture to a wide variety of regional and climatic contexts, but sought to emphasize precisely a regional identity as a central feature of modern architecture. In today’s discussion of the concept of critical regionalism, the local scale and knowledge of specific building materials and techniques seem to come increasingly to the fore. Once again, however, it is not a matter of rejecting ‘global influences’ altogether but rather of finding a sensible balance that serves the respective context.

Oxford Bibliographies in Architecture, Planning and Preservation (New York: Oxford University Press, 2021), 2021

Indian architecture isone of the most famous in the world. Its architecture was based on the concept of religious plurality. One might notice that the architecture of Hindu, Buddhist, Islamic and colonial or Indo-saracenic were distinct. Based on these styles four historical eraswere classified i.e., the ancient Indian, pre-Islamic, and colonial periods. This article seeks to reassess the general perception of Indian Architecture and its relation to the formation of Indian identities. It focusses in particular on the interpretation of the concept of plurality n the academic world by western art-historians. The socioeconomic factorsplays determining role in defining the architectural styles of south Asia.

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