on critical regionalism
In order to discuss the strategies of Critical Regionalism, it is pertinent to first scrutinize the short-comings of universal civilization. Universal civilization, or global modernization, in its efforts to raise cultures from ‘undeveloped’ to ‘developed’ status, effectively nullifies the intrinsic specificities of the affected culture. The unique and region-specific identity previously held by the culture is replaced with a mundane, ubiquitous ‘identity’ that, for the sake of simplicity and efficiency in the ‘means to an end’ methodology, is installed in every other culture that modernization impacts. The resultant is an environment without a sense of place.
Critical Regionalism is founded on resisting the impact of universal civilization by means of adhering to a stringent self-consciousness that implores the architect to recognize and offer recourse to the ever-growing presence of universal civilization; but perhaps just as importantly, the architect is to comprehend and consider the ‘peculiarities of a particular place.’ That is to say that the architect should look for inspiration in the context-specific conditions such as topography, light, and tectonics. This ideology stands in stark opposition to the one-size-fits-all approach of universal civilization as it seeks to incorporate the very elements of the site that give the place its identity. Critical Regionalism offers a solution to the predicament presented by Ricoeur at the beginning of the essay: ’There is a paradox: how to become modern and to return to sources; how to revive an old, dormant civilization and take part in universal civilization.’ (16) However, Frampton recognizes the inevitability of interaction with universal civilization, and through the lens of Critical Regionalism, proposes a conciliatory compromise rooted in self-conscious design decisions. His suggestion: a coexistence of the normative techniques found in universal civilization and the peculiarities to a given culture. Citing the Bagsvaerd Church near Copehagen as an example, Frampton argues that the ‘desacralization at Bagsvaerd subtly reconstitutes a renewed basis for the spiritual, one founded, I would argue, in a regional reaffirmation - grounds, at least, for some form of collective spirituality.’ (Frampton, 23)
Bagsvaerd Church. Denmark.
Stone walkway, composed of stones salvaged from local buildings. Athens.
Critical Regionalism is founded on resisting the impact of universal civilization by means of adhering to a stringent self-consciousness that implores the architect to recognize and offer recourse to the ever-growing presence of universal civilization; but perhaps just as importantly, the architect is to comprehend and consider the ‘peculiarities of a particular place.’ That is to say that the architect should look for inspiration in the context-specific conditions such as topography, light, and tectonics. This ideology stands in stark opposition to the one-size-fits-all approach of universal civilization as it seeks to incorporate the very elements of the site that give the place its identity. Critical Regionalism offers a solution to the predicament presented by Ricoeur at the beginning of the essay: ’There is a paradox: how to become modern and to return to sources; how to revive an old, dormant civilization and take part in universal civilization.’ (16) However, Frampton recognizes the inevitability of interaction with universal civilization, and through the lens of Critical Regionalism, proposes a conciliatory compromise rooted in self-conscious design decisions. His suggestion: a coexistence of the normative techniques found in universal civilization and the peculiarities to a given culture. Citing the Bagsvaerd Church near Copehagen as an example, Frampton argues that the ‘desacralization at Bagsvaerd subtly reconstitutes a renewed basis for the spiritual, one founded, I would argue, in a regional reaffirmation - grounds, at least, for some form of collective spirituality.’ (Frampton, 23)
Bagsvaerd Church. Denmark.
Stone walkway, composed of stones salvaged from local buildings. Athens.
I agree with this compromise suggested by Frampton "a coexistence of the normative techniques found in universal civilization and the peculiarities to a given culture." I think we as architects have a responsibility to use the available technology to our advantage in order to progress society and produce the best, most efficient buildings possible. However, I believe these techniques can and should be used in tandem with the sense of place or site specific techniques that critical regionalism projects work to create.
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