Thoughtful Interpretation

I really enjoyed this weeks lecture and readings on the topic of Critical Regionalism. During the lecture David mentioned that this movement is really expressed in the shared ethos of the faculty and the program of Clemson's school of architecture. As a student who has attended Clemson for the full 4+2 program, it is very clear that this is the case and I can see how my own preferences have developed from this perspective. 

Based on my understanding thus far, approaching architecture and urban design through the "critical regionalist" lens begins first and foremost with an unapologetic acknowledgement that what is being created is of this time and should be appropriately deemed contemporary. Something that is designed for the functions, programs, lifestyles, and experiences of today. Additionally, something that is fully accepting of the integration of technology, systems, construction, and practices of today. Then, this lens also involves sensibly expressing a thoughtful interpretation of the multiplicities of contextual factors which define a site or a place. This mean engaging with the endless combinations of possible characteristics which define a specific place and may relate it to another or make it entirely unique. It does not mean simply the direct recreating or re-telling of these characteristics in a way that can be compared to "cheap imitation". Although it was not mentioned in the lecture, I immediately think of the renowned 20th century Italian architect Carlo Scarpa. Although he sort of preceded the movement is it not difficult to see how he falls into the movement sort of post facto. As mentioned in some of the readings his work is without a doubt abstract modernist architecture that is focused on ideal forms and geometries. However, his work is deeply rooted and expressive of the context of the historic Veneto craftsmanship. local materials, local culture, etc. His works often interact with and develop a complex dialogue with historic structures that are adjacent. This complexity begins to ask questions about the relationship between the old and the new as well as  reveal the experiences of its locality. 




Comments

  1. I agree. And what separates Scarpa's work is its engagement with context. His geometric explorations would not be as effective on their own. They need the background of time and layers of different tectonics to be understood.

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  2. What a great pull. Castelvecchio and Tomba Brion immediately come to mind as great examples of a modern response to a historical context, the former moving in tandem with the grandiosity of the Venetian castle, and the latter submitting to the gentleness and tranquility of a more somber landscape. Yet both retain the proportion and abstraction of its cultural context.

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