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Critical Regionalism in architecture
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Culturally relevant buildings are becoming harder and harder to find throughout the world. Like most countries, South Africa has not escaped the persistent commercialism of the Western world. “Critical Regionalism is the approach to architecture that strives to counter placessness and lack of meaning in Modern Architecture by using contextual forces to give a sense of place and meaning “(Frampton 1983:92).It also looks to balance and inter link the goal of having local and global architecture influences in a building.
“Teaching and making architecture cannot be based on the black box principle, because every new design triggers an original new solution” (Fawcett, 1985:17). The development and recreation of architecture reinforces this statement as one could say that architectural movements evolve and change periodically due to architects finding and exploring new ideas and culture; leaving architectural styles either Avant-garde or not looked upon. Frampton explained how that our Modern Critical Regional Architecture can be put into under Six points .These Six points may come across as a practical way of evaluating ones architectural typology and fitting in to a country. At the same time it restructures the architects way of thinking and giving back to the cultural roots of the land not just an International Movement that the building is built with. In this essay I will choose four out of the six points written by Frampton and discuss them in depth through a critical study of the FNB Stadium, which is situated in the South West of Johannesburg; South Africa. These four points will enable me to decide critically if the building is designed well to be label a critical regionalism building.
The FNB Stadium which is widely regarded as...
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...have a local tie and design for the local atmospheric conditions.
The stadium is an architectural responsive design to climatic constraints, the permanent gapping in the roof means that the design of a hot climatic country was taken into consideration whereas if this stadium was in England it would have a roof design as the weather is generally cold and rainy.
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The FNB Stadium advocated an inclusive architecture that combined ‘Visual versus Tactile’; ‘Culture versus Nature’, ‘Resistance of place and form’ and Culture and Civilisation’. The FNB Stadium successfully achieved the core concepts of Critical Regionalism, there is strong cultural aspects integrated into the design. It is not just a stadium or structure in Johannesburg, it is a structure that has meaning, and careful thinking was put into the execution of the design, look and feel of the stadium.
Using the quote by Habermas as a starting point, select up to two buildings designed in the twentieth century and examine what ‘sudden, shocking encounters’ they have encountered, or created. Analyse the building’s meanings as a demonstration of an avant-garde, or potentially arriere-garde, position.
Throughout history, architecture has been employed in the service of politics, as symbols of the state. Architecture is therefore shaped by the national traditions in the pursuit of projects of identity, modernity, power, and prestige. A building is not merely a walled structure, but a metaphor for national ideology as it embodies the civic life of the citizens that it houses, as well as the ideals of the nation within which it resides. This paper will explore three varying architectural periods and examine the interaction between nationalism and the building styles that developed either as a means to express it.
But these contrived differences give rise to esthetic difficulties too. Because inherent differences—those that come from genuinely differing uses—are lacking among the buildings and their settings, the contrivances repre...
Q: Use St Peter’s basilica and Donato Bramante’s Tempietto in Rome, in opposition to John Balthasar Neumann’s Pilgrimage Church of Vierzehnheiligen in Bamburg, Germany, to argue that a rational engagement with architecture is a more effective means to comprehend and understand architectural form.
In conclusion, the debate between aesthetics and functionalism has been around for a long time. It becomes clear however, through research, that the first thing architects consider is function, and then aesthetics. It is because of this approach that aesthetics becomes somewhat of a by-product of the whole design process. By looking at examples of various buildings, it is apparent that aesthetics is important to structure and in many instances has been successfully coupled with function. But in no circumstance should aesthetics take precedence over the function and practicality of a building. It seems more likely that a happy medium between function and aesthetics can be reached, on a project by project basis, and then applied to the design process of creating the building.
Commercial architecture does it respond to the identity surrounding it? Or does it merely respond to the conditions of Globalization? In order to answer the question above, in the following written piece I must explore the key elements of globalization and identity. I intend to relate both factors to commercial architecture, using the Hilton Tower in Manchester as a prime example. This written piece will effectively be split into two parts (Globalization and Identity).
In order to create innovative public architecture, considered to be the most civic, costly, time intensive and physical of the arts, the project holds a degree of risk, strife, and negotiation . Overcoming these tasks and creating worthy public architecture is a challenge designers try to accomplish, but are rarely successful. The people involved in a potential public building, can be larger than the building itself. Public architecture tries to please all, even the doubters and critics, but because of the all these factors, a building is closer to failing than succeeding.
Sometimes the best revolutions are those that are forgotten. At least in the short run. And so it is with Robert Venturi, a revolutionary and remarkable architect. While he may not be as celebrated as Frank Lloyd Wright, Ludwig Mies van der Rohe, or Louis Kahn, Venturi leaves behind a forceful intellectual legacy that is perhaps more durable than any building. By condemning the functionalism, simplicity, and orthodoxy of modernism in Contradiction and Complexity in Architecture (1966), he instigated an enduring architectural rebellion. This rebellion continues to run its course today. Notably, Venturi’s ideas sparked and profoundly influenced postmodernism, an international style whose buildings span from the beautiful to the gaudy and vulgar. Ultimately, Venturi’s alternative to modernism succeeded because he prized human experience and the interaction of individuals with architectural forms over a rigid, doctrinaire ideology.
The definition of critical regionalism is a direct approach to architecture that strives to oppose ‘placelessness’ and the apparent lack of identity and character in modern architecture through the use of building's geographical context. The term ‘critical regionalism’ was first established as a concept in the 1980s through papers written by Tzonis, Lefaivre and Kenneth Frampton. Throughout Frampton’s writings he mentions and somewhat commemorates Tadao Ando as a critical regionalist and uses the specific advance as a theory to discuss Ando’s architecture (Frampton, 1983).
The essence of modern architecture lays in a remarkable strives to reconcile the core principles of architectural design with rapid technological advancement and the modernization of society. However, it took “the form of numerous movements, schools of design, and architectural styles, some in tension with one another, and often equally defying such classification, to establish modernism as a distinctive architectural movement” (Robinson and Foell). Although, the narrower concept of modernism in architecture is broadly characterized by simplification of form and subtraction of ornament from the structure and theme of the building, meaning that the result of design should derive directly from its purpose; the visual expression of the structure, particularly the visual importance of the horizontal and vertical lines typical for the International Style modernism, the use of industrially-produced materials and adaptation of the machine aesthetic, as well as the truth to materials concept, meaning that the true nat...
The author explains architecture as an identification of place. Architecture starts with establishing a place. We define ‘place’ as a layout of architectural elements that seem to accommodate, or offer the possibility of accommodation to, a person, an activity, a mood, etc. We identify a sofa as a place to sit and relax, and a kitchen as a place to cook food. Architecture is about identifying and organizing ‘places’ for human use.
Renzo stated in an interview, “Architecture is about exploring. Culturally, historically, psychologically, anthropologically, and topographically, every job is different.” Renzo is particularly well known for adapting designs to their location. He later went on to say “(architecture) should make a contribution to the contex. … you must employ a homeopathic process, ... you can easily destroy their (cities) subtle dynamics” (Archinect, 2006).
In developing this contemporary and iconic building, the design focuses on practical attributes and optimises energy efficiency. The design strategy encapsulates four key aspects:
The book as a description of modern architecture, its styles and influence succeeds but falls short as a prescriptive methodology. His work is still recalled for the need by modernists to categorize everything into neat little boxes, not necessarily for the sake of uniformity, but for sake of some ambiguity. The ambiguity may be the triumph of this book as post modern architecture era is supposed to create more questions than the answers.
An important aspect of Critical Regionalism is that the occupants of the building should experience the local climatic conditions as well as the response to the nature of the landscape sensitively and thoughtfully. In my view, I think that each of these architects has achieved this aspect in whatever environment they worked with. In conclusion, I think that these international and regional architects have reached an interaction that contributes to the symbolic and iconic architecture that suggests new formal possibilities.