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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.
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.
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.
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...
This explains why for ‘many directors, commercial and industrial architecture are just a necessary shell for their business processes’ (Susanne-Knittel Ammerschuber (2006) pg10). They consider dimensions for example surfaces, floor levels and converted space to be the stand out feature of this corporate architecture. Through doing this, the architectural ethos is overlooked during design. The architectural potential is therefore limited as it tends to overlook the surrounding context; the urban environment, local identity as well as the surrounding landscape design. Instead it...
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.
Guangzhou Opera House is a recently completed building by Zaha Hadid Architects. The project is located in the Chinese city of Guangzhou, completed in 2010. The building’s extreme geometry and the spectacular interior have brought about international awareness and appreciations on its design. Followings are two articles that examine and critique the building. One is “L'auditorium asimmetrico (Asymmetrical Auditorium)”from the architecture journal “Abitare”. The other article is “Crazy Angles, Soaring Steel” by Thomas Lane from the architecture Journal “Building”.
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 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.
Solar Flare Studios. "Modern Architecture : International Style." Solar Flare Studios. Accessed April 22, 2014. http://www.solarflarestudios.com/demosites/architecture/international.htm.
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).
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.
First it uncovers how colonisers use architecture as a tool to enforce new social, cultural and political directions in order to continue controlling the colonised substances. This aspect can be observed in colonial cities where the coloniser uses the city “as the spatial materialisation of the ‘civilising mission’, while simultaneously representing the violence of colonisation.” (Hernandez, 2010) By assuming that colonised people are uneducated and in need of learning the European norms and habits which includes living in European fashioned cities, instantaneously the new spatial orders such as orthogonal grids lead onto keeping the colonial leaders in the city’s core and push the locals away from them, either outside the city walls or at the periphery areas of the town. Second it analysis the way history of Architecture has been written to grant authority to the European Architecture. This effect can be easily observed in architectural history books, up until lately, showing non-western architecture as elite architecture only if they are made similar to European style with aspects equivalent to them, works of architects such as Brazilian Oscar Niemeyer, Indian Balkrishna Doshi or Malaysian Ken Yeang that show great amount of European styled
Recent years have been challenging for the whole country and particularly for the construction sector and the architectural profession. Challenging times do however, afford the opportunity for reflection and debate about what is provided and delivered by the architectural profession.
However, architecture is not just the future, after all, buildings are intended to be viewed, traversed and lived by us, people. Despite this, many architects today rarely think deeply about human nature, disregarding their main subject matter in favour for efficiency and an architecture of spectacle. In this there seems to be a misconception that underlies much of architecture, that is, human’s relationship with the city, the building and nature. In much of today’s architecture, people are treated with as much concern much as we treat cars, purely mechanically. The post-modern search for the ‘new’ and ‘novel’ has come to disregard the profound affect design has on our lives, impacting our senses, shaping our psyche and disposition.