Kenneth Frampton: Towards a Critical Regionalism - Six Points for an Architecture of resistance (1983)

Fig1 shows what critical regionalism strives to eliminate. Left to right: Placelessness, Lack of identity and Ornamentation
Collage credit: Aashika Shibu

Critical regionalism is an approach towards architecture that strives to counter the placelessness and lack of identity of the International style, but also rejects the ornamentation of Postmodern architecture (Fig1).

It follows a progressive approach that tries to mediate between the contemporary and vernacular languages thereby taking the geographical and cultural aspect into consideration. In the article, he claims that modern architecture is moving towards a civilization that is controlled by technology. He believes that urban form has become limited by universal building practices and methods which are driven to form by the iconic symbols of modern culture, the highway and the skyscraper. In a similar context, it could be considered in the same line as Eisenman's argument where he believes that modern architecture is a mere imitation of "known" objects from the Classical and Modernist era. Frampton also says that ideals of the past are not to be repeated due to the loss in its intrinsic value (Fig2). Avant Garde of the past remains a history. While Eisenman suggested Post-Functionalism as a solution to this dilemma, Frampton suggested Critical Regionalism; which he describes as, “mediating the impact of universal civilization with elements derived indirectly from the peculiarities or a particular place.” 

Fig2 shows how the inherent value of art (Villa Savoye) is lost through Avant Garde
Collage credit: Aashika Shibu

Fig3 shows modernist approach towards mass production
Radiant City
Photo credit: http://outlaw-urbanist.com/viewpoint-theory-perfect/radiant-city/

The main aim for Frampton's Critical Regionalism is to find a middle ground between Modernism and Post Modernism thereby indicating traces of culture and traditions through designs and materials in a meaningful manner. In "Towards a Critical Regionalism", he talks about six points of architecture for universalization. Firstly, he highlights how Modernism favors flat topography and climatic control as they seem quick and efficient for mass production (Fig3). Essentially, the use of these technology has made the architecture less "place-conscious"; thereby blurring the relation between culture and nature.

Fig4 shows how arrangement of windows affect perception
Unite d'habitation, Le Corbusier
Photo credit: http://www.bbc.com/culture/story/20130423

Secondly, he acknowledges that "fenestration" is a key element as it acts as a mediator between the inside and outside (Fig4). Nevertheless, it seems that this boundary needs to be blurred  to an extend where the interior qualities reckon with the surroundings. 

                                                                                     

Fig5 shows the lighting conditions by Louis Kahn
Kimbell Art Museum
Photo credit: https://www.flickr.com/photos/scottnorsworthy/10810483164

Thirdly, he talks about how artificial lightings have been overused and confines humans to a space that shuts off their senses to the surroundings. The key word is direct sun exposure. Many architects have used skylights to illuminate an interior. Louis Khan is well known for his Skylight design in the Kimball Art Museum. In his design he was able to incorporate skylights that allowed indirect natural light in; the skylights redirect the light so that the light be casted along the walls, never directly to an art piece. Kenneth Frampton makes the argument that it is important that one allows natural light into a space for the light will change depending on time, season, and even humidity. This means at different times of a day, or season, an art piece will look and feel different. This allows an interaction with natural and allowing it to supplement the art work.

Fig6 shows main characteristics of Critical Regionalism
 The Hedmark Cathedral Museum,Norway, 1979 
Photo credit: pritzkerprize.com

In conclusion, a building, therefore, might be classified as an example of critical regionalism if it (Fig6):

• Has the qualities of modern architecture without its placeless reductionism
• Follows the site’s topography
• Maximizes the use of natural light
• Enhances perceptive and kinesthetic experience

Fig7 shows how spaces with a single source of light affect
the activities in these spaces
Nagakin Capsule Tower, Tokyo
Photo credit: http://archeyes.com/nakagin-capsule-tower-kisho-kurokawa/

Taking example of a house being partitioned into many rooms, some of it has no windows and almost all of them are equipped with a single opening or fluorescent light in the room with air conditioners. The occupants are forced to carry out their daily activities in such claustrophobic confined place like that in metabolist housing (Fig5). Having some thinking process, I have been wondering whether we still care about the quality of living and whether architects or designers are taking initiatives to design spaces to meet users comfort. Le Corbusier believes that there is an idealistic living form for humans and hence created a template in the modernism movement; that is, form follows function and he was not wrong in producing functional and responsive spaces. However, in my opinion, style and forms in architecture can be developed in many ways as years go on and it cannot stick to the past but we can only learn from it (The"Eisenmanian" conclusion). However, without nature, context, culture or a trigger in human sense as proposed in critical regionalism, a building cannot function ideally.