aran016 "Six Points fran Avitectral Resistanc | Mehmet Beyaz
Mehmet Beyazli
An Architectural Blog
“Six Points for an Architectural Resistance “
| May 29, 2015May 29, 2015 i Mehmet Beyazh Arch222,
CriticalRegionalism, KennethFrampton
Kenneth Frampton
we} ) ||
(https://mbeyazli.files. wordpress.com/2015/05/52add1dee8e44e0f370000fd_kenneth-frampton-wins-
career-award-at-lisbon-triennale_1335989746 1335542247 frampton-530x795.jpg)Kenneth Frampton is a
British architecture and was born in 1930. He took his graduation at Guildford School of Art and the
Architectural Association School of Architecture, London. After a short period of working as an
architecture in London in the 1960s, he started to teach and write at Columbia University. Instead of
taking an active role in building, preferred to be in a theoretician side. Additionally, he studied about
history of architecture. Frampton’s works achieved tremendous success and also influence in
architectural education. In his works he aimed that create a better understanding of cultural identity,
contemporary demands, and the contextual features in architectural sense.
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Critical Regionalism
According to Frampton, with the light of his work “Towards a Critical Regionalism”, architects should
analyze local character and reinterpret it with contemporary terms, rather than adapting the traditions
directly. Also, architecture should not be captured by technology and history. In his most recent take on
“critical regionalism,” Kenneth Frampton revisits the dichotomy between center and periphery. It is not
the implied territorial divide that interest Frampton. At issue is how architecture could or should define
the periphery in contrast to the hegemonic architecture unfolding in the center. Frampton’ take is
centered on the ways that technological apparatus, under the auspices of capitalism, transform the cities
one-dimensionally.[1] Frampton starts the “Toward a Critical Regionalism” with an essay by a
philosopher Paul Ricoeur. According to Ricoeur, human culture's globalization, and the results of
getting monotype in terms of civilization caused loss of variety and traditional cultures which are the
main qualities for defining space. That fact gets more obvious in developing countries, as their aim to
building a better environment requires a critical balance between getting remoteness and the
qualification to participate in modem civilization.{2] “In order to get on to the road toward
modernization, is it necessary to jettison the old cultural past which has been the raison d’étre of a
nation? ... Whence the paradox: on the other hand, it has a root itself in the soil of its past, forge a
national spirit, and unfurl this spiritual and cultural revindication before the colonialist’s personality.
But in order to take part in moder civilization, it is necessary at the same time to take part in scientific
and political rationality. It is a fact every culture cannot sustain and absorb the shock of modern
civilization. There is the paradox: how to become modern and to return to sources; how to ret
dormant civilization and take part in universal civilization."[3]
ean old,
With the light of these quotation and Frampton’s thoughts, architecture should pay attention social value
and has to protect the meanings of the past and also combine it with the futuristic qualities. On the other
hand, Frampton underlines that the critical regionalism is not the same thing when compared to
vernacular architecture. "The climatic condition, culture, myth, and craft of a region are not to be
reduced to indigenous forms. Both ancient and modern cultures are not to the product of a single
heritage, but rather hybrids of several cultures found in region’s past. A global modernization continues
to reduce the relevance of agrarian-based culture, and our connection to past ways of life is broken, as
the presence of universal world culture overpowers regionalist tendencies. Therefore, regional culture
must not be taken for granted as automatically imposed by place but, rather, cultivated and presented
through the built environment.”[4]
Kenneth Frampton tries to explain his ideas, critical regionalism, with the Tadoa Ando's works.
According to Frampton, Ando’s definition of space, which is defined by basic geometric shapes, is
harmony with the environment and the place's cultural qualities. He prefers to use its concrete surface
instead of its mass to highlight its specific spaces which include shadows and bouncing light off surfaces
provided by these basic geometric forms.
ina
Ando uses these words about his work, Koshino House:
“Light changes expressions with time, I believe that the architectural materials do not end with wood
and concrete that have tangible forms but go beyond to include light and wind which appeals to the
senses... Details exist as the most important element in expressing identity... thus to me, the detail is an
hntpeimbeyae wordpress, com/2015)0528sixpoits-fo-er-architectura-resistancel 26aramo1e “Sx Pons or an Areitoctral Resistance | Mehmet Beyaz
element which achieves the physical composition of architecture, but at the same time is a generator of
an image of architecture” [5]
my f9dd3c85f_h lary
In Towards a Critical Regionalism: Six Points for an Architecture of Resistance, Frampton makes
architecture gain a new theoretical perspective which is about bringing back the actual components of
architecture such as topography, tactile, light, climate, tectonic etc. He compares six conceptual couples
with a critical language.
1. Culture and Civilization
‘As mentioned before Frampton has comments about effects of civilization in terms of cultural diversity.
Additionally, there is a huge role of technological improvements and the financial waves that limit the
scope of urban design in many ways. He claims that the architectural thoughts are divided into two
parts one is profits of technological predication on the product, and the other one is the provision of a
‘compensatory facade to cover the harsh realities of this universal system.
To Frampton, “Twenty years ago the dialectical interplay between civilization and culture still afforded
the possibility of maintaining some general control over the shape and significance of the urban fabric.
The two last decades, however, have radically transformed the metropolitan centers of the developed
world. What were still essentially 19""-century city fabrics in the early 1960's have since become
progressively overlaid by two symbiotic instruments of Megapolitan development rise and the
serpentine freeway. The former has finally come into its own as the prime device for realizing the
increased land value brought into being by the latter. The typical downtown which, up to twenty years
ago, still presented a mixture of residential stock with tertiary and secondary industry has now become
little more than a burolandschaft city-scape: the victory of universal civilization over locally inflected
culture.” [6]
2. The Rise and Fall of the Avant-Garde
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Frampton states that the movements in the architecture in the mid-19" century, with the starting of
industrial process and Neoclassic form, was the reaction to the tradition part to the modernization as the
Gothic Revival and the Arts-and-Crafts ideas take up a categorically negative attitude [7]
3. Critical Regionalism and World Culture
According to Frampton, “The fundamental strategy of Critical Regionalism is to mediate the impact of
universal civilization with elements derived indirectly from the peculiarities of a particular place. It is
clear from the above that Critical Regionalism depends upon maintaining a high level of critic self-
consciousness. It may find its governing inspiration in such things as the range and quality of the local
light, or in tectonic derived from a peculiar structural mode, or in the topography of a given site."{8]
4. The Resistance of the Place-Form
In architectural work, architects must study very well contextual features instead of acting it as a free
standing object. It should be adapted the characteristic of place. According to Frampton, the physical
space of region and the place where the communication between people are not the same things. When
applying critical regionalism to the design, architects should consider the idea that there is no limitation
of physical space and the characteristic of place cannot be consisted of an independent building. Spaces
may be created by enclosing however its borders should be the beginning of the place instead of its
ending. The spatial organization of a building should be solved in terms of its relation between exterior
qualification of place such as; its entrance, exits, and the circulation.{9]
5. Culture versus Nature: Topography, Context,
Climate, Light and Tectonic Form
According to Frampton, “Critical regionalism necessarily involves a more directly dialectic relation with
nature, more than abstract, formal traditions of modern avant-garde architecture allow.” [10]
Frampton is analyzing the necessity of these two element while creating an architectural structure that
associates local culture and the qualities of the landscape. While creating architectural structure on the
natural environment, both these two elements should be merged with each other in order to achieve
relationship between its concept, rather than a create a free standing object. The geographical
characteristics and the cultural legacy will be decisive in the ecology, climate, and the symbolic aspect of
place. That's the creating the “place-form” balance between natural environment and the cultural legacy
identifies societies.[11]
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6. The Visual versus the Tactile
According to Frampton, both visually and both the other senses’ experiences should take a part while
designing, That cooperation between the all senses makes architecture deeper and unique. This concept
supports the usage of all materials which target all senses and that will allow variable emotional
reactions.
To Frampton, “Critical Regionalism secks to complement our normative visual experience by
readdressing the tactile range of human perceptions. In so doing, it endeavors to balance the priority
accorded to the image and to counter the Western tendency to interpret the environment in exclusively
perspectival terms.”[12]
References
[1] Taken from http://www fusion-journal.com/issue/004-fusion-the-town-and-the-city/cr
regionalism-whatever-happened-to-autonomy/#_ednref2 (http://www. fusion-journal.com/issue/004-
fusion-the-town-and-the-city/critical-regionalism-whatever-happened-to-autonomy/#_ednref?
[2] Kenneth Frampton, Towards a Critical Regionalims:Six Points for an Architecture Resistance
[3] Paul Ricoeur, History and Truth
[4] Juan Carlos Orozco, A Comparative Analysis of Kenneth Frampton’s Critical Regionalism and William ].R
Curtis's Authentic Regionalism As a Means for Evaluating Two Houses by Mexican Architect Luis Barragan
{5] Kenneth Frampton, Modern Architecture a critical history
[6] Kenneth Frampton, Towards a Critical Regionalism: Six Points for an Architecture of Resistance
{Z| Kenneth Frampton, Towards a Critical Regionalism: Six Points for an Architecture of Resistance
[8] Kenneth Frampton, Towards a Critical Regionalism: Six Points for an Architecture of Resistance
{9] Kenneth Frampton, Ten Points on Architecture of Regionalism: A Provisional Polemic
[10] Kenneth Frampton, Towards a Critical Regionalism: Six Points for an Architecture of Resistance
[11] Kenneth Frampton, Ten Points on Architecture of Regionalism: A Provisional Polemic
[12] Kenneth Frampton, Towards a Critical Regionalism: Six Points for an Architecture of Resistance
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you make,
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