In "Towards a Critical Regionalism: Six points for an architecture of resistance", Frampton recalls Paul Ricoeur's "how to become modern

and to return to sources; how to revive an old, dormant civilization and take part in universal civilization". According to Frampton's proposal, critical regionalism should adopt modern architecture, critically, for its universal progressive qualities but at the same time value should be placed on the geographical context of the building. Emphasis, Frampton says, should be on topography, climate, light; on tectonic form rather than on scenography (i.e. painting theatrical scenery) and should be on the sense of touch rather than visual sense. Frampton draws on phenomenology for his argument.[2]

Alvar Aalto, Saynatsalo Town Hall (1952), Finland: the grass steps appeal to the tactile sense.

Two examples Frampton briefly discusses are Jrn Utzon and Alvar Aalto. In Frampton's view, Utzon's Bagsvrd Church (19736), near Copenhagen is a self-conscious synthesis between universal civilization and world culture. This is revealed by the rational, modular, neutral and economic, partly prefabricated concrete outer shell (i.e. universal civilization) versus the speciallydesigned, 'uneconomic', organic, reinforced concrete shell of the interior, signifying with its manipulation of light sacred space and 'multiple cross-cultural references', which Frampton sees no precedent for in Western culture, but rather in the Chinese pagoda roof (i.e. world culture). In the case of Aalto, Frampton discusses the red brick Syntsalo Town Hall (1952), where, he argues, there is a resistance to universal technology and vision which is effected by using the tactile qualities of the building's materials. He notes, for instance, feeling the contrast between the friction of the brick surface of the stairs and the springy wooden floor of the council chamber.

I "Mot en kritisk regionalism: Sex pong fr en arkitektur av motstnd" , minns Frampton Paul Ricoeur r "hur man blir moderna och g tillbaka till kllorna, hur teruppliva en gammal vilande civilisationen och delta i Universal civilisationen". Enligt Frampton: s frslag br kritiskt regionalism anta modern arkitektur, kritiskt fr sina universella progressiva egenskaper, men samtidigt vrdet skall placeras p den geografiska ramen fr byggnaden. Betoning, Frampton sger ska vara p topografi, klimat, ljus, p tektoniska form snarare n p scenografi (dvs. mlning teaterkulisser) och br vara p knseln snarare n visuell mening. Frampton bygger p fenomenologi fr hans argument. [ 2 ] Tv exempel Frampton kortfattat diskuteras Jrn Utzon och Alvar Aalto . I Frampton anser Utzons Bagsvrd kyrka r (1973-6), i nrheten av Kpenhamn en sjlvmedveten syntes mellan universella civilisationen och vrldskultur. Detta framgr av den rationella, modulr, neutral och ekonomiskt, dels prefabricerad betong yttre skalet (dvs universella civilisationen) jmfrt med specialdesignade "oekonomiskt", organisk, armerad betong skal av interiren, vilket innebr med sitt

manipulation av ljus helig plats och 'flera cross-kulturella referenser ", vilket Frampton ser inget prejudikat fr i den vsterlndska kulturen, utan snarare i den kinesiska pagoden taket (dvs. vrldskultur). I fallet med Aalto, diskuterar Frampton den rda tegel Syntsalo Town Hall (1952), dr han hvdar, finns det ett motstnd till allmn teknik och vision som sker med hjlp av taktila kvaliteter byggnadens material. Han konstaterar till exempel att knna kontrasten mellan friktion tegel ytan av trappan och fjdrande trgolv rdets kammaren.