CRITICAL

KENNETH
REGIONALISM
FRAMPTON

PRESENTED TO PRESENTED BY
ABDUL RAFEH
SIR IBRAHIM
70
CRITICAL REGIONALISM
• Critical Regionalism. A strategy for achieving
a more humane architecture in the face of
universally held abstractions.
• The term was seized upon by Frampton, who
argued that architects should seek regional
variations in their buildings instead of continuing
to design in a style of global uniformity using
‘consumerist iconography masquerading as
culture’, and should ‘mediate the impact’ of
universal civilization with themes drawn
indirectly from the individual ‘peculiarities of a
particular place’. 
POINTS OF RESISTANCE CRITICAL REGIONALISM

1.THE RISE AND FALL OF THE AVANT

GARDE
2.CRITICAL REGIONALISM AND WORLD
CULTURE
3.THE RESISTANCE OF THE PLACE-FORM
4.CULTURE VERSUS NATURE: TOPOGRAPHY,
CONTEXT, CLIMATE, LIGHT AND
TECTONIC FORM
5.THE VISUAL VERSUS TACTILE
CULTURE AND CIVILIZATION
In late twenty years an acroleic interplay came between
the civilization and culture which maintained the
importance of Urban Fabric. In last two decades the large
metropolitan centers of the developed world
transformed 19th century urban fabric. In 1960’s two
symbiotic instruments of megapolitan development rise
and the serpentine freeway. The victory of universal
civilization over locally materials inflected culture.
THE RISE & FALL OF AVANT-GARDE
• Gothic Revival and the Arts and Crafts ideas take up a categorically
negative attitude. In the last 19th century art novae took hold.
When futurism, purism, and constructivism movements came as a
reaction then it is clearly noticed that modernization will no more
be sleeked, simplified, and fine.
CRITICAL REGIONALISM AND WORLD CULTURE

The fundamental strategy of critical regionalism is mediate the

impact of universal civilization with elements derived indirectly
from the abnormality of particular place. It is clear that critical
regionalism means 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
abnormal structural mode, or in the topography of a given site.
CULTURE VERSUS NATURE: TOPOGRAPHY,
CONTEXT, CIMATE, LIGHT AND TECTONIC FORM

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 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 cultural legacy identifies societies.
THE VISUAL VERSUS THE TACTILE

•  According to Frampton, both visually and other senses

experiences should take part while designing. That cooperation
between the all sense makes architecture deeper and unique. This
concept supports usage of all materials which target all senses and
tat will allow variable emotional reactions. Frampton says, critical
regionalism seeks to complement our normal visual experience by
readdressing the tactile range of human perceptions. In doing so, it
endeavors to balance the priority accorded to the image and to
counter the western tendency to interpret the environment in
exclusive terms.
THE RESISTANCE OF THE PLACE-FORM

• The spatial organization of a building should be solved

in terms of its relation between exterior qualification of
placed such as its entrance, exits, and the circulation.
THANK YOU !