2.1 THEORETICAL FRAMEWORK
2.1.4 Critical Regionalism
27 | P a g e We have four levels of connection to anything (or anybody): practical, material needs; a continuum relationship (history, memory, expectations); emotional connections; and something in the essence of the place, thing or situation that inspires – or rebuffs – us. This is just how we get to know a person: what they look like, their character-shaping biography, how it feels to be with them, and what inspires and motivates them.
Human relationships are not sustainable when one layer is missing. Likewise, places are compromised and project founder if they don't have this multi-dimensionality. (Day, 2002) According to Day (2002), people possess four types of attachment to anything: emotional connections, pragmatic material needs, inspirational connections – a 'spirit of a place', and a continuum relationship. These characteristics create a multi-dimensional place, of which would not prove to be as sustainable or successful if this layered attachment is absent of one or more of these characteristics.
A successful built environment design that is based on the principles of place-making is, in judgement of Jager (1983, 1985) and Seamon (1987), truly successful when it supports, enhances, and embodies group as well as individual humanness.
2.1.4 Critical Regionalism
28 | P a g e 2.1.4.2 Critical Regionalism Characteristics
Apart from aspiring to a form of independence of an economic, cultural, and political nature, Critical Regionalism has a deep inclination for realising an identity.
Frampton argues that Critical Regionalism is an agency of resistance going beyond conscious expression, accommodation and comfort. He considers it to resist the placeless, dehumanising movement referred to as 'modernism' (Eggener, 2002, Frampton, 1983a).
Critical Regionalism is characterised by considerations of elements such as natural light, indigenously inspired architectural elements or construction, and the design response to the topography opposed to be simply established on indigenous forms peculiar to a region (Frampton, 1983b).
Modernisation has a tendency to level a site to create an entirely flat datum of which an avant-garde construction can follow, of which economic benefits are the primary rationalisations. This however tends to ironically provide a platform for placelessness, whenever such a levelling opposes the natural terrain. In stark contrast, critical regionalism has a more direct connection with nature and specifically the topography. The same sight would be characterised with a terraced site, whilst being met with a building that engages with the site and steps along with it (Frampton, 1983b).
Critical regionalism diverges from the Western norm of focusing on the on the perspectival image of the environment. In contrast, attention is redirected to the tactile range of perception to add to peoples visual experience, in effect to strike a balance between the perspectival image and the tactile perceptions (Frampton, 1983b).
2.1.4.3 Concerns of Critical Regionalism
Within the last three centuries, regionalism has been a predominant architectural expression in almost all countries at a point in time. In the view of some theorists, regionalism has its shortcomings. Lefaivre and Tzonis (1981) attribute ambiguity to this architectural concept, citing that it is a chauvinistic and repressive tool, whilst on the other hand it is related to liberation and ameliorative campaigns. It is unclear however if their concerns refer to regionalism in its broad sense, or specifically to critical regionalism.
29 | P a g e It is evident through Frampton's frequent assertions in his writings that Critical Regionalism is commonly mistaken for a sentimental, a vernacular or a populist movement. He affirms this when he states that "unless such a distinction is made one will end by confusing the resistant capacity of Regionalism with the demagogic tendencies of Populism" (Frampton, 1983a; pg 149). It is quite ironic that it is characterised as a concept that seeks to preserve identity, whereas its own conceptual identity is at times unclear. Eggener (2002) justifies critical regionalism's complex definition and lack of uniformity in style, concluding that the concept 'of resistance' is not a product, but rather a process which varies in each individual circumstance.
Eggener (2002; pg 228) in support of his judgement, refers to the words of Mumford (1941) to expand on the definition of critical regionalism, and distinguish it from other concepts:
"Regionalism," […] "is not a matter of using the most available local material, or of copying some simple form of construction that our ancestors used, for want of anything better, a century or two ago. Regional forms are those which most closely meet the actual conditions of life and which most fully succeed in making a people feel at home in their environment: they do not merely utilise the soil but they reflect the current conditions of culture in the region (pg 120)."
2.1.4.4 Built Example
Frampton (1983b) considers Jørn Utzon's Bagsværd Church built in Copenhagen, Denmark in 1976 as an example of the implementation of critical regionalism principles. This work marries an unassuming modernist exterior with a distinctive interior. The plan, the economic construction technique of utilising precast walls with an in-situ frame, as well as elements such as patent glazing found on the roof, are in keeping with the universal modernist trends found elsewhere in the region and around the world. The interior becomes quite peculiar in contrast. Though reinforced concrete shell vaults have become established in modernist architecture, the vaults of the Bagsværd Church nave allude to an Eastern, oriental expression. Hence it signifies a multiplicity of cross-cultural associations whilst exuding symbolism of sacred space.
30 | P a g e Frampton further argues that the occlusion of regular sets of religious references renders a more secular space, appropriate for a secular age. It allows for the space to be more spiritual in nature. The distinct interior, though muted in connotations precludes a deviation towards an image of kitsch (Frampton, 1983b).
According to Shadar (2010) modern architecture literature is not lacking critical regionalist architecture examples showcasing the incorporation of local characteristics into modern techniques and global architecture. He feels however, that these cited projects possess a fundamental omission within the traits of local architecture: "the ability to change and adapt to the varying human and cultural conditions of the residents using them (pg 227)."
2.1.5 Social Cognitive Theory