CHAPTER 3: PHENOMENOLOGY: SYMBIOTIC DESIGN FOR HUMAN NEEDS
3.3 A phenomenological approach to place theory
3.3.3 Rooting built form to place – A critical regionalist perspective
Places are qualitatively different from the space or landscape in that they are established within our memories through recurrent encounters and multifaceted relations (Seamon, 1986).
The term Critical Regionalism was initially coined by Alexander Tzonis and Liane Lefaivre in the early 1980s. Tzonis and Lefaivre identified that regionalist architecture is both ‘reactive,’
‘liberative,’ and criticizes a universal architectural order (Tzonis, A. and Lefaivre, 1991). The consideration of critical regionalism enhances a more responsive architecture by questioning the genius loci and the very essence of place (Dahl, 2016).
According to Kenneth Frampton, critical regionalism was thought of as a tool to mediate the conflict between universal civilization and the local cultures or ‘peculiarities of a particular place’ (Frampton, 1983). Taking inspiration from the phenomenological work of Heidegger, Frampton’s (1981) philosophies can be described as “the moods, emotions, and contextual layers of meaning to the act of perception.” (Mullgrave 2011, 101) Frampton’s understanding of Critical Regionalism can thereby be perceived as an ‘attitude’ instead of a ‘set of motifs’
(Moore, 2001).
Its principles are not to revive older vernacular forms of architecture but rather to question how humans can return to traditional design while still taking part in ‘universal civilization’ or modernization (Frampton 1981). Similarly, In the Thinking Hand: Existential and Embodied Wisdom in Architecture (2009), it is stated that the dialectic between modern and local techniques could allow for a more responsive architectural design (Pallasmaa, 2009).
Therefore, it is only in identifying the people, buildings, techniques, and materials within an area that the genius loci be appropriately captured. The basis for designing with a regionalist approach stems from architecture that reflects a specific place's identities and cultures (Frampton, 1983). Built intervention here serves to attempt to accentuate a sites' natural essence to uncover its meaning. (Kjerrgren, 2015). What is now present has been formed and therefore informed by the past. This importance of our history can be seen in The Shape of Green (2012), where it is implied that “architecture embodies humanity’s relationship to the earth.” (Hosey, 2012:118).
Critical regionalism formulates the foundation for bounding architecture to place (Frampton, 1983). “In terms of traditional societies and vernacular architecture, there appears to be solid
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evidence that people often consciously constructed human-made environments in tune with the natural site as well as lifeworld needs.” (Seamon, 1982: 131). Therefore, a place bound architecture will allow the built human-made world to respond directly to the natural world.
Critical Regionalism manifests more along the lines of sustainable, environmentally conscious architecture (Frampton, 1983).
In the Aesthetics of Architecture, (1979), Roger Scruton mentions that all built form begins in their vernacular style by responding to the climate and setting. Therefore, it is fundamental that architectural design is a truthful representation of the environment in which it exists. Although modern approaches may sway the material choice, ultimately, the building is dialect until the decorative styles are applied (Scruton, 1979).
Modern architecture has been portrayed as something that neglects or alienates occupants by producing generic, utilitarian buildings (Day, 2002). According to Pallasmaa, modern architecture can be seen as ‘ocularcentric,’ which is specified to be detached from social and mental associations (Pallasmaa, 2005:22). This perspective reinstates that the world is seen as a meaningless visual journey and not a sensory experience. Architecture thereby quantifies as the art of place-making in which we relate new places to the ones already there (Day, 2002:
10).
According to Peter Zumthor, to create the conception of place, resources, and materials that are ingrained in time and context are highly pertinent (Zumthor, 2010). Dahl correlates by adding that the use of materials in construction is essentially the connection between man, nature, and architectural design (Dahl, 2016). It is a well-known fact that materials should naturally adapt to environmental conditions throughout their use. The ability of adaptive use materials should be highlighted and celebrated through architecture (Dahl, 2016).
It is said in Touch this earth lightly (2001) that the use of materiality that fails to respond to the natural environment are considered ‘static’ and by no means bound to the context to provide place identity. (Murcutt, 2001). The preconceived notion is that buildings would conquer over time if they did not show any weathering attributes or deterioration (Weston, 2003). Therefore, the use of local materials intrinsically connects built-intervention to place by bringing out the genius loci of both the built and natural settings.
The materials implemented in construction should allow the building to be responsive and simultaneously “speak for themselves” (Semper cited in Weston, 2003:60). The use of
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materiality in built intervention for more authentically responsive environments will be explored further in Sustainability theory and the precedent studies.
3.4 Conclusion
The research of phenomenology and place have provided methods of analysing environments as a primary concern. This chapter focuses on developing consciousness of place, sensory experiences, and interactive environments that influence perception. Therefore, the theoretical framework proves useful in analysing the human-environment relationship and critically understanding the spirit of a place to producing a responsive design. Key findings included a double-sided approach to place theory by considering place as an entity on its own and place in relation to human experience. From here, the theory of sustainability will be explored to further understand the spirit of place and manifest theoretical framework into responsive design principles.
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CHAPTER 4: SUSTAINABILITY AS A MEANS FOR RESPONSIVE DESIGN