Critical Regionalism In Architecture

In the 1980s as a reaction to “...the pervasive erosion and deracination of particular cultures and places by the homogenising forces of modern commercial and technological development” (Curtis, 1986), a theory of critical regionalism was introduced by Alexander Tzonis and Liane Lefaivre. They defined critical regionalism as an architecture that simultaneously embraces the modern movement and respects the traditional architecture of the region.

The same term ‘critical regionalism’ was later described by Kenneth Frampton as an architecture that reconciles local culture and universal civilisation. He further stated that critical regionalism is not a meagre reproduction of local culture and neither is it a total inclusion of a universal civilisation

This allows for the mediation of architecture between the specific qualities of the local culture and the integration of the universal civilisation. According to Frampton, critical regionalism can be claimed to be indigenous to an extent that it invariably stresses certain site-specific factors ranging from the topography (considered as a three-dimensional atmosphere into which the structure is fitted) to the varying axis of local light across the sites. The idea of regionalism also contributes to establishing a strong sense of place, rootedness to place and may prove crucial in modelling the social structure, environmental awareness, and not forgetting the economic steadiness. In practice this creates an architecture that will remain relevant to the ever changing realities of the modern world. It is essential for an architecture rendered regionalist to takes into consideration the local materials and craftsmanship, this can be reflected in the methods employed as well as physical qualities and form of the architecture once it is constructed. Neither form nor material can evolve to fulfilment without the other; the two interrogate one another from the start and nurture one another into

While adjusting this symmetrical composition to suit the natural terrain, composition shifts were generated, these were intended to create spaces at the edges (marginal spaces). The continuous marginal spaces in the deeply shaded gaps surrounding each wing form the access to the individual units while simultaneously taking on the role of public spaces that were intended to foster interaction among the residents. The green area surrounding the entire perimeter of the building provides effective insulation and ventilation as well as acting as mediation ground between the building and the natural environment. The remarkable clustering of the buildings along the slope of the steep and rugged mountain is notably site specific.

While the Rokko Housing project focused on issues of terrain, the Festival Shopping Center in Okinawa focused on light. It was designed to obstruct light to produce a shade. The general design composition is that of a cube whose sides are 36 metres and follow the boundary of the site. The cube is made up of an exposed concrete frame standing eight floor high and the in filled partition walls are made of open concrete