Frampton: Modern Avant-Garde Architecture
of architecture which including history, identity, culture, prosperity or spirit of a city. Accordingly, to reach this process of the dialectics of nature, tradition, and modern avant-garde architecture, Frampton constituted a theoretical background representing critical regionalism. In addition to that critical regionalism adopts the principle of the tectonic reality and place in architecture. In other words, the architect should create the tectonic reality by using the physical dimensions of the site consisting of topography, climate; the sensual features consisting of light, heat, weather movements as well as the visual features and even the materials that are taken by the foreign resources as well as the local resources. For this, the integration …show more content…
Developing the sense of place on the site and providing the integration of voids underlie the emplacement with its traditional and modern features and integrate it within architectural spaces. Moreover, Frampton, in his “Seven Points for the Millennium: An Ultimately Manifesto” published in 1999, mentions the fusion of voids. The most significant part of designing an architectural project is to envision the design of inside and outside together rather than designing them separately. According to Frampton (1999, p. …show more content…
The building has a significant power to give meaning to the environment and the concrete things take form according to the situation of topography and landscape. Therefore, the interior and exterior voids on the site interact with each other. Like Norberg-Schulz, Abraham also thinks architecture with directions and horizontal-vertical rhythms. For Abraham (1996), the transformation of the topographical nature defined as the “conquest of the site” appears at the base of the ontological nature of architecture. In this situation, architecture that is an act appeals to these aspects of “collision” and “intervention”. In architectural design, a void is a compelling tool in order to understand any complicated solids. He thinks that an architectural response interferes with the archetypal position of the horizon where earth and heaven meet and this situation could be explained as the first act in the development of the sense of place and the creation of
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