Manifesto ebook by zichunwang

TWENTY-FIRST CENTURY ARCHITECTURE

RETHINK CRITICAL REGIONALISM : CULTURE HERITAGE AND DEVELOPMENT

ZICHUN WANG 1228962

Chongqing, China， 2020

https://www.reddit.com/r/pics/comments/ jfcx08/chongqing_china/

The term “Critical Regionalism” was first introduced by Alexander Tzonis and Liane Lefaivre in their article The Grid and The Pathway in 1981. Afterwards, Kenneth Frampton published his famous Towards a Critical Regionalism: Six Points for an Architecture of Resistance in 1983. From then on, Critical Regionalism became one of the most famous architectural theories that notably influenced architectural practice and education. By obtaining both modern and vernacular architectural quality, Critical Regionalism intends to highlight local identities to resist the “placelessness” created by the expansion of internationalism without falling into traditionalism or representational postmodernism. [1] Although there are multiple accounts of Critical Regionalism, Frampton’s interpretation remains dominant. Frampton

is not interested in sentimental architecture. [2] He promotes conceptual aspects at a high level of professional aesthetics, such as topography, climate, light and tectonic forms, instead of the ocularcentrism experience. However, as Emma Waterton and Steve Watson said: “......the power of representation lies with few, yet the subjective response is owned by many.”[3] If references to vernacular aspects are too vague and modernized; the design thinking is overly detached from the general public and difficult to understand, is Critical Regionalism architecture still offering identity to the place? Is the identity a proper response to the place, or is it just the architect’s wishful thinking?

“You cannot simply put something new into a place. You have to absorb what you see around you, what exists on the land, and then use that knowledge along with contemporary thinking to interpret what you see.” ---- TADAO ANDO

Emphasis on local identity under contemporary strategies is the key concept for Critical Regionalism. Understanding the definition of region and its components is crucial. It appears that Vitruvius’ De Re Architectura is the one that introduced the very concept of “regional” to buildings. It was believed that natural causes and human rationality were to determine the form of the building. At that time, “regional architecture” represented a particular type shaped by “specific external and internal physical constraints.”[4]

Oval House, by Tadao Ando, 2017

https://www.ronenbekerman.com/showcase/ tadao-ando-oval-house-by-ricardo/form-42entry-23943-fileupload-1/

In the meantime, as discussed by Ingy El Zeini, identities could also be regarded as meanings derived from subjective perceptions, which are made of history, collective memory, culture and religious revelations. “Individuals are the ones who perceive identities according to social determinations and cultural projections that are rooted in their social structure.”[5] Therefore, responding to only one aspect is in-comprehensive to produce a sense of belonging and identity. Clear and more understandable references to history

R E T H I N K C R I T I C A L

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and culture are equally crucial to the attention to objective conditions.Visual culture is an essential medium to help interpret and form communications between past and present, and it is an “active agent” in representation and subjective response.[6] Unfortunately, the power of visual sense is often overlooked or underestimated in current Critical Regionalism practices. However, attention to visual culture is different from copying traditional styles. The idea of critical thinking originated from western philosophy. Any critical approach requires a unique understanding of the relationship between history and the present.[7] Despite the lack of local identity issues, there is no denying that modernism positively impacted human lives. The needs and accessibility to materials and new technologies have changed. The advantage of Critical Regionalism compared to Regionalism is that it rejects historicism and intends to connect the vernacular style with the global style instead of merely resist it.[8] It is unreasonable to seek traditionalism or

copy the exact pattern of historical buildings. It is the core that matters. The core decides where the thinking starts and how modernism and vernacular aspects can be combined. Current Critical Regionalism intends to produce modernist products compatible with local languages, but the core of the outcomes is still internationalism. Therefore, instead of having modernism vernacularized, Critical Regionalism architecture that connects to local culture and can consistently provide “identity” to the place should be “modernized vernacular architecture”. Critical Regionalism is not only criticizing internationalism but also self-critique. It is not a “looking back” of modernism but a “looking forward” of vernacular architecture. Critical Regionalism can be regarded as an inheritance and development of culture and tradition to connect past and present, region and global, to continue the spirit of tradition while embracing the modernist beauty. This way, the visual culture can be subtly achieved, and references to regional aspects can also be more evident and understandable.

From macro aspects such as form and spatial compositions, to details such as materiality, colour, decoration and special expressions, local culture can be referenced throughout the building. Yet, the reference does not need to be a full-set, even a single aspect can be efficient. Among those aspects, form is always the most intuitive. Unlike other design disciplines, architecture has exceptional “sculptural quality”, as the shape usually builds the first expression. Many buildings worldwide have been regarded as the symbol of the city or country. When they are understood as symbols, the practical purpose becomes unimportant to the public; the form is the only thing they recognize. Generally, the form can get reference from three aspects: traditional architecture, spiritual representations and landscape. World’s Fair, also known as World Expo, are important international events for cultural communications and a mega party for architecture. All pavilions are carefully designed with the heart of cultural expression.

Figure1 Japan Pavilion, by Tadao Ando, 1989-1992. Photograph by Duccio Malagamba

https://arquitecturaviva.com/ works/pabellon-de-japon-expo92-sevilla

Tadao Ando designed the Japan Pavilion for the 1992 Expo held in Seville (Fig.1). It is a highly refined example of the unification of the traditional culture of Japan and modern technology. In the centre of the building, there is a vast space where several glue-laminated timber columns and beams support the roof.[9] The crossing timber beams that form the top refer to an important structural and ornamental component in traditional architecture, which is originated in China, called “Dou Gong”, and learned by the Japanese since the Asuka period (538-710AD). China Pavilion in 2010 Shanghai Expo (Fig.2) refers to the same component but in the overall form instead of supporting structures.

Figure 2 China Pavilion 2010, Shanghai, China

http://www.gov.cn/ztzl/shsbh content_875854.htm

https://www.archdaily.cn/ cn/886376/2020nian-di-bai-shi-bo-hui-alian-qiu-guan-po-tu-dong-gong Figure 3 UAE Pavilion, 2020, Duabi

On the other hand, the UAE Pavilion in Dubai 2020 Expo (Fig.3) represents the spiritual heritage of their culture. The pavilion is designed like a giant wing holding the centre space, highlighting the importance of the falcon in their culture. Furthermore, Chinese architect Wang Shu’s building form references the landscape views by tracing the mountain trend as a two-dimensional form to build his roofs, such as the Wa Shan Guesthouse in Xiangshan (Fig.4). The house is not only in the mountain, but itself is the mountain. In those cases for instance, form is the most direct expression of architecture, unlike other aspects that depends on individual experience, it is objective and evident, and can be observed by everyone.

Figure 4 Washan Guesthouse by Wang Shu Photograph by Francesco Pagliari, 2014

https://www.theplan.it/eng/ magazine/2014/the-plan-073-04-2014/ guesthouse-wa-shan

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Figure 5 Siheyuan by Jia Jun, 2009

https://www.semanticscholar.org/paper/ CHINESE-SIHEYUAN-ARCHITECTURE%3A-Transformation-of-Tratsiakovich/ d81df5cfc3972380be87d0b83214b2b17419622a

Except for the exterior form, the interior spatial composition is another critical aspect. The form of the buildings gives the first expression. The interior, on the other hand, provides experiences. Space layouts often resonate with social structure, living habits and philosophy. It is much more flexible and changeable than the building form. Although some classical layouts, such as Chinese Siheyuan (Fig.5), might not be suitable to apply to contemporary architecture over time, we can still extract the essence from its spatial composition and interpret it in modern ways.

Figure 6 Katsura Imperial Villa Floor plan

Courtyards and verandas have an irreplaceable position in traditional Japanese architecture, especially in residential buildings such as the Katsura Imperial Villa (Fig.6). The veranda is for circulation and a critical ‘in-between space’ connecting interior rooms and the garden. The study of those two components is prevalent in contemporary architecture practice.

http://hiddenarchitecture.net/ villa-katsura/

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For example, Tomohiro Hata Architect and Associates expressed their creative understanding of the veranda and its relationship to the courtyard in the Loop Terrace House (Fig.7) they designed in 2018. They developed a special relationship between inside and outside by having three-dimensional circular veranda-like spaces around the central courtyard. The interpretation and project type can be varied, but the philosophy of connection between humans and nature inside and outside is consistent. Likewise, the spatial composition can also get inspiration from other cultural resources such as painting and literature. Literature carries the essence of local culture as documentation of the past and enlightenment of the future. Wang Shu studies traditional Chinese landscape paintings to design his building form and refers to ancient poems for

an exceptional experience. When introducing the Fuyang Cultural Complex (Fig.8), he mentioned an ancient poem called Written on the Wall at West Forest Temple written by Su Shi. The poem perfectly describes the experience of walking inside the complicated level differences of the complex: “Why can’t I tell the true shape of Lushan? Because I myself am in the mountain.”[10] It might take time for people to realize the relationship between Wang Shu’s work and traditional painting. However, as this poem is remarkably famous, everyone knows it will understand the experience immediately.

https://www.linkedin.com/pulse/ fuyong-cultural-complex-line-betweentraditional-mayank-chourasiya

https://www.archdaily.com/922093/loopterrace-house-tomohiro-hata-architectand-associates?ad_source=search&ad_ medium=projects_tab

Figure 8 Fuyang Cultural Complex, by Wang Shu

Figure 7 Loop Terrace House by Tomohiro Hata Architect and Associates, 2018 Photograph by Toshiyuki Yano

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Figure 9 Fuyang Cultural Complex, by Wang Shu

https://www.architecturalrecord.com/ articles/12473-huang-gongwangmuseum-by-amateur-architecture-studio

Other vital things aside from macro aspects of the building are design details such as materiality, decoration, colour and creative expressions. Different details can be combined to create a better visual experience. Some of them are even inseparable, such as material and colour. Materiality is one of the essential aspects of current Critical Regionalism. It aims to let the building fuse with the environment using local materials. For example, while designing the Fuyang Complex, Wang Shu made use of different materials, patterns, and colour achieved “arbitrary changes” that gives the expression of the sunset (Fig.9). He said: “Materiality in architecture is not merely about the materials. Being adaptive to suit different situations is the key.”[11]

Figure 10 Korrie Heritage Trust, by Greenaway Architects, 2016. Photograph by Peter Bennetts

Every region has their unique plants, landscape views and decorations. Although Critical Regionalism against the postmodernist transformation into scenography, decorations such as painted walls still keep their intuitive power of expression. The Melbourne Koorie Heritage Trust (Fig.10), designed by Greenaway Architects, is full of the applications of connection to the indigenous culture through materiality, colour and decoration. The colour of the walls and floors are carefully chosen to show connections to the landscape view, and it also has a decorated column that imitates tree textures. Not only architectural aspects but also the details of the furniture inside the space refer to indigenous culture in terms of their shape, colour and material.

https://www.greenawayarchitects.com. au/koorie-heritage-trust

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Figure 11 The Theater of the world, by Aldo Rossi, 1979, Venice, Italy

https://en.wikiarquitectura.com/building/ theater-of-the-world-in-venice/

Some cultural references can not be easily categorized. Like Wang Shu’s reference to ancient poems, Tadao Ando’s interest in light and shadow comes from the influence of the famous Japanese writer Junichiro Tanizaki’s philosophy of shadow.[12] Architects’ manipulation of atmosphere and other intangible aspects can also be perceivable to locals based on their perceptions and philosophical cultural sensitivity built inside their minds.

In the meantime, people’s perception is not limited to their culture. It also includes other places around the world. Landscapes, particular species and the city’s style can also resonate with people’s knowledge of a particular place. The Theater of the World in Venice, designed by Aldo Rossi for the 1980 Venice Biennale (Fig.11) is an ideal example. The fact that it is floating on the river, and the colourful exterior, makes this building resonate with the style of Venice city and its canals, which are the first few things that come to mind when mentioning Venice (Fig.12).

Figure 12 Venice, Italy

https://www.mustgo.com/destination/ europe/italy/venice/

Although Critical Regionalism is often used and understood in political or ideological ways, “the boundaries of a region never have the juridical, insulating force of other kinds of governmental division. Regions never have flags.”[13] It is the culture that matters. As architects, architecture is our language to communicate. We can make architecture more readable and understandable to influence people’s sense of belonging. Not modernism compatible with the region, but a modern development of regional architecture. Critical Regionalism can be a way to carry on and develop local culture. It is undeniable that the past has become the past. What we can do is find a better balance between vernacular style and internationalism.

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Property. University of Massachusetts Press, 2013. https://discovery.ebsco.com/linkprocessor/ plink?id=4d0f7931-5ce2-392c-9564-61978330927a. 13. Liane Lefaivre, Alexander Tzonis. Critical Regionalism : Architecture and Identity in a Globalised World. Prestel, 2003. 14. Luis Fernández-Galiano. Tadao Ando : Complete Works. Arquitectura Viva SL, 2022. 15. Muller, Karamia. “Indigenous Architectures: Transforming and Transformed Symposium.” Fabrications 29, no.3 (January 1, 2019): 427–30. https://discovery.ebsco.com/linkprocessor/ plink?id=0a12dadb-e3d6-3b7d-a8d5-e037e4b115ea. 16. Patteeuw, Veronique, and Lea-Catherine Szacka. “Critical Regionalism for Our Time : Kenneth Frampton Coined the Phrase Critical Regionalism to Define the Elements of Topography, Climate, Light and Tectonics Fundamental to the Art of Building - These Are Equally Valid Today.” Architectural Review, November 1, 2019, 92–98. https://discovery.ebsco.com/linkprocessor/ plink?id=ea9fe364-ad83-37ef-98df-286f0e560299. 17. Reichert Powell, Douglas. Critical Regionalism : Connecting Politics and Culture in the American Landscape. The University of North Carolina Press, 2012. https://discovery.ebsco. com/linkprocessor/plink?id=cd3ada70-381c-342c-85af-a5b1659bd3b8. 18. Rozwadowski, Andrzej. Visual Culture, Heritage and Identity. Archaeopress, 2021. https:// discovery.ebsco.com/linkprocessor/plink?id=06b61d21-1ca1-3992-bd76-65d4342ddab7. 19. Shu, Wang. ‘The Narrative of the Mountains’. Log 45 (2019): 11–25. 20. Slessor, Catherine. Concrete Regionalism. Thames & Hudson, 2000. https://discovery.ebsco. com/linkprocessor/plink?id=b4e6be49-ea65-374a-abb5-9eab82283e66. 21. Szacka, Lea-Catherine, Veronique Patteeuw. “Critical Regionalism for Our Time: A Return to the Ideas of Kenneth Frampton.” Architectural Review, January 1, 2019. https://discovery.ebsco. com/linkprocessor/plink?id=3bf630be-d6b2-373b-814c-64fbbdd76a23. 22. Tanovic, Sabina. Designing Memory : The Architecture of Commemoration in Europe, 1914 to the Present. Cambridge, United Kingdom: Cambridge University Press, 2019. https://discovery. ebsco.com/linkprocessor/plink?id=aac02ca9-071b-3388-91b2-d6527397787e. 23. Zhang, Lu. Strategies of Negation in Reflective Design as an Alternative to Critical Regionalism: A Study of Contemporary Architecture in China and Japan since 1990. 2019. https://discovery.ebsco.com/linkprocessor/plink?id=25646b40-b606-30e5-a254-a39a57f8161f.