CRITICAL REGIONALISM

MADE BY:

SHWETA MODI 11
NISHA PANCHAL 14
KASHYAP PARSANA 16
JAY VADODARIA 26
WHAT IS MODERNISM?
MODERNISM IS UNDERSTOOD AS A PROJECT REJECTING TREADITION AND DECORATION FROM BUILDING.
IT USE CUBIFORM BUILDINGS WITH FLAT ROOFS TO REPLACE PILLERS AND GABLES.
SHODHAN HOUSE- LE CORBUSIER VILLA SAVOYE- LE CORBUSIER
SHRODRER HOUSE- GERRIT RIETVELD
FALLING WATER
HOUSE-
FRANK LOYLD
WRIGHT
SEAGRAM
BUILDING- MIES
VAN DER ROHE
WHAT IS POST-MODERNISM?
POSTMODERN ARCHITECTURE WAS A RESPONSE TO MODERNISM AND A RETURN TO WIT, ORNAMENTATION,
AND PREVIOUS ARCHITECTURAL TRADITIONS.

FAMILIAR SHAPES AND DETAILS ARE USED IN UNEXPECTED WAYS. BUILDING MAY INCORPORATE SYMBOLS TO
MAKE A STATEMENT OR SIMLPY TO DELIGHT THE VIEWER.
SONY BUILDING-
PHILIP JOHNSON
SAN ANTONIO PUBLIC LIBRARY DISNEY BUILDING- PETER EISENMAN
VANNA VENTURI HOUSE- ROBERT
VENTURI
WEXNER CENTRE- EISENMAN
CRITICAL REGIONALISM
CRITICAL REGIONALISM IS AN APPROCH TO AN ARCHITECTURE THAT STRIVES TO COUNTR THE PLACELESSNESS
AND LACK OF IDENTITY OF INTERNATIONAL STYLE. IT PROVIDES ARCHITECTURE ROOTED IN CORRENT TIMES BUT
TIED TO GEOGROPHICAL AND CULTURAL CONTEXTS.

IN CRITICAL REGIONALISM, ARCHITECTS AND DESIGNERS CONSCIOUSLY STUDY AND INTERPRET HISTORICAL
AND LOCAL BUILDING PATTERNS, AND THEN RE-INTERPRET LOCAL ASPECTS OF MAKING BUILDINGS.
TRADITIONAL FORMS AND STYLES ARE CONSISTENTLY RE-INTERPRETED WITH CONTEMPORARY BUILDING
TECHNIQUES AND TECHNOLOGIES.
CRITICAL REGIONALISM
THE TERM CRITICAL REGIONALISM WAS FIRST USED BY ALEXANDER TZONIS AND LIANE LEFAIVRE AND LATER
MORE FAMOUSLY AND PRETENTIOUSLY BY KENNETH FRAMPTON IN HIS ESSAY.

REGIONALISM IS AN IDEA STUCK TO VERNACULAR, AND MODERNISM IS ABOUT TOTAL NEWNESS

CRITICAL REGIONALISM SAYS, YOU ARE NOT DENOUNCING REGIONALISM, BUT BEING CRITICAL ABOUT IT.


IN ITS BROADEST SENSE, THEN, THE CRITICAL REGIONALIST SENSIBILITY LOOKS TO THE UNIQUENESS OF SITE
AND LOCATION -A DESIGN METHOD THAT IS ASSUREDLY MODERN BUT RELIES ON THE ORGANIC UNITY OF LOCAL
MATERIAL, CLIMATIC, AND CULTURAL CHARACTERISTICS TO LEND COHERENCE TO THE FINISHED WORK. THE
RESULT IS AN ARCHITECTURE SUITED TO LIGHT AND TOUCH.

HOW IT DIFFERS FROM
VERNACULAR ARCHITECTURE
VERNACULAR :
VERNACULAR ARCHITECTURE IS A CATEGORY OF ARCHITECTURE BASED ON LOCAL NEEDS AND CONSTRUCTION
MATERIALS, AND REFLECTING LOCAL TRADITIONS. THE UNTUTORED BUILDERS HAD EXTENSIVE KNOWLEDGE OF
CLIMATE AND ABILITY TO MODIFY BUILDINGS FOR VARIOUS VENTILATION TECHNIQUES FOR COOLING /
WARMING AND REDUCING / INCREASING SOLAR GAINS.
TOBA BATAK HOUSE MASAI HOUSE IGLOO
HOW IT DIFFERS FROM
CONTEXTUALISM
CONTEXTUALISM:
CONTEXTUALISM REFERS TO AN APPROACH IN URBAN PLANNING WHICH CONSIDERS THE CITY IN ITS TOTALITY.
IT ALSO EMPHASIZES ON THE ROLE OF SOCIAL, CULTURAL, GEOGRAPHICAL, AND HISTORICAL INFLUENCES IN
UNDERSTANDING ENVIRONMENT IN CONTEMPORARY ARCHITECTURE.
CONTEXTUAL AWARENESS THROUGH MATERIAL, SCALE,
FORMAL SENSITIVITY
KEY POINTS OF CRITICAL
REGIONALISM
1. RECOGNIZES MODERNISM, BUT IS CRITICAL OF MANY OF ITS FEATURES, SUCH AS MODERNISM'S
HIGH LEVEL OF ABSTRACTION.

2. EMPHASIS ON 'PLACE-FORM', WHICH INTEGRATES BUILDING AND SITE.

3. RESPONDS TO THE SPECIFICS OF SITE, CLIMATE, AND LIGHT IN OPPOSITION TO THE CONCEPT OF
A UNIVERSAL SITE.

4. EMPHASIS ON TECTONICS TO MAKE VISIBLE THE PROCESS OF CONSTRUCTION.

5. EMPHASIS ON THE TACTILE AS MUCH AS THE VISUAL QUALITIES OF BUILDINGS.

6. OFTEN REINTERPRETS VERNACULAR ELEMENTS.

7. RESISTS DOMINANT AND STANDARDIZING CULTURAL FORCES.
TIME LINE
DESIGN AND FORM RESPONSES
1. EMPHASIS ON RECONCILING OR COMBINING 'PLACE' AND 'MODERNITY

2. RESPONDS TO AND REFLECTS NATURAL ENVIRONMENTAL CONDITIONS

3. ACCEPTS AND ADAPTS TO CHANGING TECHNOLOGIES

4. HIGH RELIANCE ON CONSTRUCTION TECHNOLOGIES WITH HIGH TACTILE QUALITIES
ARCHITECTS
LUIS BARRAGAN, MEXICO

ENRIC MIRALLES, SPAIN

TADAO ANDO, JAPAN

CARLO SCARPA, ITALY

GLEN MURCUTT, AUSTRALIA

BRIAN MACKAY-LYONS, CANADA

MILLER/HULL, USA

PETER ZUMTHOR, SWITZERLAND

JAMES CUTLER, USA

ALVARO SIZA, PORTUGAL

RAJ REWAL, INDIA
B.V DOSHI, INDIA

ANANT RAJE, INDIA

GEOFFERY BAWA, SRI LANKA

ALVAR ALTO, JAPAN

ACHYUT KANVINDE, INDIA

VANU BHUTTA, INDIA

LAURIE BAKER, INDIA

NARI GANDHI, INDIA

JOHN UTZON

I DONT BELIEVE IN BLINDLY COPYING OUR PAST. WE HAVE TO LEARN FROM
THE PRECEDENTS TO SOLVE OUR EXISTING PROBLEMS. I FEEL WE HAVE TO
RE-INVENT MODERNITY IN TERMS OF OUR OWN TRADITIONS AND CULTURAL
HERITAGE. IT IS AN IMPORTANT TASK TO SEARCH FOR A MODERN
ARCHITECTURAL LANGUAGE, WHICH RESPONDS TO OUR REQUIREMENTS,
LIFESTYLE, CLIMATE AND BUILDING MATERIALS. MARKET ECONOMY AND
THE CONSUMERIST CULTURE ARE FACTS OF LIFE AND ARCHITECTURAL
LANGUAGE IS BASED ON IT.
RAJ REWAL


ASIAD GAMES VILLAGE
URBAN MORPHOLOGY
HE STUDIED THE FORM OF HUMAN
SETTLEMENTS AND THE PROCESS OF THEIR
FORMATION AND TRANSFORMATION.

THE STUDY SEEKS TO UNDERSTAND THE
SPATIAL STRUCTURE AND CHARACTER
OF CITY BY EXAMINING THE PATTERNS OF
ITS COMPONENT PARTS AND THE PROCESS
OF ITS DEVELOPMENT.
CLUSTERS
STREETS
AN OBVIOUS SOURCE OF INSPIRATION FOR SUCH NARROW STREETS LINKING THE HOUSING UNITS IS THE
TRADITIONAL STREET SCALE AND PATTERN FOUND IN MANY INDIAN CITIES, WHERE NARROW PATHS
BECOME SPACES FOR ENCOUNTERS BETWEEN PEOPLE, AND THE OPEN SQUARES OFFER A SENSE OF
NEIGHBOURHOOD.
GATEWAYS
COURTYARDS
TARRACES
TARRACES AND VIEWS
FROM TARRACES IN
JAISALMER
TARRACES AND VIEWS
FROM TARRACES IN
ASIAD GAMES VILLAGE
ROOF TERRACES ARE AN ESSENTIAL COMPONENT OF THE LIFESTYLE OF NORTH INDIAN CITIES.

THEY PROVIDE WELCOME OUTDOOR SPACE DURING THE SUMMER NIGHTS IN THE DRY, HOT
CLIMATE WHEN THE INTERIOR ROOMS RECEIVE THE HEAT ABSORBED .

ALSO PROVIDE AN EXTENSION TO LIVING AREAS AT UPPER LEVELS DURING THE SUNNY WINTER
DAYS WHEN INTERIOR ROOMS CAN BE COLD.
PARLIAMENT LIBRARY
ADINATHA TEMPLE TAJ MAHEL DATIA PALACE
INSPIRATIONAL SOURCES FOR THE PLANNING OF THE COMPLEX
PARLIAMENT LIBRARY
COURTYARDS
COURTYARDS FORM AN IMPORTANT
FEATURE OF THE DESIGN
VOCABULARY, KEEPING IN
MIND DELHI'S EXTREME CLIMATE.
THEY HELP IN CREATING A DUST
FREE ATMOSPHERE AND IN
REDUCING THE SUMMER HEAT.
DOMES
AT THE CROSSING IS THE FOUR-
STOREY ATRIUM SPACE REFERRED
TO AS THE FOCAL CENTRE, WHERE
DAYLIGHT FROM A GLAZED DOME
POURS DOWN TO THE BASEMENT
FLOORS.
TARRACE GARDEN
OTHER SPACES
SHEIKH SARAI GROUP HOUSING
B. V. DOSHI
B.V. DOSHI WAS BORN IN PUNE, INDIA IN 1927

HE DID HIS BACHELOR FROM J.J SCHOOL OF ART, BOMBAY 1950 .

HE WORKED WITH LE CORBUSIER IN PARIS FOR FOUR YEARS 1951 54. HE HAS ALSO WORKED
WITH ANANT RAJE AND LOUIS .I KHAN.

IN 1956 HE ESTABLISHED A PRIVATE PRACTICE IN VASTU-SHILPA, AHMEDABAD AND IN 1962 HE
ESTABLISHED THE VASTU-SHILPA FOUNDATION FOR ENVIRONMENTAL DESIGN.

HE WAS PRESENTED AGA KHAN AWARD FOR ARCHITECTURE, FOR THE ARYA NAGAR
COMMUNITY HOUSING IN INDORE, INDIA IN 1995.

DOSHI HAS CATEGORIZED 8 PRINCIPLES IN TRADITIONAL ARCHITECTURE WHICH HE BELIEVES
WOULD GREATLY ENRICH CONTEMPORARY PRACTICE.


1.MYTHICAL SENSE OF SPACE
2.VAASTU-PURUSHA MANDALA
3.TRANSFORMATION OF ENERGY BETWEEN THE BUILDING AND USER
4.HUMAN INSTITUTIONS
5.FLEXIBLE RATHER THAN RIGID APPROACH TO THE STRUCTURE
6.SYMBOLISM
7.AMORPHOUS RATHER THAN FINITE FORMS
8.TIMELESSNESS

ARCHITECTURE OF A BUILDING IS CONCEIVED NOT AS A
CONTAINER OF SPECIFIC ACTIVITIES BUT AS A PLACE TO BE
INHABITED, AS A PLACE TO FACILITATE THE COURSE OF HUMAN
ENVIRONMENT.


CULTURE CLIMATE CONTEXT LOCAL MATERIAL VISUAL VS TACTILE
FATEHPUR SIKRIS COURTYARDS ALWAYS FASCINATED ME, AND THE GARDENS OF
BANGALORE INFLUENCED ME. IF YOU PICK UP THE GARDENS AND PUT THEM IN THE
COURTYARD, THEN THE CHARACTER CHANGES. INSTEAD OF A COURTYARD THAT IS DRY AND
RIGID, YOU MAKE A GREEN CORRIDOR, IN WHICH YOU CAN WALK AND BE COMFORTABLE.OF
COURSE, WHEN I TALKED TO THE CLIENTS, I DID NOT TALK ABOUT FATEHPUR SIKRI. I TALKED
ABOUT MADURAI TEMPLE. I SAID THERE ARE COURTYARDS, THERE ARE OPEN SPACES, AND
THERE ARE CORRIDORS, WHICH ARE THE FOCAL POINTS. I SAID THAT WE WILL CREATE A
CONTEMPORARY INSTITUTION AS IMPORTANT AS THE TEMPLE, AS A TEMPLE OF LEARNING.

IT HAD TO BE DONE WITH LOCAL MATERIALS, TO HAVE A LOCAL IDENTITY, AND WORKING
WITH LOCAL CRAFTSMEN IS CHEAPER, AND LOCAL MATERIALS ARE LONG-LASTING. THAT IS
HOW STONE WAS USED.

I PREFERRED THAT THE BUILDING DISAPPEARED, AND THAT YOU FEEL THAT YOU ARE ONLY IN
SPACES. THE WHOLE IDEA BEGAN WITH THAT: DO YOU REALLY WANT DOMINANT
ARCHITECTURE? OR ARCHITECTURE THAT MERGES WITH THE SOCIETY AND BECOMES A PART
OF SOCIETY. THERE IS A DIALOGUE BETWEEN THE BUILDING, THE SPACE, AND THE PEOPLE.
THAT IS THE POINT.

- BALKRISHNA V. DOSHI
IIM - BANGALORE

IIM - BANGALORE
FATEHPUR SIKRI - 1570 IIM, BANGALORE - 1977 SOUTH INDIAN TEMPLE
TOWN, SRIRANGAM
IIM, BANGALORE
CLOSED VS. OPEN TO SKY SPACES / SOLID VS. VOID CONCENTRIC CIRCULATION CORRIDORS
CORRIDORS OF FATEHPUR SIKRI(L) AND IIMB(R) IIM, BANGALORE (T) , FATEHPUR SIKRI (B)
LIGHT AND SHADOW PLAY
HIS WORK
SANGATH ARCHITECTS OFFICE, AHMEDABAD
THE JUXTAPOSITION OF ENCLOSED AND OPEN SPACES IS ONE OF THE
LINKS WHICH MAKES SANGATH A TRADITIONAL BUILDING, ONE THAT
RECEIVES ITS STRENGTH AND BEAUTY FROM LOCAL MATERIALS, SKILLED
AND UNSKILLED LOCAL WORKMANSHIP AND THE DOMINATING VAULTS
AND THE AMPHI THEATRE ARE ALSO RESULT OF THE REINTRODUCTION
OF TRADITIONAL VALUES.
CEPT UNIVERSITY, AHMEDABAD
DOSHI AND HIS CONTEMPORARIES BELIEVE THAT A STUDENT OF
ARCHITECTURE MUST BE SURROUNDED BY BEAUTY AND ART, SO
THAT HE/ SHE DEVELOPS INTO A WELL GROUNDED CREATIVE PERSON.
CREATING THE SAME EXPERINCE OF LEARNING UNDER A BANYAN
TREE ROOTED WITH THE CULTURE OF THE CITY.
ARYA NAGAR HOUSING, INDORE
ITS AN EVER EVOLVING SPACE WHERE THE USER ARE GIVEN THE
LIBERTY TO DEVELOPING THEIR HOUSE WITH THE WHEEL OF TIME
ACCORDING TO THEIR NEEDS. ITS DESIGN IS A RESULT OF DYNAMIC
EVER EVOLVING SPACES

KAMALA HOUSE ARCHITECTS HOUSE, AHMEDABAD
THE HOUSE IS DEFTLY ORIENTED TO SUN WIND AND CHANGING
SEASONS AND CONSCIOUSLY ADOPTED TO INDIAN ETHOS AS IS
APPARNTELY IN FLEXIBLE FUNCTIONALITY AND EXPANSIVE AMBIENCE
OF THE INTERIOR SPACES.

I WANT TO TRANSPOSE ALL THE TRADITION SPACES, RESTORE
IT, AND THE BEAUTIFUL MANNER IN WHICH PROBLEMS OF
COMMUNITY LIFE ARE RESOLVED, TO GIVE PEOPLE A BIT OF THE
FLAVOR OF SPIRITUAL ABSORPTION PRODUCED IN THE COUNTRY AND
THE INNER LIFE THAT IS LACKING IN MODERN CITIES.
LUIS BARRAGAN


LUIS BARRAGAN, PROMINENT 12TH CENTURY MEXICAN ARCHITECT AND LANDSCAPE
ARCHITECT, WAS BORN IN 1902 IN THE STATE OF JALISCO, MEXICO.

AN UNDERSTANDING OF CULTURAL TRADITIONS, OF THE POSITIVE-NEGATIVE RELATIONSHIP
BETWEEN THE PUBLIC STREET AND PRIVATE INTROVERTED HOUSE, AND OF THE USE OF A SIMPLE
AND VERY LIMITED PALETTE OF MATERIALS ARE HIS IDENTITY.

HIS PROPOSALS PAY PARTICULAR ATTENTION TO SUN PATTERNS, DAY LIGHTING, NOISE
CONTROL AND VENTILATION.

IN BARRAGANS BUILDINGS, THE INTERIOR WALLS WERE PAINTED WHITE. IT WAS FOR SPECIAL
AREAS OF THE BUILDING THAT INTENSE COLOURS WERE USED SUCH AS PINK, YELLOW OR
ORANGE TO EMPHASIS AND ENHANCE THE SPATIAL EXPRESSION.

FOLLOWING ARE THE IDEAL, WHICH HAD A PROMINENT STAND IN HIS PERSPECTIVE OF
ARCHITECTURE :
1.CREATIVE USE OF NATURAL LIGHT
2.CLEAN LINES OF MODERNIST MOVEMENT
3.CLIMATE AND TOPOGRAPHY
4.INTENSE COLOUR TO CREATE DRAMA
5.CULTURAL ROOTEDNESS
6.MINIMALIST
7.USE OF WATER BODIES AND FOUNTAINS
8.TIMELESSNESS

ORTEGA HOUSE - MEXICO
HIS MEXICO CITY HOME WON THE PRITZKER PRIZE IS A MINIMALIST IN ITS EMPHASIS ON LINES,
PLANES, AND OPEN SPACES.

HE BUILT THE ORTEGA HOUSE, MAKING USE OF A PRE-EXISTING BUILDING.

HIS USE OF WATER AND FOUNTAINS REFLECTS MEDITERRANEAN AND ISLAMIC TRADITIONS, IN
PARTICULAR MOROCCAN.

MANY OF ITS MATERIALS WERE FOUND IN TRADITIONAL ARCHITECTURE AND, DISTANT AS THEY
ARE FROM INDUSTRIAL PRODUCTION, THEY REVEAL THE AGING OF THE HOUSE WITH A PATINA
WHICH THE ARCHITECT ACKNOWLEDGED AS THE POETIC VALUE OF HIS ARCHITECTURE.

INTO THE OUTDOORS THROUGH WINDOWS AND PORTICOES. THEY USUALLY HAVE A SEMI-
COVERED TERRACE AS THE MOST PRIVILEGED SPACE IN THE HOUSE. IT IS USED TO EAT, RELAX OR
PLAY. AT THE SAME TIME, THIS SPACE IS AN OBSERVATION DECK FOR WEATHER AND NATURE.



SILENCE, LIKE A MUSIC FILLS HOUSE

- LOUIS KAHN
ORTEGA HOUSE - MEXICO
HIS WORK
FUENTE DE LOS AMANTES

GLVEZ HOUSE, MEXICO CITY
LAS CAPUCHINAS CONVENT (1955) IS A GOOD EXAMPLE OF COLOUR
TEMPERATURE. THE YELLOW GRID PRODUCES AN EFFECT OF
SUNSHINE EVEN ON CLOUDY DAYS. BARRAGAN FOUND OUT AN
EFFECT THAT CAN BE DESCRIBED AS COLOURED LIGHT.

TORRES DE SATLITE
A SCULPTURAL VISVUAL ARCHITECTURE WITH 6O M HIGH
TRIANGULAR TOWER IN THE CENTRE OF THE TOWN SYMBOLISING THE
NEWELY WELCOME OF MODERNITY.
CASA GILARDI
A SLICE OF SUN IS ALLOWED INTO A CORNER OF THE ROOM. ITS
WINDOW SOURCE IS HIDDEN, SO THAT WE BECOME SURPRISED BY A
MOVING LIGHT THAT REFLECTS, DIFFRACTS AND ILLUMINATES THE
WATER SURFACE AND THE SPACE. ANY WAVE ON THE SURFACE OF THE
POOL PRODUCESA DYNAMIC SUN PATTERN ON THE WALLS AND CEILING
. THE INTENSE COLUR BULE AND RED ENHANCES THE SPATIAL QUALITY
MAKING IT MINIMAL AND DYNAMIC SPACE.
THANK YOU