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University of San Carlos

School of Architecture, Fine Arts and Design
Technological Center - Talamban, Cebu City

“CRITICAL REGIONALISM”

A Research Paper

By:

Tayong, Hansel

Submitted to:

Ar. Adrian Yap

Instructor

Theory 2 1:30-2:30 MWF

Critical regionalism is an approach to architecture that strives to counter the placelessness and
lack of identity of the International Style, but also rejects the whimsical individualism and
ornamentation of Postmodern architecture.

The term critical regionalism was first used by Alexander Tzonis and Liane Lefaivre and later
more famously by Kenneth Frampton, in the 1980’s a few architects and theorists were
disappointed with the direction that architecture was taking under the influence of post
modernism, rather than unveiling history of styles through their designs, post modern architects
became another avant (New and Experimental styles) that produced designs that mimicked the
classical style.

Fig. 1 Liane Lefaivre

Fig. 2 Kenneth Frampton Fig. 3 Alexander Tzonis

Frampton in his essay argues that it is "critical to adopt" universal values of modernism, taking
into account the geographical context of the building. Frampton does not want to refer directly to
"folklore", but to the climate, light, topography, and "local tectonic form", which should be
understood as historical and geographical conditions of the construction industry.

Track of phenomenology in a critical regionalism can be read with an attitude, according to

which any form of modernism can be criticized without prejudice, AS IT IS, and not through the
prism of sins, for which you may not bear the responsibility.

In this perspective, critical regionalism should be treated as a "reformed modernism" and

probably for this reason, the best designs are made by architects from countries far from a
universal bustle of big cities.

The following are some of the Architects who practice Critical Regionalism Style

 GEOFFREY BAWA

 MARIO BOTTA

 JORN UTZON

 ALVAR ALTO
Geoffrey Bawa

Highly personal in his approach, evoking the pleasures of the senses that go hand in hand with
the climate, landscape, and culture of ancient Ceylon(present day sri lanka)

• Brings together an appreciation of the western humanist tradition in architecture with needs and
lifestyles of his own work • The principal force behind tropical modernism

• His ideas are providing a bridge between the past and the future, a mirror in which ordinary
people can obtain a clearer image of their own evolving culture.

• Fused Vernacular Architecture with modern concepts to satisfy the needs of the Urban
Population
Works:

A.S.H. De Silva House

Triton Hotel
Ruhuna Hotel

Mario Botta

He shows respect for topographical conditions and regional sensibilities and his designs
generally emphasize craftsmanship and geometric order. Because he attempts to reconcile
traditional architectectural symbolism with the Aesthetic rules of Modern Movement.

Works:

Design Elements

 Modernism

 Regionalism

 Vernacular material

 Geometry

 Topography
Wellness Center, Switzerland

Jorn Utzon

PHILOSOPHY

• Utzon had a nordic sense of concern for nature which, in his design, emphasized the synthesis
of form, material and function for social valuesThis developed into what utzon later referred to
as additive architecture, comparing his approach to the growth patterns of nature

. • A design can grow like a tree, he explained: "if it grows naturally, the architecture will look
after itself." A design can grow like a tree, he explained: "if it grows naturally, the architecture
will look after itself." - Jorn Utzon
Works:

Sydney Opera house

EVOLUTION OF FORM

The principle that is fundamental to the architecture of JØRN UTZON : He draws inspiration
from nature for organic form and creates an architecture that is predominantly experiential in
character. The character which is most prominent about the Opera House is it’s being free in the
centre of the Sydney Harbour, free from all sides, visible from all sides. The position on a
peninsula, which is overlooked from all angles makes it important to maintain an all-round
elevation, the building must form a freestanding sculpture in contrast to the square buildings
surrounding it.
Alvar Alto

Architectural philosophy

• Alto bears hallmarks of influences from le corbusier , walter gropius and other modernist
figures.

• He initially practice classical style of architecture

• But later began to blend modernist design approach with classical architecture.

• His individuality lies in use of organic references with the above types

• He did not dwell on abstract theory but emerged himself in the particularities of the site, the
texture of materials, forms and quality of light as well as the mood, atmosphere, intensity of life •
He said, "Architecture should always offer a means whereby Organic connection between
building and nature is provided”
Works:

Säynätsalo Town Hall

The design of the Town Hall was influenced by both Finnish vernacular architecture and the
humanist Italian renaissance. • It was the Italian Renaissance from which Aalto drew inspiration
for the courtyard arrangement