The Concept of Critical Regionalism

Kenneth Frampton, a British professor of history and architectural criticism, criticizes in his book “Towards a Critical Regionalism” about modern civilizations and cultures that are increasingly in decline. The superiority of universal civilization has changed the local culture that exists. It affects architectural sustainability. In the approach of critical regionalism, to combat and criticize such phenomena can be done in two ways; namely by adapting the universal values of modernism, while considering the geographical context of a building by rediscovering traditional values, as well as local principles and even national identity.

Critical regionalism seeks to continue existing traditions while at the same time following modernization. This development of thought is not a massive, structured movement, but rather a local movement that grows sporadically, consolidating existing architectural fortifications by holding to contextuality. Keywords of the concept in critical regionalism are responses to local cultures, geographical conditions, and local climates.

Source: Author’s Illustration

Frampton defines critical regionalism as a modern building expressing “locally rooted culture”. Mixing global modernism and local vernacular to avoid “placelessness” (Frampton, 1994). Accordingly, it can be said that critical regionalism emphasizes place rather than space, as stated by Frampton in “Prospects for a Critical Regionalism”. (Frampton, 1983). Regarding the use of vernacular architectural forms, Frampton has the following statement: “While opposed to the sentimental simulation of local vernacular, Critical Regionalism will, on occasion, insert interpretive vernacular elements as disjunctive episodes within the whole”.

Based on the description contained in the book Ten Points on an Architecture of Regionalism: A Provisional Polemic, a building can be classified as a building critical regionalism when met these conditions:

1. The building has modern architectural qualities but still exists sense of place
2. The building considers and follows the topography of the site
3. Maximum use of natural lighting
4. Maximum tactical and kinetic stimulation alongside visual stimulation
5. Processing local elements for building considerations, not necessarily in a cultural context, can also be in the context of the experience perceived when being somewhere, through touch/textures, and senses.

Study Precedents: Grand Mosque of Western Sumatra

Source : Google Images

In the design of the Grand Mosque of Western Sumatra, the principle of regionalism that was attempted to apply was through the transformation of the basic shape of the roof of the gonjong, it underwent a change of shape that was adapted to the geometry of basic shapes of spatial architecture. The curved geometric transformation factor is one of the attempts to adapt the local identity to the evolving technological shock. The interior and exterior materials are quite varied, with a blend of plaster bricks, glass and iron, and stainless steel in the form of carvings and ornaments characteristic of Western Sumatra as part of the design elements. The structural and construction elements became one of the main concerns in the completion of the design, as a form of response to the geography of the environment passed by the seismic tracks. Application of positioning and time orientation of buildings has become one of the main concerns where the Building Base Coefficient and Building Floor Coefficient ratio leave fairly wide circumferences.

Sources:

• Frampton, K. (2019). Towards a Critical Regionalism. Six Points for an Architecture of Resistance. Critical Regionalism.
• Gunawan, H. 2017. Komponen Desain Arsitektural Apartemen di Bali Berdasarkan Pendekatan Regionalisme Kritis (Objek Studi: Apartemen Di Kawasan Seminyak, Kuta). Jurnal Teknik Arsitektur ARTEKS, Volume. I, Nomor 2, Juni 2017ISSN 2541–0598
• Jiang, X. 2015. How The Theory of Critical Regionalism Affects Architecture Design in A Strategic Level.