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CONTENTS PAGE

Introduction………………………………………………………1-3 Towards a Critical Regionalism: Six Points for an Architecture of Resistance…………………...4-10 International Example Bagsvaerd Church………………………………………………11-13 Local Example The Africa Centre for Health and Population Studies……….14-19 My Works Umgeni Mangrove Project…………………………………….20-27 Conclusion……………………………………………………...28-29 Bibliography…………………………………………………….31-33

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I, ………………………………………., hereby declare that the content of

this essay is my own unless otherwise stated in the text.

Signed……………………

On the………………… day of……………………………

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CRITICAL REGIONALISM

“The approach to archit ect ure t hat’s strives to counter t he placelessness and lack of

meaning in modern archit ect ure by using context ual forces to give a sense of place and meaning.” - www.wikipedia.org/wiki/Critical_regionalism

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The idea of crit ical regionalism was first introduced about 25 years ago

by a group of young German architects who were searching for an

alternative to the Modernism/Scenographic Postmodernism style. The

faults in the ideals of modernism and the scenographic post modernism

are that they did not incorporate the spirit of history and culture. Both

these movements can be reduced to a universal formula which

designs building from the top-down; mindlessly imposing self-absorbed

formula’s whereas critical regionalism aims to build from the bottom-

up; taking cognoscente of the value of identity of a physical, social

and cultural situation.

The group of architect’s interests led them to design in a way which

focused on local needs and to think about the repercussions of the

long term with regards to environmental impact. This way of thinking

would be how we would define sustainability today and therefore this

ideology relates closely to the paradigm of critical regionalism, the aim

of which was to revive architecture out of a state of stagnation and

disrepute.

1970 was the first time a handful of architects started producing work

which emerged out of the specifics of an indiv idual situation and

started incorporating the ideals of crit ical regionalism prior to its

conception. A theoretical framework therefore had to be provided for

these new architectural ideals. The word “regionalism” was given to

the theory as it was an approach to design which focused on the

identity of the particular with regards to context rather than focusing

on the universal doctrine. To make the theory more accurate and

explicit it was finally given the name “Critical Regionalism”.

To say that critical regionalism is a new theory, only discovered in late

half of the 20th century would be a statement far from the truth.

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Although is hadn’t been acknowledged as an architecture paradigm,

its ideals and beliefs date as far back as to the ancient Greeks. The

awareness of crit ical regionalism in these times had to do with the

distinct identity and being associated with an identifiable group.

Architectural elements were used, such as the Doric, Ionic and

Corinthian Capitals in order to represent and identify a group of

people. These elements have a strong association with Greece and

have since become a symbol of the country which has strongly

influenced the Greek style.

Critical regionalism lies far deeper than what I had preconceived. It is

an architecture of engagement rather than resistance, of integration

rather than segregation. It restores the idea of “place” and

incorporates the ideals of local cultures. It works both on a macro and

micro scale which can be better described using Kenneth Frampton’s

essay on: “Towards a Critical Regionalism: Six Points for an Architecture

of Resistance;” in which he breaks down the beliefs upon which critical

regionalism is based.

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“TOWARDS A CRITICAL REGIONALISM: SIX POINTS FOR AN ARCHITECTURE OF RESISTANCE” – Kenneth Frampton

“We have the feeling t hat this single world civilisation at the same time exerts a sort of

attr ition or wearing away at t he expense of cult ural resources which have made t he

great civilisations of t he past . This t hreat is expressed, among ot her disturbing effect s,

by t he spreading before our eyes of a mediocre civilisation which is the absurd

counterpart of what I was just calling elementary cult ure.” – Kenneth Frampton

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Although the theory of crit ical regionalism was first introduced by

Alexander Tzonis and Liane Lefaivre; it has been Kenneth Frampton

which has more recently been exploring the ideology of this theory in

which he comes up with six points which clearly define and outline its

belief structure. I have researched and understood Frampton’s points

and have used them as a basis to guide my own understanding and

interpretation of the points.

The structure of the points work on a macro to micro scale, starting with

the site with regards to the world and universal civilisation and work

towards the finest of detail including ones tangible senses.

1. CULTURE AND CIVILISATION

The idea of crit ical regionalism, according to Frampton, should adopt

modern architecture critically as to take advantage of its universal

progressive qualities but at the same time should focus on its

immediate surroundings and respond it its direct context. This raises the

question by Ricoeur in History and Truth,(pg 56) “How to become modern and

return to sources; how to revive and old, dormant civilisation and take part in a

universal civilisat ion?”

This type of architecture is that which takes notice of traditions which

are rooted and evolved from local culture but still maintaining a high

level of modernity and forward thinking.

Frampton mentions these two words of culture and civilisation. Culture

is concerned with the micro and with the immediate, and is one of the

foundations of critical regionalism. The word civ ilisation is where, as a

global society, we stand today. We are living in an age of

convenience where architecture is no exception, instead of designing

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according to site specific; architects borrow already successful styles

and mass produce facades and forms across the continents. This results

in a loss of local identity without recognition of either history or culture.

“Civilisat ion has been pr imarily concerned wit h instrumental reason, while cult ure has

addressed itself to t he specifics of expression.” Kenneth Frampton (pg16)

Global civilisation has become a society which is primarily concerned

with image which has resulted in the facadle treatment of buildings

being the sole concern. Architects are condemned to stardom in

which the hunger for development far outweighs the necessity of

contextual respect. Buildings aim to be iconic in their singular form and

try to hide their nothingness with a “compensatory” façade to mask

the harsh realit ies of the universal system. 21st century architecture has

become that to be seen rather than to experience, the majority of

people v iewing the building will do so only on paper, not many people

will actually get to experience the tangible spaces. This has resulted in

warped perception that the more impressive the architecture the more

successful the building will be without regards to its contextual, cultural

or social responses. “Modern building is now so universally condit ioned by

opt imized technology t hat t he possibilit y of creating significant urban form has become extremely limited.” – Kennet h Frampton (pg17)

Critical regionalism aims, in this point, to not get lost the superficial

“Hollywood” architecture where cultural expression is frivolous but

rather to incorporate and showcase the culture from which the

building is derived. Not that we now need to outwardly express a

blatant aesthetic which marks our local culture but architecture needs

to incorporate this as an aspect of design in order to create buildings

which speak the language of the culture and reflect the identity of the

country in which it is built. There is no method in reproducing forms of

the past as the form will be empty without the life it was designed for.

The past cannot be recaptured in sprit and therefore a replicated

version is not necessary but rather adaptations and integrations.

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2. THE RISE AND FALL OF THE AVANT-GARDE

One cannot separate society and architecture as society fuels the

trends and styles which influence architecture. The trends of the

modern era have a very short life span; one day it’s in the next day its

out. The question is posed then, how do you remain modern in a world

where fashions are changing faster than the time frame of constructing

a building? The time taken from the conceptual stages of a design to

the completion of construction is a lengthy procedure. The ideas of

modernism result in the building being obsolete before its construction.

Critical regionalism is a sense of resignation, a sense of holding

operation, a sense of resistance. It is an attempt to preserve some ideal

of what is today’s culture. It is in a way attempting to put on the brakes

of the avant-garde pendulum.

Critical regionalism aims to establish the vernacular, to establish the

constant that will never be outmoded. Through the development of

culture rather than that of trends, permanent fashions are formed.

3. CRITICAL REGIONALISM AND WORLD CULTURE

“Regionalism is not a matter of using t he most local mater ial or construct ion, neither is

it in conflict wit h t he universal. Archit ect ure has to overcome t he deep, unbr idgeable

gulf bet ween the peoples of the earth. Regionalism has to help people come to

terms wit h t he act ual conditions of life an make t hem feel at home. Regional insight

has t o be used to defend us from t he internat ional style and t he absurdit ies of t he

present technology and t he despot ism of t he mechanical order. They all fail to

create better social condit ions giving form and order to a democratic civilisat ion. The

brot herhood of the machine is not a subst itute for t he brot herhood of people. The

problem therefore lies not wit h science or technology but wit h societ y, instit utions and

moralit y failures.” –Lewis Mumford, author of “American Architect ure and Civilisation”

(pg 27)

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The ideals of crit ical regionalism are not to put a halt on architectural

modernization and technological advancements. It does not require

architects to only consider the local and remain uninfluenced by the

global, for this would result in returning to the primitive. This is where

Kenneth Frampton recalls the phrase, “think locally, act globally;”

whereby globalisation is not completely excluded. The ultimate

combination is to take the advancements made in the global world

and apply them to the local in order to improve and enhance designs.

The world today, views “the different” as abnormal and principles

which don’t conform to the principles of Western Civ ilisation are

viewed as less advanced, primitive, or, at best, exotically interesting

from a safe distance.

Critical regionalism in this respect is seen to break the mould of the

ethics of the Western culture and to create the balance between the

globalized world and the local world. It aims to maintain integrity but

remain open to adaption.

4. THE RESISTANCE OF PLACE FORM

The Megalopolis is dominating the city resulting in this idea of

“placelessness,” as the city is no longer able to maintain defined urban

forms. The focus remains on the singular form and mention is not made

of its context. Space is lost to urban development and the building

becomes a self contained item resulting in a battle between the

building verse the urban fabric.

Due to the growth of the built form in the Megalopolis many restrictions

limit the ability to design freely. Buildings are governed by text from

which a form is derived rather than a building which grows organically

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on the paper and is governed by the context and elements. The

building therefore loses its identity or sense of “place.” Critical

regionalism aims to do just that; to allow the context to determine the

form. There is no formula which can help one design the form of a

building, the form should emerge from the site and it’s from there that

the architect steps in to design.

5. CLIMATE VERSUS NATURE: TOPOGRAPHY, CONTEXT, CLIMATE,

LIGHT AND TECTONIC FORM:

Universal civilisation is slowly turning architecture into small, self

contained eco systems whereby the building can internally sustain

itself. This is done by means which mechanically replace the elements,

at a price, which could be utilised from the site. Architects are turning

away from what nature has to offer and instead relying on a

mechanism to provide a constant, comfortable environment. The

beauty of nature is its unpredictability, the fact that the change in light,

shadows can drastically alter the characteristic or appearance of a

space. The prov isions of nature are soon being replaces by the

convenience of machine.

This modernistic ideal has resulted in buildings which are not born from

he ground; they do not acknowledge the land. A modernist approach

to an irregular topography would see that site flattened thereby

aspiring to the condition of placelessness, whereas by celebrating the

site through terracing and thereby creating a stepped form is a means

of engaging or rather cultivating the site. “In-laying the building into the site,

has many levels of significance, for it has the capacit y to embody, in built form, the

prehistory of the place, its archaeological past and its subsequent cultivation and

transformat ion across t ime. Through this layer ing into the site t he idiosyncrasies of

place find t heir expression wit hout falling into sent imentalit y.” – Kenneth Frampton (pg

26)

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The aim of critical regionalism is thus to create architecture which is site

specific; which celebrates the unique characteristics of that site. The

fixed window and the remote controlled air-conditioning system are an

example of the domination caused by the universal technique. Critical

regionalism designs according to site specifics resulting in a building

typology which would not even be successful on a site situated

50meters away. The aim is to create a building which is not dependant

on technology but rather one which draws from the elements to create

a space which is thermally, of equal comfort. These ideals are closely

linked to that of sustainability; to use what you have available to you in

order to enhance the design.

Critical regionalism also strives to achieve a truth to structure and form

by focusing on the tectonic rather than the scenographic. The

structure which has arisen from the topography on the land and the

concept of the design is to inform the aesthetic of the building. The

relationship between materials, crafts and gravity should come

together as a form of structural poetry, from which the façade should

emerge.

Critical regionalism therefore starts to move into the micro context of

the site with regards to topography, context, climate, light and

tectonic form. All these elements should strongly influence the overall

form and aesthetic of the building to result in a structure which is truly

site specific.

6. THE VISUAL VERSUS THE TACTILE

This refers to the micro scale of architecture; the inmate details. “One

has in mind a whole range of complement ary sensory perceptions which are

registered by t he labile body: the intensity of light , darkness, heat and cold; t he

feeling of humidity; the aroma of mater ial; the almost palpable presence of masonry

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as t he body senses its own confinement; the moment um of an induced gait and the

relat ive inert ia of the body as it traverses the floor; t he echoing resonance of our own

foot fall.”-Kenneth Frampton (pg 28)

This type of architecture is based on experience; it is not concerned

with the mass produced nature of the modernists. It seduces through

the sensors; the architecture becomes tangible. It recognises the

singular, circumscribes projects within the physical, social and cultural

constraints of the particular.

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INTERNATIONAL EXAMPLE

BAGSVAERD CHURCH IN COPENHAGEN (1973-1976) DESIGNED BY JORN

UTZON

“The intent of t his expression is, of course, to secular ize t he sacred form by precluding

the usual set of semantic religious references and t hereby t he corresponding range of

aut omatic responses that usually accompany t hem. This is arguably a more

appropriate way of rendering a church in a highly secular age, where any symbolic

allusion to the ecclesiast ic usually degenerates immediately into t he vagaries of kit ch.” -Kenneth Frampton (pg 22)

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Utzon has focused his career on the understanding of the human

culture and the majority of his works have embraced the idea of

creating a synthesis between universal civilisation and world culture.

The Bagsvaerd Church shows how Utzon challenges the question of

how religious buildings should be represented in a materialistic age.

The prefabricated concrete blocks and infill panels, together with the

asbestos sheet, the patent glass roofing and the concrete framed

structure, which flanks the building on both sides is a clear example of

the materials used by the modern movement. These materials are not

specific to this building and have been used countless times around

the world. At this point is seems as if the church is a mere production of

universal civilisation. This idea dissipates as one moves from the insitu

concrete famed exterior shell to the far less optimal reinforced

concrete shell vault spanning the nave. This vault, which represents the

sacred space, makes reference to a multiple of cross cultures and

adapts both Eastern and Western influences. The Eastern influence

reads as a pogoda roof, floating above a sacred podium

whereas the Western influence reads as a

traditional vault or dome. The sacred is

evoked in both the influences and then

modernised through the use of advanced

reinforced concrete technology. Even

Exterior form of Church Figure 13

Interior space below vault Figure 14

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the detailing of the lattice wooden

windows and door fittings make

reference to a multiple of cross cultures

as they elude, at the same time, both to

the Nordic vernacular and towards the

oriental.

With regards to the structure of the six points, the Bagsvaerd Church is

an excellent example of how critical regionalism works from the macro

to the micro scale. It concerns itself with globalized materials and

aesthetics thereby reaching a wider audience than just that of

Copenhagen. The Vernacular of the area however has still be

maintained in the form and detail.

General aesthetic of design Figure 15

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LOCAL EXAMPLE

THE AFRICA CENTRE FOR HEALTH AND POPULATION STUDIES IN

SOMKHELE, KWAZULU NATAL – EAST COAST ARCHITECTS

“The success of t his building lies in its confidence in engaging wit h the inherent

strength of t he landscape; the concept which promotes a sense of communit y

among t he disparate researchers and staffers; t he furnishing to the archit ects’ designs

and t he innovat ive detailing. The understated building demonstrates that both

efficiency and ambience can be created by the simplest of means. It moreover

serves as a fine example of a locally generated design idiom, which is increasingly

coming to the fore.” -KZ-NIA Journal, February 2003. Volume 28. pg1. 2003 KZ-NIA Aw ards of Merit, Africa

Centre, Somkhele, East Coast Architects, Durban.

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The Africa Centre for Health and Population Studies is a medical

research initiative established five years ago by three South African

research institutions- The Medical Research Council, the University of

Natal and the University of Durban Westville.

The building is located on a 13-hectre site which overlooks an

undistinguished valley amidst a scattering of rural homesteads. Views to

the South are onto the White Mflolozi River valley and, to the North; the

hills of the Hluhluwe Game Reserve. Existing buildings adjacent to the

site include the tribal courthouse of iNkosi Mkhwanazi, a community

hall and a regional water-supply office.

CULTURE AND CIVILISATION

This building is a prime example of architecture which is community

and culturally driven. The beauty of the facades is born from the

African form and tangible detailing. Not only does the building speak

the language of Africa, it seems to find a truly South African, or more

specifically, a Kwa Zulu Natal identity.

Exterior view of The Africa Centre for Health and Population Studies Figure 1

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THE RISE AND FALL OF THE AVANT-GARDE

The costs for the building were two thirds of the national average for

the building type; howev er the building remains one of the most locally

published buildings. This shows the stigma which the Western world has

associated with cheap, sustainable buildings is not brought to light in

this building. It defies the ideals that beautiful architecture is a result of

money and social standing. The design is not based on trends or

fashions which could easily be rejected by the 21st century critics for

being different; however, the building graces the cover of many

architectural journals and has won numerous awards to date.

CRITICAL REGIONALISM AND WORLD CULTURE

The use of gum poles as structural elements make a strong reference to

the South African culture and therefore strongly reflect the local.

Concrete block work, steel, aluminium, glass and timber have been

used in varying combinations; the architects have therefore achieved

a good balance between the ideals of culture and civ ilisation.

Expressed structural gum poles Figure 12

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As the research operations are firmly rooted in community, it was

essential to both the architects and the clients that residents from

surrounding villages were encouraged to participate in the building

process. The building contract required that 100% of the unskilled

labour force and 75% of the skilled staff be to be sourced within a 10km

radius of the site and had access to meeting and training resources to

help develop the skills of the local. The effects building reached out

beyond its borders and used architecture as a medium to develop and

improve the way of life within community living.

THE RESISTANCE OF PLACE FORM

The towering form is a reminder of

the bomas traditionally used for

community gathering and thus

symbolises communal unity. This

tower has consciously been opened

as a deliberate reminder of the

open-air character of their traditional

ancestors. This 15meter high water

tower makes a bold and formal

statement within its context and

becomes a strong reference point

around which circulatory and

communal activities are arranged.

The form of the building is derived

from traditions and culture and is

adapted in order to enhance the

design and working spaces.

Exterior view of tower Figure 2

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CLIMATE VERSUS NATURE

Internal courtyards have been provided

within each office block to ensure that

every workstation is within close proximity to

natural light; 3meters to be exact. The

tower takes advantage of the “thermal

stack” effect and helps with the natural

ventilation of the central areas. Overhangs

on the both the Northern side and sun

screening on the East and West elevations

reduce the solar heat gain on the internal

spaces. Materials, detailing and structure

are exposed and demonstrate the way in

which the building has been built.

THE VISUAL VERSUS THE TACTILE

East Coast Architects has taken notice

not only of the immediate surroundings

but also developed the wetlands situated

in the south front of the building. Bull-

rushes, reeds and other watery growths

have been planted here to encourage

and attract birds to the site. It was even

thought that it would attract frogs and in

doing so would alleviate the problem the

area has with mosquito’s. All the

vegetation which was planted on site

was indigenous to the Zululand region.

Suns screens on the eastern façade Figure 3

View showing grasslands and surrounding community Figure 4

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The indigenous plants which were

removed during construction were

propagated off site.

Rough textures and light have been incorporated into the design

which aims to further celebrate the true African identity. The architects

have designed every detail including the furniture which has been

based on a modular, cost effective system to suit the continually

changing needs of the client.

As can clearly be surmised the building places large emphasis on the

local but still remains in the global with its contemporary aesthetic. East

Coast Architects are one of the few local firms whose belief system is

closely related to the ideals of critical regionalism and produce the

type of architecture which is refreshing to see.

.

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MY WORKS - UMGENI WATER PROJECT (FIRST

SEMESTER)

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I chose this project due it unique locality and the fact that I was forced

to stem the design conception from the elements of the site because

the site is so dominating; any piece of architecture placed in its midst is

overwhelmed by the mere presence of the site.

I thought, whilst doing the project, that I understood the bounds of

critical regionalism. My understanding comprised of merely using the

site to influence your design; to be affected by the local and not by

the glamorous façade of the universal. I thought that by respecting the

context one could say their work conformed to the ideals of crit ical

regionalism. Through research and understanding I have come to the

realisation that it is so much more than that.

The influence for the concept and development of the design came

solely from the beauty of the site. The filtered light, variety of textures,

patterned solids and voids created by the trees started to inspire the

details of the design. The simple message I wanted to come through in

the design was to create a building with “A Modest Statement.” I

wanted to create an unassuming or unpretentious building which

aimed to re-create the beauty of the mangroves in the detail of the

architecture. The building was not intended to be an obstruction along

the mangrove pathway but rather to provide a transitional space

which the user can simply pass through and experience.

Graphic 3D representation of the building form Figure 5

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CULTURE AND CIVILISATION

Due to the beauty and importance of the site, the design approach I

took was to focus all attention to the site and not to the building. When

walking towards the building one can immediately see through it into

the mangroves and so the building never forms a barrier or wall

between the user and the mangroves. The building does not force the

user to engage with it, and the user can pass through without being

made aware that there are offices and laboratories on site. The

building is sensitive to its surroundings and is placed “lightly” on the

ground making sure that it doesn’t command or dominate the space

in which it sits. This is where the word “modest” comes in, the building

acknowledges its inferiority on the site and strives to achieve an

architecture which does not take away from the beauty of the site but

rather enhance it; it does therefore not become consumed by high-

end façade treatments. The “statement” aspect of the design is

introduced in the details of the architecture; the textures, the lighting,

the materials, which when v iewed on closer inspection give the

building a true identity. This statement is subtly in its execution but highly

effective in integrating the design with the mangroves.

THE RISE AND FALL OF THE AVANT-GARDE

The building doesn’t command the trends and styles of the

contemporary era as it wishes to draw attention to the site and not

upon itself. The building is situated on a conserved piece of land and

so people who come to the site come to enjoy its surrounds it would

therefore be a crime to create a building which took away from the

beauty of the site.

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CRITICAL REGIONALISM AND WORLD CULTURE

“Think globally-act locally”.” This design aims to create a timeless

building which uses global technologies in order to enhance what the

site already has to offer. Photovoltaic cells are used and located on

the angled roof facing north. These photovoltaic panels convert light

from the sun into electricity and will be used to generate electricity and

reduce the carbon dioxide emissions from the building.

This point could possibly have been the downfall of my design and an

area which could be improved on. Preconceived ideas of mine led me

to believe that a good design developed solely from the local without

recognition of the global. Sustainable technological advancements

are being made across the world and there is no need to reinvent the

wheel. I could possibly have looked at more international precedents

regarding sustainability in order to enhance my design.

THE RESISTANCE OF PLACE FORM

The form of the building was derived entirely from the site, it is long and

narrow which never allows the user to lose touch with the mangroves.

As soon as one enters a space one is immediately drawn outward

through the elongated floor plates which terminate with the structure

“framing” the mangrove scene.

It is easy not to let the building be governed by restrictions as the site is

not located in an urban setting; the building has free range to develop

and grow organically. As cliché and uncreative as it sounds the

concept for the structure and development of the building comes from

the mangrove trees themselves. They hold such value in that area one

could never look past them as a source of inspiration. The metal mesh

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WINDS

SUN

screens which enclose this building form a protective secondary skin

which protects the inside of the building which was governed by the

idea of the bark of a tree having a hard exterior which protects and

nourishes its interior.

CLIMATE VERSUS NATURE

The design on the building considers the genetic make up of a tree

which is applied to the structure of this building in order to respond to

the environment in similar way the mangroves have adapted to its

surroundings.

A metal mesh screen forms a secondary layer, shielding and protecting

the building from the elements, regardless of orientation. It provides a

tough and durable barrier for which the elements cannot penetrate.

Graphically representing the concept Figure6

Representing how the secondary skin protects from the elements Figure 7

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protective skin

It is at the occupant’s discretion as to allow the amount of light

entering the space as the screens can be opened and closed thus

transforming the spaces. The buildings main façade’s are orientated

North, South and as a result the harsh West, East sun is kept to a

minimum as only a small portion of the facades open up in either of

these directions. Where artificial illumination is required due to

insufficient day-lighting then low energy lighting systems will be used.

This secondary skin also aids in the natural ventilation of the building. At

the occupants will, the screens can be opened, along with the primary

skin (fenestration), allowing the building to breathe. The metal mesh

screen can be completely open; exposing the entire floor plate to the

outside thereby maximising ventilation. By naturally ventilating the

building, the energy consumption of the building is reduced and the

productivity of the staff is increased due to the fact they can freely

interact with the outdoors and the ability to work in a comfortable

environment which is naturally lit and is constantly supplied with fresh

air. Both the primary and secondary skins can be opened allowing the

building total interaction with its surroundings.

The penetrable, openable skin Figure 8

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This metal mesh skin makes up the majority of the façade, howev er,

there is exposed glass on the west and east facades, which makes use

of a translucent material which masks its structure on the exterior. The

idea is, when the sun illuminates the space, or when the space is lit at

night the structure will “shine” through the translucent material. This

design element was influenced by the sun which shines though a leaf

exposing the delicate structure or skeleton of the leaf. The structure

remains true to the concept and instead of masking it, I felt to express

and expose it as it played a vital role in the form of the building.

THE VISUAL VERSUS THE TACTILE

THE VISUAL VERSUS THE TACTILE

The building was designed around the experience of the user. The

experience of walking through the building is similar to the experience

of walking through the mangroves with regards to light, shadow,

textures and forms. The metal mesh screen which casts similar light

The concept of light coming through the structure Figure 9

The tangible influences Figure 10

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patterns into the space aims to re-create the journey through the

mangroves; the architecture therefore becomes about the emotive.

This building is designed to be a piece of inhabited sculpture which has

been influenced purely by its surroundings and strives, in every aspect

of its design, to integrate itself naturally into the mangroves. It is driven

by the idea of sustainability and centred on the user’s experience of

the space. The building never strives to achieve a sense of arrival and

the focus remains purely on the beauty of the surroundings which the

architecture of the building endeavours to delight itself in. I feel as if,

even without knowing the principles behind critical regionalism, I have

managed to achieve a level of local integration which makes strong

reference to the site and still remain within the boundaries of the

universal.

The play of light Figure 11

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CONCLUSION

“There are t wo strong conquerors of forgetfulness of men; poetry and archit ect ure

and bet ween t he t wo archit ecture is might ier in its realit y, the more potent to br ing

back t o mind the past long lost. We may live without archit ect ure’ we may worship

wit hout her but we cannot remember without her.” John Ruskin (Cr it ical Regionalism.

Archit ect ure and Ident ity in a Globalized World. Pg 16)

32

As globalization increasingly enters every facet of our lives, its

homogenizing effect on architecture has compelled architects to

include the principles of critical regionalism. It is an alternative theory to

Modernism or post Modernism whose values lie with industrialization,

mass production and internationalism; where critical regionalism

embraces local culture, geography and sustainability. The principals of

critical regionalism are becoming increasingly urgent and the impact

of globalization, if left unchecked, would become economically costly,

ecologically distractive and calamitous to the population.

33

BIBLIOGRAPHY

34

GENERAL INFORMATION -Book references-

-Nesbitt, K (editor) (1996) Theorizing a New Agenda for Architecture; An

Analogy of Architecture Theory 1965 – 1995. New York: Princeton

Architectural Press.

-Lefaivre, L and Tzonis, A (2003) Critical Regionalism ; Architecture and

Identity in a Globalized World. Munich, Berlin, London, New York: Prestel

Verlag.

-internet reference-

www.wikipedia.org/wiki/Critical_regionalism

6 POINTS OF CRITICAL REGIONALISM -book reference-

-Frampton, K (1985) Post Modern Culture. Article: Towards a Critical

Regionalism : Six Points for an Architecture of Resistance. Edited by:

Foster, H, London Pluto Press

-internet reference-

Paterson (1995) Critical Analysis of “Towards a Critical Analysis”

www.earthlink.net/aisgp/texts/regionalism/regionalism.html

INTERNATIONAL EXAMPLE -books-

35

-Lefaivre, L and Tzonis, A (2003) Critical Regionalism ; Architecture and

Identity in a Globalized World. Munich, Berlin, London, New York: Prestel

Verlag.

LOCAL EXAMPLE -journal refernces-

-WP. (Feb 2003) Journal of the KwaZulu Natal Institute for Architecture.

Volume 28, pg1. (Article: 2003 KZ-NIA Awards of Merit: Africa Centre,

Som khele)

-Van Heerden, D (Feb 2002) Journal of the KwaZulu Natal Institute for

Architecture. Volume 27, pg 7-10. (Article: Aids and Architecture;

Medical Research Facilities at Som khele)

-Unknown author (Nov/Dec 2004) Leading Architecture and Design. Pg

37

-Unknown author (Mar/Apr 2003) Leading Architecture and Design. Pg

19-22

-Unknown author (2002/2003) Digest of South Africa. Volume 7, pg 62-

63. (Article: The Africa Centre for Health and Population Studies)

ILLUSTRATIONS

Figure 1 Sourced from Architect, Derek van Heerden

Figure 2 Sourced from Architect, Derek van Heerden

Figure 3 Sourced from Architect, Derek van Heerden

Figure 4 Sourced from Architect, Derek van Heerden

Figure 5 Sketch Up model done by author

Figure 6 1st image: hand drawn by author. 2nd image:

www.stateofdesign.com.au/awards_shortlist.php (visited

on the 24th of October)

Figure 7 www.stateofdesign.com.au/awards_shortlist.php

36

Figure 8 1st image:

www.stateofdesign.com.au/awards_shortlist.php 2nd

image: hand drawn by author

Figure 9 100 Architects and 10 Critics, Author and photographer

unknown. Page 52

Figure 10 photographs taken by the author

Figure 11 1st image: hand drawn sketch by author. 2nd image: 100

Architects and 10 Critics, Author and photographer

unknown. Page 107

Figure 12 Sourced from Architect, Derek van Heerden

Figure 13 www.homeandabroad.com/c/107/Site/136619 (visited on

the 24th of October)

Figure 14 architecture.about.com/…/blutzon-bagsvaerd.htm (visited

on the 24t h of October)

Figure 15 www.aalborgwhite.com (visited on the 24t h of October)