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UNDERSTANDING THE VERNACULAR CULTUREEthical Responsibilities of Architects in the 21st Century

Duncan Sparks

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CONTENTS

Preface/Synopsis

Travel and influence

Collaborate

Reform education

Inclusive agenda

Literature review

Bibliography

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PREFACE

The aim of this manifesto is to recognise what high architecture had previously suppressed, by seeing the

world from within rather than above. At present there is a widening issue as a gap opens up between the

image of architecture and the reality of its making of place and occupation. This an invitation to grasp an

opportunity, that we are presented with in the 21st century. It has become too often in our modern societies

that architecture becomes simply a superficial discipline, with many contemporary buildings designed to

create an impression through our globalised media. We are at risk of diluting our regional traditions, through

lack of knowledge and a dismissal of cultural context.

To invigorate our profession, we must realise our ambitions by stimulating our senses through travel and

experience. Opportunities to witness diverse landscapes and admire the vernacular are possible, however

as our societies develop we find ourselves questioning if traditions and techniques are being corrupted by

technology and globalisation. We are now able through the digital age, to create a framework for cultural

transgressions, the social thresholds that were once barriers are now gateways to an enhanced understanding

of human and cultural needs.

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TRAVEL AND INFLUENCEThe mission of this manifesto is to inspire individuals to experience, enhance and inform themselves

of what architecture can be and engage a dialogue between the extrinsic vernacular cultures, we

might normally distance ourselves from that inhabit our world. We are in a valuable epoch, where

the possibilities of immersing ourselves in transcultural surroundings are attainable like never before. I

urge you to take field trips and adventures, elicit your inner desire to discover traditional and modern

architecture that fascinates you.

We as a profession have a responsibility to ensure that tradition is not lost, our societies are moving at

an exponential rate. This rapid growth is an issue that certain cultures cannot adapt to fast enough,

consequently pride and tradition is consumed with the knowledge and techniques of our forefathers.

We as architects are obliged to experience tradition as Rudofsky, Fathy, Utzon and many others have,

it is important to hold an understanding of the proficiency and expertise at which differing cultures

work at. It will define an architectural ethos for you to take forward and develop to help create a more

civilised civilisation.

“Our task is not to imitate the past, but to understand it, so that we may face the opportunity of our own day and deal with them in an equally creative spirit.”

Alexander Tzonis

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Appreciate remote culturesUnderstand humanistic values about the connections between people and place, this is where the true core of the vernacular is apparent.

Engage your surroundingsBe courageous and confident when interacting with others, learn and gain from such experiences.

Trigger sensesDerive some benefit from the sensory experience that you might gain whilst visiting multicultural locations.

Understand your limits Experiencing traditional techniques will enhance your understanding of structure and the limits architecture can impose, we all possess an innate ability to create shelter, use it.

Taste exhilaration of working with natures extremesCapture the chance of working with differing environments whenever possible, you may never get another.

Grasp human needsHuman diversity and equality, are poignant issues in today’s globalised society, we must distinguish the value of identity in physical and social situations.

Be influencedCreate a dialogue between cultures, buildings and surroundings, whether they engage or oppose your beliefs, always be open to new philosophies.

Record experiencesTake visual records, write and sketch, this should ensure you retain the practice of communal architecture on your travels.

Prosper from SerendipityGetting lost is part of the adventure, allow yourself to explore, some of the most valuable experiences are accidental.

Infect your landscapeCreative architectural interventions that enhances the environment, but you must find yourself always appreciative of defining characteristics to be able to engage the landscape.

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COLLABORATE

Our globalised culture offers opportunities to achieve incessant potential through a structure of collaboration

on a level of individuality that exploits a bottom-up approach. With tomorrow’s tools of digital technology

that generate a universal platform for association and alliance, this brings creation and communication

into the hands of the layperson. Communities are now able to consolidate their association with one

another, consequentially identity of cultures should be captured and broadcast to inform others of their

precious character.

The power of globalisation is with the human being, boundaries that once existed are being removed

as equality prevails, as this occurs be aware of homogeneity. As cities, cultures and politics take place

architecture can be in danger of creating iconic landmarks that do not signify the values of the environment

in which they are built. We must ensure that the profession is not undermined by a select few who wish to

create self-indulgent and profligate architecture, which bears no relation to culture or context.

“One’s beautiful designs must serve the humble everyday needs of men; indeed, if these design are true to their materials, their environment, and their daily job, they must necessarily be beautiful.”

Hassan Fathy

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Collective experiencesThere are many influences that shape today’s society in a technological environment, share your experiences.

Collaborate culturesWork together, attempt to understand individual associations and visualise their values, the world is a diverse place.

Change the scheme, alter the moodSpark idiosyncratic development by stimulating your consciousness through altering your working atmosphere.

Consult with othersNever be afraid to bounce your ideas off of others, having someone to talk to can often lead to creating ideas you never thought possible.

Reveal your secretsExhibit and showcase your work on blogs, websites and social media as if it were a public gallery or shop window, opportunities will beckon.

Break BarriersSince the birth of the internet, resistance to human collaboration has been suppressed, utilize this and cooperate with other cultures.

Universal designCreate honest architecture that is flexible incorporating environments that are intrinsically accessible to all.

Co-exist regardless of socioeconomic background Today’s world, offers an opportunity for architects to actively contribute towards inclusive social agendas.

Thrive to be creative Globalisation will in some terms homogenise the tools available to the individual, you must therefore ensure to be a foremost creative thinker.

Moderate HierarchyArchitecture maybe in danger of becoming a skin-deep vocation, with alien architecture, that is too often the separated from its surroundings, assist in the organisation of community.

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REFORMEDUCATIONCurrently the philosophy of architectural education is at an interesting tipping point. Everyone seems to

hold an opinion, we are witnessing a current generation of students and tutors alike who seem to believe

that the ordinary everyday life of current society is far too monotonous. On the contrary it is a within the

ordinary life processes to which varying cultures partake in that creates a curiosity of almost poetic import.

By education I do not imply teaching at an academic level, if this were the case then it would be inaccessible

to the majority of people. It is concerned with the advocacy of aptitude on a individual level, we hold a social

responsibility to improve our world. We must seek to understand architecture through an appreciation

towards culture and place, whilst realising that also multicultural influences offer a theory to design practice.

“Architectural education has never been concerned with more than a few select cultures. ”

Bernard Rudofsky

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Surround yourself in the creativity of othersAttempt to seek inspiration from architects and writers who share your beliefs. Read their work, attempt to understand there philosophical ethos, then imagine what they might have accomplished in your situation.

Apply skillsContinually apply yourself, ensure that you are able to retain your innate talents and keep them safe.

ImagineAllow yourself to dream, let your imagination roam, with hypothetical questions that remind you of childhood, it may trigger emotions that allow you to free yourself.

Slow downTake a break, your mind is a useful resource but don’t drain all of its potential immediately, allow your subconscious to function and profound ideas may occur to you.

Create timeless architectureIn order to ensure your architecture holds continued relevance, you must attempt to design innovatively ahead of your time.

Put theory into practiceUse studios and workshops, if these are prohibited, discover spaces that may otherwise of lay vacant, inhabit places.

Be criticalMake sure you analysis design, through place, identity, tradition and modernity, take reference from other works.

Address leadership (lobby)Through the democratic power of digital technology, you can create and distribute methods of addressing leadership, liberating those views that many may share. Realise your potentialFocus on achievable goals and build upon them, your heart’s desire will pull you through tough times.

Attend everythingGo to lectures, seminars, discussions and conferences, be inspired by several subjects, there will hopefully be a topic that resonates with your views.

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INCLUSIVE AGENDAAllow yourself to enjoy life, ensure you are part of an inclusive social agenda, which makes you feel

valued and have the opportunity to participate fully in the life of your society. We must encourage

others to intrinsically link architectural integrity and connection, to produce coherent strategies that

address a countless number of problems that we are faced with in developing countries. The irreverent

disruption of dense urban backgrounds through enforcing alien technologies with no appropriate

relationship to the function, is currently destroying vernacular tradition that must protect.

Architects must raise awareness of the social, ecological and economical issues that we all might face,

we can inform and teach those who want to continue the tradition of their vernacular architecture

but wish to improve some of their defining characteristics. Meanwhile we must stop governmental

solutions that involve large scale change, social welfare of urban fabrics that are failing to absorb such

an influx of change at one time.

“Architecture concerns itself with lofty ideals rather than gritty realism, searching for the next novelty whilst forgetting the present.”

Sarah Wigglesworth

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Have prideNever abdicate your responsibilities, look at your own work with fulfilment, it will strengthen you as a person and your architecture.

Explore web logsIndividuals who were once unable to express their experiences, now hold the public medium of the ‘blog’, collections of others can expose thousands of consequential messages and manifestos.

Have freedom of choiceDon’t be forced into cultural identities if they don’t embody you, you have the right to exercise your freedoms.

Don’t follow trendsFree yourself from the culture of celebrity in architecture, it will only remove you from the culture of the locality.

Actuate your beliefsCreate opportunities, you may have many occasions good or bad. Positive circumstances can be rare, however don’t be troubled by your misfortunes.

Ground yourselfDo not induce alien techniques on your surroundings, recognise the context in which you are designing .

raise awarenessPromote and campaign for an architecture which captures the creative potential of any act of making.

Understanding responsibilities Architects should act as compassionate critics, displaying what is admirable in forms of structure that you have a comprehension of.

value the everydayThe everyday is the glue that contextualises any design, never disregard it.

Add ingredientsThis list is immeasurable please add, improve, complicate and transform such philosophies.

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LITERATURE REVIEWArchitecture Without Architects - A Short Introduction to Non-Pedigreed ArchitectureBernard Rudofsky

Architecture Review - Globalisation and ArchitectureRobert Adam

Beyond Shelter - Architecture for CrisisMarie Aquilino

The World is Flat - A Brief History of the Twenty-first CenturyThomas Friedman

Architecture for the poor - An Experiment in Rural EgyptHassan Fathy

Architectural Design - Urban Flux, Architectures of the Near FutureMatthew Gandy

Critical Regionalism, Architecture and Identity in a Globalized WorldLiane Lefaivre and Alexander Tzonis

The Work of Jorn Utzon: A paradigm for Contemporary Regional ArchitectureAdrian Carter and Michael Mullins

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Architecture Without Architects was written in 1964, a commentary of the exhibition Architecture

Without Architects, shown at the Museum of Modern Art, New York. The book expresses apprehension

over how architectural history is taught in the western world, which “has never been concerned with more than a few select cultures”(Rudofsky, 1964, pp.2). Today’s architectural education, focuses on

formal issues of a few recent centuries, which can disregard the study of remote cultures, seeing the

vernacular as irrelevant in the present world. In contrast, these places demonstrate the significant

human act of building with indigenous materials for human needs and use, with sensitivity to an

inherently resolute form, without the concern for how the form might be perceived. Although this text

was written half a century ago, it’s relevance has grown in stature, it holds an array of illustrations

obtained by Rudofsky that are expressed by cultural and context.

We must understand the nature of basic human needs for the context of where we are situated. “It is frankly polemic, comparing as it does, if only by implication, the serenity of the architecture in so-called underdeveloped countries with the architectural blight in industrial countries.”(Rudofsky, 1964,

pp.4). In this abstract of the exhibition, there are shelters, streets, arcades and functional enclosures

crafted for the lasting use of whole communities. “Arcades are altruism turned architecture - private property given to an entire community.”(Rudofsky, 1964, pp.70)

Through experiencing these images, the architecture signifies as a collective experience, Peitro Belluschi

defined communal architecture as “a communal art, not produced by a few intellectuals or specialists but by the spontaneous and continuing activity of a whole people with a common heritage, acting under a community of experience.” (Rudofsky, 1964, pp.5)

Furthermore there are examples of city of roofs built as “windscoops” to direct prevailing winds

Architecture Without Architects - A Short Introduction to Non-Pedigreed Architecture

Bernard Rudofsky

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into each home; huts made of woven matting, some with vegetal roofs as Rudofsky (1964, pp.143)

describes “In a genial climate, buildings often consist of little more than a roof that acts as a parasol and parapluie...we first spread a parasol to throw shadow on the earth, writes the Japanese novelist Tanizaki, and in the shadow we put together a house.”

The language used within Architecture Without Architects is edifying “Our towns, with their air of futility, grow unchecked - an architectural eczema that defies all treatment.”(Rudofsky, 1964, pp.5).

Rudofsky (1964, pp.33) seeks to entice the architectural apprentice “Before being introduced to the prosaic tasks of their chosen profession, students of architecture are sometimes given problems that call for tackling sites like these. It is the one and only chance in their careers for tasting the exhilaration that comes from working, if only on paper, in connivance with nature at its most magnanimous.”

Whilst this becomes apparent, it is also true that for these projects of individual opportunity, comes

a community and the dense structures exhibited in Architecture Without Architects really shows an

innate ability in those which build them. This applied experience creates a wealth of understanding

of the limits that architecture can impose, which of course is used to the advantage of those working

within such boundaries.

To end, the text gives us a telling narrative upon which the mason is contrasted to the architect -

“Give a mason bricks and mortar, writes Jamshid Korros, an M.I.T. - educated Persian architect, and tell him to cover a space and let in light, and the results are astounding. The mason, within his limitations, finds unending possibilities, there is variety and harmony; while the modern architect with all the materials and structural systems available to him, produces monotony and dissonance, and that in great abundance”. (Rudofsky, 1964, pp.151)

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Adam (2008, pp.74) opens the article declaring that “Society can be made a mirror to architecture, we can understand architecture as a natural reflection of what is current socially, politically and economically”. It is true current challenges of globalisation are relentlessly shaping architecture’s relationship with society and culture. This is put more succinctly by Theodore Levitt, “everywhere everything gets more and more like everything else as the world’s preference structure is relentlessly homogenized”(Adam, 2008, pp.74).

With this culture certain societies now seek brand identity, buildings must be extraordinary and designed by only a select few names, this breed of global architects are coined “star architects” by Adam (2008,pp.75). He argues that “the personal status of these architects is now so great and the demand for their presence so high, from competitions as well as the cities themselves, that their work is almost by necessity strongly conceptual and cannot rely on any detailed study of fine grain or culture of the locality.” On the contrary Adam examines localisation, and the fear of global homogenisation undermining community of place and identity. Localisation is closely associated with the politics of identity, the sociological and political impact of regional identity is a powerful force in the globalised world, this warns that “Dislocated identity can lead to fundamentalism and terrorism.” (Adam, 2008, pp.76).

However parallels can be drawn from The World is Flat, as we see communities consolidate their association with one another and their place of origin of long distances with the internet and mobile devices. Such opportunity can be embraced for good, identity of cultures can be disseminated and collaborated to inform others of cultural identity that we see as so precious. Over the last 15 years there has been a growing urbanist movement specifically concerned with the individuality and identity of place.(Adam, 2008) This is primarily indicated by the UK government’s 1999 report, Towards an Urban Renaissance, led by Richard Rogers. In common with many other urbanist organisations it had a concern for identity and context.(Adam, 2008, pp.78). The interest for cultural identity opposes the homogenized architecture of the modernist movement, these two extremities of today’s architecture are a clear reflection of globalisation.

Architecture Review - Globalisation and Architecture

Robert Adam

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Too often architects are seen as artists within the contemporary western world we live in, with globalisation

in part creating a top down approach which can damage many vulnerable cultures of poorer backgrounds.

However Beyond Shelter does not only present a plethora of architectural inventions for developing world in

crisis but understands the wide ranging abilities of an architect which can be utilized to enhance developing

countries. “Architects are the party responsible for taking the budget and resources available to a credible, pertinent, long term built solution, along an optimal path. This, of course, is not a popular view of an architect. At best the public sees architects as artists, at worst as superfluous-profligate spenders charged with executing the whims and fancies of a client’s vision, and heaven knows the press and media outlets have not helped change this perception.” (Aquilino, 2011, pp. 13).

Overpopulated cities are seen as a great cause for concern, due to the fact that more than a billion people

worldwide live in slums (Sinclair, 2011), situated largely on the physical, economic, social and political fringe

of the world’s megacities, an issue that needs to be addressed immediately. “On average architects contribute to only 3 percent of the world’s built environment. Their indifference - or worse, irrelevance - to the world’s most vulnerable communities made them seem hardly worth talking about.” (Aquilino, 2011, pp.8)

It is clear that Beyond Shelter can envisage that without considering the potential consequences, impious

disturbance of dense communities will cause greater complications if we simply induce techniques upon

rich cultural backgrounds. By encouraging debate within the profession of construction, we must look to

hold everyone involved accountable; “to produce credible solutions and coherent strategies that address the myriad problems: [from] spatial and environmental planning to the need for vernacular and appropriate housing.” (Aquilino, 2011, pp.9)

The preservation of cultural integrity, funding streams and how best to function within developing

Beyond Shelter - Architecture for Crisis

Marie Aquilino

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countries cannot be avoided, those acknowledged within this book all have invaluable experiences and an

understanding of the cultural values for their field of study. Being appreciative of defining characteristics

within informal urban areas is fundamental to be able to engage with the world’s indigenous societies. We

must however stop approaches that involve large scale and rapid change, that relocate populations, and

infuse poverty zones with cash through major public works. “These have failed to eradicate the problem precisely because complex systems such as cities can only absorb so much change at one time. Moreover, success is less a function of available funds or technical expertise than of philosophical and cultural change. And we tend to forget that changes in lifestyle and expectations happen at very different rates than changes to the built environment.” (Aquilino, 2011, pp.128)

To understand the root cause of such issues, has a simple solution, they must be experienced first-hand.

By travelling to stricken areas of the world, we as architects can give hope to those in difficulty, instead of

the governmental methods of imposing assistance through a influx of capital. A reform of architectural

training is seen as the foundation for the awareness of ethical responsibility for architects, the opportunity

for education in a globalised world is something that cannot be ignored. However the issue highlighted by

Aquilino (2011, pp.288) “On the whole architects tend to work on prototypes completely dissociated from technical and economic realities” is it time for schools of architecture to rethink?

Although the book looks to assist in architecture for crisis, with such locations as New Orleans, Haiti and

Indonesia, it certainly answers questions to whether efforts have led to successful collaboration which

helps ensure a sustainable and safe way of life. It exposes the lack of leadership when rebuilding towns after

earthquakes, “Typically a patchwork of non-governmental charities, government agencies, and residents themselves cobble together solutions.” (Aquilino, 2011, pp.39)

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The World Is Flat: A Brief History of the Twenty-first Century is a exploratory assessment of the influences

that shape today’s society in a technological environment, which is focused upon aspects of opportunities for

organisations and individuals, Friedman sees they must keep advancing in such trends in order to remain

competitive within this global phenomenon. Friedman(2005, pp.47) lists The Ten Forces that flattened the

world with such events including the collapse of the Berlin Wall and the birth of the internet, creating a crude

foundation of a whole new universal platform for collaboration.

The book has an absorbing take on whether or not exploitation is globalisation, with examples of outsourcing

work in India and the consequences in terms of welfare for communities in developing countries and the effect

of unemployment within those countries where labour maybe squandered in this case the state of Indiana.

Friedman states that “When the world starts to flatten out and value increasingly gets created horizontally (through multiple forms of collaboration, in which individuals have much more power), who is on the top and who is on the bottom, who is exploiter and who is exploited, gets very complicated.” (Friedman, 2005,

pp.207) A powerful point, arguing that individual societies visualise their values on vastly differing scales,

the blinkered notion that one might possess of exploitation can only be relative to their experiences.

Later Friedman examines the impact of globalisation upon education, with the need for a system that will

be flexible and focused on teaching people to be flexible. The methods of specific skills will become obsolete,

creativity will prevail. “Everyone can see what everyone else is doing now, and everyone has the same tools, so you have to be the very best, the most creative thinker.” (Friedman, 2005, pp.344)A flat world is a competitive

world, a flat world offers endless opportunities that where all scales of society will adapt, hopefully for the

good of earth. The competitive nature of education through globalisation will hopefully bring prospects to

those creative thinkers that might not have a had chance before, The World is Flat tells us that the power is

in the individual and many boundaries that once existed have now been removed.

The World Is Flat - A Brief History of the Twenty-first Century

Thomas Friedman

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Architecture for the poor - An Experiment in Rural Egypt is an understated title, when these ideas inspired a

new generation of architects and planners worldwide, through an integration of vernacular technology with

modern architectural principles. An account of an Egyptian village that was designed and built between

1952 and 1964 by Hassan Fathy(1973, pp.2). The New Gourna Village holds characteristics of a traditional

urban architecture, with its appropriate use of local materials and techniques. It established, within the era

of modern movement that sustainability and social cohesion could also be met with vernacular architecture.

Fathy saw an issue of ‘Fashionable’ design in Europe filtering through to the city of Cairo and on to its

villages, which over a period of years would “slowly poison the genuine tradition”. “In these nightmarish neighbourhoods a craving for show and modernity causes the house owner to lavish his money on the tawdry fittings and decorations of urban houses, while being miserly with living space and denying himself absolutely the benefits of real craftsmanship.” (Fathy, 1973, pp.20). The book gives a insight of how

traditional cultures were being diluted, through lack of knowledge and dismissal of indigenous materials,

Fathy (1973, pp.20) testifies “To flatter his clients and persuade them that they are sophisticated and urban, the village mason starts to experiment with styles that he has seen only at second or third hand, and with materials that he cannot really handle with understanding.”

Fathy would travel the length and breadth of Egypt to understand the humanistic values about the

connections between people and places. It was through visiting villages and districts that had given standing

proof of the prevalence of vaulting through Egyptian history. Seeing vaults constructed without support

or many tools, restored his faith “Here, for years, for centuries, the peasant had been wisely and quietly exploiting the obvious building material, while we, with our modern school-learned ideas, never dreamed of using such a ludicrous substance as mud for so serious a creation as a house” (Fathy, 1973, pp.55)

The people of rural Egypt are now looking at their own products with pride, architects could act as

Architecture for the poor - An Experiment in Rural Egypt

Hassan Fathy

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authoritarian critics showing what is admirable in local forms. Speaking of the reestablishment of the

“Trinity” : Owner, Architect, and Craftsman, Fathy considers that “the client, architect and craftsman, each in his province, must make decisions, and if anyone of them abdicated his responsibility, the design will suffer and the role of architecture in the cultural growth and development of the whole people will be diminished.” (Fathy, 1973, pp.40)

The book strives to maintain traditions and becomes a manual of how he went about experiencing rural

Egypt, Fathy’s changes are not just improvements to make a peasants life better in a globalised sense,

they are changes that make life less demanding while he determined to strengthen society because of the

understanding of what is behind the tradition of the village. Such a book should be integrated into all

academia of architecture, it presents how an architect can assist in the organisation of community. Fathy

(1973, pp.122) suggests the co-operation on all levels is crucial “it is necessary, if a village is to be built by a cooperative system, to start with public buildings, which provide plenty of opportunity for training the villagers in building crafts that they can later apply to their own dwellings”

Furthermore, the design of public buildings and their architectural hierarchy within a setting of the village

suggests another notion to which Fathy believes strongly in architectural and cultural harmony. The

current elitism within our globalised societies could possibly take heed of this passive approach. Fathy (1973,

pp.122) describes the advantage of such a scenario, “the village will be spared the sight of a group of buildings proclaiming their officalism and self-assumed superiority in their alien architecture - a separateness that too often is more than a surface appearance.”

Fathy’s ideas are not just applicable to Egypt, by reading this book it as certainly increased my awareness

of the similarities of problems faced by different cultures on a global scale. Where issues such as cost, shelter

and energy efficiency in hot arid climates need addressing Hassan Fathy’s methods could be applied.

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Architectural Design - Urban Flux, Architectures of the Near Future

Matthew Gandy

Matthew Gandy, Director of the UCL Urban Laboratory, questions that in the 21st Century why does the type

of poverty and human exploitation most readily associated with Dickensian London or the ‘Dark Satanic

Mills’ of Victorian England still persist today? (Gandy, 2009, pp.13). Urban Flux, is an informative look

into the rationale behind contemporary urban landscapes, that are increasingly characterised with areas

of intense investment and consumption infected by decaying barren landscapes. The fissure between rich

and poor in cities is a cause for concern, where the amount of buildings that are unfit for human habitation

is escalating uncontrollably, this is not just happening within developing countries but “In some cases, such as London’s Somers Town or Manchester’s Ancoats, have remained centres for deprivation for centuries”

(Gandy, 2009, pp.13).

For successful urban progress we must understand that the prosperous and unprivileged must co-exist if we

are to move forward in achieving cultural, social and environmental objectives. However “It is striking how fear and distain for the urban poor remains so powerful today through the proliferation of gated communities and the clearing away of informal settlements...Whether in London or Mumbai, a vast army of cheap labour is needed to allow the urban economy to function, yet the rich increasingly prefer not to mix with these people. Many architects and planners acquiesce in these processes, seemingly willing to transform cities into playgrounds for the wealthy where professional ethics is subsumed by the cult of celebrity, real estate speculation and a new homogeneity in urban life.” (Gandy, 2009, pp.14).

Architects and other professionals engaged in urban practice, have a responsibility to future generations,

amplifying need to reflect on whether their projects are merely complicit elements in these processes or

actively contributing towards inclusive social agendas. Gandy (2009, pp.17) questions “What alternatives exist in the 21st century city? Certainly, we need to begin by disentangling past thinking: retain the 19th century’s engineering brilliance, for example, but not its moral hypocrisy; nurture the 20th-century public realm, but not the autocratic or dysfunctional dimensions of state power.”

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Critical Regionalism, Architecture and Identity in a Globalized World

Liane Lefaivre and Alexander Tzonis

International style that emerged in the 1920s and 1930s was the modernist movement at its peak, this stylistic approach to architecture disregards identity and place and could be seen as the precursor to globalisation as we know it. This sterile and elitist culture that once dominated the architectural movement is a stark contrast to the architects that appeared to produce work that emerged out of the specifics of an individual situation, known as Critical Regionalism by Liane Lefaivre and Alexander Tzonis.

The notion of critical regionalism is relatively current, with an aim of drawing attention away from the prevailing tendency of the last 30 years, postmodernism. The rise of postmodernism was exponential, as Tzonis (2003, pp.10) states “Modernism indifference and hostility towards history and culture, gave postmodernism a meteoric rise. However after a decade it became apparent that qualitatively not much different from their predecessors, the re-introduction of historical knowledge and cultural issues was only ever skin-deep.”

The issue of identity is that it is not recognised in a modernist top down approach, we must distinguish the value of identity in a physical, social and cultural situation. The term critical regionalism is not necessarily a movement, but more a abstract device that we choose to use as a tool of analysis of architecture. Tzonis (2003, pp.20) believes “The concept of regionalism here indicated an approach to design giving priority to the identity of the particular rather than to universal dogmas.”

Again issues with globalisation are highlighted, as we move into the unknown future of the twenty-first century, with unresolved conflicts due to a decrease in inter-cultural contact and the increasing possibility of global divergence. Tzonis (2003, pp.20) goes one step further; “the unanswered question of choosing between international intervention and identity, are increasingly leading to crises as vital as threat of a nuclear catastrophe in the middle of the last century”. Lefaivre (2003, pp.24) continues to position regionalism as “a facet of modern architecture”, whilst describing a brief history of the subject since World War II, the introduction of Lewis Mumford is influential. Mumford was a philosopher of technology and influential

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literary critic of urban architecture, his belief that structures of urban developments in western society is in

part responsible for some of the social problems seen in America.

However whilst Mumford is critical of globalism, he furthermore is critical of regionalism. Lefaivre (2003,

pp.34) suggests that “for the first time we find Mumford’s regionalism infused with a notion of relativity.”

Mumford turns regionalism upon its head, that age old battle and attitude of resistance against globalism is

now seen as holding a constant dialogue between that of regionalism and that of locality.

The rethinking of regionalism was profound, however when analysing and understanding the definition

of regionalism, it does seem quite obvious. After all this approach of engaging rather than opposing, is how

an architect should manage their environment, grasping an integration of the context, place and cultural

that surrounds a potential site or opportunity. One of the “five poles” Lefaivre goes on to examine of which

Mumford’s definition of regionalism runs, is the notion of functionality of surroundings and the rejection

of historicism. “Regionalism is not a matter of using the most available local material, or of copying some

simple form of construction that our ancestors used, for want of anything better, a century or two ago”

(Lefaivre and Tzonis, 2003, pp.34). He had no interest in history if it was not adapted to the needs of place

and culture.

This acceptance for concerns that would only enhance the situation of a project is a progression and adaption

that should be applied globally, but contextualised with regards to the site or conditions found. Mumford

concludes “Our task is not to imitate the past, but to understand it, so that we may face the opportunity of our

own day and deal with them in an equally creative spirit.” (Lefaivre and Tzonis, 2003, pp.38). I believe, once

we know about ourselves and the environment of the task in hand, then we can move ahead and understand

how to create regional architecture.

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This article looks at Utzon’s architecture in terms of its response to local context and multicultural influences, Carter and Mullins (2007, pp.67) hold the view that “a balance of both global influences and regional responses to architectural context offer a theory for contemporary architectural design practice”. Furthermore they believe that these credentials are exemplified in the work of Utzon. It is apparent that in such works as the Bagsvaerd Church, Kingo Houses and the Sydney Opera House that Utzon’s work embodies an ambitious approach to architecture, one which is sensitive and site specific, Carter (2007, pp.68) continues such plaudits “[an architecture] that is informed by a profound appreciation of nature and openness to the diversity of human cultures...combined with a sense of art and an innovative approach to use of technology.”

After the World War II Utzon was able to travel, to experience the traditional and modern architecture that fascinated him. It is clear that Utzon had been profoundly influenced by the transcultural architecture he experienced on his travels, inspired by images of Islamic architecture Utzon set off for Morocco in 1947. “Where he was immensely impressed by the cohesion and architectural integrity of the desert villages of courtyard houses built entirely with local clay, which unified them with the surrounding landscape”. (Carter and Mullins, 2007, pp.69)

Uzton had an innate skill in understanding the brief, his ability in architecture ranges from the humble to monumental, yet still applies the rigorous attention to detail within every project, incorporating appropriate form, material and function, whilst motivating a social response, specific to the site context. Kenneth

Frampton (2003, pp.3) believes the reasoning for this “seems to have depended for their intrinsic development on a certain cross-fertilization with other cultures.” In the case of Utzon travelling to understand these cultures was the foundation for his works.

Carter and Mullins (2007, pp.70) describe how “Utzon transcends the schism that has existed between a phenomenological understanding of architecture, with its appreciation of the specific qualities of place and

The Work of Jorn Utzon: A paradigm for Contemporary Regional Architecture

Adrian Carter and Michael Mullins

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the modernist use of the latest universally applicable technology”. Already as a student Uzton, who had little

interest in the Classical tradition, was through the study of vernacular buildings and from in nature seeking

other sources of architectural form. He attended a lecture by Alvar Aalto, where Aalto made the analogy

that a group of house were like the branch of a flowering cherry tree, where all the flowers are essentially the

same, yet each unique, looking this way or that, expanding or retreating, according to its relationship to its

neighbours, and to the sun and wind. (Weston 2002, pp.26)

One unrealised project of Utzon’s was the Silkeborg Museum, although at first glance it is seems an example

of contemporary globalised architecture such as Frank Gehry’s work. However Utzon’s architecture is

always a pure organic form that is determined by rational geometric principles, that are socially responsive,

related to the landscape and informed by an affinity with nature. It seems too often in our modern societies

that architecture becomes simply a superficial discipline, with many contemporary buildings designed to

create an impression through globalised media. Rather than creating a sensory experience to which Juhani

Pallasmaa (2006) states “five senses in mind”, where the impact of architecture is within the envelope of the

building itself.

Utzon is a source of stimulation for all aspiring architects that wish to create an inspiring sensory

architecture that pushes itself to the limit of technology whilst retaining sensitivity of place and humanity.

Carter and Mullins (2007, pp.79) suggest that “Utzon’s dedicated explorations and refining of significant

universal themes in architecture provides an enormous resource for architects in the future. His timeless

organic approach to design, rather than historical style ensures his continued relevance.” In an age of

globalisation Jorn Utzon has to be regarded as one of the foremost leaders of regional architecture, with a

lasting architecture that will be ever-present within history.

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This collection of books and articles all have corresponding views and methods, from Rudofsky’s contemptuous observation of modern day approaches to architecture, to Carter and Mullins views on Jorn Utzon’s mutlicultural influences. Carter and Mullins believed that Utzon’s characterising ability to create not only universally progressive virtues, but place the emphasis of architecture upon the climate, light and topography, instead of creating of merely visual architecture was a true understanding of regional architecture.

The belief in Architecture for the poor to re-establish an appreciation for craftsmanship to everyone by restoring the ability to control the creation of their own villages is thought provoking. This book shows how a maturing architect can support those suffering in grinding poverty with the ability to not only preserve the original techniques, but also promote the continuing evolution of tradition through communication and culture. Fathy brings to the surface the need for tradition, in which all architects should take note. “Indeed, no architect can avoid using the work of earlier architects; however hard he strains after originality, by far the larger part of his work will be in some tradition or other.”

It is inevitable that as society moves forward, tradition can be lost in the ever increasing urban sprawl of our metropolises that we as humans continue to expand. Furthermore this rapid growth is an issue that cultures cannot adapt to fast enough, consequently pride and tradition is consumed with the knowledge and techniques of our forefathers. We as architects are obliged to experience tradition as Rudofsky and Fathy have, an understanding of the proficiency and expertise at which differing cultures work at, will define an architectural ethos. “The urgent need to afford the next generation of architects new relevance has compelled a handful of professionals to change the way we think about architectural education” We as a profession must strive to safeguard and rejuvenate the vernacular, through educating students about possible experiences that inspire and stimulate the mind.

To succeed as urban societies co-habitation of rich and poor must be prevalent in metropolitan areas, in an age of social interaction it surely must be possible to heal the fracture. Architects must act to transform the perception we are now shrouded in, operating at all social levels, to understand, value and engage humanity. Help re-create a civilised quality of life, but to meet this need we must reinvest architecture with the capacity to be a powerful and unruly force, a source of discovery and change.

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