FROM TOWARDS A CRITICAL REGIONALISM

Kenneth Frampton (1981)

3. Critical Regionalism and World Culture

Architecture can only be sustained today as a critical practice if it assumes an arriregarde position, that is to say, one which distances itself equally from the Enlightenment myth of progress and from a reactionary, unrealistic impulse to return to the architectonic forms of the preindustrial past. A critical arrire-garde has to remove itself from both the optimization of advanced technology and the ever-present tendency to regress into nostalgic historicism or the glibly decorative. It is my contention that only an arrire-garde has the capacity to cultivate a resistant, identity-giving culture while at the same time having discreet recourse to universal technique. It is necessary to qualify the term arrire-garde so as to diminish its critical scope from such conservative policies as Populism or sentimental Regionalism with which it has often been associated. In order to ground arrire-gardism in a rooted yet critical strategy, it is helpful to appropriate the term Critical Regionalism as coined by Alex Tzonis and Liliane Lefaivre in "The Grid and the Pathway" (1981); in this essay they caution against the ambiguity of regional reformism, as this has become occasionally manifest since the last quarter of the 19th century: Regionalism has dominated architecture in almost all countries at some time during the past two centuries and a half. By way of general definition we can say that it upholds the individual and local architectonic features against more universal and abstract ones. In addition, however, regionalism bears the hallmark of ambiguity. On the one hand, it has been associated with movements of reform and liberation;. . . on the other, it has proved a powerful tool of repression and chauvinism. . . . Certainly, critical regionalism has its limitations. The upheaval of the populist movement a more developed form of regionalism has brought to light these weak points. No new architecture can emerge without a new kind of relations between designer and user, without out new kinds of programs. . . . Despite these limitations critical regionalism is a bridge over which any humanistic architecture of the future must pass. The fundamental strategy of Critical Regionalism is to mediate the impact of universal civilization with elements derived indirectly from the peculiarities of a particular place. It is clear from the above that Critical Regionalism depends upon maintaining a high level of critical selfconsciousness. It may find its governing inspiration in such things as the range and quality of the local light, or in a tectonic derived from a peculiar structural mode, or in the topography of a given site. ... The case can be made that Critical Regionalism as a cultural strategy is as much a bearer of world culture as it is a vehicle of universal civilization. . . . [T]he practice of Critical Regionalism is contingent upon a process of double mediation. In the first place, it has to "deconstruct" the overall spectrum of world culture which it inevitably inherits; in the second
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place, it has to achieve, through synthetic contradiction, a manifest critique of universal civilization. . . . That Critical Regionalism cannot be simply based on the autochthonous forms of a specific region alone was well put by the Californian architect Hamilton Harwell Harris when he wrote, now nearly thirty years ago: Opposed to the Regionalism of Restriction is another type of regionalism, the Regionalism of Liberation. This is the manifestation of a region that is especially in tune with the emerging thought of the time. We call such a manifestation "regional" only because it has not yet emerged elsewhere. . . . A region may develop ideas. A region may accept ideas. Imagination and intelligence are necessary for both. In California in the late Twenties and Thirties modern European ideas met a still-developing regionalism. In New England, on the other hand, European Modernism met a rigid and restrictive regionalism that at first resisted and then surrendered. New England accepted European Modernism whole because its own regionalism had been reduced to a collection of restrictions.

4. The Resistance of the Place-Form

The Megalopolis recognized as such in 1961 by the geographer Jean Gottman continues to proliferate throughout the developed world to such an extent that, with the exception of cities which were laid in place before the turn of the century, we are no longer able to maintain defined urban forms. The last quarter of a century has seen the so-called field of urban design degenerate into a theoretical subject whose discourse bears little relation to the processal realities of modern development. Today even the supemanagerial discipline of urban planning has entered into a state of crisis. . . . In his essay of 1954, "Building, Dwelling, Thinking," Martin Heidegger provides us with a critical vantage point from which to behold this phenomenon of universal placelessness. Against the Latin or, rather, the antique abstract concept of space as a more or less endless continuum of evenly subdivided spatial components or integers what he terms spatium and extensio Heidegger opposes the German word for space (or, rather, place), which is the term Raum. Heidegger argues that the phenomenological essence of such a space/place depends upon the concrete, clearly defined nature of its boundary, for, as he puts it, "A boundary is not that at which something stops, but, as the Greeks recognized, the boundary is that from which something begins its presencing. . . . Heidegger goes on to state that the condition of "dwelling" and hence ultimately of "being" can only take place in a domain that is clearly bounded. . . . [W]e are, when confronted with the ubiquitous placelessness of our modern environment, nonetheless brought to posit, after Heidegger, the absolute precondition of a bounded domain in order to create an architecture of resistence. Only such a defined boundary will permit the built form to stand against and hence literally to withstand in an institutional sense the endless processal flux of the Megalopolis. The bounded place-form, in its public mode, is also essential to what Hannah Arendt has termed "the space of human appearance," since the evolution of legitimate power has always been predicated upon the existence of the "polis" and upon comparable units of institutional and physical form. While the political life of the Greek polis did not stem directly from the physical

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presence and representation of the city-state, it displayed in contrast to the Megalopolis the cantonal attributes of urban density. Thus Arendt writes in The Human Condition: The only indispensable material factor in the generation of power is the living together of people. Only where men live so close together that the potentialities for action are always present will power remain with them and the foundation of cities, which as city states have remained paradigmatic for all Western political organization, is therefore the most important material prerequisite for power. ... While the strategy of Critical Regionalism as outlined above addresses itself mainly to the maintenance of an expressive density and resonance in an architecture of resistance (a cultural density which under today's conditions could be said to be potentially liberative in and of itself since it opens the user to manifold experiences), the provision of a place-form is equally essential to critical practice, inasmuch as a resistant architecture, in an institutional sense, is necessarily dependent on a clearly defined domain. Perhaps the most generic example of such an urban form is the perimeter block, although other related, introspective types may be evoked, such as the galleria, the atrium, the forecourt and the labyrinth. And while these types have in many instances today simply become the vehicles for accommodating pseudo-public realms (one thinks of recent megastructures in housing, hotels, shopping centers, etc.), one cannot even in these instances entirely discount the latent political and resistant potential of the placeform.

5. Culture Versus Nature: Topography, Context, Climate, Light and Tectonic Form
Critical Regionalism necessarily involves a more directly dialectical relation with nature than the more abstract, formal traditions of modern avant-garde architecture allow. It is selfevident that the tabula rasa tendency of modernization favors the optimum use of earth-moving equipment inasmuch as a totally flat datum is regarded as the most economic matrix upon which to predicate the rationalization of construction. Here again, one touches in concrete terms this fundamental opposition between universal civilization and autochthonous culture. The bulldozing of an irregular topography into a flat site is clearly a technocratic gesture which aspires to a condition of absolute placelessness, whereas the terracing of the same site to receive the stepped form of a building is an engagement in the act of "cultivating" the site. Clearly such a mode of beholding and acting brings one close once again to Heidegger's etymology; at the same time, it evokes the method alluded to by the Swiss architect Mario Botta as "building the site." It is possible to argue that in this last instance the specific culture of the region that is to say, its history in both a geological and agricultural sense becomes inscribed into the form and realization of the work. This inscription, which arises out of "inlaying" the building into the site, has many levels of significance, for it has a capacity to embody, in built form, the prehistory of the place, its archeological past and its subsequent cultivation and transformation across time. Through this layering into the site the idiosyncrasies of place find their expression without falling into sentimentality. What is evident in the case of topography applies to a similar degree in the case of an

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existing urban fabric, and the same can be claimed for the contingencies of climate and the temporally inflected qualities of local light. Once again, the sensitive modulation and incorporation of such factors must almost by definition be fundamentally opposed to the optimum use of universal technique. This is perhaps most clear in the case of light and climate control. The generic window is obviously the most delicate point at which these two natural forces impinge upon the outer membrane of the building, fenestration having an innate capacity to inscribe architecture with the character of a region and hence to express the place in which the work is situated. Until recently, the received precepts of modern curatorial practice favored the exclusive use of artificial light in all art galleries. It has perhaps been insufficiently recognized how this encapsulation tends to reduce the artwork to a commodity, since such an environment must conspire to render the work placeless. This is because the local light spectrum is never permitted to play across its surface: here, then, we see how the loss of aura, attributed by Walter Benjamin to the processes of mechanical reproduction, also arises from a relatively static application of universal technology. The converse of this "placeless" practice would be to provide that art galleries be top-lit through carefully contrived monitors so that, while the injurious effects of direct sunlight are avoided, the ambient light of the exhibition volume changes under the impact of time, season, humidity, etc. Such conditions guarantee the appearance of a place-conscious poetic a form of filtration compounded out of an interaction between culture and nature, between art and light. Clearly this principle applies to all fenestration, irrespective of size and location. A constant "regional inflection" of the form arises directly from the fact that in certain climates the glazed aperture is advanced, while in others it is recessed behind the masonry facade (or, alternatively, shielded by adjustable sun breakers). The way in which such openings provide for appropriate ventilation also constitutes an unsentimental element reflecting the nature of local culture. Here, clearly, the main antagonist of rooted culture is the ubiquitous airconditioner, applied in all times and in all places, irrespective of the local climatic conditions which have a capacity to express the specific place and the seasonal variations of its climate. Wherever they occur, the fixed window and the remotecontrolled air-conditioning system are mutually indicative of domination by universal technique. Despite the critical importance of topography and light, the primary principle of architectural autonomy resides in the tectonic rather than the scenographic: that is to say, this autonomy is embodied in the revealed ligaments of the construction and in the way in which the syntactical form of the structure explicitly resists the action of gravity. It is obvious that this discourse of the load borne (the beam) and the load-bearing (the column) cannot be brought into being where the structure is masked or otherwise concealed. On the other hand, the tectonic is not to be confused with the purely technical, for it is more than the simple revelation of stereotomy or the expression of skeletal framework. Its essence . . . was perhaps best summarized by the architectural historian Stanford Anderson when he wrote: "Tektonik" referred not just to the activity of making the materially requisite construction. . . but rather to the activity that raises this construction to an art form. . . . The functionally adequate form must be adapted so as to give expression to its function. The sense of bearing provided by the entasis of Greek columns became the touchstone of this concept of Tektonik. The tectonic remains to us today as a potential means for distilling play between material,

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craftwork and gravity, so as to yield a component which is in fact a condensation of the entire structure. We may speak here of the presentation of a structural poetic rather than the representation of a facade.

6. The Visual Versus the Tactile

The tactile resilience of the place-form and the capacity of the body to read the environment in terms other than those of sight alone suggest a potential strategy for resisting the domination of universal technology. It is symptomatic of the priority given to sight that we find it necessary to remind ourselves that the tactile is an important dimension in the perception of built form. One has in mind a whole range of complementary sensory perceptions which are registered by the labile body: the intensity of light, darkness, heat and cold; the feeling of humidity; the aroma of material; the almost palpable presence of masonry as the body senses its own confinement; the momentum of an induced gait and the relative inertia of the body as it traverses the floor; the echoing resonance of our own footfall. Luchino Visconti was well aware of these factors when making the film The Damned, for he insisted that the main set of the Altona mansion should be paved in real wooden parquet. It was his belief that without a solid floor underfoot the actors would be incapable of assuming appropriate and convincing postures. A similar tactile sensitivity is evident in the finishing of the public circulation in Alvar Aalto's Saynatsalo Town Hall of 1952. The main route leading to the second-floor council chamber is ultimately orchestrated in terms which are as much tactile as they are visual. Not only is the principal access stair lined in raked brickwork, but the treads and risers are also finished in brick. The kinetic impetus of the body in climbing the stair is thus checked by the friction of the steps, which are "read" soon after in contrast to the timber floor of the council chamber itself. This chamber asserts its honorific status through sound, smell and texture, not to mention the springy deflection of the floor underfoot (and a noticeable tendency to lose one's balance on its polished surface). From this example it is clear that the liberative importance of the tactile resides in the fact that it can only be decoded in terms of experience itself: it cannot be reduced to mere information, to representation or to the simple evocation of a simulacrum substituting for absent presences. In this way, Critical Regionalism seeks to complement our normative visual experience by readdressing the tactile range of human perceptions. In so doing, it endeavors to balance the priority accorded to the image and to counter the Western tendency to interpret the environment in exclusively perspectival terms. According to its etymology, perspective means rationalized sight or clear seeing, and as such it presupposes a conscious suppression of the senses of smell, hearing and taste, and a consequent distancing from a more direct experience of the environment. This self-imposed limitation relates to that which Heidegger has called a "loss of nearness." In attempting to counter this loss, the tactile opposes itself to the scenographic and the drawing of veils over the surface of reality. Its capacity to arouse the impulse to touch returns the architect to the poetics of construction and to the erection of works in which the tectonic value of each component depends upon the density of its objecthood. The tactile and the tectonic jointly have the capacity to transcend the mere appearance of the technical in much the same way as the place-form has the potential to withstand the relentless onslaught of global modernization.

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