Critical Regionalism
- 1. CONTEMPORARY ARCHTECTURE: SEMINAR GUIDED BY: AR. KULDEEP BHATIA PRESENTED BY: • ASHITA CHOUDHRY • SNEHAL JAIN • HARSHITA JAIN • SHIVANI SALI
- 3. CRICTICAL REGIONALISM VERNACULAR ARCHITECTURECLIMATE TOPOGRAPHY CULTURE LOCAL MATERIALS LOCATION TRADITION CONSTRUCTION TECHNIQUES HISTORY CHARACTERISTICS POPULATION DENSITY LANDSCAPE
- 4. MODERNISM REGIONALISM CRICTICAL REGIONALISM INTERNATIONAL STYLE TOPOGRAPHY ORNAMENTATION TECTONIC CLIMATE SIMPLICITY MODERN TRADITION LESS IS MORE EXPRESSIONISMELECTICISM “The science or art of construction, both in relation to use and artistic design." POST MODERNISM TROPICAL MODERNISM
- 5. • Critical regionalism is an approach to architecture that strives to counter the placelessness and lack of identity of the International Style, but also rejects the whimsical individualism and ornamentation of Postmodern architecture. • Critical regionalism is not simply regionalism in the sense of vernacular architecture. It is a progressive approach to design that seeks to mediate between the global and the local languages of architecture. CRICTICAL REGIONALISM
- 6. • The term critical regionalism was first used by Alexander Tzonis and Liane Lefaivre and later more famously by Kenneth Frampton. • In the 1980’s a few architects and theorists were disappointed with the direction that architecture was taking under the influence of postmodernism. • Rather than unveiling the historicity of style in their designs, postmodern architects became another avant garde (New and experimental ideas) that produced designs that mimicked classical style.
- 7. PAUL RICOUR: "How to be modern and to continue the tradition, how to revive an old dormant civilization as part of universal civilization?“ • Frampton in his essay argues that it is "critical to adopt" universal values of modernism, taking into account the geographical context of the building. Frampton does not want to refer directly to "folklore", but to the climate, light, topography, and "local tectonic form", which should be understood as historical and geographical conditions of the construction industry. • Track of phenomenology in a critical regionalism can be read with an attitude, according to which any form of modernism can be criticized without prejudice, AS IT IS, and not through the prism of sins, for which you may not bear the responsibility. • In this perspective, critical regionalism should be treated as a "reformed modernism" and probably for this reason, the best designs are made by architects from countries far from a universal bustle of big cities.
- 8. ARCHITECTS GEOFFREY BAWA MARIO BOTTA JORN UTZON ALVAR ALTO TADAO ANDO CHARLES CORREA
- 9. • Highly personal in his approach, evoking the pleasures of the senses that go hand in hand with the climate, landscape, and culture of ancient Ceylon(present day sri lanka) • Brings together an appreciation of the western humanist tradition in architecture with needs and lifestyles of his own work • The principal force behind tropical modernism • His ideas are providing a bridge between the past and the future, a mirror in which ordinary people can obtain a clearer image of their own evolving culture. • FUSED VERNACULAR ARCHITECTURE WITH THE MODERN CONCEPTS TO SATIATE THE NEEDS OF THE URBAN POPULATION GEOFFREY BAWA PHILOSOPHY Architecture cannot be totally explained but must be experienced. - Geoffrey Bawa
- 10. A.S.H DE SILVA HOUSE, Galle “works” TRITON HOTEL ,AHUNGALLA SRI LANKAN PARLIAMENT BUILDING RUHUNU UNIVERSITY, MANTARA
- 11. • Bawa’s design deployed over fifty separate pavilions linked by a system of covered loggias on a predominantly orthogonal grid and used a limited vocabulary of forms and materials borrowed from the porto-sinhalese building traditions of the late medieval period, but it exploited the changing topography of the site to create an ever varying sequence of courts and verandahs, vistas and closures. The result was a modern campus, vast in size but human in scale. RUHUNUUNIVERSITY, MANTARA •Bawa placed the vice chancellor's lodge and a guest house on the western hill and flooded the intervening valley to create a buffer between the road and the main campus. •Wrapped the buildings of the science faculty around the northern hill and those of the arts faculty around the southern hill, using the depression between them for the library and other central facilities. CENTRAL VALLEY WITH LIBRARY
- 12. •Buildings were planned orthogonally on a north-south grid but were allowed to 'run with site'. •Natural features such as rocky outcrops were incorporated into the bases of buildings or became focal features of the open spaces. •The limited architectural vocabulary clearly derives from porto- sinhalese traditions EXTERIOR VIEW SHOWING TERRACES AND JUXTAPOSITION OF BUILDINGS WITH EACH OTHER AND LANDSCAPE •Pavilions, varying in scale and extent, are connected by covered links and separated by an ever-changing succession of garden courts. •Everywhere there are places to pause and consider, to sit and contemplate, to gather and discuss. •The main routes either cut uncompromisingly across the contours or meander horizontally along them.EXTERIOR VIEW FROM STREET LEVEL SHOWING USE OF STONE AND CONCRETE IN FAÇADE
- 13. • He shows respect for topographical conditions and regional sensibilities and his designs generally emphasize craftsmanship and geometric order. Because he attempts to reconcile traditional architectural symbolism with the aesthetic rules of Modern Movement MARIO BOTTA PHILOSOPHY He believes that architecture acts as a
- 14. WELLNESS CENTER, SWITZERLAND Design elements are: • Modernism • Regionalism • Vernacular material • Geometry • Topography
- 15. JORN UTZON PHILOSOPHY • Utzon had a nordic sense of concern for nature which, in his design, emphasized the synthesis of form, material and function for social valuesThis developed into what utzon later referred to as additive architecture, comparing his approach to the growth patterns of nature. • A design can grow like a tree, he explained: "if it grows naturally, the architecture will look after itself." A design can grow like a tree, he explained: "if it grows naturally, the architecture will look after itself." - Jorn Utzon
- 16. SYDNEY OPERAHOUSE EVOLUTION OF FORM The principle that is fundamental to the architecture of JØRN UTZON : He draws inspiration from nature for organic form and creates an architecture that is predominantly experiential in character. The character which is most prominent about the Opera House is it’s being free in the centre of the Sydney Harbour, free from all sides, visible from all sides. The position on a peninsula, which is overlooked from all angles makes it important to maintain an all-round elevation...the building must form a freestanding sculpture in contrast to the square buildings surrounding it.
- 18. ALVAR ALTO • Born on 3rd february 1898 • Graduated as an architect in 1921 from Helsinki university of technology • Began architectural practice in 1923 after completing his travels • Initially designed single family houses • Evolved his style after travelling with his wife to Italy, whose Mediterranean culture influenced his work for the rest of his life • Received international fame for the Viipuri Library(1927) and Paimio Sanatorium(1929 ) •Known as the Father of Modern Scandinavian Architecture.
- 19. Architectural philosophy • Alto bears hallmarks of influences from le corbusier , walter gropius and other modernist figures. • He initially practice classical style of architecture • But later began to blend modernist design approach with classical architecture. • His individuality lies in use of organic references with the above types • He did not dwell on abstract theory but emerged himself in the particularities of the site, the texture of materials, forms and quality of light as well as the mood, atmosphere, intensity of life • He said, "Architecture should always offer a means whereby
- 20. Säynätsalo Town Hall Jyvaskyla,Finland • The Säynätsalo Town Hall is a multifunction building complex – town hall, shops, library and flats • The design of the Town Hall was influenced by both Finnish vernacular architecture and the humanist Italian renaissance. • It was the Italian Renaissance from which Aalto drew inspiration for the courtyard arrangement.
- 21. • While the main program of the building is housed within a heavy brick envelope, the courtyard is bordered by a glass- enclosed circulation space which can be linked to the model of an arcade- bordered Piazza. • It was important to Aalto that the design represent democracy and the people's relationship with the government which is why he included a large
- 22. FORM DEVELOPMENT
- 23. • the project follows the traditional European court-and-tower model of a civic center. • The complex consists of two brick buildings: the rectangular library block the rectangular library block and the U-shaped government building.
- 24. • The two staircases leading up to the courtyard from ground level are likewise divergent in style. • The eastern staircase is straight flight staircase made in granite. made in granite. • The western staircase is more irregular and is laid with terrace grass held by wooden planks.
- 25. Second floor planGround floor plan It consists of library and shops It consists of the council chamber
- 26. FIRST FLOOR : RAISED COURTYARD LEVEL Courtyard level First floor : • It was planned as a multifunction space which would include civic offices and meeting space, private apartment space, shops, a bank, and a library. • offices at western side •library at southern side •Shops at eastern side
- 28. •The town hall is crowned by the council chamber, a double-height space which is capped by the Aalto- designed "Butterfly" trusses. •The trusses support both the roof and the ceiling, creating airflow to manage condensation in the winter and heat in the summer. •The butterfly truss eliminates the need for multiple intermediate trusses. BUTTERFLY TRUSSES. •Another distinctive feature at Säynätsalo are the grass stairs which complement a conventional set of stairs adjacent to the tower council chambers. •The grass stairs also evoke notions of ancient Greek and Italian architecture through the establishment of a form resembling a simple amphitheater condition. GRASS STAIRS Details :
- 29. • Two characteristics of his work : use of limited material with their textures exposed. • : An ambiguous articulation of the function of space. • In all of his works ,light is decisive in forming space. • Ando’s use of materials is spare and rigorous and the abrasive elegance to concrete is handled with a care. • His concrete reacts to light ; illuminated ; it revels that it exists. • It is not by chance that there is no color in his spaces . colors are evidence of the campaigns and sufferings to which light has been subjected and could thus only disturb the intimate quietness which his projects seek to achieve. TADAO ANDO PHILOSOPHY
- 30. BENESSE HOUSE • Concept of “coexistence of nature, art and architecture.” • The benesse house consists of four buildings; The museum, the oval (opened in 1995), the park the beach (both opened in 2006) • The oval itself measures 40 meters on its long axis and 20 meters on the shorter one • Long ramps, stairs, and passages to traverse. • Natural light from outside pouring in through apertures, weaving together the indoors and outdoors.
- 31. • With an oval plan and only one level. • Luxury accommodation with rooms and café . • The central courtyard also has a large pool with an oval shape measuring 20 by 10 meters on its long and short axes, respectively • The museum’s artworks are found in all parts of the building. • The ultra modern structure has a close relationship with its geography and nature. • The space serves as a very modern museum and hotel yet it has such a direct connection with nature and lets in a ton of natural light. • tribute to the region and the history that goes with it. • sense of calmness and simplicity that is seen in the architecture, as it draws upon the traditions and culture of the island of Naoshima. Planning
- 32. • The ultra modern structure has a close relationship with its geography and nature. • The space serves as a very modern museum and hotel yet it has such a direct connection with nature and lets in a ton of natural light. • tribute to the region and the history that goes with it. • sense of calmness and simplicity that is seen in the architecture, as it draws upon the traditions and culture of the island of Naoshima.
- 33. CHARLES CORREA PHILOSOPHY DETAILS ARE NOT THE DETAILS .THEY MAKE THE DESIGNS. • CHARLES CORREA is probably the best known of that first generation, who matured in aftermath of the chandigarh explosion. • Did not simply import the readymade ‘INTERNATIONAL STYLE’ but he needed to create a specifically indian way of dealing with the building problems of the post world war.
- 34. • The plan was prepared by the noted architect Charles Correa in 1986 and the building was ready in 1991. • The plan is inspired by the original city plan of Jaipur, consisting of nine squares with central square left open. • Each square was linked to the planet as per the characteristics of the particular planet and its astrological values and the functionality of the square. • Partly open courtyards and the traditional design elements of Rajasthan have been incorporated in the complex. JAWAHAR KALA KENDRA Planning
- 35. Library fully glazed Play with light and shadow Madhyavarti i.e Open air theatre Use of local material
- 36. THANK YOU