kenneth frampton, towards a critical regionalism: six points for an architecture of resistance
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In Towards a Critical Regionalism: Six points for an architecture of resistance, Frampton recalls Paul Ricoeur's "how to become modern and to return to sources; how to revive an old, dormant civilization and take part in universal civilization". According to Frampton's proposal, critical regionalism should adopt modern architecture, critically, for its universal progressive qualities but at the same time value should be placed on the geographical context of the building. Emphasis, Frampton says, should be on topography, climate, light; on tectonic form rather than on scenography (i.e. painting theatrical scenery) and should be on the sense of touch rather than visual sense. Frampton draws on phenomenology for his argument.[2]Alvar Aalto, Saynatsalo Town Hall (1952), Finland: the grass steps appeal to the tactile sense.Two examples Frampton briefly discusses are Jørn Utzon and Alvar Aalto. In Frampton's view, Utzon's Bagsværd Church (1973–6), near Copenhagen is a self-conscious synthesis between universal civilization and world culture. This is revealed by the rational, modular, neutral and economic, partly prefabricated concrete outer shell (i.e. universal civilization) versus the specially-designed, 'uneconomic', organic, reinforced concrete shell of the interior, signifying with its manipulation of light sacred space and 'multiple cross-cultural references', which Frampton sees no precedent for in Western culture, but rather in the Chinese pagoda roof (i.e. world culture). In the case of Aalto, Frampton discusses the red brick Säynätsalo Town Hall (1952), where, he argues, there is a resistance to universal technology and vision which is effected by using the tactile qualities of the building's materials. He notes, for instance, feeling the contrast between the friction of the brick surface of the stairs and the springy wooden floor of the council chamber.TRANSCRIPT
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