156 rationality, yet draws influence from traditional styles and uses traditional materials like brick and wood accents to reflect and complement the heavily forested surroundings.” (Chanowitz, 2016) In this way, it uses the context to draw inspiration and it borrows elements (materials, textures, forms) from the surrounding landscape to fit into place. Figure 154b the horizontal context is accentuated with the horizontal brick movement. It is in the same red earthy tones as the surrounding soil. In this way, the building grows from the landscape. The trees surrounding the site are expressed as vertical structural elements. These reach the height and have the same volumous quality as the trees and allows the building to be a continuation of the forest-like environment. It embodies the main principles of this movement, and shows the important of influencing all the senses using design elements.
The last point is therefore the Visual versus the Tactile, which involves the sensory experience. This links the style to phenomenology and aural architecture too. The visual relationship is important, since it is the bulk of the experience, but tactility is just as important in a well-rounded envelopment in place. “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.” (Frampton, 1987) By bringing awareness to the other senses in architecture, people can connect to the space on more levels. “According to Frampton, Ando’s definition of space, which is defined by basic geometric shapes,
Figure 156a