Critical Regionalism & Architectural Developments in Tropical Architecture

CRITICAL REGIONALISM

& Architectural Developments in Tropical Architecture Fall 2024 | ARCH 808: Comprehensive Design Preparation Spring 2025| ARCH 818: Architectural Design Studio 8 Corin Afzal

PAVA A RC H I T ECTS

F I G . 1 . C O U R T E SY O F C H A R L E S C O R R E A .

H O U S I N G P R O J ECT AT B E L A P U R , I N D I A .

F I G . 1 . C o ur te sy of C h a r le s Cor rea . I nc rem ental H ou s i ng at B el ap u r.

Introduction During the 1970s to the 1990s, a growing interest in social agendas and structuralist methods began influencing the realm of architecture.1 Humanitarian needs and a greater connection to the environment rose as a reaction to the mass production and industrial developments of the modern era. Critical regionalism, a term originally coined by theorist Alexander Tzonis and the historian Liane Lefaivre, aimed to realign design with the individual.2 The concept was a reaction 1 2

to both the International Style of the modern movement and the superficial expression of Post-Modernism that was seen as equally dislocated as modernity’s approach to architecture.3 Critical regionalism emphasizes the importance of local contexts and cultures at every phase of design response while conforming to the modern advancements in the industry.

Though the terminology was founded in 1981, the approach to the design process existed long before that time.

Bernard Rudofsky, an architect and humanities philosopher of the 1940s through the 1960s adopted the regionalist mindset. His book “Architecture Without Architects” written in 1964, soured through architect’s reading

Philip Goad, et al. “New Directions in Tropical Asian Architecture.” Singapore: Periplus Editions, n.d.

2005. 30.

Kelly Carlson-Reddig. “Re-Reading Critical Regionalism.” In Local Identities Global Challenges, ACSA Fall Conference. 2011. 269.

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1

Kenneth Frampton. “Ten Points on an Architecture of Regionalism:A Provisional Polemic.” Center 3: New Regionalism , 1987, 4.

F I G . 2 Cou r te sy Of Rob e r t L . V ic ke r y. S a n gat h A rc h ite c t’s St u di o, Bv Do shi.

lists and promoted a way forward rejecting modernism and the distractions and the blurred advancement that came along with it.4 He was a firm believer in architects being “advocates for a better life,”5 and that they should engage with the public as humanitarians, deeply concerned with the domestic behavior of those who use buildings on a daily basis.6 He held strict morals that directly combated the economical success of modernism, that the architect should be held to a higher moral standard than previously held, and only take on projects that directly increase the everyday man’s environment and wellbeing.7 During the early 1980s, the architectural critic and historian Kenneth Frampton wrote extensively about the subject of critical regionalism and gave it a life. Through his eyes, critical regionalism seeks to ground architecture in place, directly combating the rigid automation of modernism and the surrealism of post-modernism environments.

Regionalist architects have the following task in the forefront of their design process: to marry the undeniable technological and industrial shifts of the new century while connecting to the historical roots of regions to ensure the capture of culture and timelessness.8 Many critical regionalist lamented the steep increase in technological applications to daily life. Though there is no 4 5 6 7 8

known connection between Frampton and Rudofsky’s career, it can be assumed that during Frampton’s education he was aware of and inspired by “Architecture without Architects.”

In his essay “Ten Points on an Architecture of Regionalism,” Frampton discussed the romance of invention and discovery, and its death. He felt the very moon landing had failed to really truly capture the attention of the public, and spark wonder and excitement.9 Technology had a sense of being “touched by the past.”10 This is a sentiment that we as a society are still reeling from today. Fashion, personal devices, and materiality has the world at a grip, and has created a wave of culture that is often resented, but a part of our daily lives. Modernity and globalization’s effects, now forty years after Frampton’s writing, has taken its toll, and though they are nearly half a century old, his ideas on critical regionalism can inform and change the way the architect approaches design still today.

It is important to remember that critical regionalism is not in itself a movement, but a proposed design process to adopt.11 Each country, each city, and each district has its own culture and vernacular that is specific to its place in time location, and climate. Use of local materials, construction practices and finishes are just the tip of regionalism’s iceberg. To be truly regionalist, the architect must educate themselves thoroughly and connect with local ecological design, practices, and the direct needs of the community in

Andrea Bocco Guarneri. Bernard Rudofsky A Humane Designer. New York, New York: Springer Wein New York, 2003. 121.

Ibid. 128.

Ibid. 126-129.

Ibid. 129.

Kelly Carlson-Reddig. “Re-Reading Critical Regionalism.” 271.

9 10 11

2

Kenneth Frampton. “Ten Points on an Architecture of Regionalism:A Provisional Polemic.” Center 3: New Regionalism , 1987, 2.

Ibid. 3 Keith L. Eggener. “Placing Resistance: A Critique of Critical Regionalism.” Journal of Architectural Education (1984-) 55, no. 4 (2002): 228.

question. This process is meticulously applied to each phase of design, ensuring that the core of the project returns to an understanding of the location.

At the same time, the architect is aware of local technological advancements, modern construction processes, and the trends in which the locale is headed. Critical regionalism, though it is at odds with modernism, can and should take on shifts in industry practices. The skillful critical regionalist will use these systems to their advantage, perfectly melding contemporary practices with culture and tradition.12 The Critique of Critical Regionalism Though critical regionalism’s intentions are pure, and intend on connecting not only the public to architectural work but also the architect, there are many facets that have been critiqued over the nearly fifty years since Kenneth Frampton’s writing. One of the more obvious contradictions of critical regionalism is its strong disdain towards modern practices and the embrace of technology, while at the same time reasons to balance it within its process.13 This paradox is left on the shoulders of architect to decide at what scale and point their work engages with contemporary practices, and paints the entire process as negative. Instead, the new age of critical regionalism can embrace technology, but do so sustainably and with intention of using local practices, materials, and methods by professionals or otherwise.14 The fact that in this age we must use computing systems can not be simply turned on its head, but the way the design process approaches construction can be altered greatly.

As many different lenses and theories, critical regionalism was a reaction to politics of the time, the underlying push and pull causing the culture shifts of modernism and postmodernism. At the time there were a lot of tension between world super powers, the United States and Russia15, and the push to globalize. The critical regionalist fled back to tradition and culture to ensure the salvation of locality and resistance to communism as well as mass production of corporate conglomerates. Frampton expressed his wariness of modern progress and its willingness to use xenophobia, imperialism, and early versions of capitalism to push its agenda.16 These models often leave the civilian out of frame, and does not contribute to the public realm.

When designing outside of our own environment, especially in the non-West, it is important to hold the tenants of critical regionalism and allow the same amount of space 12 Kelly Carlson-Reddig. “Re-Reading Critical Regionalism.” In Local Identities Global Challenges, ACSA Fall Conference. 2011. 271.

13 Keith L. Eggener. “Placing Resistance: A Critique of Critical Regionalism.” Journal of Architectural Educa tion (1984-) 55, no. 4 (2002): 230.

14 Ibid. 230.

15 Ibid. 230.

16 Kenneth Frampton. “Ten Points on an Architecture of Regionalism: A Provisional Polemic.” Center 3: New Regionalism , 1987, 2-3.

FIG. 3

D og C onc rete H ou s e, Kevi n M ar k Low.

FIG. 4

D og C onc rete H ou s e, Kevi n M ar k Low

for the recognition of colonialism and its aftermath.17 Critical regionalism itself is not a movement with a set of rules, but a design process adopted by individuals. The interpretation of a culture applied to architecture informed by the architects own schooling and place can result in at its worst, appropriation, or architecture that does not in fact connect with the target audience at all. The West’s effect on the South through colonizing and world development has altered and clashed with many traditional Eastern cultures and ways of life. To build in a culture different from your own is to take in the culture and weigh their values over your own, even if it may go against 17 3

Keith L. Eggener. “Placing Resistance: A Critique of Critical Regionalism.” 228.

FIG. 5

U mah Tamp ih V illa by Yew Kua n C h e o n g, lo c ated i n B al i.

what the individual believes is in the best interest.

Architecture’s session in 2004 hosted Alexander Tzonis, the coiner of critical regionalism, who expressed tropical architecture’s subjective nature and how the architecture must directly interact with the local climate to be successful.21 When designing in the tropical belt, the approach to design differs greatly from most places in the world because of its constant balmy temperatures, high humidity, and temperate nature making indoor outdoor connections desirable. The first main principle of tropical architecture is passive design. Using the building’s orientation to properly engage with sunlight, shading, and wind for natural cooling can drastically change the way a space’s comfort level feels, as well as saves energy.

The second principle of tropical architecture is adaptability. The climate is intense, and on top of this climate change is effecting this climate zone heavily. Warm winds and ocean waters encourage tropical storms which bring heavy rains and flooding. Tropical architectures integration of plant life and when needed, buildings on stilts helps keep the ground uncovered, managing water with natural systems.

Some other common elements that are synonymous with tropical architecture include: large overhangs, deep verandas and sun shading, cross ventilation and louvered openings, natural and local materials that are suited to the climate, open

Tropical Regionalism The tropical belt has been a large source of critical regionalist architecture because of its cultural identity being grounded heavily in climate.18 South Asia specifically was heavily colonized by Great Britain for nearly two hundred years.

During this occupation, many aspects of urban and residential landscapes shifted to a Western model dramatically. From physical alterations to the urban fabric of cities, to creations of new cities and ports, to shifts in administration positions, and to accelerated industrialization, the British’s rule left a large mark on Southern Asian society.19 The long occupation and shifts in thought permeated universities, and effected post-colonialization responses to modernity and urban developments. The injection of modern thought into the tropical belt paired with a lack of identity outside of local climactic conditions brought a homogeneous architectural typology that came to be known as tropical architecture.20 The International Conference on Tropical 18 19 20

Philip Goad, et al. “New Directions in Tropical Asian Architecture.” Singapore: Periplus Editions, n.d.

2005. 30.

R. Ramachandran. Urbanization and Urban Systems in India. Delhi:Oxford University Press, 2010. 62.

Philip Goad, et al. “New Directions in Tropical Asian

21 4

Architecture.” Singapore: Periplus Editions, n.d.

2005. 17.

Ibid. 17.

floor plans to enhance natural ventilation, and courtyards that the architecture can open to incorporate in daily living both inside and out.22 Tropical architecture helps to thrive in one of the most extreme climates on our planet. Unfortunately, this typology is not seen in the day to day life of those living in the tropics, but is treated as a luxury. Resorts, hotels, and high end homes are some of the best precedents of tropical architecture. Pulling good climate centered design into the daily life of civilians is an important step to the critical regionalist approach.

In 2022, architect Diebedo Francis Kéré won the Pritzker Prize for various works he designed around the world, many being located in his home country of Burkina Faso, West Africa, which lies within the tropical belt.23 He received advanced degree in architecture in Berlin, Germany, and returned back to his home country to apply his design knowledge to the environments he spent his child and young adult life in. Burkina Faso is one of the most impoverished 22

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countries, as well as the least educated. Kéré had a mission to build learning environments for students to thrive and enjoy their experience in school.

His work, Gando Primary School, won the Aga Khan Award for Architecture in 2004, the same year he graduated with his advanced degree. The school is a perfect example of regionalism, and that of regionalism in the tropical environment.

The purpose of the build was to aid in the lack of schools in the area, and to also address the lack of ventilation and lighting in the existing schools of Burkina Faso.24 Through using local tradesmen and materials, Kéré trained and generated jobs for locals, as well as set a precedent for an attainable design to be mimicked in the future.25 The building capitalizes on the traditional form many buildings take in the tropical context, a long bar that is oriented to pick up winds that run through and provide cross ventilation. The openings also provide a well lit environment for students to learn in. The materiality of the building is clay and concrete to provide thermal protection for the heat, while the light and lifted roof provides protection from the rain to maintain the bricks durability and lifetime. The lifted roof also keeps absorbed heat from the tin from entering the interior spaces, while providing shade outside of the school

Goyal, Juhi. “Passive Strategies for Building Design in Tropical Climates: A Comprehensive Guide.”

Novatr Prev OX, June 7, 2023. https://www. novatr.com/blog/passive-design-strategies-tropicalclimate.

“Diébédo Francis Kéré: The Pritzker Architecture Prize.” Diébédo Francis Kéré | The Pritzker Architecture Prize. https://www.pritzkerprize. com/laureates/diebedo-francis-kere.

24 25

Kéré, Diebedo Francis. “Gando Primary School.”

Kéré. 1. https://www.kerearchitecture.com/ work/building/gando-primary-school-3.

Ibid. 1.

FIG. 5 C O U R T E SY O F C H A R L E S C O R R E A . K A N C H A N J U N G A A PA R T M E N T B U I L D I N G . M U M B I A , I N D I A .

FIG. 6

U mah Tamp ih V illa by Yew Kua n C h e o n g, lo c ated i n B al i.

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for students.26 Though the typology is nothing new or groundbreaking, Kéré’s attention to ecological design combined with contemporary organization of elements skyrocketed his career and the experience of students using his facilities. His works and methods align with that of critical regionalism, and provides a lot to be learned about designing not only elegantly and responsibly, but with the climate as a tool and not something to be fought against and offset.

to connect to in the sky? The ground plane of our urban environments is often flattened and crowded, not at all resembling the locations environmental features. Place and space also deal heavily with front and back, inside and outside, and the relation to one another. This effects the users experience, not being able to fully engage with a place. Even when the glazed facade uses local symbolism derived from culture, religion, and typology, the language of the curtain wall is still inherently Western and non-responsive to ecology and surrounding building traditions.30 The stronghold of International Style in the design of contemporary mid and high-rise buildings has led to little to no sustainable measures taken, especially on a material scale.31 Steel and glazing rain supreme to maximize strength, height, and views. The total lifetimes of these materials have massive negative effects on our planet’s health, and are not easily 30 Antony Wood. “Sustainability: A New High-Rise Vernacular?” The Structural Design of Tall and Special Buildings, no. 16: 4. 2007. 403.

31 Ibid. 402.

Critical Regionalism & The Mid and High-Rise The mid and high-rise glass towers being produced during the modern and post-modern period were the antithesis of Frampton’s critical regionalism. The International Style stripped architecture of any sense or meaning of place.27 Unfortunately, the architectural language of the high-rise has not changed much in the new century. Glass towers that require excessive amounts of energy, materials, and have little to no context of the surroundings are still the normal for our growing urban environments. Often this move is justified by “reflecting the environment” off of its large body, and allowing maximum views for the user. But what if its surrounding context is also covered in glass? Is it not still a monument towering above?

And where is the architectural curation of views and moments, guiding users through the space instead of numbing them to the skyline?

Frampton and others hoped to have this typology be obsolete by our time, but as they are now a normal part of living in density, we must reshape the way we approach designing these environments. Instead of continuing the idea of the high-rise being the downfall of society, we must shift the narrative and adapt.

The identity of the high-rise in an economic sense has existed for thousands of years. Everyone wants the tallest tower, and many of them. They show power, success, and wealth. In the medieval times, towers of enemy country and village were destroyed, or stolen to be displays in their home land. The high rises of the contemporary era play a similar role, especially those competing to be the tallest and the most luxurious. The spaces inside, though glamorous, have little to no cultural connection and in fact want to themselves become iconography of a place.28 One of critical regionalisms main goals, and problems to be solved in the mid and high-rise, is the grounding of place,29 as discussed in Kenneth Frampton’s “Ten Points on Architecture.” Existence in a high-rise can feel like living in a glass box that is suspended in the air. What is the place 26 27

28 29

Ibid. 1.

Nima Zahiri, Omid Dezhdar, and Manouchehr Foroutan. 2017. “Rethinking of Critical Regionalism in High-Rise Buildings” Buildings 7, no. 1: 4. https:// doi.org/10.3390/buildings7010004 Nima Zahiri, Omid Dezhdar, and Manouchehr Foroutan.“Rethinking of Critical Regionalism in HighRise Buildings.” 4.

Ibid. 1.

FIG. 7 6

The M E T Tower, by WO H A . Loc ated i n B angko k , Th a i l a n d .

FIG. 8

Th e ME T Towe r Am m eni ty F l oor E xam p l e

recycled when the buildings life cycle is over. The height calls for highly sealed spaces that require heating and cooling year round, using an immense amount of energy. Though a majority of high rises ignore adhere to the International Style, many architectural firms have taken on the challenge of designing these spaces responsibly.

The MET Tower in Bangkok, Thailand, though a luxury hotel and apartments, is a strong example of ecological design in a high-rise tower that accomplishes a sense of place vertically. It does so primarily by executing the principles of traditional tropical architecture, and extruding its parts upward throughout. WOHA has been a leader in South Asian architecture, creating ecological towers and changing the narrative of high-rise design from focus on temperate models, found in places like New York City and Chicago. These models tend to ignore climate all together, creating an air tight vertical space that relies solely on systems to moderate temperatures.

The design revolves around capturing the wind and sunlight. Like Kéré’s school design, the building is long and

1 2 3 4 5 6 7 8 9 10 11 N

LOBBY TERRACE LIFT MOTOR ROOM COMMON TOILET CHILDREN’S PLAY ROOM GYM BBQ AREA 1 BBQ AREA 2 FUNCTION ROOM LIBRARY POCKET GARDEN GREEN SPACE ATURAL VENTILATION NATURAL

FIG. 9

The MET Tower 28t h Flo o r P la n

thin, and has large airways through the entirety of the building.

The orientation of the building ensures each apartment has contact with daylight on four facades32. In between, linking the apartment towers together, are vertical courtyards. The MET Tower has eighteen courtyards, each differing from the other. Some are designed for meditation, some for full sunlight, and other for swimming and recreation.33 Every floor contains plantings, and is sustained by the unique tropical environment, providing green spaces, natural shading, and water management.34 The tropical climate and architecture teach us that designing with the climate does not have to be a negative or a hurdle, and can create engaging spaces that allow users to enjoy the built environment.

32 33 34

7

“The MET.” WOHA. August 17, 2023. 1. https://woha. net/project/the-met-bangkok/.

“The MET.” WOHA. August 17, 2023. 1. https://woha. net/project/the-met-bangkok/.

Ibid. 1.

Bibliography

Figures

Carlson-Reddig, Kelly. “Re-reading Critical Regionalism.” In Local Identities Global Challenges, ACSA Fall Conference. 2011. 269-274.

1

Correa, Charles. Incremental Housing at Belapur. 1983-1986. Brick. https://jstor.org/ stable/community.14379102.

“Diébédo Francis Kéré: The Pritzker Architecture Prize.”

Diébédo Francis Kéré | The Pritzker Architecture Prize. https://www.pritzkerprize.com/laureates/ diebedo-francis-kere.

2

Vickery, Robert L. (American architect and university professor), and Doshi, Balkrishna V. (Indian architect and designer, born 1927).

Sangath Architect’s Studio. 1980. https:// jstor.org/stable/community.26568903.

3

Rochowski, RIck. Dog Concrete House. Date Unknown.http://www.flodeau.com/2012/04/ kevin-low-dog-concrete-house/

Goad, Philip, Anoma Pieris, and Patrick Bingham-Hall. “New Directions in Tropical Asian Architecture.” Singapore: Periplus Editions, n.d. 2005. 18-31.

4

Rochowski, RIck. Dog Concrete House. Date Unknown.http://www.flodeau.com/2012/04/ kevin-low-dog-concrete-house/

Goyal, Juhi. “Passive Strategies for Building Design in Tropical Climates: A Comprehensive Guide.” Novatr Prev OX, June 7, 2023. https://www.novatr.com/blog/ passive-design-strategies-tropical-climate.

5

Taylor, David. Kedewatan House, Ubud, by Yew Kuan Cheong. Date Unknown. https://www. davidtaylorphotographer.com/yew-kuan-house.html

6

Dushoud, Simeon. Gando Primary School. Date Unknown. https://www.kerearchitecture.com/ work/building/gando-primary-school-3

7

Patt, Trevor. The Met, Bangkok WOHA. December 13, 2014. https://flic.kr/p/qa539W

8

Bingham, Patrick. The Met. Date Unknown. https:// www.archdaily.com/40378/the-met-woha

9

WOHA, 28th Floor Plan. https://www.archdaily. com/40378/the-met-woha/5011e62428ba0d 5f4c0002c8-the-met-woha-plan?next_project=no

Eggener, Keith L. “Placing Resistance: A Critique of Critical Regionalism.” Journal of Architectural Education (1984-) 55, no. 4 (2002): 228–37. http://www.jstor.org/ stable/1425724.

Guarneri, Andrea Bocco. “Bernard Rudofsky A Humane Designer.” New York, New York: Springer Wein New York, 2003. 121-142.

Frampton, Kenneth. “Ten Points on an Architecture of Regionalism: A Provisional Polemic.”

Center 3: New Regionalism, 1987, 1-11.

Kéré, Diebedo Francis. “Gando Primary School.” Kéré. 1. https://www.kerearchitecture.com/work/building/ gando-primary-school-3.

“The MET.” WOHA, August 17, 2023. https://woha.net/project/ the-met-bangkok/.

Misra, Sumantra, Chakraborty, Manjari, and N.R. Mandal.

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