Regionalism and Globalisation

REGIONALISM AND GLOBALISATION

DIFFERENCES IN SIMILARITIES OF REGIONAL CHARACTERISTICS THROUGH WORKS OF LUIS BARRAGAN & WORKS OF ANJALENDRAN

SHAILY PARIKH UI 3615 FACULTY OF DESIGN CEPT UNIVERSITY

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CONTENTS

· Abstract A brief about the contents discussed in the essay

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What is Regionalism?

A broader aspect of the concept of Regionalism and its meaning

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Luis Barragan as a Regionalist Architect and his connection to Mexico Introduction of the Architect and ‘what makes him a Regional architect from Mexico’

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Anjalendran as a Regionalist Architect and his connection to Sri Lanka Introduction of the Architect and ‘what makes him a Regional architect from Sri Lanka’

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Comparing Regional characteristics of Barragan and Anjalendran – Differences in Similarities Drawing similar parallels between the regional characteristics of the architects and analysing different approaches of both of them towards catering the same

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Conclusion What impact has both these architects left on the Regionalist architecture on the global level with context to their respective countries

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Bibliography

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ABSTRACT Regionalism, is an authentic connection to place in creating an architecture that not only responds to the basic needs of people in specific geographic locations but also is an extension of local identity and a reflection of cultural heritage.1 Discussing about two such ‘Regional architects’ the essay will explain their contribution in connecting a place as a means for developing countries to use their cultural heritage, traditional construction methods, and everyday life patterns to create a built environment appropriate for contemporary needs.

Looking at the work of Mexican architect Luis Barragan and a Sri Lankan architect Anjalendran, the relationship of their work to the social context will bring focus on how a regional identity expressed through architectural form not only establishes a connection between people and the space they inhabit but also contributes to conserving the natural environment and strengthening attachment of people to place.

Further, by drawing parallels, specific characteristics like Inside-Outside connection of a building, use of natural light in a space, contextual relationship of colours with the country’s culture and use of traditional materials responding to the climate and the topography of the place will be analysed.

WHAT IS REGIONALISM? Regionalism in architecture often has a cultural aspect built in, and you can see political structures, family dynamics and societal organization reflected in some buildings.2 The concept of regionalism in architecture contributes to establish a strong sense of place for developing countries and hence providing a renewed connection to place while complying with contemporary needs. It means an architecture that is derived directly from its local setting which leads to the building being intrinsically site specific and responding to the local climate and culture of the place, where it is being built.

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A comparative analysis of Kenneth Frampton’s critical regionalism as a means for evaluating two houses by Mexican architect Luis Barragan by Juan Carlos Orozo 2

A comparative analysis of Kenneth Frampton’s critical regionalism as a means for evaluating two houses by Mexican architect Luis Barragan by Juan Carlos Orozo

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LUIS BARRAGAN AND HIS CONNECTION TO MEXICO Barragan has had an immense impact on Mexican architecture, with many of his buildings becoming icons in defining national identity and his effort to blend tradition and modernity to create a new architectural language sensitive to place has made him one of the renowned Regionalist.

In his youth, Barragan was immersed in the customs and activities of the countryside. Barragan retained unforgettable images of his childhood years which heavily influenced his architectural ideals. His upbringing in Jalisco gave him a personal connection to the Mexican countryside, not only in terms of local customs and social life, but also of the distinct natural environment. “I think that the ideal space must contain elements of magic, serenity, sorcery and mystery.”3 Barragan was fascinated by the simple exterior volumes of the vernacular homes of Michoacán. There was a unique quaintness in the interior patios and "corredores" which gave the dwellings pleasant intimate spaces that responded to social customs and activities. The adobe walls enclosed patios that served to bring light and ventilation to the interior of dwellings as well as provide circulation through the different spaces. Some of these dwellings were painted white and presented a sober and tranquil image of rural life, others were covered in bright colours reminiscent of the pre-Columbian and Spanish heritage.

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Fig. 1: Project – Casa Gilardi: An enclosed patio which acts as a “corredore” with bright pre-Columbian and Spanish colours as discussed above (Ref: Google Images)

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A comparative analysis of Kenneth Frampton’s critical regionalism as a means for evaluating two houses by Mexican architect Luis Barragan by Juan Carlos Orozo

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These unique images, colours, textures, materials, functions, and distinct characteristics found in traditional housing served as an inspiration for Barragan, cultivating his love and appreciation for the humble beauty and cultural complexity of Mexico's vernacular past.

“Architecture is an art when one consciously or unconsciously creates aesthetic emotion in the atmosphere and when this environment produces wellbeing.”4 ANJALENDRAN AND HIS CONNECTION TO SRI LANKA Over the past two decades Anjalendran has established himself as one of Sri Lanka's leading architects. Born into a family of Jaffna Tamils and a student of the prolific and influential Geoffrey Bawa, Anjalendran's buildings are known across the Indian subcontinent for their simple directness, modern spirit, and acknowledgment of the rich vernacular traditions of Sri Lanka.

Anjalendran is an architect made by a Sri Lankan for Sri Lanka, which is within the economic capability of many of its citizens. Architectural ideas that are robust and simple, yet full of beauty and grace that could become a contemporary vernacular of his time. His work on the estate workers’ residences at Mount Cinnamon and the SOS villages are by far the most consistent affordable and beautiful architecture one can see in contemporary Sri Lanka.5

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Fig. 2: Project – Mount Cinnamon: Simple composition with use of traditional materials yet giving an elegant and beautiful nature to the space (Ref: Google Images)

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“Barragan Foundation - The Archives of Luis Barragan (1902-1988).” Barragan Foundation - The Archives of Luis Barragan (1902-1988), www.barragan-foundation.org/.

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“Anjalendran: Architect of Sri Lanka - Beautiful Interiors, Modern Architecture.” Busyboo, 26 Sept. 2014, www.busyboo.com/2014/09/26/book-architect-anjalendran/.

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"Sri Lanka will always be my home, and despite the constant wars till now, Sri Lanka had always been and will continue to remain more than a ‘small miracle’". 6 Anjalendran practiced architecture off his mother’s veranda, but did errands of apprenticeship for the grandmaster of Sri Lankan contemporary architecture, Geoffrey Bawa, for ten years for no fee, where he learned by watching the master solve the dilemmas encountered by modern life and architecture.

Surrounded by circumstances of war, following his natural inclinations, he embarked on projects which were utilitarian, but still retained an aesthetic appeal, perhaps better described as an architecture for everyday life and works his magic facing the challenge of building on small plots.

Throughout his creations you will find naturally lit, cross ventilated spaces, overhanging eaves to shield from sun and monsoon rain, enclosed courtyards, deep verandahs and roof terraces, reflecting pools and vertical gardens which he derived from Sri Lanka’s contemporary architecture satisfying local needs of the country.

“A building comes into being to satisfy clear needs… But it must also give pleasure to all who enter it and like music or poetry, it should touch the soul.“7

COMPARISON BETWEEN THE REGIONAL CHARACTERISTICS OF BARRAGAN AND ANJALENDRAN – DIFFERENCES IN THE SIMILARITIES Both the architects have certain regional characteristics which defines their regionalism in such a way that there is a strong contextual base linked to it.

They have a particular style of working and a very similar list of characteristics but different in their methods and implementations.

Drawing such parallels between those characteristics and explaining how they are very much different from each other gives us a detailed understanding of their regionalism.

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Robson, David G. Anjalendran: Architect of Sri Lanka. Tuttle Publishing, 2009.

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Robson, David G. Anjalendran: Architect of Sri Lanka. Tuttle Publishing, 2009.

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Outside – Inside spaces: Luis Barragan divides the outside-inside space with a strong contrast through the form of the facades and the nature of the spaces inside, While Anjalendran is a master in bringing the outside-inside spaces into one by breaking the barricades between them making a very subtle transition of open, semi open and closed spaces

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Fig. 4

Fig. 3,4: Luis Barragan’s ‘Casa Barragan’: While the interior is full of life and cultural significance (fig.3), the exterior is of a subtle and humble form, serving to respect the external urban space. The façade consists of a bare wall with few openings which are randomly placed (fig.4). (Ref: Google Images)

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Fig.6

Fig. 5,6: Anjalendran’s ‘The crooked house’: The house is surrounded by semi open verandahs creating balconies which becomes the transition between the open and public exterior and the closed and private interior. He uses spaces to break the start divisions of the outside and inside and makes the transition very subtle. (Ref: Google Images)

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Use of Natural light: Luis Barragan uses large openings and natural lighting solutions which gives the room more character and depth and hence makes the space naturally lit, While Anjalendran allows natural light in a space by forming and arranging the spaces in such a way that Light becomes a primary element in the space, for example, using semi open spaces with a huge floor area besides the exteriors of the house

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Fig.8

Fig. 7,8: Luis Barragan’s ‘Casa Barragan’: The use of large openings in public spaces like library (fig.7) and the use of four small quadrants as openings in the Living room (fig.8) are one of the many solutions Barragan has given.

(Ref: Google Images)

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Fig.10

Fig. 9,10: Anjalendran’s ‘The House Beneath the Banyan Tree for Captain and Mrs Wahab’: Huge courtyard, open balconies, verandahs and other semi open spaces makes the house naturally lit allowing light to the private areas in such a way that that the light can enter through in the spaces these open areas with glass and other temporary partitions in between. (Ref: Google Images)

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Colours in the spaces: Luis Barragan uses colour to highlight the space through the elements with the help of very bold and bright colour schemes, While Anjalendran uses colour not to decorate but rather to articulate the spatial envelope which shows the traditional colours of Sri Lankan culture

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Fig.12

Fig. 11, 12: Luis Barragan’s ‘Casa Barragan’: A small space near the studio is surrounded by tall, brightly coloured walls, white and pink, serves to evoke a sense of the rural past (Ref: Google Images)

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Fig.14

Fig. 13,14: Anjalendran’s ‘The Crooked House’: Elemental decorations such a blue coloured columns and bright yellow walls create a vibrancy in the house (fig.13) along with use of traditional Sri Lankan paintings and traditionally rich local materials and colours (fig.14). (Ref: Google Images)

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Traditional materials: Luis Barragan uses the materials according to the climate context of Mexico and by keeping in mind the hot arid climate of the city, While Anjalendran uses materials, which are traditionally rich in the Sri Lankan culture and traditions.

CONCLUSION

As globalization increasingly enters every facet of our lives, its homogenizing effects on architecture, urban spaces and the landscape have compelled architects to embrace the principles of regionalism, an alternative theory that respects local culture, geography and climate.

Barragan’s perception of traditional architecture found in Mexico’s countryside served as the main point of reference for his later design concepts of contemporary houses. His experience of local traditions as a way of life rather than as a distant history created an awareness of place rarely appreciated by most modern architects of the time.

And, Anjalendran has established himself as one of the Sri Lanka’s leading architects and his work has attracted interest across the entire Indian subcontinent. His buildings have a simple directness and although totally modern in spirit, they acknowledge the rich traditions of Sri Lanka.

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BIBLIOGRAPHY

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Robson, David G. Anjalendran: Architect of Sri Lanka. Tuttle Publishing, 2009.

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A comparative analysis of Kenneth Frampton’s critical regionalism as a means for evaluating two houses by Mexican architect Luis Barragan

by Juan Carlos Orozo

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c. Anjalendran - World Architecture. worldarchitecture.org/profiles/mfhg/c_anjalendran-profile-page.html.

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Anjalendran: Architect of Sri Lanka | Asia Society. asiasociety.org/anjalendran-architect-sri-lanka.

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“Anjalendran: Architect of Sri Lanka - Beautiful Interiors, Modern Architecture.” Busyboo, 26 Sept. 2014, www.busyboo.com/2014/09/26/book-architect-anjalendran/.

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“Barragan Foundation - The Archives of Luis Barragn (19021988).” Barragan Foundation - The Archives of Luis Barragn (1902-1988), www.barragan-foundation.org/.

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