Critical Regionalism Thesis Report

CRITICAL REGIONALISM
How to Become Modern and to Return to Sources?
By
HAREESH GANGOLLI
A Thesis submitted in partial fulfillment of

The requirements for the degree of
BACHELOR OF ARCHITECTURE
VISVESVARAYA TECHNOLOGICAL UNIVERSITY

Gogte Institute of Technology
Department of Architecture
Prof. Pratap D. Patil

Prof. Nishita Tadkodkar
DEC 29, 2015

Belagavi, Karnataka
Keywords: Critical Regionalism, Vernacular architecture

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KARNATAKA LAW SOCIETY'S

G O G T E I N S T I T U T E O F T E C H N O L O G Y,
UDYAMBAG, BELGAUM - 590008
DEPARTMENT OF ARCHITECTURE
CERTIFICATE
Certified that the project work entitled
" CRITICAL REGIONAILSM"

is a bonafide work carried out by MR. HAREESH GANGOLLI, USN NO. 2GI11ATO18, 8th
Semester, in partial fulfilment for the award of degree of BACHELOR OF ARCHITECTURE of
Visvesvaraya Technological University, Belgaum during the year 2015-2016. It is certified
that all corrections/ suggestions indicated for the internal assessment have been
incorporated in the report deposited in the department library. The project report has been
approved as it satisfies the academic requirements in respect of the project work prescribed
for the Bachelor of Architecture Degree.
Signature of the Guide Signature of the HOD External Viva
(Prof. Nishita Tadkodkar) (Prof. Nishitha tadkodkar)
DECLARATION
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I declare that the thesis entitled

"CRITICAL REGIONALISM"
has been prepared by me under the guidance of Prof. Pratap D. Patil, Prof. Ritesh R.
Dharmayat, Prof. Amit V. Prasadi, Prof. Nishita R. Tadkodkar, Prof. Geeta M. Sambrekar and
Prof. Roopali D. Kavilkar from the Department of Architecture, Karnataka Law Society's
Gogte Institute of Technology. No part of this thesis has formed the basis for the award of
any degree or fellowship previously.
HAREESH GANGOLLI
USN NO. 2GI11AT018
Department Of Architecture,
Karnataka Law Society's Gogte Institute of Technology,
Belgaum -590008
DATE: 29.12.2015
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DEDICATED
TO
MY PARENTS
Thank you for your patience and efforts in raising me.
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ABSTRACT
It is because we live in a global world and the fact that people have
access to all kinds of methodology, material technology, modern
architecture has reached a point that projects are barely related to the
local culture and local context. That is why modern architecture is
criticized at some point. In the 1980’s Kenneth Frampton came with the
idea of critical regionalism in which the design is influenced by global
architecture and global ideas but personalized and adapted to local
context. And thereby every design will have relationship to its climate,
place and to its cultural heritage.
“Architecture *that brings man and nature together in a ‘higher unity’+ is likely to alter with
the region in which it sends down roots…still it is open in the direction of universality.”
-Tadao Ando
Tadao Ando’s statement takes a step toward addressing the inherent

paradox of the theory of critical regionalism: How to create architecture
that is both universal and regional?
The theory of critical regionalism evolved as a reaction to the
architecture of the International Style. Critical regionalism is a call for a
celebration of cultural differences, as well as a participation in the
technological advancements emerging every day.
On the other hand, Vernacular architecture is found to be a great tool to

discover the phenomenology of a place since it is an expression of
complex interaction among cultural norms, climatic conditions and the
potentialities of natural materials. Study of Vernacular practice is relevant
in this complex contemporary world because through its simplicity, it
helps us to understand the basic architectural needs of the region and
culture.
This research tries to adapt vernacular values in contemporary

architecture and thereby generate an architecture that responds to its
time and respects the historical, cultural, and physical context
simultaneously.
Thesis ultimately leads to the design exercise of housing based on the

principles of critical regionalism within the context of specific place.
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ACKNOWLEDGMENTS
First and foremost, we must acknowledge our ancestors for the magnificent heritage that
they left behind for us, generation after generation. It is our duty to understand, respect,
and revive this treasured legacy.
I am especially grateful to those people who helped me on the various field trips in and
around the Region of Uttara Kannada.
Without the support and advice of Professor Nishita Tadkodkar, over the past six months,
the thesis would not have come to realization. I am particularly obligated to all faculties and
our respected HOD professor Pratap D. Patil who read drafts of this work and suggested
improvements.
I don’t forget to acknowledge my parents Mr. Timmanna R. Hegde and Mrs. Sharada T.
hedge for their unfailing support. I acknowledge my Uncle Mr. Manjunath R. hedge and his
family for their support not only concerned to thesis but to every successful step of my life. I
remember my sister Shweta S. Kashap and her family for their help in crucial times.
It would be a mistake if I don’t mention late N.D. Bhat and his family for their love and
support. I also want to thank our neighbor Mr. Gururaj and family. So hereby I thank them
for their support and for bearing us.
I am also grateful to my twin brother Gireesh gangolli and to my dearest friends Akash,
Shraynitha, Nikhil, Akshay and Amrutha.
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KEY WORDS
1. VERNACULAR ARCHITECTURE:
Vernacular architecture is a category of architecture based on local

needs, construction materials and reflecting local traditions. It tends to
evolve over time to reflect the environmental, cultural, technological,
economic, and historical context in which it exists.
Vernacular architecture is popularly known as architecture without

architects. Vernacular methods are tested through trial-and-error by the
society of which they are built, until their building methods reach near
perfection.
2. CRITICAL REGIONALISM:
Critical regionalism designated a form of architectural practice that

embraces modern architecture critically for its universal unifying qualities
while simultaneously responding to social and cultural and climatic
contexts of the region in which it is built. Critical regionalism, as a style,
counters lack of identity in modern architecture by relating to the
building's geographical context.
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TABLE OF CONTENTS
ABSTRACT 5
ACKNOWLEDGEMENTS 6
KEY WORDS 7
TABLE OF CONTENTS 8
CHAPTER
I. INTRODUCTION 10
1.1 Aim of the thesis
1.2 Objective of thesis
1.3 Scope of the thesis
1.4 Thesis question
1.5 Hypothesis
1.6 Research methodology
II. LITERATURE REVIEW

2.1 Vernacular architecture 13
2.2 Critical regionalism 14
2.2.1 Evolution of the theory
2.2.1.1 Alexander Tzonis & Lefaivre
2.2.1.2 Kenneth Frampton
2.2.1.3 Douglas Kelbaugh
2.2.2 Architectural illustration 18
2.2.3 Contemporary Stand 22
2.2.3.1 Opinion’s of experts
III. CASE STUDY AND DATA COLLECTION

3.1 Correa’s house at Koramangala 24
3.2 The Sky City Visitor’s Center at Acoma Pueblo 26
3.3 Ju’er Hutong neighborhood, Beijing 29
3.4 Fragrant hill hotel 35
3.5 Design standards for housing project 44
IV. THE DEMONSTRATION OF CRITICAL REGIONALISM

4.1 The Place 49
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4.2 Vernacular houses of the Place 50

4.3 Design process 62
4.3.1 Design strategy
4.3.2 Design site
4.3.3 Initial Design determining factors
4.4 Architectural drawings 67
4.5 Neighborhood qualities 70
4.6 Critical analysis 71
V. CONCLUSION 73
BIBLIOGRAPHY 74
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Chapter I .
INTRODUCTION
The phenomenon of universalization, while being an advancement of

mankind, at the same time constitute a sort of subtle destruction, not
only of traditional cultures, which might not be an irreparable wrong
but also of what I shall I call for the time being the creative nucleus of
great civilization and great cultures, that nucleus on the basis of which
we interpret life, what I shall call in advance the eternal and mythical
nucleus of mankind.
-Paul Ricoeur, 1961
The intention of the Modernist movement can be described as a desire to exhibit

technological progress by utilizing a “rational and empirical methodology” (Kelbaugh, 61).
The buildings of the International Style were object buildings that had no desire to fit into
an existing context. The process of globalization is changing local traditions and regional
distinctions, creating a homogenized world culture. According to this view, human
experience everywhere is in jeopardy of becoming essentially the same. This trend results
from international social exchange and economic structures and processes that are created
by the developed countries and influence the underdeveloped ones.
The world is ruled by technology which is a prime cause behind information exchange all
around the world. So world is becoming one beyond the boundaries of region and culture. It
will be detrimental if we say architecture has to be restricted in its own region and In fact it
is not possible also. There is a need not to view pre-modern principles of design as static or
corresponding with historic styles, but as dynamic interpretations of the past which allow
contemporary architecture to remain meaningful and desired – rooted in history.
Hence there is need for critical regionalism which proposes architecture which is both
universal and regional. It is contemporary but carries the legacy of its past. The theory
critical regionalism helps to generate architectural identity and integrity and at the same
time responds to current time and current technology and also open ended to global
architectural practices.
“Critical Regionalism is a term invented by architects that means thinking regionally in ways
that are wary and sentimental. It guards against the mindless nostalgia for traditional
architecture to which regionalism has been prone in the past...Critical Regionalism is
actually more of an attitude than a theory. It is an attitude that celebrates and delights in
what is different about a place.”
-Douglas Kelbaugh
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1.1 AIM OF THE THESIS:
Aim of the thesis is to read, interpret and redefine the vernacular style of a region, so that
contemporary built environments maintain their roots to place by using vernacular
references to create a modern and regional reflection of local cultural identity.
1.2 OBJECTIVE OF THESIS:
1. To study and understand evolution vernacular buildings depending on climatic, aesthetic,

functional, and socio-cultural needs of society.
2. To investigate the essence of vernacular buildings which can be used in future
architecture.
3. To study and understand critical regionalism as tools for place specific architecture.
1.3 SCOPE OF THE THESIS:
1. Thesis investigates how universal architecture can be adapted to specific place and
thereby achieves space specific architecture rather than stick to regional style and calling it
a contextual architecture.
2. Thesis finds out how regional identity can be retained even in contemporary style.
3. Thesis not only investigates the valuable lessons of the past, but helps in taking them
forward to future architectural practice and thereby it helps in retaining architectural
dynamism.
1.4 THESIS QUESTION:
Thesis starts from the famous question tossed by Paul Ricouer.

Paul Ricoeur questions "how to become modern and to return to
sources; how to revive an old, dormant civilization and take part
in universal civilization."
(Ricœur et al. 2007)
This question asserts the necessity of a historical model of continuous evolution whereby
lessons of the past inform future moves.
1.5 HYPOTHESIS:
It is possible to become modern and return to sources and revive vernacular architecture
and take part in universal civilization.
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1.6 RESEARCH METHODOLOGY
The research strategy for this thesis comprises two phases: 1. Theoretical Study of critical
regionalism and vernacular architecture. 2. Study of specific place (Coastal region of Uttara
kannada) and its vernacular architecture in detail. 3. Design of housing project in that
particular place according to the theory of critical regionalism.
In the first phase, the concept of vernacular architecture is elaborated. The theory of critical
regionalism is studied in depth and the attempt is done to understand critical regionalism
and the ideologies behind neighborhood design based on case studies and examples.
In the second phase a specific place is selected and vernacular architecture of that specific
place is studied in terms of its context, climate, culture, and material technology to
understand the phenomenon of that place.
Finally in the third phase a suitable site is choosed for design. Study of vernacular buildings
and the theory of critical regionalism are combined to achieve design solution for that
particular place in form of housing design.
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Chapter II .
LITERATURE REVIEW
2.1 VERNACULAR ARCHITECTURE
Amos Rapoport, in his book "House Form and Culture," defines vernacular architecture in
terms of its process, which means how it is designed and built. Hence, he describes
vernacular architecture as lack of theoretical or aesthetic pretensions; working with the site
and microclimate; respect for other people and then houses and hence for the total
environment, man-made as well as natural; and working within an idiom with variations
within a given order. Vernacular architecture results when tradesmen rather than family
members are employed for construction, as is the case in primitive architecture. (Rapoport
1969)
Here are some general descriptions which take into account the most common features of
vernacular architecture. These conditions include:
• Utilization of traditional technologies
• Strong relation to local environmental context
• Materials from local resources
These objective and physical properties are only part of the overall description. Another
critical characteristic of vernacular architecture is the embodiment of community values-
traditions and myths. A penetrating feature of vernacular forms is the reflection of belief
systems and conceptions of the cosmos within a common group.
The direct relation to human need and accommodation of economy, beliefs, and cultural
values yields a phenomenological sense of place that is therefore of important value to the
study of architectural design and the future of the built environment.
An understanding of vernacular processes enhances the understanding our own built

environment and the architectural and cultural patterns of those outside our own. Still even
deeper analysis of the vernacular process reveals a distinctive view of the concepts of
phenomenology. The proportions, the forms, the patterns of material, light, dark, circulation
of air, the roof, and the garden shape this sense. This type of study attempts to interpret the
phenomena of places which are not easily apparent to the eye.
Significance of vernacular architecture is that it is time tested. Past is always helpful to

compare or to know about the complexity and overlapping of things in presents. That’s
how we learn from our past.
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2.2 CRITICAL REGIONALISM
It is, modernist approach, where one consciously starts from the premises of local or
regional architecture. Critical regionalism is not just regionalism, but it also portrays how
universal culture and global concerns can be blended with regional issues to create a style
that is more critically self-conscious and expansive. It requires that architecture reflect its
time, place and culture and that it link the past, the present, and perhaps the future.
Examination of existing vernacular building traditions is a starting point for theoretical
considerations of critical regionalism.
2.2.1 Evolution of the Theory
The theory of critical regionalism developed during the late 1970s as a counter to the
placeless architecture of Modernism’s International Style. The term "critical regionalism"
was first used by the architectural theorists Alexander Tzonis and Liane Lefaivre and later
more famously by the historian-theorist Kenneth Frampton in “Towards a Critical
Regionalism: six points of architecture of resistance.”
i) Alexander Tzonis & Liane Lefaivre
Tzonis and Lefaivre’s critical regionalism has a commitment to “placeness” and the use of
regional architectural elements to confront a universal architecture (Tzonis & Lefaivre, 1996,
486).
“The use of these regional design elements,

however, is solely for their ability to act as place
defining elements. They should not be used as
they had been in the past, but should rather be
utilized in a new way.”
Tzonis and Lefaivre also call for the use of local building materials and construction
techniques as another method of forging a local identity. This does not imply, however, a
regression to antiquated methods. On the contrary, the preference for local materials does
not exclude technological innovation and experimentation, as long as these things are not
promoted as the goals and do not result in a socio environmental disruptive impact”(Tzonis,
1994, 79).
ii) Kenneth Frampton
Kenneth Frampton described Critical Regionalism as a mean of creating an architecture

which is neither a vacantly ‘international’ exercise in modern technology nor a ‘sentimental’
imitation of vernacular buildings.
“It is regionalist in the sense of not being

internationalist and critical in the sense of not being
a slavish imitation of older forms.”
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Frampton’s essay describes some of the main aspects of critical regionalism.

1. Critical Regionalism and the Vernacular
2. A preference for regional intentions over normative optimization,
3. A consciously bounded architecture,
4. More than scenographic episodes or sentimental historicism,
5. Responsiveness to local conditions and climate,
6. An emphasis on the tactile
Frampton's first point, “critical regionalism and the vernacular," establishes

the role that vernacular architecture in defining regional identity and retaining
roots to the past within the built environment. For Frampton, regionalism is
often associated with a sentimental return to the vernacular, resulting in an
architectural form that seems primitive, outdated, or irrelevant to current
global demands.
The main approach for architects who attempt to actualize Frampton's first
point is to read, interpret and redefine the vernacular style of a region, so that
contemporary built environments maintain their roots to place by using
vernacular references to create a modern and regional reflection of local
cultural identity.
2. A preference for regional intentions over normative optimization.
Frampton views critical regionalism as a marginal practice with respect to the

dominant trend of modernization and a focus on normative optimization.
Normative optimization seeks to maximize building performance with respect
to some standard or norm. Typical standards used for optimization are
efficiency and utility in building construction and performance. The search for
normative optimization, as Frampton describes it, utilizes the universal
technologies developed by the industrialized countries and thus accepts and is
limited to the forms derived from the application of these industrialized
technologies.
What Frampton has in mind here is that critical regionalism is less a response
to normative optimization and more concerned with the associative attributes
of a specific region such as local architectural fabric and cultural values.
3. A consciously bounded architecture.
Frampton says that “Critical Regionalism manifests itself as a consciously

bounded architecture, one which rather than emphasizing the building as a
free-standing object, places the stress on the territory to be established by the
structure” (Frampton, 1992, p327).
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More than the physical boundary, a bounded architecture seeks the

integration between built form and cultural values. Architecture of critical
regionalism should be grounded in local fabric and regional culture. Creating a
bounded architecture depends on the architect’s capacity to generate an
architectural form with a sense of place.
4. More than simply scenographic episodes or sentimental historicism.
In his fourth point, Frampton sees the need for architecture that is understood
as a “tectonic fact” rather than simply a series of scenographic episodes. He
opposes the scenographic episodes which is the re-presentation of a façade
(Frampton, 1983, p32). Frampton argues use of sentimental imitations of local
vernacular, seeking instead a reinterpretation of those forms and a blending
of those forms with outside influences. He argues for openness to western
influences, but he sees this openness as requiring a focus on the local. To
some degree, the scenographic episode is just a skin-deep treatment such as
the kitsch of vernacular details.
5. Response to local conditions and climate.
Critical regionalist architecture tends to treat all openings as delicate

transitional zones with a capacity to respond to the specific conditions
imposed by the site, the climate and the light. It reckons that architecture
should naturally dialogue with the place and respond to the physical features
of a region, the site-specific factors, ranging from the topography . . . to the
varying play of local light (Frampton, 1992, p327). It opposes the indifference
to such factors shown by the tendency to use air-conditioning systems.
6. An emphasis on the tactile.
Frampton focuses on light and on light’s role as the primary agent by which
the volume and the tectonic value of the work are revealed, but he also says it
is important to be aware that the environment can be experienced in terms
other than sight alone (Frampton, 1992, p327). Other experiences, like heat
and cold, humidity, air movement, aromas, and sounds are important aspects
of the environment. Frampton argues that the tactile is an important
dimension in the perception of built form. Critical regionalism recognizes that
these other sense perceptions need to be recognized alongside the visual.
iii) Douglas Kelbaugh
Douglas Kelbaugh’s theory of critical regionalism builds upon Tzonis and Lefaivre and
Frampton’s versions, but he does so in a way that provides more context and clarity for the
theory. What he terms the “existential dilemma for architects” is an illustration of how
critical regionalism can deal with the shortcomings of Modernism, Postmodernism, and
Deconstructivism.
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Kelbaugh provides five characteristics or “attitudes” that are common to critical

regionalism:
1. Sense of place,
2. Sense of nature,
3. Sense of history,
4. Sense of craft, and
5. Sense of limits
1. A sense of place
Critical regionalism first and foremost starts out with a love of place. It honors
climate, topography, vegetation, building materials, and building practices...It
prefers local authenticity to sophisticated imitation...it is an “act of
protection” as well as an “act of resistance.” (Kelbaugh, 73-74)
2. A sense of nature
It deals with environmental concerns, as well as the importance of using

nature as a model for design. As a model to follow when designing, nature is
our best option because “it holds the key to vitality and sustainability.”
(Kelbaugh, 75) Nature’s processes have occurred for millions of years, and will
continue to do so if we can achieve a better relationship between the built
environment and the natural environment.
3. Sense of History
Historical precedents should be used as a point of departure in the design of a

building. This allows for a continuity of design across generational boundaries.
When design “rhymes across time it demonstrates a sense of history”
(Kelbaugh, 79). This will help to retain a memory of the site’s history, as well
as develop a place-specific architecture.
4. A sense of craft
It is a call for the return of quality in construction, as well as a reduction in the

importance placed on quantity. Kelbaugh believes that “the construction of
buildings has become junkier” because they are being built with less human
care and of less natural and less substantial materials (Kelbaugh, 79).
5. A sense of limits
It is “about the need for finitude and for physical and temporal boundaries to
frame and limit human places and activities. It is about the need for human
scale in the built environment. It is about psychological boundaries- ones that
make life more understandable and negotiable” (Kelbaugh, 82). This is
opposed to the International Style which saw space as “abstract, neutral, and
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continuous” (Kelbaugh, 81). Limits, according to Kelbaugh, are “what

differentiate place from raw space” (Kelbaugh, 82).
Although Kelbaugh attempts to classify the tenets of this theory, there is still no real
definition of critical regionalist architecture. Does satisfying just Kelbaugh’s five tenets
justify a critical regionalist building? If the precedents provided by Tzonis and Frampton are
used as a measuring device, then yes. Overall, the theory of critical regionalism relies too
heavily on the subjective aspects of architecture.
2.2.2 Architectural Illustration
In the work of architects, the interaction of contemporary issues and timeless qualities
drawn from local culture is an appropriate subject of analysis of critical regionalism.
1. The Eduardo Prieto Lopez House (1950) Mexico City by Luis Barragan
Luis Barragan has been strongly influenced by European

Modernism. The abstract compositional formality of his
work is given scale and humanity through the use of
colors, materials, and landscape forms indigenous to
Mexico. Luis Barragan's work often features simple
facades and flat surfaces that seek integration with their
surrounding urban context. Eduardo Prieto Lopez house,
(Fig. 1) has striking facade and is built in natural setting.
In this house Barragan uses simple geometric forms and a Fig. 1 Lopez house front view
color palette heavily influenced by regional modern art,
while at the same time he integrates the house into the surrounding natural landscape. This
unique topography complements the building and provides a unique sense of place.
2. Mario Botta’s house at Riva san Vitale
Characteristics of this region were the clear

volumes of old buildings that rose over the
trees as traces of human marks. There were
once plentiful old "Roccoli", or traditional
bird hunting towers(Fig. 2 ). It was precisely
this combination of astonishing nature and
basic construction which gave a special
quality to the area. In the case of the house
at Riva San Vitale, (Fig. 3) he reinterpreted
the vernacular type of tower to protect the
landscape. The tower like appearance of this Fig. 3 Bird hunting Fig. 2 Botta's house at Riva
residence declares itself as an object in the tower
existing terrain. As Botta states: “Houses are never layered into the contours of a given site,
but rather build the site by declaring themselves as primary forms, set against the
topography and the sky” Frampton, 1996, 478). The house is like a carved volume with four
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elevations which responds to the surrounding environment: the lake, church of Melano, the
meadows, the woods, and the old access road with the green. Each aperture in the facade
frames a specific view and expresses Mario Botta's belief that architecture is the design of a
location. They express a relationship of the interior of the house with the surroundings, the
movement of the sun, or the direction to an existing historical construction.
3. Utzon's Bagsvaerd Church (1973-76)
In Frampton's view, Utzon's

Bagsvaerd Church, 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 (Fig. 7) (i.e. universal Fig. 4 Interior of Bagsvaerd church Fig. 5 View of Bagsvaerd Church
civilization) versus the specially-
designed, 'uneconomic', organic, reinforced concrete shell of the interior (Fig. 6), 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).
4. House (1976) in Sumiyoshi, Osaka, Japan by Ando
Tadeo Ando, on the other

hand, relies almost entirely
on abstract qualities of
space and ritual to achieve
connection with the cultural
history of Japan, while his
unrelentingly severe use of
concrete and glass is an
uncompromising statement
of twentieth century Fig. 7 View of row Fig. 6 Sectional view of the house
technology. Tadao Ando is house
Japanese architect whose approach to architecture as critical regionalism. Azuma House
(Fig. 9) in Sumiyoshi, Osaka, Japan; replaces one of the traditional houses in this area built in
wood. Tadao Ando created the courtyard space (Fig. 8) to let the light from the open sky
making a small courtyard where it linked the two parts of the row house by a bridge.
Thinking about the normal row house, if it's not having the part open to the sky, it will be so
dense and dark and has poor ventilation. The only source of good light and ventilation is to
open the top part of the house. Following the roof traditions, most row house doesn't have
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exact opening to the sky at the top. Yet this is a good example of how the simple thing can
be done with good purpose on its concept of light.
5. The Shanghai Museum (1996)
It is a best example of how the preference

is given for regional intentions over
normative optimization. At the Shanghai
Museum, traditional Chinese symbolism in
architectural form led to a structure, which
is far from the most efficient but is
culturally significant. The architect self-
consciously links this museum design with
traditional Chinese culture. The
architectural form of this museum is
inspired by the ancient Chinese philosophy Fig. 8 Shanghai Museum
that the sky was round and the earth was
square and the tradition of capturing this idea in buildings (Fig. 11). Following this tradition,
the Shanghai Museum uses a square plan at the ground and a circular plan at the roof or for
upper floors. Freed from the demands of optimization, the architect can use modern
technologies to realize the culturally evocative form. Thus this museum illustrates the
primary intent of critical regionalism, the self-conscious cultivation of regional culture.
6. Gandhi smarak by Charles Correa (1963), Ahmadabad
Charles Correa understood Frampton’s critical regionalism as an affirmation of their own

locally adapted appropriation of Western modernism. Correa’s work falls into the category
of modernism. He makes use of simple forms, is interested in architecture embodying the
mechanics of society, and uses concrete as a sculptural building material. However, Correa’s
insistence that his buildings should reflect their context through the use of local materials
and their specificity to climatic conditions
separates him from the placelessness of much of
Modernism.
The Gandhi Smarak, Ahmedabad (Fig. 13) by

Charles Correa, is a conscious attempt to combine
modernity with regionalism. Correa uses a
network of interconnected open-to-sky spaces, to
recreate the Gandhian ideal of a self-sufficient Fig. 10 Plan of Gandhi smarak
village community. The building is climatically
sound and energy efficient, uses low cost material
and finishes, and above all conveys some sense of
the solemnity and dignity dedicated to Gandhi’s
life and work. The building uses vernacular
Fig. 9 View of Gandhi smarak

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materials like brick walls, stone floors and tiled roofs. (Fig. 14) The spaces are grouped
around a central water court to cool the buildings in the arid heat. By manifesting context
and the way people inhabit space, Correa harnesses the local climate as a building material
to give his projects a sense of place. As the practice’s website declares, “The work of Charles
Correa seeks new and eloquent ways to express the cultures in which we live.”
7. Raj Rewal’s housing project for the British High Commission, Delhi, 1990s
They are modern while

responding to local
conditions. "Rewal's
architecture is the product
of a self-reflective
considerations of both his
foreign an indigenous roots.
Rewal said "his architecture
was expressed in motifs Fig. 12 Old traditional chatri Fig. 11 Modern interpretation of chatri
and symbols from another
era transported into the present".
It is an example of Rewal's "European aesthetic sensibilities drawing on the Indian colonial
traditions of tropical living". The cluster dwellings of 12 staff quarters with three bedrooms
units in two sizes combines the elegance of and the utility apartment blocks of
contemporary India. Each dwelling has a private enclosed garden at the rear - an example of
traditional British terrace housing (Fig. 15). The roof of the second floor made a specific
concession to diplomatic living with gracious terrace "chatris"(Fig. 16 for intimate parties.
8. Bijoy Jain’s Palmyra house (2007)
Frampton discusses Bijoy Jain’s Palmyra house

(Fig. ) to demonstrate a strategy of integrating
design craft which might provide a viable path
between globalist phantasmagoria and uncritical
traditionalism. House consists of two wooden
louvered structures set inside of a functioning
coconut plantation. Anchored to stone platforms,
the structures overlook a network of wells and
aqueducts that weave the site into an inhabitable
whole. The development of the design and detail, Fig. 18 Bijoy Jain's Palmyra house
which resulted from collaboration between the
architect and the craftsmen, took on tested techniques, both local and foreign, and raised
them to a finer construction resolution. The house is well-adapted to its environment.
22
14. Ricardo Legorreta house on Jeju
Blending modernism with vernacular influences,

textures and vibrant colours from his native Mexico,
Ricardo Legorreta helped put Mexican architecture on
the world map. In Legorreta house, he designed an
entry court (Fig. 20) with shallow pools and graceful
stone steps set behind high walls. The architect
told that walls were “the essence of Mexican
architecture.” (January 1997) Fig. 13 Entry court of Ricardo Legorreta
house
2.2.3 Contemporary Stand
In this section I try to configure present architectural stand of critical regionalism, based on
the opinions of experts to conclude weather critical regionalism is a appropriate approach
for current trend.
i) Opinion’s of experts
Mario Botta is respected particularly for his sensitivity to regional

vernacular and to the building’s relationship with the land. He says
"Architecture is the shape of history. Some people think, when
you're a great creator, you think about the future, but this is not
true, you think about a great past. Therefore it has to portray the
expectations, hopes and contradictions of its own time. Going back
to the origins is in fact-the strongest cultural element in a society
that constantly focuses on the future. Keeping in mind that the
world is ruled by globalization, the search for personal identity in
the architecture is very important; people must feel their identity
to a particular place, a particular landscape.” (CyberEmpathy -
Visual and Media Studies Academic Journal)
Amos Rapoport says “Our era is one of reduced physical

constraints. We can do very much more than what was possible in
the past, and criticality is lower than ever. The result is the
problem of excessive choice, the difficulty of selecting or finding
constraints which arose naturally in the past and which are
necessary for the creation of meaningful house form. (Rapoport
1969)
23
Bijoy Jain says “Our relationship with nature has always been to
overcome its unpredictability. Thus the idea of using material that
is impervious to nature – all worked towards creating secure
spaces, creating predictability. Rather than dismissing what has
developed over several hundred years or discarding something
because its new, we could work with a combination of periods – a
hybrid.”
24
Chapter III .
CASE STUDY AND DATA COLLECTION
3.1 CORREA’S HOUSE AT KORAMANGALA

Architect: Charlse correa
Location of the house project: Koramangala, Bangalore city, Karnataka state.
Basic concept of the design: At the time of India’s Independence in 1947, Indian architects
were conscious of the need for a ‘national’ identity and faced with the task of re-integrating
this into contemporary architecture. Despite being aware of the British enforcing their
norms on Indian culture it is important to critically evaluate how this past influence is
inherently present in contemporary India in their search for a modern identity, specifically in
the context of architecture.
He successfully achieved cultural identity by starting from the premise of local or regional
architecture, in the case of the House at Koramangala, the traditional courtyard houses of
South India.
25
Critical analysis based on five points of critical regionalism
Correa’s House is in contrast with the British Bungalow in terms of openness which shows a
preference for regional intentions over normative optimization. Instead of blindly following
western norms correa consciously started his design from the traditional courtyard houses
of South India (old Hindu houses in Tamilnadu and Goa) which represent a typology much
older, and really quite different, from that of the bungalows built by the British. The houses
were usually organized around a small central courtyard, with a tree or tulsi plant in the
middle. Also preference for regional intentions is seen in the use of vernacular laterite stone
and roof tiles.
Frampton’s concern with the boundedness of architecture in both time and place is a desire
to create a place rather than an object in a place. In correa’s house the architecture is
bounded to the place through courtyards, frontyard, kund and backyard which draw
exterior space into the building and establishes a connection with site.
Although inspired by traditional courtyard houses, the new prototype has fundamental
improvements in meeting the needs of modern life instead of a nostalgic imitation of
traditional model. In correa’s house we find an attitude of criticism towards the
stereotypical Indian Architecture and he is able to achieve a sense of identity without
excessive use of color and ornamentation.
4. Responsiveness to local conditions and climate.
The climate of bangalore is hot in summer and cold and windy in winter. The courtyard
house, provides shadowed areas for indoor during the heat of summer. The courtyard
26
creates an enclosed microclimate in the built environment. It protects the indoor area from
the wind. Therefore, it provides a favorable space for mixed use activities in the harsh
winter.
In correa’s house, the wide use of local materials and the assimilation of traditional
architectural elements demonstrate a close attention paid to the tactile perceptions. For
example, vernacular stone pavement is used for transitional space such as front yard,
creating a special sensation experience.
3.2 THE SKY CITY VISITOR’S CENTER AT ACOMA PUEBLO

It is situated in the sacred valley of the Acoma people.
The Visitor’s Center was designed by Barbara Felix.
The Visitor’s Center’s primary purpose is for Acoma people to learn about their culture.
The Sky City Visitor’s Center is Critically Regional in its materiality, massing, and systems
integration, but layers of populist imagery also exist.
Barbara Felix exposes modern values

that synchronize with contemporary
Acoma principles, and adds to them
elements with ways of seeing them
from a non-Puebloan cultural
perspective.
The “high tech adobe walls”, as she

refers to them are one example of
critical regionalism. Adobe construction
is the primary form of construction
used at the pueblo. Adobes are baked
mud bricks that are stacked to form walls. Both the Acoma people and the designer valued
an efficient construction technique and stacking adobe for a 40,000 sf building would be
labor intensive and structurally unsound. So, aerated autoclaved concrete was added to the
materials palette of the pueblo vicinity. As seen through the non-Puebloan designer’s lens,
the concrete is a massive earthen material with excellent fire resistance properties that can
be stacked as masonry units. Aerated autoclave concrete is formed into blocks off-site that
can then be transported to the site for installation.
Kenneth Frampton sees the use of materials that are not a direct experience of historic
cultural values as being rhetorical, rather than dialectic. They are useful as a means to
persuade an audience. The inclusion of the materials does not engage different cultural
views to reach a shared truth.
The use of stucco and stone at the Visitor’s Center is an authentic response to the culture.
27
Another example of critical regionalism can be seen in the

building’s glazing. First, Barbara Felix uses a texture laminated
by glass around the entrance and lobby areas. This modern
glass technology filters light into the Visitor’s Center similar to
the way selenite allowed some light into adobe buildings.
Selenite (a form of gypsum occurring as transparent crystals or
thin plates) is a translucent mineral that covered openings of the Acoman houses.
Another use of glazing includes an acid etched stencil

of pottery motifs in a hallway that leads to auditorium
spaces. Large expanses of industrial glass were a
modern development. The element that connects the
material to the Acoma culture is a pattern, whose
specific meaning is unknown to non-Acoma people,
including, even, the architect. The patterned glass
takes its motifs from Lucy Lewis’s, a famous Acoman
artist’s, pottery.
The inclusion of the etched glass is symbolic, and, therefore, not a direct experience. It does
not represent the critical regionalism theory. It is a symbol and a symbol is representational,
like a film set or theme park.
One final way the Visitor’s Center

exemplifies Critical Regionalism is by
using systems, where possible, that
respond to the climate and culture of its
specific location. The aerated autoclaved
concrete has the added benefit of having
excellent thermal performance.
The adobe houses have the thermal

advantage of being close to the earth
and so they can passively heat
themselves by taking advantage of the
28
heat sink they sit on. Since the Visitor’s Center is much larger than an Acoman house,
radiant heating coils installed under the concrete floors are used in the colder months. The
modern technological solution is of the same spirit as the Acoma earthen floors in that the
floor is a source of heat.
The Visitor’s Center represents Kenneth Frampton’s theory of Critical Regionalism in the
majority of instances. The Acoma people have a symbolic language that shows up in their
tradition of pottery. Symbolism is not valued within Kenneth Frampton’s theory because, by
definition, it is not a direct experience. The inclusion of this symbolic language in the
Visitor’s Center is not used in a gratuitous manner and may be appropriate for a building
that is instructional of the culture. The inclusion of the cultural motifs may also be
motivated by an economic desire as Frampton suggests in his discussion of regional Populist
rhetoric.
29
3.3 JU’ER HUTONG NEIGHBORHOOD, BEIJING
Introduction
In Beijing, the pressure of urbanization has put a great deal of traditional courtyard
housing in danger of demolition. New urban construction has developed rapidly
within traditional street blocks, roughly mixed with traditional courtyard
neighborhood. Many new buildings are characterized by freestanding architectural
forms which that threaten the traditional urban fabric. Facing these challenges, the
Ju’er Hutong Neighborhood project is dedicated to the continuity of traditional
courtyard housing and the preservation of the existing urban context.
Location
It is located at the 8.2-hectare Nanluoguxiang historical preservation area within the

old city of Beijing (fig.37).
Figure 1 Areal view of Ju'er hutong neighborhood

30
The Traditional house of beijing
Traditionally, Siheyuan, the one-storey

courtyard house is the model for Beijing’s
house. (fig.38, 39). Generally the courtyard is
located in the middle of the house and
buildings are placed along the edge of the
courtyard. Thus an interior space, which opens
to nature and closes against the outside, is
formed. “The inner court was intended as
accommodation for the women and girls of the
family as well as the servants. The second inner
court was the living area of the master of the
house and was oriented to the south. The buildings on the east and west were
meant for his married sons” (Blaser, 1979).
Entering the front gate, you find a screen wall to shield the house from outsiders
‘view for privacy. Both the front gate and the screen wall are located in the
southeast corner of the courtyard. To its left, lies the yard of the old courtyard. The
building positioned to the north and facing the south is considered the main house.
The main house receives the most sunlight, thus serving as the living room and
bedroom of the owner or head of the family. It is also the only room that lies on t
he central axis. The floor-to-ceiling height of the north room is slightly higher than
the rest of the rooms and the level of decoration is dramatically different.
The western side rooms receive less sunshine, and serve as the rooms for eldest
children or less important members of the family. The eastern side rooms receive
the second less sunshine, and serve as the rooms for younger children or less
important members of the family.
The opposite rooms (or southern side rooms) receive the least sunlight, and usually
31
serve as a reception room and the servants' dwelling, or where the family would
gather to relax, eat or study. A small, narrow courtyard is usually located between
the south rooms and the separation gate, functioning as a transitional courtyard. A
neighborhood of siheyuan houses forms a hutong.
Architect’s Vision
In this project, the architect Wu Liangyong attempts to renew the traditional

neighborhood. At the same time, he develops a new courtyard prototype, which is a
combination of the form of western row housing form with the Chinese traditional
Chinese courtyard conception (Wu, 1999).
On the one hand, the architect Wu learns from the traditional courtyard housing. In
his opinion, the traditional residential style, providing an enclosed transitional space,
is still valid for contemporary modes of living. In the new type of courtyard house,
the architect Wu reinterprets the courtyard as the communal center for residents in
every cluster. The new courtyard cluster has the following characteristics: two- to
three-storey courtyard buildings that create a high floor-area ratio; a courtyard as a
communal center; more private outdoor space than apartment blocks which lie in a
line; more useable space in the attics under the pitched roofs.
32
The Master plan
The new courtyard housing is composed by several family units that have different
orientations. (refer to fig.20). These family units are organized around central
courtyard. The enclosed courtyard space creates a common enclosed quiet and
comfortable place against the outside.
Valuation of Wu Housing Project Through 5 Points of Critical Regionalism
Frampton argues that today the architectural form is greatly limited by a focus on
the idea of normative optimization, which emphasizes the efficiency and utility in
building construction and performance, and by the idea of using modern industrial
technologies-the technologies favored by the Modernist movement, such as
reinforced concrete, pre-fabricated construction elements and high-rise
construction. In the Ju’er Hutong Neighborhood is vernacular brick and roof tiles are
major materials used.
33
2. A consciously
bounded
architecture.
Frampton’s
concern with the
boundedness of
architecture in
both time and
place is a desire
to create a place
rather than an
object in a
place. The Ju’er
Hutong
Neighborhood
project is to draws spatial boundaries by creating an enclosed courtyard space in
every unit group. Wu argues that “the Ju'er Hutong project attempts to create an
environment in which the inhabitants can enjoy a new kind of privacy as well as have
access to their neighbors in natural surroundings...[the project] explored the
meaning of ‘a sense of place’ in the context of Beijing's modernization” (Wu, 1999,
p191).
Another major characteristic of the Ju’er Hutong Neighborhood project, showing

itself as a bounded architecture, is its respect to traditional urban residential fabric
of Beijing. This dynamic renewal with conservation and redevelopment strategies
maintains the traditional urban residential fabric. At the micro level, for those new
clusters, developing a suitable residential prototype to match the existing urban
fabric is the major architectural goal in this project rather than using well-known
residential types such as apartments, row housing and residential high-rise towers.
The new courtyard is a realistic

response to the in situ cultural
realities of the day. Although
inspired by traditional courtyard
housing, the new prototype
Siheyuan has fundamental
improvements in meeting the
needs of modern life instead of a
nostalgic imitation of traditional
model.
Traditionally, the big courtyard

house serves for a big single
family and the available space for family members is determined by their societal
positions. But the new courtyard housing is shared by several families and the
34
hierarchical system in space distribution has to be changed according to new

situations.
Furthermore, there is a great revision of traditional residential form. New two- and
three- storey type
dwellings replace
traditional one-storey
models in order to suit
the needs of high
density, an important
characteristic of
modern urban
housing under the
intense pressure to
use urban land
efficiently.
Furthermore,
compared to
traditional housing,
much more indoor
and outdoor spaces
such as lofts and roof
garden terraces are
available in the new
courtyard housing, which form a richer roofline than traditional one-storey courtyard
housing (fig.42).
The climate of Beijing is hot in summer and cold and windy in winter. The courtyard
housing, combined with unique lane-street system, provides shadowed areas for
indoor residents and outdoor pedestrians during the heat of summer. The courtyard
creates an enclosed microclimate in the built environment. It prevents protects the
communal space of the cluster from the wind. Therefore, it provides a favorable
space for communal activities in the harsh winter. Furthermore, the Ju’er Hutong
Neighborhood abandons the orientation hierarchy among bedrooms in traditional
courtyard housing and improves sunlight and ventilation conditions for all family
units through the flexible plan layout.
35
Having east- and west- orientation units is a shortcoming of traditional courtyard

housing. In traditional housing, insufficient sunlight and ventilation conditions of
some bedrooms in the east and west wings are significant problems. In the new
courtyard housing, sunlight and ventilation conditions are greatly improved by an
appropriate setback layout and the decrease of building stories in the east and west
wings (refer to fig.20, 21).
In the Ju’er Hutong Neighborhood project, the wide use of local materials and the
assimilation of traditional architectural elements demonstrate a close attention paid
to the tactile perceptions. For example, vernacular stone pavement is used for
transitional space such as courtyard, creating a special sensation experience. As
already mentions, the distinctive lane-street pattern with archways and alleyways
combined among different setback courtyard units creates rich and various shades.
Walking through the community, residents can experience interesting changes of
shade. These pools of sun and shade create pools of warmth or coolness, and they
heat some surfaces, leaving other cool, thus creating an environment with spaces
and surfaces that contribute to a rich non-visual experience of the space.
3.4 FRAGRANT HILL HOTEL
The Fragrant Hill Hotel, built outside of Beijing, is a good example of architecture responding
to regional and cultural considerations. The Fragrant Hill Hotel uses both the advantages of
modern technology and a conscious attempt to link to cultural traditions to create a building
that fits into its site aesthetically and culturally.
The Fragrant Hill hotel was built in 1982. The architect I. M. Pei started to design the hotel in
1979. Pei selected Fragrant Hill, located in twenty miles northwest of Beijing, which was
once part of an imperial hunting reserve.
36
The Fragrant Hill has steep slopes rising up all around and they were thick with a rich variety
of trees including cypress, chestnut, cedar, pine, willow, and gingko.
Traditionally, the private garden is a very personal construction using both natural and
manmade elements such as trees, ponds, rockeries, zigzag paths, corridors and bridge
blended together to form a living space. Generally it is composed of courtyard dwellings and
gardens. A garden is often attached to the family's living quarters. Most of the buildings are
hidden behind walls, forming an enclosed living space. Courtyards and garden are designed
to create the illusion of nature in the smallest of spaces by blending water, plants and rocks
with the manmade beauty of poetry, bridges and pavilions. A maze of hidden courtyards,
secret turnoffs and twisting mosaic pathways enlarge the space, while open-air windows
between walls leak glimpses of what lies beyond. Skillful use of perspective makes small
spaces appear larger. Undulating, serpentine walls suggest mountains in the distance and
provide a surface for the interplay of light and shadow. Thus, there are plentiful and
unpredictable visual perceptions in the enclosed built environment (fig.24 & 25)
Figure.24. Unique visual perceptionby proper arrangement of waterareas in traditional Chinese garden.
Figure.25. The metaphor of mountains by proper arrangement of rocks in traditional Chinese garden.
One may argue that the Fragrant Hill Hotel improperly responds to regional conditions since the
hotel makes use of southern gardens rather than a local architectural prototype from Beijing,
such as the imperial palaces and temples, the most typical and enduring Chinese forms in the
capital city. However “these traditional examples seemed inappropriate as a source for a
building that was serve a China so remote from their traditions” (Wiseman, 1990, p192).
Moreover, although the hotel is located in the north of China, Pei reckoned that it is appropriate
37
to learn from the private gardens of the south of China. He argues that “it was quite true that
the climate of Beijing was different. But the courtyard plan of houses in Beijing was not that
different from that of the south. Life still centered around the courtyard. They were all low
buildings. In some ways, the differences were not as great as one would think, despite the
climate” (Pei, 2002, p7).
Two factors determined obviously regional intentions on the selection of construction

technology and materials in this hotel project. First, at the time of construction, modern
construction technology was more expensive in China than in the West. Although it is a mid-size
project, most of the construction of this hotel was based upon available light vernacular
techniques and materials, since they were more available and cheaper than modern
construction technology. In addition, most of the work on the job site relied on cheap
manpower (labor) rather than machinery. There were 3,000 workers working on the hotel. It is
estimated that a job on the scale of Fragrant Hill would just have required 200 workers in the
United States (Wiseman, 2001, p204). As for vernacular craftwork, Pei wanted a traditional
variety of dark gray brick for the hotel, but discovered it was no longer manufactured. Pei found
a craftsman who knew the technique for making the brick and who could provide enough for
the hotel (Wiseman, 2001).
In a word, Pei emphasizes available regional solutions in the Fragrant Hill hotel in order to create
a building that was a natural outgrowth of the culture of China, rather than an attempt to show
China’s ability to build Western Style buildings.

Inspired by the relationship between gardens and buildings in traditional architecture, Pei
developed a horizontal and rambling plan layout surrounded by a series of courtyards (fig.27),
which create a physical boundary around the buildings. Each guest room has
Figure.26. Entrance lobby with skylight is the only part using contemporary materials and technology.
38
Figure.27. A horizontal and rambling plan layout surrounded by a series of courtyard, Fragrant Hill Hotel.
direct visual linkage to a courtyard within the boundary. The buildings and the courtyard
spaces are totally integrated. Therefore, the intimate relationship between architecture and
nature becomes the most important characteristic in this modern hotel.
In addition, Pei attempted to link the built form with the living culture. As noted above, this
hotel design learns from Chinese traditional garden. Moreover, a dialogue was established
between the hotel and the site by highlighting a local historical landmark. On the built site
there is a water maze called Liushuiyin in Chinese, a very famous historical relic from ancient
China. There are only five such mazes remaining in China (one is in the Forbidden City). After
discussion with Chen Cong-Zhou, a famous expert of traditional Chinese gardens, Pei
reckoned that this one should be reserved to hint at the site’s link to history through the
emphasis of Liushuiyin, a symbol that would speak of the past. (Wiseman, 2001, p201)
The reinterpretation of traditional garden pattern and the link to the unique relic of the past
contribute to this hotel’s creation of a bounded architecture.

The hotel is a realistic response to both contemporary life and the traditions of Chinese culture.
39
Figure.28. The water maze Liushuiyin is the garden focal point.
Furthermore, Pei reinterprets the principle of traditional private gardens to cater to

contemporary needs. For example, traditional private gardens were intended for the private use
of individuals and small groups, which determined their compact layout. But in the hotel design,
the architect’s alters the original model in order to accommodate more people. A four-story,
11,000 sq ft. skylit atrium, the interior court, provides a central orientation space for intimate
guest rooms surrounding it.
One of the important characteristics of critical regionalism is to avoid using the scenographic
episodes of traditional architecture. But in this case, the architect Pei used a lot of specific
historical references rather than going completely against the nostalgic historicism. His
remark of “what I did at Fragrant Hill was partly out of nostalgia and partly time” provides a
clear indication of Pei’s philosophy in the hotel design (Pei, 2002, p8).
The off-white stucco walls and grey-tile (fig. 29) roofs reflect the typical feature of
vernacular architecture (fig.30). Moreover, the subtle arrangement of windows and doors, a
typical technique of traditional Chinese garden, was used extensively in this hotel design.
Specifically, the technique called “borrowing views” is fulfilled by making picture frames of
all openings, including windows and doors. For example, each opening of the hotel is
arranged at a strategic viewpoint to frame a natural picture, borrowing views from another
space (fig.31, 32). Thus, the motifs of traditional gardens such as the Chinese screens and
diamond-shaped windows not only serve as a sort of decoration but also create unique
spatial and visual experiences through windows.
The skylight of the entrance atrium is the only part using contemporary materials and
technology (fig.26), where metal rods are used to diffuse the light coming through the glass
roof, a similar structure employed in the East Wing of National Gallery, Washington D.C.
40
Figure.29. Off-white stucco walls and grey-tile roofs of Fragrant Hill Hotel.
Figure.30. Typical characteristics of vernacular architecture of South China.

41
Figure.31. Window picture of atrium.
Figure.32. Window picture of the main garden.

42
On the other hand, Pei made great efforts to refine and reinterpret traditional elements to
adapt to new situations. First of all, he simplified traditional timber form to reflect the real
characteristics of modern concrete technology, while he used the vernacular as a historical
reference. The succinct stuccoed concrete wall with the linear-sloping grey tile roof is
different than the traditional timber profile, which was characterized by ornamental
brackets, curved roof, and buttress slabs.
Figure.33. Ornamental screen with a round opening at the entrance lobby.
4. A responsiveness to local conditions and climate.

Pei argues that “nature has always been part of my sensibility” (Wiseman, 2001, p.201). In
this hotel project, as noted in the discussion of point 2, a consciously bounded architecture,
the buildings are only half of the design. The rest of the design is a series of gardens around
the buildings. These semi-enclosed gardens are transitional spaces between interior and the
mountainous site. Every guest room has a courtyard view by a subtle integration of
architecture and landscape. Also, it is worth mentioning that many existing trees on the site,
some as old as 800 years, are preserved and taken as compositional elements for small
gardens. As an architectural frame, Pei gave these trees, the off-white stark stucco walls
(fig.34).
43
Figure.34. The off-white stark stucco wall is an architectural frame for a tree.
Respecting the topography of the site, Pei created a dexterous layout of a series of interior
courtyards that fit well into the mountainous setting and create interesting spatial and
visual experiences.
Critical Regionalism stresses perceptions that complement visual experience as a strategy.

Pei learns from traditional Chinese gardens and introduces traditional paving materials and
landscape plantings into the hotel. Different paving materials are used in transitional spaces,
which continually alter the tactile sensation of walking from one space to the other. In some
places such as patio paving stones are smooth, in others such as the courtyard path the
paving stone and bricks are rough. The plantings are selected not only for their shape,
seasonal character and symbolic meaning but also for different aromas. In brief, the
experience of walking in this hotel is full of pleasing surprises for senses other than sight, like
varying aromas of different trees, all the sensations caused by the paving finishes.
In conclusion, Pei attempts to set an example and provide guidance for contemporary Chinese
architecture. The design of the Fragrant Hill Hotel provides a good reference that the later
architects can make use of.
In conclusion, when using the ideas of Critical Regionalism to guide the understanding of the
Fragrant Hill Hotel, we can see many examples to learn from. As discussed, Pei creates a
bounded hotel building and reinterprets the living tradition.
44
3.3 DESIGN STANDARDS FOR HOUSING PROJECT

45
46
47
48
49
IV. THE DEMONSTRATION OF CRITICAL REGIONALISM

4.1 THE PLACE
The place selected for the thesis is native coastal region of uttara Kannada district of
Karnataka state. Geography of Uttara Kannada District.
Geographical coordinates of Uttara Kannada district are 14.6 deg north 74.7 deg east.
Reason behind the selection of place

Primarily it is my native place where I have spent more than 15 years which is handy when it
comes to knowing a place.
Secondarily it is concerned with contemporary low quality construction at the place with no
design sense. Modern architectural practice in coastal areas of uttara kannada has no
specific character. Characteristics of the region’s climate, vernacular architecture, and social
aspects have been ignored by local builders. Contemporary architecture is not meeting the
area’s social, environmental, structural and aesthetic needs. For example, the
environmental performance of contemporary architecture is poor in terms of responding to
the area's climate, leading to the use of extra energy.
50
Uttara Kannada district is one of the biggest districts in the state of Karnataka. It is a
beautiful place that has been blessed with abundant natural resources. The district has
varied geographical features with thick forest, perennial rivers, abundant flora and fauna
and a long coastal line of about 140 Kms in length is formed by the Arabian Sea.
The climate of region is fairly well balanced. The average temperature is around 33 degree
Celsius during summer and 20 degree Celsius during winter. Coastal region receives heavy
rainfall during monsoon period. Average annual rainfall 1166.3 - 3672.5mm
As regards the culture and festivities typical to the place, folk arts like Suggikunitha famous
and Yakshagana are famous in the district.
Figure : Yakshagana artist
They are primarily engaged in agriculture especially growing betel

nut, paddy, banana, coconut etc. A few decades back they also started entering into other
vocations like business, education, employment etc.
4.2 VENACULAR HOUSES OF COASTAL REGION OF UTTARA KANNADA
This section is a documentary of vernacular architecture within context of coastal region

of uttara kannada. It is no surprise that these unique cultural qualities resulted in the
development of unique architectural language. There are many types of vernacular houses
built by various different casts. One of the most developed vernacular forms is the havyaka
Brahmins house. This thesis mainly concentrates on havyaka Brahmin house forms as a
place defining factor.
The house form and its formal evolutions and transformations will be discussed. Also its
variations and similarities within its context will be discussed.
51
Location of Documented Area
Study area is located at mugva grama belongs to honnavar taluk of uttarakannada

district which lies in the region of Western Ghats. It is characterized by hot and humid
climate and rapid variation in the topography.
Macro level Topography
Topographically, the district lies in three distinct zones namely narrow coastal zone,
abruptly rising ridge zone, and elevated flattened eastern zone. Ridge zone is a part of
the main range of Western Ghats, which runs north to south, parallel to the coast. The
flat eastern zone joins the Deccan plateau.
52
Micro level study of documented area
The area has its own characteristics with respect to the topography and the type of
vegetation. Fig shows the nature of topography and the distribution of different types
of vegetation depending on the height of the land. The area is characterized by hills and
valleys which are located parallel to eastern side of Western Ghats. These foothills are
dry with few bushes and rocky land. As one comes down towards the valley moist
deciduous forest starts. Further down at the bottom of the valley agriculture has been
practiced. And these valleys are naturally protected from harsh sea wind by these
surrounding foothills. peasants have been settled at the bottom of the valleys in search
of rich fertile soil and water. Earlier these valleys were the only routs of transportation.
53
54
Pattern of settlement:
The houses are built along the edge of the foothills and the major connection to reach
these houses is the road which runs around the foothills. The Brahmin houses formed
the group of 5 to 6 which is called as keri. Each group is thus has its name such as
Balegadde, Harori, Galimane, Gadge mane, Mise mane, Abli mane, Kanni mane etc. The
settlement consists one community temple namely bili amnor devastana in which
different rituals are held at different occasions.
The orientation of the houses is sometime parallel and sometimes non parallel to each
other. Usually a zigzag mud road from the main road comes down to connect 2 to 3
houses. And the bikes and cars are parked at the end of this road. Then few zigzag
pedestrian path runs down to connect each house. There is another organic pedestrian
path along the line of the houses which passes through every houses front yard and in
and out of areca nut plantation.gh each house front yard just beside the estate.
Any outsider will first confronts dry deciduous plantation called as bena and then the
house which is located just at the beginning of areca nut plantation.
55
House in relation with settlement
These social and cultural aspects influence the daily activity and are reflected on
building and environment planning. The society obeys the rule of religion and most of
their means of livelihood is from agriculture. Religious activities are reflected on the use
of temple facility and yard mutually. Architecture of each house in the society is similar
and differs only under certain limits. There is no hierarchy among the houses in terms
of rich and poor or any other distinguishes. Still each house is different in terms of its
respond to its surrounding topography, size and layout design and interiors.
Typical Havyaka house (Gudge Mane-112 years old)

56
57
58
59
The house can be distinguished into the core and subsidiary spaces. The upper story is built
above the core. The core is again divided into 4 adjacent rectangular rooms. The middle 2
rooms are dark private spaces. Four rooms are connected through the series of doors which
are never in straight line but they form an imaginary line which bisects all the rooms. The
front room is multifunctional and known as “holli”. It is usually extended with subsidiary
space covered by a sloped roof. The house is approached by a semi open porch or chappara.
Pooja room is bigger in size and it is located at the very last room. Generally either to the
left or right the long subsidiary space, which has its length equal to the sum of the width of
four rooms. It is used as kitchen and dining space. The bathing space used to be unattached
to the house. The cowshed is just beside the house. The upper floor is often used for study
and sleeping purpose.
User behavior and activity patterns-inside the house
Holli (Hall)- It comprises of two levels, upper level being roofed by wooden flat roof, lower
level has sloping roof and level difference is forced due to sloping roof. Holli acts as
multifunctional space which constantly gets adjusted to various functions in
different scenarios as follows.
Day-Living space, meeting and conversation
Night- sleeping
Festival-statue of concerned god is place and decorated and pooja is carried out.
Rituals- At the time of rituals hall is also used as dining place.
Time of death- Hall is the final place where the body of the dead is placed taken out of the
house.
Jaguli-Central room of the house which is mostly used to store house hold things and it's
also coolest room in the house and used as a sleeping space for new born baby and
mother. It also offers a kind of privacy for house holder where he can have a look
at strangers without being exposed.
Doddavola-It does not carry a major function. It offers an extra space for sleeping room in a
large joint family. Generally in most of the houses this room will not be there.
Pooja Room-It is the most precious room in the house. This room is comparatively large to
carryout rituals where all the family members gather and worship. It is also used as
a chanting room for women as it gives privacy and comfort.
Vori vala (Kitchen and Dining room)-It is a long enclosed space where “pangthi bhojana” is
carried out. Also the food will be prepared at the corner of the room just adjacent
to pooja room. This place is also used to serve guest and a chatting place for
women.
Hittalakada-It is used as backyard of the house with store and utility and bath and toilet
rooms.
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Metti(First floor)-for bedroom and extra living area. The last room at first floor is a precious
room where one should visit that room only after bathing. The extra living area is
also used as an observation deck for noticing works carried out at estate which is in
front of the house.
Analysis of house form aesthetics and other factors
Transparency-
One could say there is transparency in the house by referring that the woman is
not restricted in and out of the house. At the same time the level of privacy for
women is not decreased depending on the movement pattern inside the house
which shows that without entering the hall they can go to any room or upper floor
using separate stair provided inside the kitchen.
Sense of place-
The architecture reveals the phenomenon of the place and some of the main
characteristics that makes the houses undetached from the place are as follows.
1. Rain and sloping roof
2. Undulating land contours and dispersed houses
3. Nature and landscape characteristics
4. Humidity, heat and architecture
5. Time and trend
6. Local material and construction technique
7. Movement of sun and orientation
8. Culture and architecture
9. Meandering pathway and contoured land
Diversity-
Although each house has similar planning layout they still differ in terms of size,
approach, site condition, Main door design, Window design, Column design. Since
every house planning is almost the same they express their prestige and
uniqueness in door, window and column design.
Aesthetics-
The intension of aesthetics is expressed in delicately crafted columns and windows.
Sensitive care towards it can be noticed in non functional janthi which is crafted to
maintain the rhythms in decoration.
The quality of light which penetrates the hall and first floor is crafted into art form
using patterned windows.
Relation to climate-
Seasonal variation of roof type in front yard help house to become more suitable
and useful. In summer the front yard heats up so to keep it cool it had to be
covered by the roof which is constructed out of beetle nut logs. And they also
need sun light to dry areca nut and food amenities which is facilitated by flat roof
which allows them to spread areca nut on it. During rainy season flat roof cannot
61
hold the rain so that the sloping roof constructed out of coconut palm leaves and
beetle nut logs. This time the stretch of the roof is half the front yard because they
need space to dry food items.
Sloped roof provides extra volume which allows fluent wind circulation making the
house thermally insulated.
Open hall allows cross ventilation and Doors which are slightly out of the axis
allows more air to bounce back and circulate within the room. Mud wall is cooler
unless it is exposed to harsh sunlight.
Cosmological concepts -
Architecture must be seen also as a cultural process not only as physical product.
It is believed that evil force always goes in straight line and that lead to the
formation of staggered doors which obstruct the evil forces and only allows good
spirit.
The two windows located symmetrically are symbolized as two eyes of the house.
Vastu door is always low height which makes one bend down and go in. It conveys
us to be polite while entering into sacred place.
Evolution of house form-

Form is based on the functional aspects. and also construction techniques.
Although it is very difficult to bring down the forces responsible for the evolution
of house form, most probable forces are taken into account and evolution of the
form is visualized.
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4.3 DESIGN PROCESS
4.3.1 Design Strategy
The solution is not to view pre-modern principles of design as static or corresponding with
historic styles, but as dynamic interpretations of the past which allow contemporary
architecture to remain meaningful and desired – rooted in history and place
Characteristics of contemporary architecture + Essence of vernacular architecture
4.3.2 Design site
Location of site
The design site is located at the valley created by the foothills of Western Ghats. It belong to
chandavar grama of honnavar taluk which is one of the taluks in Uttara kannada district of
Karnataka state.
Geographic features of the region

The site is located at the valley between the foothills of Western Ghats. From the west first
come the Arabian Sea and then the narrow flat coastal region stretched along north-south
direction. To the east parallel to the coastal region we found small foothills and valleys.
These foothills defend villages at the valleys from harsh humid wind and also act as the
barrier against floods. Havyakas have settled linearly along the valleys where the soil is rich
for cultivation and underground water table is high.
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Site microclimate
It is a relatively temperate climate with warm humid summers, and a long and pleasant
spring and fall. The climate is humid all year with morning humidity ranging from high to
very high. Due to valley location, the prevailing wind direction is greatly affected. Daytime
winds prevail from the southwest and nighttime winds prevail from the northeast. However,
day-night reversals in direction are common. There is a high level of annual rainfall.
Due to the SW-NE wind direction, the existing trees and plantings can be used to cool
summer breezes- Interwoven Buildings and Plants. Allowing the wind to cool the building
groups is also necessary. A Dispersed Building layout will accomplish this.
Vegetation
Due to a sharp contrast in precipitation between western and eastern slopes of the Western
Ghats, there is a clear difference between the vegetation of the two sides. Moreover, the
vegetation found on the high hills is also different from the low hills. The design site is
located at the valley amongst the foot hills of the Western Ghats which contain moist
deciduous forests marked predominantly by Teak, Sal, Shisham, Sandalwood.
64
Major connectors to the site

The site is located in south-west corner of chandavar grama and is connected by the
chandavar-areangadi road. It is 21kms from Kumta, 20kms from honnavar, and 12kms from
Haldipur. And from 16kms from Honnavar Railway station.
Strength of the site

The premiere location, high cultural quality around the site because of the nearby kekkar
math and lord ganesha temple, convenient living environment, good accessibility, good
public transportation services, and site surrounded by nature all the four sides, Public
schools and shops in vicinity can all be distributed into the category of strength. Also the site
is only 12km from the national highway. The Arabian sea is again 12km away which adds to
the strength of the site. Also the site is naturally protected by foothills of Western Ghats
along the coastal region defend the site from furious sea wind and flood.
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4.3.3 Initial design determining factors
Access and circulation: Access to the site is given where the contour of the road meets the
site level and one peripheral road connects whole project and will be the only vehicular
road.
Respond to site surrounds: It is always one of the aim to respond to the immediate
surroundings of site so that it becomes bounded to that particular place. There is one
karikana parameshwari temple which is adored by the local people situated on the east site
hill area. So the meditating space will draw an imaginary line which connects site and the
temple.
Zoning - It is based on gradual transformation of public space to private and also on contour
of the terrain and vegetation.
Settlement Planning: To provide sufficient air circulation, buildings should be scattered and
have a low population density. Buildings should be separated with large, free spaces
between them. This allows airflow which provides ventilation for cooling and a hygienic
environment.
Orientation-Sun : As the houses are surrounded by estate trees harsh sunlight is avoided. So
Orientation of the house is not so dependent upon the sun.
Wind: Majority of the houses are arranged to receive direct cool breeze from south west
direction.
Pattern of settlement:
The housing is planned in irregular allotments ... shaping a network of streets. The lives of
households are played out in these small, quiet streets that serve as extension to the home
and workplace, and as play areas for children.
Cluster formation
A neighborhood might contain several hundred households, but when it comes to cluster of
neighborhoods, I believe the optimum size is around 6 to 12 households. If a cluster has
fewer than 4 households, it loses the sense of being a cluster, and lacks the diversity and
activity of a larger group. When the number of households in a cluster grows beyond 12 or
16, some neighbors are too far away to be neighborly, and group decision-making becomes
more unwieldy. In the design there are more than a dozen households, which form multiple
pocket neighborhoods, each with control of their own common space and connected by
walkways.
Respond to local conditions and climate
An open settlement pattern is employed as an appropriate response to the climate. To

provide sufficient air circulation, buildings are scattered and have a low population density.
Buildings are separated with large, free spaces between them. This allows airflow which
provides ventilation for cooling and a hygienic environment.
66
Settlements are arranged in a line across the prevailing wind direction.
Cross-ventilation
Free passage of air for cross-ventilation through the interior is important. This is be achieved
by large openings, not only in the outer walls but also un divided interiors.
The floor is preferably elevated above the ground to allow for a better ventilation. Houses
are best built on raised platforms.
So The main elements: Shading trees, wide overhanging roof, raised floor, free flow of air
through the building
Thermal insulation
Thermal insulation has very little effectiveness. Due to the free flow of air, the ambient air
temperatures inside and outside the building are very much the same. Insulation is justified
only in places where sun radiation is received, e.g. for roofs and sun-exposed walls. Double
roof allows air circulation thus avoids direct transfer of heat into the building.
Walls
External walls are load bearing laterite stone walls which are always shaded so there is no
problem of heat storage by heavy walls. And also they do not obstruct wind flow because
heavy walls are only constructed along wind direction.
Light and thin materials such as bamboo and areca nut screen walls are employed.
Aesthetics
"Although I believe that the appearance of a building has the most profound effect upon its
inhabitants, yet one cannot house men in the Parthenon. One’s beautiful designs must serve
the humble everyday needs of men; indeed, if these designs are true to their materials, their
environment, and their daily job, they must necessarily be beautiful."
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4.4 ARCHITECTURAL DRAWINGS
1. Master plan
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2. Entry to community club house
3. Meditation centre
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4. Arial view of housing
5. View of neighborhood
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4.5 NEIGHBORHOOD QUALITIES
Sense of home
Safety: ‘The notion of “home” is about the place you feel safe and where you feel connected
to other people you like,’ says psychologist Linda Papadopoulos. The housing promotes high
interaction and there by higher sense of safety.
Privacy : Sense of comfort we’re able to create behind closed doors. The notion of private
space is key to our sense of wellbeing and self-expression, believes Simon Moore,
environmental psychologist at London Metropolitan University. ‘Personal space allows
thinking space,’ he says. ‘It’s a good thing we don’t know what goes on behind closed doors.
It allows people to do what they want and truly to be themselves.
Shared Common Space

The shared common space of pocket neighborhoods is what holds it together and gives it
vitality. This space may take the form play space for children and also a space community
level interaction. The commons is neither private (home yard) nor public (a busy street,
park), but rather a defined space between the private and public realms. Residents which
surround this space, share in its management, care and oversight, thereby enhancing a felt
and actual sense of security and identity.
Active Commons
if the central commons is merely a pretty space to look at, neighbors will have fewer
opportunities to interact in the daily flow of life. A multipurpose room with a kitchenette,
bathroom and storage room can be used to host community potlucks, meetings, exercise
groups and movie nights.
Corralling the vehicles

In recent times every one owns vehicle. But they don’t need to dominate our pedestrian
spaces. Therefore the arrangement of remote parking makes good sense.
Enclosure and Permeability

A healthy community ‘breathes’ with its surroundings. Shared common space have
appropriate openness or permeability to the surrounding at every level. The first line of
defense for personal and community security is a strong network of neighbors who know
and care for one another. When the active spaces of the houses look onto the shared
common areas, a stranger is noticed. As well, nearby neighbors can see if daily patterns are
askew next door or be called upon in an emergency.
Community can be wonderful, but too much community can be suffocating. On the other
hand, with too much privacy, a person can feel cut off from neighbors. Creating multiple
‘layers of personal space’ will help achieve the right balance between privacy and
community.
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Nested Houses
Having a next-door house or apartment peering into your own can be uncomfortable and
claustrophobic. Therefore, design residences with open and closed sides so that neighboring
homes ‘nest’ together — the open side has large windows facing its side yard, while the
closed side has high windows and skylights to bring in ample light while preserving privacy.
The result is that neighbors do not peer into one another’s living space.
Slightly Snug
If houses are too large, residents tend to spend all their time indoors. With slightly snug
houses, the porch, gardens and shared common buildings get used more, which fosters
connection among neighbors. As well, a house that is ‘not so big’ is more likely to be fully
lived in and cared for.
Increamental housing: It creates choices that the person with lower budget can buy the low
income house and gradually expand it as and when he is able to spend on it.
Identity: Housing which contains the phenomenon of the place definitely creates an identity
for the place and architecture and their by lift the spirit of whole community.
Pluralism: The design is not based on any single concept. It is the manifestation of several
factors making it plural approach.
Transparency: The transparency helps to increase the interaction among neighbor and thus
efficient in bringing secured feeling.
Equity: It is not divided into HIG ZONE and LIG ZONE but still all the types are present and
the sharing and caring will takes place when one does not have the thing which the rich
processes. Thus it leads to dependency and increases bonding.
4.6 CRITICAL ANALYSIS BASED ON 6 POINTS OF CRITICAL REGIONALISM

Frampton's first point, “critical regionalism and the vernacular," establishes

the role that vernacular architecture in defining regional identity and retaining
roots to the past within the built environment. For Frampton, regionalism is
often associated with a sentimental return to the vernacular, resulting in an
architectural form that seems primitive, outdated, or irrelevant to current
global demands.
The main approach for architects who attempt to actualize Frampton's first
point is to read, interpret and redefine the vernacular style of a region, so that
contemporary built environments maintain their roots to place by using
vernacular references to create a modern and regional reflection of local
cultural identity.
The housing is based on the premises of vernacular havyaka house so as to

establish continuity in architecture of that region.
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Frampton views critical regionalism as a marginal practice with respect to the

dominant trend of modernization and a focus on normative optimization.
Normative optimization seeks to maximize building performance with respect
to some standard or norm. Typical standards used for optimization are
efficiency and utility in building construction and performance. The search for
normative optimization, as Frampton describes it, utilizes the universal
technologies developed by the industrialized countries and thus accepts and is
limited to the forms derived from the application of these industrialized
technologies.
What Frampton has in mind here is that critical regionalism is less a response
to normative optimization and more concerned with the associative attributes
of a specific region such as local architectural fabric and cultural values.
The modern method is to have dining table for dinner but the houses have
gone for pangthi bhojana and made tble dining as mere a choiuce.
Frampton says that “Critical Regionalism manifests itself as a consciously

bounded architecture, one which rather than emphasizing the building as a
free-standing object, places the stress on the territory to be established by the
structure” (Frampton, 1992, p327).
More than the physical boundary, a bounded architecture seeks the

integration between built form and cultural values. Architecture of critical
regionalism should be grounded in local fabric and regional culture. Creating a
bounded architecture depends on the architect’s capacity to generate an
architectural form with a sense of place.
The housing is responding to surrounding view and the regions prevailing wind
and the terrain characteristics and landscape so as to prove itself bounded to
the place.
In his fourth point, Frampton sees the need for architecture that is understood
as a “tectonic fact” rather than simply a series of scenographic episodes. He
opposes the scenographic episodes which is the re-presentation of a façade
(Frampton, 1983, p32). Frampton argues use of sentimental imitations of local
vernacular, seeking instead a reinterpretation of those forms and a blending
of those forms with outside influences. He argues for openness to western
influences, but he sees this openness as requiring a focus on the local. To
73
some degree, the scenographic episode is just a skin-deep treatment such as

the kitsch of vernacular details.
Most of the carvings which are merely the superficial architecture are taken
off and sentimental historicism is ruled off.
5. Response to local conditions and climate.
Critical regionalist architecture tends to treat all openings as delicate

transitional zones with a capacity to respond to the specific conditions
imposed by the site, the climate and the light. It reckons that architecture
should naturally dialogue with the place and respond to the physical features
of a region, the site-specific factors, ranging from the topography . . . to the
varying play of local light (Frampton, 1992, p327). It opposes the indifference
to such factors shown by the tendency to use air-conditioning systems.
It is adopted well to regional climatic condition and uses local materials and
seasonal roofing method to adopt to different seasons.
Frampton focuses on light and on light’s role as the primary agent by which
the volume and the tectonic value of the work are revealed, but he also says it
is important to be aware that the environment can be experienced in terms
other than sight alone (Frampton, 1992, p327). Other experiences, like heat
and cold, humidity, air movement, aromas, and sounds are important aspects
of the environment. Frampton argues that the tactile is an important
dimension in the perception of built form. Critical regionalism recognizes that
these other sense perceptions need to be recognized alongside the visual.
The housing is not superficial but one can sense the region by tactile senses
like kind of light ambience and the local material texture and fragrance of local
flora and sound of water dancing down the hill during rainy season.
VIII. CONCLUSION
Kenneth Frampton decries the “phenomenon of universalization” as it produces a single
architectural approach (and style) irrespective of its context. In considering the task of
building in a wide range of cultural contexts, he discusses the paradox: “how to become
modern and to return to sources; how to revive an old dormant civilization and take part in
universal civilization.” His proposes a hybrid solution, “critical regionalism,” that integrates
both cultural meaning and modern technology.
74
Based on the study I see Critical regionalism in today’s modern context, as a powerful tool
to establish continuity in architecture as well as measure for rebuilding identity of the place
and culture. Although it is quite a vague approach, somehow it is expressed quite
reasonably in the works of contemporary architects through which the consciousness of a
given regional society and culture is expressed. They tend to restore architect’s meaningful
and original pursuits. The pairing categorization is well conceived and has strong
implications for a return to the base of architecture; an architecture that keeps people close
to their environment and culture; an architecture that responds effectively to societal
needs; a non-representational architecture that enhances regional symbolism through
perception rather than only visual means.
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CRITICAL REGIONALISM

How to Become Modern and to Return to Sources?

A Thesis submitted in partial fulfillment of

VISVESVARAYA TECHNOLOGICAL UNIVERSITY

Prof. Pratap D. Patil

DEC 29, 2015

Keywords: Critical Regionalism, Vernacular architecture

KARNATAKA LAW SOCIETY'S

Certified that the project work entitled

" CRITICAL REGIONAILSM"

Signature of the Guide Signature of the HOD External Viva

(Prof. Nishita Tadkodkar) (Prof. Nishitha tadkodkar)

I declare that the thesis entitled

Tadao Ando’s statement takes a step toward addressing the inherent

On the other hand, Vernacular architecture is found to be a great tool to

This research tries to adapt vernacular values in contemporary

Thesis ultimately leads to the design exercise of housing based on the

Vernacular architecture is a category of architecture based on local

Vernacular architecture is popularly known as architecture without

Critical regionalism designated a form of architectural practice that

II. LITERATURE REVIEW

III. CASE STUDY AND DATA COLLECTION

IV. THE DEMONSTRATION OF CRITICAL REGIONALISM

4.2 Vernacular houses of the Place 50

The phenomenon of universalization, while being an advancement of

The intention of the Modernist movement can be described as a desire to exhibit

1.1 AIM OF THE THESIS:

1.2 OBJECTIVE OF THESIS:

1. To study and understand evolution vernacular buildings depending on climatic, aesthetic,

1.3 SCOPE OF THE THESIS:

1.4 THESIS QUESTION:

Thesis starts from the famous question tossed by Paul Ricouer.

1.6 RESEARCH METHODOLOGY

2.1 VERNACULAR ARCHITECTURE

An understanding of vernacular processes enhances the understanding our own built

Significance of vernacular architecture is that it is time tested. Past is always helpful to

2.2 CRITICAL REGIONALISM

2.2.1 Evolution of the Theory

i) Alexander Tzonis & Liane Lefaivre

“The use of these regional design elements,

ii) Kenneth Frampton

Kenneth Frampton described Critical Regionalism as a mean of creating an architecture

“It is regionalist in the sense of not being

Frampton’s essay describes some of the main aspects of critical regionalism.

1. Critical Regionalism and the Vernacular

Frampton's first point, “critical regionalism and the vernacular," establishes

2. A preference for regional intentions over normative optimization.

Frampton views critical regionalism as a marginal practice with respect to the

3. A consciously bounded architecture.

Frampton says that “Critical Regionalism manifests itself as a consciously

More than the physical boundary, a bounded architecture seeks the

4. More than simply scenographic episodes or sentimental historicism.

5. Response to local conditions and climate.

Critical regionalist architecture tends to treat all openings as delicate

6. An emphasis on the tactile.

iii) Douglas Kelbaugh

Kelbaugh provides five characteristics or “attitudes” that are common to critical

It deals with environmental concerns, as well as the importance of using

Historical precedents should be used as a point of departure in the design of a