The document discusses Kenneth Frampton's theory of Critical Regionalism in architecture. Frampton argues that architecture should have a direct relationship with its surrounding context through local techniques and materials, rather than just universal design. This helps architecture maintain regional ties through engaging with the history and culture of a place. Tactile experiences are also important for connecting users to a place, not just visual representation. The author agrees with this perspective, and provides examples like Fallingwater to show how architecture can cultivate a site's existing features rather than overpower the context. Regionalism creates a complementary relationship between architecture and its surroundings.

1. BACHELOR OF SCIENCE (HONOURS) IN ARCHITECTURE
THERIES OF ARCHITECTURE & URBANISM (ARC/61303/ARC2224)
SYNOPSIS: REACTION PAPER (MARCH 2017) [10 MARKS]
NAME: RYAN KERRY JEE JIN YIING ID: 0318715
LECTURER: MR NICHOLAS NG TUTORIAL TIME: 10AM-1PM
SYNOPSIS NO: 3 READER TITLE: TOWARDS A CRITICAL REGIONALISM
AUTHOR: KENNETH FRAMPTON
Under the fifth and sixth point of “Towards A Critical Regionalism”, the author Kenneth Frampton
highlights the importance of the sensitive incorporation of the regional relationship to the entire built
form rather than solely relying on universal techniques. The recent architecture neglects the
surrounding natural form hence losing its regional ties (in terms of prehistory of place and
archaeological past) to its surrounding. He stresses that architecture should relate to the true essence
of the place through the primary principle of architectural autonomy of tectonics rather than
scenography. In terms of visual and tactility, the importance of sensory experiences (tactility) cannot
be substituted by mere visual representation for its absent presences. One must actually experience
it through sound, smell and texture, only then the place-form experiences which ties back to that
particular region can be transcended to the users.
I agree to the author’s stand, stating that critical regionalism involves a directly dialectical relation
with surrounding context. An architecture that shares these attributes pays respect its surrounding
context thus embracing a sense of regionalism. An analogy of such was quoted by the author, “the
terracing of the same site to receive the stepped form of a building is an engagement in the act of
cultivating the site.” The seamless placement of The Falling Water on the Bear Run upon a waterfall,
it engages and respect the existing falls thus the building is being elevated above it. The elevated
height creates an opportunity for users to engage with the existing beauty of the surrounding context.
These cultivates and utilizes the pros, (sometimes considered to be an obstruction on site) which then
influence the built-form of the architecture thus making it contextual. The stylings of critical regionalism
seek to provide an architecture rooted in the modern tradition, but yet tied to geographical and cultural
context. I also support the idea where regionalism stresses the idea that tactility in architecture could
not be superseded by visuals. Tactility is an important dimension in the perception of built form as it
allows our sensory perceptions to interact with it differently as compared to just sight. Mere visuals
suppresses consciousness towards other sensory attachments hence limits the user experience with
the built form and the beauty of details within.
Regionalism architecture does not overpower the context but rather act as a complementary
medium to engage the emotional bond between the user and the context.
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ACCESSED BY : DATE: 07/06/2017 PAGE NO. : 3