critical regionalism

2. Kenneth Frampton

3. How to be modern and to
continue the tradition…?

4. "reformed
modernism"

5. “Nothing is invented,
there is a past for
everything”

6. • Consciously bounded architecture: Critical regionalism manifests itself as
a consciously bounded architecture. Most of the contemporary buildings
do not seem to have any binding to where they are, only to a blindly
borrowed image. This is a glimpse of what is prevalent in other parts of
the city as well.
Territorial orientation: It states that a building is not a freestanding object
but established a territory and is established in a territory.
Architecture as tectonic: It looks at architecture as a tectonic fact rather
than the reduction of built environment to a series of ill assorted
scenographic episodes. Like the imagery adopted for these buildings
which is then just pasted on to the urban fabric.

7. Optimizing building systems: It stresses on optimizing the use of building
systems like air conditioning and a tendency to treat all its openings as
delicate transitional zones to respond to specific conditions of climate and
light of a place. This factor is totally ignored insensitively. Consequently,
most of these buildings suffer inefficiency of resource management and
maintenance.
Emphasis on the Tactile: It stresses that the tactile is as important as the
visual.
Experiential qualities of space are irreplaceable: It claims that one can’t
replace experiential qualities of space within, with information. Sensitivity
towards local light, ambient sessions of heat, cold, humidity and air
movement are the tools of space making.
Reinterpreting vernacular elements: The most important feature is that
critical regionalism attempts to reinterpret vernacular elements in the
making of space within and space without. It endeavors to cultivate a
contemporary place oriented by culture without becoming too simplistic or
direct about formal references or levels of technology

8. Raj Rewal

9. • "I don’t believe in blindly copying our past.
We have to learn from the precedents to solve
our existing problems. I feel we have to re-
invent modernity in terms of our own
traditions and cultural heritage. It is an
important task to search for a modern
architectural language, which responds to our
requirements, lifestyle, climate and building
materials

10. • Traditional architecture was based on a
vocabulary of design which may not be
relevant today even in Kashmir or Rajasthan.
We are building with concrete with concrete
frame structures, infill walls and now also
beginning to build partially industrial
structures. The base of contemporary
architecture has to be new techniques of
building and a sensible use of modern and
TRADITIONAL MATERIALS.

15. • "Our identity we are searching for is going to be
pluralistic. It is not a mono centric one."India is a
pluralistic society. It has many layers of orders. Firstly
overviews are very important in looking for identity.
Secondly identity is not a single pattern.
• Architect should have the right instincts so that he can
tell the difference between something authentic and
something superficially picked up.
There are three streams that create built form.
The first is what is being constructed in the rural areas.
It is indigenous. And the second is new popular.
The third is the architect. We are the purveyors of
myths and of ideologies

20. SOURCES-
http://delhi-architecture.weebly.com/architecture-and-
identity.html
http://www.historiasztuki.com.pl/kodowane/003-02-05-
ARCHWSP-REGIONALIZM-eng.php