Beruflich Dokumente
Kultur Dokumente
Thorsten Botz-Bornstein
Gulf University for Science and Technology, Kuwait
First published 2015 by Ashgate Publishing
Thorsten Botz-Bornstein has asserted his right under the Copyright, Designs and Patents Act, 1988, to be
identified as the author of this work.
All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by
any electronic, mechanical, or other means, now known or hereafter invented, including photocopying
and recording, or in any information storage or retrieval system, without permission in writing from
the publishers.
Notice:
Product or corporate names may be trademarks or registered trademarks, and are used only for
identification and explanation without intent to infringe.
List of Figures ix
About the Author xiii
Acknowledgments xv
Note on the use of East-Asian names xvii
6 Play, Dream, and the Search for the “Real” Form of Dwelling:
From Aalto to Ando 129
Introduction 129
1. Anti-rationalism of Play in Aalto and Ando 130
2. Ando’s “Dreamlike Anti-Rationalism” 132
3. Conclusion 134
Conclusion 179
Land, Place, and “Form of Life” 181
Bibliography 185
Index 199
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List of Figures
This book contains revised versions of the following articles that have been
published earlier: ‘WANG Shu and the Possibilities of Critical Regionalism in
Chinese Architecture’ in The Nordic Journal of Architectural Research, 1, 2009,
4–17 (Chapter 4). Reproduced by permission of the association Nordisk
arkitekturforskning. ‘Cardboard Houses with Wings: The Architecture of Samuel
Mockbee’ in The Journal of Aesthetic Education 44: 3, 2010 (Chapter 8). ‘From Aalto
to Ando or the Search for the “Real” Form of Dwelling’ in The Nordic Journal of
Architectural Research 2, 2003: 1–5 (Chapter 6). Reproduced by permission of the
association Nordisk arkitekturforskning. ‘H-Sang Seung: Design is not Design’ in
The Journal of Aesthetic Education 48: 1, 2014, pp. 109–23 (Chapter 9). I thank the
editors of those journals for having granted me the permission to reprint those
articles here.
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Note on the use of East-Asian names
With regard to Chinese, Korean and Japanese names I keep the order “personal
name—family name” (ex. Wang Shu) except when the name is commonly known
in another order (for example Yungho CHANG). In order to avoid confusions, I
capitalize the family name except in cases where it is highly likely that the reader is
familiar with the name.
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Introduction
Critical Critical Regionalism or From Regionalism
to Transculturalism
The term Critical Regionalism was introduced in 1981 by Alexander Tzonis and Liane
Lefaivre in their article “The Grid and the Pathway” (1981) and in 1983 Kenneth
Frampton authored an article on the same subject (Frampton 1983).1 According to
the definition of these authors, Critical Regionalism emphasizes the importance of
“placeness” by considering contextual elements like scenery, historical references,
and light, without falling into imitation and traditionalism. Critical Regionalism
gained popularity as a synthesis of universal, “modern” elements and individualistic
elements derived from local cultures. The idea to produce buildings that are
modern without neglecting contextual elements like scenery and historical
references has not only produced interesting architectural creations, but also
spawned a whole range of new theoretical reflections. Contrary to the intentions of
mere regionalism, Critical Regionalism does not aim to reinstall a strong vernacular
“here” but attempts to vernacularize modern elements. Critical Regionalism is also
constantly aware of the danger of the political instrumentalization of vernacular
architecture in terms of globalization issues or political issues in general.
In spite of its efficiency, Critical Regionalism should not be used as an ideology
declaring any “non-critical” regionalism to be sentimental, kitsch or even fascist.
Regionalism does not have to be critical. On the other hand, I believe that today
some critical input has become more important than ever in any architecture
because the transcultural world in which we are living constantly challenges our
critical and self-critical analytical capacities. The cases presented in this book
support this conviction.
A self-critical movement such as Critical Regionalism is linked to the Western
enlightenment tradition, a fact that can be beneficial as well as problematical.
Certain complexities arise when Critical Regionalism is introduced into contexts
where this Western tradition of critical thinking is not dominant or even inexistent.
In particular, Critical Regionalism bears a strong link with “critical history,” a
movement that developed within the realm of historical science as early as the
eighteenth century in Germany. Discussions by Barthold Niebuhr (1776–1831)
2 TranScUltUral ArcHitEctUrE
and especially by Wilhelm von Humboldt (1767–1835) in his important The Idealist
Theory of Historiography, laid the ground for a critical form of historicism. Further,
German historian Leopold von Ranke (1795–1886) as well as a subsequent set
of German philosophers represented by Wilhelm Dilthey, Wilhelm Windelband,
and Heinrich Rickert, were trying to approach history “critically” (see Chapter 3
as well as Botz-Bornstein 2010). For this Western understanding of “critique” (by
which Critical Regionalism is still fed), any critical approach requires a particular
philosophical understanding of the relationship between history and the present
as it has been developed in Western intellectual history. The problem is that such
a historical understanding does not necessarily exist in an identical fashion in all
cultures, which means that, paradoxically, though Critical Regionalism aims to help
establish local identities that would otherwise be erased by a Western-minded
globalization, it is still actively exporting a Western concept of “Critical Regionalism”
that will not necessarily be interpreted by non-Western cultures in the same way.
Given the above circumstances, I suggest to review Critical Regionalism within
the context of a larger transcultural situation. In particular, I suggest to shift the
focus from Critical Regionalism towards a broader concept of “Transcultural
Architecture” and to define Critical Regionalism as a subgroup of the latter. I do
not suggest to replace Critical Regionalism with Transcultural Architecture but
rather to constantly view the former within the context of the latter. One of the
benefits that this change of perspective can bring about is that a large part of
the political agenda of Critical Regionalism, which consists of resisting attitudes
forged by typically Western experiences, will be “softened” and negotiated
according to premises provided by local circumstances. A further benefit is
that several responses dependent on factors that initial definitions of Critical
Regionalism never took into account can now be considered.
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