TRANSCULtURAL ARCHItECtURE

Reproduced by permission of photographer Naquib Hossein. © Naquib Hossein.

Transcultural Architecture
The Limits and Opportunities of Critical Regionalism

Thorsten Botz-Bornstein
Gulf University for Science and Technology, Kuwait
First published 2015 by Ashgate Publishing

Published 2016 by Routledge

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Copyright © Thorsten Botz-Bornstein 2015

Thorsten Botz-Bornstein has asserted his right under the Copyright, Designs and Patents Act, 1988, to be
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British Library Cataloguing in Publication Data

A catalogue record for this book is available from the British Library.

Library of Congress Cataloging-in-Publication Data

Botz-Bornstein, Thorsten.
Transcultural architecture : the limits and opportunities of critical regionalism / By
Thorsten Botz-Bornstein.
pages cm
Includes bibliographical references and index.
ISBN 978-1-4724-6341-8 (hardback)
1. Regionalism in architecture. 2. Architecture, Modern--20th
century. 3. Architecture, Modern--21st century. I. Title.
NA682.R44B68 2015
724’.6--dc23
2015010327

ISBN 9781472463418 (hbk)

ISBN 9781315550220 (ebk)
Contents

List of Figures   ix
About the Author   xiii
Acknowledgments   xv
Note on the use of East-Asian names   xvii

Introduction: Critical Critical Regionalism or From Regionalism

to Transculturalism   1
1. Transculturalism   2
2. Defense of Critical Regionalism   3
3. Different Critical Regionalisms   3
4. The Chapters   4

1 Reima Pietilä’s Kuwait Buildings Revisited: About the Limits of

Transcultural Architecture   9
Introduction   9
1. “City of Kuwait: A Future Concept”   10
2. The Sief Palace Buildings   19
3. Transcultural Architecture   37
4. The Ministry Transformed   47
5. Conclusions   68

2 Empathy, Abstraction, Style, Non-Style:

Reima Pietilä’s Philosophy   81
Introduction   81
1. Style and Non-Style   81
2. Empathy and Abstraction   83
3. Regionalism   84
4. Ironical Regionalism   85
5. “Making Things Strange”   86
6. Empathy and Alienation in the Architecture of Alvar Aalto and
Reima Pietilä   89
7. Lifestyle   91
8. Dream   92
9. Conclusion   94
vi TranscUltUral ArcHitectUre

3 “Magic Internationalism” or the Paradox of Globalization:

Louis Kahn’s National Assembly Complex in
Dhaka, Bangladesh   99
Introduction   99
1. Metaphors, Symbols, Irony: Kahn and Pietilä   101
2. The Hermeneutics of Style   102

4 Wang Shu and the Possibilities of

Critical Regionalism in China   107
Introduction   107
1. Wang Shu   108
2. The Possibilities of Critical Regionalism in China   112
3. Conclusions   117

5 When the Monumental Becomes Decorative:

Thoughts on Contemporary Chinese Architecture   121
Introduction   121
1. Architecture in Hangzhou   121
2. The Semantics of Monuments   123
3. Stammering Monumentality   125
4. Nietzsche: The Decorative vs. the Monumental   126
5. Monuments and Identity in China   127

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

7 Wittgenstein’s Stonborough House and the

Architecture of Tadao Ando   137
Introduction   137
1. Simplicity   139
2. Form of Life   139
3. Emptiness, Silence   140
4. Body Architecture, Architecture as Gesture   140
5. Dreams   141

8 Cardboard Houses with Wings: The Architecture of Alabama’s

Rural Studio   143
Introduction   143
1. Kitsch Culture and Junk Culture   144
2. Regionalism and Kitsch   146
3. Colonial Space and Third World Architecture   148
COntents vii

9 H-Sang Seung: Design is not Design   151

Introduction   151
1. H-Sang Seung   153
2. Seung and the “Right Way of Living”   154
3. Landscript   157
4. Landscript and the Culture of Writing   159
5. Conclusion   162

10 The Secularization of the Architectural Heritage through

Wahhabism in Saudi Arabia   163
Introduction   163
1. Some General Thoughts on Conservation   164
2. The Case of Saudi Arabia   165
3. The Wahhabi Interpretation of Islam   167
4. The Past and the Sacred   168
5. Comparisons   170
6. Religion, Culture and Deculturation   173
7. Critical Regionalism   174
8. Conclusion   176

Conclusion   179
Land, Place, and “Form of Life”   181

Bibliography   185
Index   199
This page has been left blank intentionally
List of Figures
1 Reima Pietilä’s Kuwait
Buildings Revisited: About
the Limits of Transcultural
Architecture
1.1 The area of greater Kuwait city
1.2 Within the black line is
Kuwait’s Old City which
today represents only
around 4 percent of
Kuwait’s urban area
1.3 Sketches from the archive
show that Pietilä has
been obsessed with
a T-form as an urban
planning concept for
the old city. Reproduced
by permission of Pietilä
Archive in the Helsinki
Museum of Architecture
1.4 Aerial view of the
waterfront prior to large
scale destruction of the
traditional fabric
1.5 Approaching the Sief area
from the land side today.
On the right hand side is
the stock exchange. Pietilä
wanted the central shaft
of the “T” to be “flanked
by parking structures, four
stories high, and new buildings”
1.6 Plan of the three
buildings. Reproduced
by permission of Pietilä
Archive in the Helsinki
Museum of Architecture
1.7 Today the Sief Palace Area
is dominated by the “New”
New Sief Palace
1.8 One of the two authentic
Sief Palace buildings from 1907
1.9 The addition to the Sief
Palace by Pearce, Hubbard
and Partners from 1963.
Being originally made of
yellow bricks, the central
façade has been painted in pink
1.10 Pietilä’s philosophical
musings about the reality
of Kuwait (Pietilä Archive
Helsinki). Reproduced
by permission of Pietilä
Archive in the Helsinki
Museum of Architecture
1.11 Pietilä’s Sief Palace Extension
1.12 Extension archway with
use of blue and green tiles
x TranscUltUral ArchItectUre
on only the first window
and the door
1.13 Protruding Main Entrance
1.14 Reconstruction of an
Uruk Temple Façade
(Innin Temple in Kassite).
The former city of Uruk
is located 200 km north
of Kuwait. Deutsches
Archäologisches Institut,
Baghdad. Graphic by
Jürgen Fohrmann from 1957
1.15 The tiles arranged around
the door of the 1963 Sief
Palace have exactly half
the size of Pietilä’s tiles
1.16 Mashrabiya style wooden
latticework on the
windows. Most of those
mashrabiyas remain
intact today. Reproduced
by permission of Pietilä
Archive in the Helsinki
Museum of Architecture
1.17 Painted aluminum sticks
emulate traditional
reed soffit structures
throughout the
Ministry. Reproduced
by permission of Pietilä
Archive in the Helsinki
Museum of Architecture
1.18 Spruce theme window in
the Ministry with mashrabiya
1.19 Spruce shapes and
inverted spruce shapes
as used in the Hervanta
Community Center
Complex in Tampere,
Finland. Reproduced
by permission of Pietilä
Archive in the Helsinki
Museum of Architecture
1.20 René Magritte: Le
Double Secret. © 2015 C.
Herscovici / Artists Rights
Society (ARS), New York
1.21 René Magritte: Le
thérapeute. © 2015 C.
Herscovici / Artists Rights
Society (ARS), New York
1.22 The “skin concept”
(Archive Helsinki).
Reproduced by
permission of Pietilä
Archive in the Helsinki
Museum of Architecture
1.23 The city-like plan of the
Hervanta Community
Center Complex in
Tampere, Finland
1.24 Fake Japanese temple
(private residence) in Dubai
1.25 Street view. Reproduced
by permission of Pietilä
Archive in the Helsinki
Museum of Architecture
1.26 Same street view today.
The building is hidden
behind a new façade.
Some of the original
cutout walls (on the left)
are still visible
1.27 Detail of street view.
Heavy arches and upright
standing squares dominate
1.28 Detail of street view in
1986. Reproduced by
permission of Pietilä
Archive in the Helsinki
Museum of Architecture
1.29 Same detail today
1.30 The yellow bricks have
been taken off on one
part of the original
building, which now
appears in raw concrete.
The intention was
 LIst of FIgUres
probably to match this
part with the color of the
additions
1.31 East façade. Reproduced
by permission of Pietilä
Archive in the Helsinki
Museum of Architecture
1.32 East façade with additions
from 2014. The Sief Palace
clock tower can be seen
on the left
1.33 The kitchen is almost
the only place where the
colored tiles remain
1.34 Main Hall before. Painted
aluminum “reed” soffits
are placed on the
ceiling (right side). The
ceiling has a “rugged”
shape. Reproduced by
permission of Pietilä
Archive in the Helsinki
Museum of Architecture
1.35 Main Hall today. The tiles
have been eliminated and
walls have been painted
in white. The aluminum
soffits have been taken off
and the rugged structure
of the ceiling has been rectified
1.36 Plants, carpets, marble,
wood and leather
dominate the new
aesthetics of the mail hall
1.37 A new diwaniya has been
placed on the seaside terrace
1.38 Multicolored Coral
Fountain in 1986.
Reproduced by
permission of Pietilä
Archive in the Helsinki
Museum of Architecture
1.39 Coral Fountain today with
islamicizing patterns on
black marble
xi
1.40 Courtyard in 1986 with
pyramid fountain
1.41 Same courtyard today
1.42 Corridor of main axis
in 1986. Reproduced
by permission of Pietilä
Archive in the Helsinki
Museum of Architecture
1.43 Same corridor in 2012
1.44 The shapes of the door
openings on the main axis
have been adopted from
the original door design
(see below)
1.45 Those coral fountains
disappeared when the
additions (see present
street view, Figure 1.26)
were built on the terrace
1.46 Today the spot where the
above terrace used to be
looks like this. The place is
covered by a dome
1.47 A dome covers the
additions that have been
built on the terrace
1.48 The north entrance and
window have been laid
out with granite plaques
1.49 Formal elements like
arches have been added
1.50 In the public
consciousness the Sief
Palace Area is represented
by the New Sief Palace as
shows this stamp
1.51 Incoherence becomes
extreme in the area
opposite the Sharq Mall
1.52 Little thought is given
to the orientation of
buildings or their structural order
xii TranscUltUral ArchItectUre

3 “Magic Internationalism” 7 Wittgenstein’s

or the Paradox of Stonborough House and
Globalization: Louis the Architecture of Tadao Ando
Kahn’s National Assembly
Complex in Dhaka, Bangladesh 7.1 Stonborough House

3.1 National Assembly in 8 Cardboard Houses with

Dhaka, Bangladesh. Wings: The Architecture of
Reproduced by Alabama’s Rural Studio
permission of
photographer Naquib Hossein 8.1 Music Man House

4 Wang Shu and the 10 The Secularization of the

Possibilities of Critical
Regionalism in China
4.1 The Vertical House.
Reproduced by
permission of Wang Shu
4.2 Wenzheng Library of
Suzhou. Reproduced by
permission of Wang Shu
Architectural Heritage
through Wahhabism in
Saudi Arabia
10.1 Palace of the Soviets
Project (1931–33).
Reproduced by
permission of Ilya Ilyushenko
10.2 Abraj-al-Bait Tower Complex

5 When the Monumental

Becomes Decorative:
Thoughts on
Contemporary Chinese
Architecture

5.1 Former Chinese Academy

of Art, Hangzhou,
Zheijang province
About the Author

Thorsten Botz-Bornstein was born in Germany and studied philosophy in Paris

and Oxford. As a postdoctoral researcher based in Finland he undertook extensive
research on Russian formalism and semiotics in Russia and the Baltic countries. He
has also been researching in Japan, in particular on the Kyoto School and on the
philosophy of Nishida Kitarô. At present he is Associate Professor of Philosophy
at the Gulf University for Science and Technology in Kuwait. His publications
are: Place and Dream: Japan and the Virtual (Rodopi, 2004); Vasily Sesemann:
Experience, Formalism and the Question of Being (Rodopi 2006); Films and Dreams:
Tarkovsky, Sokurov, Bergman, Kubrik, Wong Kar-wai (Lexington Books 2007);
Aesthetics and Politics of Space in Russia and Japan (Lexington Books 2009); The
Cool-Kawaii: Afro-Japanese Aesthetics and New World Modernity (Lexington 2010);
La Chine contre l’Amérique. Culture sans civilisation contre civilisation sans culture?
(Paris: L’Harmattan 2012); The Veil in Kuwait: Gender, Fashion, Identity (with Noreen
Abdullah-Khan, Palgrave 2014); Editor of: The Philosophy of Viagra: Bioethical
Responses to the Viagrification of the Modern World (Rodopi, 2011); Inception
and Philosophy: Ideas to Die For (Chicago: Open Court, 2011); Re-ethnicizing the
Minds? Tendencies of Cultural Revival in Contemporary Philosophy (Amsterdam:
Rodopi, 2006); The Crisis of the Human Sciences: False Objectivity and the Decline of
Creativity (2010); and Nature Culture, Memes (2008).
This page has been left blank intentionally
Acknowledgments

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.
This page has been left blank intentionally
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.
This page has been left blank intentionally
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.

1. TRANSCULtURALISM

Transculturalism is more than the arbitrary combination of several cultures.

According to some definitions, it is based on the process of seeing oneself
in the other. Transculturalism transcends all particular cultures and invents
a new common culture that is not meant to be a new universalism. Though
transculturalism can also function without any critical input, in most cases a critical
stance is important because central and peripheral elements need to be weighed
against each other in a “reasonable” way. In many cases, a critical philosophy can
indeed establish the right equilibrium. However, contrary to what often happens
in Critical Regionalism, in transcultural architecture, the “critique” is able to adapt
itself to local circumstances.
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