CONTENTS PAGE

Introduction………………………………………………………1-3

Towards a Critical Regionalism:

Six Points for an Architecture of Resistance…………………...4-10

International Example
Bagsv aerd Church………………………………………………11-13

Local Example
The Africa Centre for Health and Population Studies……….14-19

My Works
Umgeni Mangrov e Project…………………………………….20-27

Conclusion……………………………………………………...28-29

Bibliography…………………………………………………….31-33

1
I, ………………………………………., hereby declare that the content of
this essay is my own unless otherwise stated in the text.
Signed……………………
On the………………… day of……………………………

2
 CRITICAL REGIONALISM

“The approach to archit ect ure t hat’s strives to counter t he placele ssness and lack of
meaning in modern archit ect ure by using context ual forces to give a sense of place
and meaning.” - www.wikipedia.org/wiki/Critical_regio nalism

3
The idea of critical regionalism was first introduced about 25 years ago
by a group of young German architects who were searching for an
alternativ e to the Modernism/Scenographic Postmodernism style. The
faults in the ideals of modernism and the scenographic post modernism
are that they did not incorporate the spirit of history and culture. Both
these mov ements can be reduced to a univ ersal formula which
designs building from the top-down; mindlessly imposing self-absorbed
formula’s whereas critical regionalism aims to build from the bottom-
up; taking cognoscente of the v alue of identity of a physical, social
and cultural situation.

The group of architect’s interests led them to design in a way which

focused on local needs and to think about the repercussions of the
long term with regards to environmental impact. This way of thinking
would be how we would define sustainability today and therefore this
ideology relates closely to the paradigm of critical regionalism, the aim
of which was to revive architecture out of a state of stagnation and
disrepute.

1970 was the first time a handful of architects started producing work
which emerged out of the specifics of an indiv idual situation and
started incorporating the ideals of critical regionalism prior to its
conception. A theoretical framework therefore had to be provided for
these new architectural ideals. The word “regionalism” was given to
the theory as it was an approach to design which focused on the
identity of the particular with regards to context rather than focusing
on the universal doctrine. To make the theory more accurate and
explicit it was finally given the name “Critical Regionalism”.

To say that critical regionalism is a new theory, only discov ered in late
half of the 20th century would be a statement far from the truth.

4
Although is hadn’t been acknowledged as an architecture paradigm,
its ideals and beliefs date as far back as to the ancient Greeks. The
awareness of critical regionalism in these times had to do with the
distinct identity and being associated with an identifiable group.
Architectural elements were used, such as the Doric, Ionic and
Corinthian Capitals in order to represent and identify a group of
people. These elements hav e a strong association with Greece and
have since become a symbol of the country which has strongly
influenced the Greek style.

Critical regionalism lies far deeper than what I had preconceiv ed. It is
an architecture of engagement rather than resistance, of integration
rather than segregation. It restores the idea of “place” and
incorporates the ideals of local cultures. It works both on a macro and
micro scale which can be better described using Kenneth Frampton’s
essay on: “Towards a Critical Regionalism: Six Points for an Architecture
of Resistance;” in which he breaks down the beliefs upon which critical
regionalism is based.

5
“TOWARDS A CRITICAL REGIONALISM: SIX POINTS FOR
AN ARCHITECTURE OF RESISTANCE” – Kenneth Frampton

“We have the feeling t hat this single world civilisation at the same time exerts a sort of
attrit ion or wearing away at t he expense of cult ural resources which have made t he
great civilisations of t he past . This t hreat is expressed, among ot her disturbing effect s,
by t he spreading before our eyes of a mediocre civilisation which is the absurd
counterpart of what I was just calling elementary cult ure.” – Kenneth Frampton

6
Although the theory of critical regionalism was first introduced by
Alexander Tzonis and Liane Lefaiv re; it has been Kenneth Frampton
which has more recently been exploring the ideology of this theory in
which he comes up with six points which clearly define and outline its
belief structure. I have researched and understood Frampton’s points
and have used them as a basis to guide my own understanding and
interpretation of the points.

The structure of the points work on a macro to micro scale, starting with
the site with regards to the world and univ ersal civilisation and work
towards the finest of detail including ones tangible senses.

1. CULTURE AND CIVILISATION

The idea of critical regionalism, according to Frampton, should adopt

modern architecture critically as to take adv antage of its univ ersal
progressive qualities but at the same time should focus on its
immediate surroundings and respond it its direct context. This raises the
question by Ricoeur in History and Truth,(pg 56) “How to become modern and
return to sources; how to reviv e and old, dormant civilisation and take part in a
universal civilisat io n?”
This type of architecture is that which takes notice of traditions which
are rooted and ev olv ed from local culture but still maintaining a high
lev el of modernity and forward thinking.

Frampton mentions these two words of culture and civilisation. Culture

is concerned with the micro and with the immediate, and is one of the
foundations of critical regionalism. The word civ ilisation is where, as a
global society, we stand today. W e are living in an age of
convenience where architecture is no exception, instead of designing

7
according to site specific; architects borrow already successful styles
and mass produce facades and forms across the continents. This results
in a loss of local identity without recognition of either history or culture.
“Civilisat io n has been primarily concerned wit h instrumental reason, while cult ure has
addressed it self to t he specifics of expressio n.” Kenneth Frampton (pg16)
Global civilisation has become a society which is primarily concerned
with image which has resulted in the facadle treatment of buildings
being the sole concern. Architects are condemned to stardom in
which the hunger for development far outweighs the necessity of
contextual respect. Buildings aim to be iconic in their singular form and
try to hide their nothingness with a “compensatory” façade to mask
the harsh realities of the univ ersal system. 21st century architecture has
become that to be seen rather than to experience, the majority of
people v iewing the building will do so only on paper, not many people
will actually get to experience the tangible spaces. This has resulted in
warped perception that the more impressive the architecture the more
successful the building will be without regards to its contextual, cultural
or social responses. “Modern building is now so universally condit io ned by
opt im ized technolo gy t hat t he possibilit y of creating significant urban form has
become extremely limit ed.” – Kennet h Frampton (pg17)

Critical regionalism aims, in this point, to not get lost the superficial
“Hollywood” architecture where cultural expression is friv olous but
rather to incorporate and showcase the culture from which the
building is derived. Not that we now need to outwardly express a
blatant aesthetic which marks our local culture but architecture needs
to incorporate this as an aspect of design in order to create buildings
which speak the language of the culture and reflect the identity of the
country in which it is built. There is no method in reproducing forms of
the past as the form will be empty without the life it was designed for.
The past cannot be recaptured in sprit and therefore a replicated
version is not necessary but rather adaptations and integrations.

8
 2. THE RISE AND FALL OF THE AVANT -GARDE

One cannot separate society and architecture as society fuels the

trends and styles which influence architecture. The trends of the
modern era have a v ery short life span; one day it’s in the next day its
out. The question is posed then, how do you remain modern in a world
where fashions are changing faster than the time frame of constructing
a building? The time taken from the conceptual stages of a design to
the completion of construction is a lengthy procedure. The ideas of
modernism result in the building being obsolete before its construction.
Critical regionalism is a sense of resignation, a sense of holding
operation, a sense of resistance. It is an attempt to preserv e some ideal
of what is today’s culture. It is in a way attempting to put on the brakes
of the av ant-garde pendulum.

Critical regionalism aims to establish the v ernacular, to establish the

constant that will nev er be outmoded. Through the dev elopment of
culture rather than that of trends, permanent fashions are formed.

3. CRITICAL REGIONALISM AND WORLD CULTURE

“Regionalism is not a matter of using t he most lo cal material or construct io n, neit her is
it in conflict wit h t he universal. Archit ect ure has to overcome t he deep, unbridgeable
gulf bet ween the peoples of the earth. Regionalism has to help people come to
terms wit h t he act ual conditions of life an make t hem feel at home. Regio nal insight
has t o be used to defend us from t he internat io nal style and t he absurdit ie s of t he
present technology and t he despot ism of t he mechanical order. They all fail to
create better social condit io ns giv ing form and order to a democratic civilisat io n. The
brot herhood of the machine is not a subst it ute for t he brot herhood of people. The
problem therefore lies not wit h science or technolo gy but wit h societ y, instit utio ns and
moralit y failures.” –Lewis Mumford, author of “American Archit ect ure and Civilisation”
(pg 27)

9
The ideals of critical regionalism are not to put a halt on architectural
modernization and technological adv ancements. It does not require
architects to only consider the local and remain uninfluenced by the
global, for this would result in returning to the primitiv e. This is where
Kenneth Frampton recalls the phrase, “think locally, act globally;”
whereby globalisation is not completely excluded. The ultimate
combination is to take the advancements made in the global world
and apply them to the local in order to improv e and enhance designs.

The world today, views “the different” as abnormal and principles

which don’t conform to the principles of W estern Civ ilisation are
viewed as less adv anced, primitive, or, at best, exotically interesting
from a safe distance.
Critical regionalism in this respect is seen to break the mould of the
ethics of the W estern culture and to create the balance between the
globalized world and the local world. It aims to maintain integrity but
remain open to adaption.

4. THE RESISTANCE OF PLACE FORM

The Megalopolis is dominating the city resulting in this idea of

“placelessness,” as the city is no longer able to maintain defined urban
forms. The focus remains on the singular form and mention is not made
of its context. Space is lost to urban dev elopment and the building
becomes a self contained item resulting in a battle between the
building v erse the urban fabric.

Due to the growth of the built form in the Megalopolis many restrictions
limit the ability to design freely. Buildings are gov erned by text from
which a form is derived rather than a building which grows organically

10
on the paper and is gov erned by the context and elements. The
building therefore loses its identity or sense of “place.” Critical
regionalism aims to do just that; to allow the context to determine the
form. There is no formula which can help one design the form of a
building, the form should emerge from the site and it’s from there that
the architect steps in to design.

5. CLIMAT E VERSUS NAT URE: TOPOGRAPHY, CONTEXT, CLIMAT E,

LIGHT AND TECTONIC FORM:

Univ ersal civilisation is slowly turning architecture into small, self

contained eco systems whereby the building can internally sustain
itself. This is done by means which mechanically replace the elements,
at a price, which could be utilised from the site. Architects are turning
away from what nature has to offer and instead relying on a
mechanism to provide a constant, comfortable environment. The
beauty of nature is its unpredictability, the fact that the change in light,
shadows can drastically alter the characteristic or appearance of a
space. The prov isions of nature are soon being replaces by the
convenience of machine.

This modernistic ideal has resulted in buildings which are not born from
he ground; they do not acknowledge the land. A modernist approach
to an irregular topography would see that site flattened thereby
aspiring to the condition of placelessness, whereas by celebrating the
site through terracing and thereby creating a stepped form is a means
of engaging or rather cultiv ating the site. “In-laying the building into the sit e,
has many levels of significance, for it has the capacit y to embody, in built form, the
prehistory of the place, it s archaeological past and it s subsequent cult ivation and
transformat io n across t im e. Through this layering into the sit e t he idiosyncrasie s of
place find t heir expression wit hout falling into sent im entalit y.” – Kenneth Frampton (pg
26)

11
The aim of critical regionalism is thus to create architecture which is site
specific; which celebrates the unique characteristics of that site. The
fixed window and the remote controlled air-conditioning system are an
example of the domination caused by the univ ersal technique. Critical
regionalism designs according to site specifics resulting in a building
typology which would not ev en be successful on a site situated
50meters away. The aim is to create a building which is not dependant
on technology but rather one which draws from the elements to create
a space which is thermally, of equal comfort. These ideals are closely
linked to that of sustainability; to use what you have av ailable to you in
order to enhance the design.

Critical regionalism also striv es to achieve a truth to structure and form

by focusing on the tectonic rather than the scenographic. The
structure which has arisen from the topography on the land and the
concept of the design is to inform the aesthetic of the building. The
relationship between materials, crafts and gravity should come
together as a form of structural poetry, from which the façade should
emerge.

Critical regionalism therefore starts to mov e into the micro context of

the site with regards to topography, context, climate, light and
tectonic form. All these elements should strongly influence the ov erall
form and aesthetic of the building to result in a structure which is truly
site specific.

6. THE VISUAL VERSUS THE TACTILE

This refers to the micro scale of architecture; the inmate details. “One
has in mind a whole range of complement ary sensory perceptions which are
registered by t he labile body: the intensit y of light , darkness, heat and cold; t he
feeling of humidity; the aroma of material; the almost palpable presence of masonry

12
as t he body senses it s own confinement; the moment um of an induced gait and the
relat iv e inert ia of the body as it traverses the floor; t he echoing resonance of our own
foot fall.”-Kenneth Frampton (pg 28)

This type of architecture is based on experience; it is not concerned

with the mass produced nature of the modernists. It seduces through
the sensors; the architecture becomes tangible. It recognises the
singular, circumscribes projects within the physical, social and cultural
constraints of the particular.

13
 INTERNATIONAL EXAMPLE

BAGSVAERD CHURCH IN COPENHAGEN (1973-1976) DESIGNED BY JORN

UTZON

“The intent of t his expressio n is, of course, to secular ize t he sacred form by precluding
the usual set of semantic religio us references and t hereby t he corresponding range of
aut omatic responses that usually accompany t hem. This is arguably a more
appropriate way of rendering a church in a highly secular age, where any symbolic
allusion to the ecclesiast ic usually degenerates immediately into t he vagarie s of
kit ch.” -Kenneth Frampton (pg 22)

14
Utzon has focused his career on the understanding of the human
culture and the majority of his works have embraced the idea of
creating a synthesis between universal civilisation and world culture.
The Bagsv aerd Church shows how Utzon challenges the question of
how religious buildings should be represented in a materialistic age.

Exterior form of Church

Figure 13

The prefabricated concrete blocks and infill panels, together with the
asbestos sheet, the patent glass roofing and the concrete framed
structure, which flanks the building on both sides is a clear example of
the materials used by the modern mov ement. These materials are not
specific to this building and have been used countless times around
the world. At this point is seems as if the church is a mere production of
universal civilisation. This idea dissipates as one mov es from the insitu
concrete famed exterior shell to the far less optimal reinforced
concrete shell v ault spanning the nave. This v ault, which represents the
sacred space, makes reference to a multiple of cross cultures and
adapts both Eastern and W estern influences. The Eastern influence
reads as a pogoda roof, floating abov e a sacred podium
whereas the W estern influence reads as a
traditional v ault or dome. The sacred is
ev oked in both the influences and then
modernised through the use of advanced
reinforced concrete technology. Ev en

Interior space below vault 15

Figure 14
 the detailing of the lattice wooden
windows and door fittings make
reference to a multiple of cross cultures
as they elude, at the same time, both to
the Nordic v ernacular and towards the
oriental.

With regards to the structure of the six points, the Bagsv aerd Church is
an excellent example of how critical regionalism works from the macro
to the micro scale. It concerns itself with globalized materials and
aesthetics thereby reaching a wider audience than just that of
Copenhagen. The Vernacular of the area howev er has still be
maintained in the form and detail.

General aesthetic of design

Figure 15

16
 LOCAL EXAMPLE

THE AFRI CA CENTRE FOR HEALTH AND POPULATION STUDIES IN

SOMKHELE, KW AZULU NATAL – EAST COAST ARCHITECTS

“The success of t his building lie s in it s confidence in engaging wit h the inherent
strength of t he landscape; the concept which promotes a sense of communit y
among t he disparate researchers and staffers; t he furnishing to the archit ects’ designs
and t he innovat iv e detailing. The understated building demonstrates that both
efficiency and ambience can be created by the sim plest of means. It moreover
serves as a fine example of a locally generated design idiom, which is increasingly
coming to the fore.”
-KZ-NIA Journal, February 2003. Volume 28. pg1. 2003 KZ-NIA Aw ards of Merit , Africa

Centre, Somkhele , East Coast Architects, Durban.

17
The Africa Centre for Health and Population Studies is a medical
research initiativ e established fiv e years ago by three South African
research institutions- The Medical Research Council, the University of
Natal and the Univ ersity of Durban W estville.

The building is located on a 13-hectre site which ov erlooks an

undistinguished v alley amidst a scattering of rural homesteads. Views to
the South are onto the W hite Mflolozi Riv er v alley and, to the North; the
hills of the Hluhluwe Game Reserv e. Existing buildings adjacent to the
site include the tribal courthouse of iNkosi Mkhwanazi, a community
hall and a regional water-supply office.

Exterior view of The Africa Centre for Health and Population Studies
Figure 1

CULTURE AND CIVILISATION

This building is a prime example of architecture which is community

and culturally driv en. The beauty of the facades is born from the
African form and tangible detailing. Not only does the building speak
the language of Africa, it seems to find a truly South African, or more
specifically, a Kwa Zulu Natal identity.

18
THE RISE AND FALL OF THE AVANT -GARDE

The costs for the building were two thirds of the national av erage for
the building type; howev er the building remains one of the most locally
published buildings. This shows the stigma which the Western world has
associated with cheap, sustainable buildings is not brought to light in
this building. It defies the ideals that beautiful architecture is a result of
money and social standing. The design is not based on trends or
fashions which could easily be rejected by the 21st century critics for
being different; howev er, the building graces the cover of many
architectural journals and has won numerous awards to date.

CRITICAL REGIONALISM AND WORLD CULTURE

The use of gum poles as structural elements make a strong reference to

the South African culture and therefore strongly reflect the local.
Concrete block work, steel, aluminium, glass and timber have been
used in v arying combinations; the architects have therefore achiev ed
a good balance between the ideals of culture and civ ilisation.

Expressed structural gum poles

Figure 12

19
 As the research operations are firmly rooted in community, it was
essential to both the architects and the clients that residents from
surrounding villages were encouraged to participate in the building
process. The building contract required that 100% of the unskilled
labour force and 75% of the skilled staff be to be sourced within a 10km
radius of the site and had access to meeting and training resources to
help develop the skills of the local. The effects building reached out
beyond its borders and used architecture as a medium to dev elop and
improv e the way of life within community living.

THE RESISTANCE OF PLACE FORM

The towering form is a reminder of

the bomas traditionally used for
community gathering and thus
symbolises communal unity. This
tower has consciously been opened
as a deliberate reminder of the
open-air character of their traditional
ancestors. This 15meter high water
tower makes a bold and formal
statement within its context and
becomes a strong reference point
around which circulatory and
communal activities are arranged.
The form of the building is derived
Exterior view of tower
Figure 2
from traditions and culture and is
adapted in order to enhance the
design and working spaces.

20
 CLIMAT E VERSUS NAT URE

Internal courtyards have been provided

within each office block to ensure that
ev ery workstation is within close proximity to
natural light; 3meters to be exact. The
tower takes advantage of the “thermal
stack” effect and helps with the natural
ventilation of the central areas. Ov erhangs
on the both the Northern side and sun

Suns screens on the eastern

screening on the East and W est elev ations
façade reduce the solar heat gain on the internal
Figure 3
spaces. Materials, detailing and structure
are exposed and demonstrate the way in
which the building has been built.

THE VISUAL VERSUS THE TACTILE

East Coast Architects has taken notice

not only of the immediate surroundings
but also dev eloped the wetlands situated
in the south front of the building. Bull-
rushes, reeds and other watery growths
have been planted here to encourage
and attract birds to the site. It was ev en
thought that it would attract frogs and in
doing so would alleviate the problem the
area has with mosquito’s. All the
vegetation which was planted on site

View showing grasslands and was indigenous to the Zululand region.

surrounding community
Figure 4

21
 The indigenous plants which were
remov ed during construction were
propagated off site.

Rough textures and light hav e been incorporated into the design
which aims to further celebrate the true African identity. The architects
have designed every detail including the furniture which has been
based on a modular, cost effective system to suit the continually
changing needs of the client.

As can clearly be surmised the building places large emphasis on the

local but still remains in the global with its contemporary aesthetic. East
Coast Architects are one of the few local firms whose belief system is
closely related to the ideals of critical regionalism and produce the
type of architecture which is refreshing to see.

22
MY WORKS - UMGENI WATER PROJECT (FIRST
SEMESTER)

23
 I chose this project due it unique locality and the fact that I was forced
to stem the design conception from the elements of the site because
the site is so dominating; any piece of architecture placed in its midst is
overwhelmed by the mere presence of the site.

I thought, whilst doing the project, that I understood the bounds of

critical regionalism. My understanding comprised of merely using the
site to influence your design; to be affected by the local and not by
the glamorous façade of the univ ersal. I thought that by respecting the
context one could say their work conformed to the ideals of critical
regionalism. Through research and understanding I have come to the
realisation that it is so much more than that.

The influence for the concept and development of the design came
solely from the beauty of the site. The filtered light, v ariety of textures,
patterned solids and v oids created by the trees started to inspire the
details of the design. The simple message I wanted to come through in
the design was to create a building with “A Modest Statement.” I
wanted to create an unassuming or unpretentious building which
aimed to re-create the beauty of the mangroves in the detail of the
architecture. The building was not intended to be an obstruction along
the mangrov e pathway but rather to provide a transitional space
which the user can simply pass through and experience.

Graphic 3D representation of the building form

Figure 5

24
CULTURE AND CIVILISATION

Due to the beauty and importance of the site, the design approach I
took was to focus all attention to the site and not to the building. W hen
walking towards the building one can immediately see through it into
the mangrov es and so the building nev er forms a barrier or wall
between the user and the mangrov es. The building does not force the
user to engage with it, and the user can pass through without being
made aware that there are offices and laboratories on site. The
building is sensitiv e to its surroundings and is placed “lightly” on the
ground making sure that it doesn’t command or dominate the space
in which it sits. This is where the word “modest” comes in, the building
acknowledges its inferiority on the site and strives to achiev e an
architecture which does not take away from the beauty of the site but
rather enhance it; it does therefore not become consumed by high-
end façade treatments. The “statement” aspect of the design is
introduced in the details of the architecture; the textures, the lighting,
the materials, which when v iewed on closer inspection giv e the
building a true identity. This statement is subtly in its execution but highly
effectiv e in integrating the design with the mangroves.

THE RISE AND FALL OF THE AVANT -GARDE

The building doesn’t command the trends and styles of the

contemporary era as it wishes to draw attention to the site and not
upon itself. The building is situated on a conserv ed piece of land and
so people who come to the site come to enjoy its surrounds it would
therefore be a crime to create a building which took away from the
beauty of the site.

25
CRITICAL REGIONALISM AND WORLD CULTURE

“Think globally-act locally”.” This design aims to create a timeless

building which uses global technologies in order to enhance what the
site already has to offer. Photovoltaic cells are used and located on
the angled roof facing north. These photov oltaic panels conv ert light
from the sun into electricity and will be used to generate electricity and
reduce the carbon dioxide emissions from the building.

This point could possibly have been the downfall of my design and an
area which could be improv ed on. Preconceived ideas of mine led me
to believe that a good design dev eloped solely from the local without
recognition of the global. Sustainable technological adv ancements
are being made across the world and there is no need to reinv ent the
wheel. I could possibly have looked at more international precedents
regarding sustainability in order to enhance my design.

THE RESISTANCE OF PLACE FORM

The form of the building was derived entirely from the site, it is long and
narrow which nev er allows the user to lose touch with the mangrov es.
As soon as one enters a space one is immediately drawn outward
through the elongated floor plates which terminate with the structure
“framing” the mangrov e scene.

It is easy not to let the building be gov erned by restrictions as the site is
not located in an urban setting; the building has free range to dev elop
and grow organically. As cliché and uncreativ e as it sounds the
concept for the structure and dev elopment of the building comes from
the mangrov e trees themselv es. They hold such v alue in that area one
could never look past them as a source of inspiration. The metal mesh

26
 screens which enclose this building form a protectiv e secondary skin
which protects the inside of the building which was gov erned by the
idea of the bark of a tree having a hard exterior which protects and
nourishes its interior.

Graphically represent ing the concept

Figure6

CLIMAT E VERSUS NAT URE

The design on the building considers the genetic make up of a tree

which is applied to the structure of this building in order to respond to
the env ironment in similar way the mangrov es have adapted to its
surroundings.

A metal mesh screen forms a secondary layer, shielding and protecting

the building from the elements, regardless of orientation. It provides a
tough and durable barrier for which the elements cannot penetrate.

N
SU

NDS
I
W

Represent ing how the

secondary skin protects
from the elements
Figure 7

27
It is at the occupant’s discretion as to allow the amount of light
entering the space as the screens can be opened and closed thus
transforming the spaces. The buildings main façade’s are orientated
North, South and as a result the harsh West, East sun is kept to a
minimum as only a small portion of the facades open up in either of
these directions. W here artificial illumination is required due to
insufficient day-lighting then low energy lighting systems will be used.

This secondary skin also aids in the natural ventilation of the building. At
the occupants will, the screens can be opened, along with the primary
skin (fenestration), allowing the building to breathe. The metal mesh
screen can be completely open; exposing the entire floor plate to the
outside thereby maximising v entilation. By naturally v entilating the
building, the energy consumption of the building is reduced and the
productivity of the staff is increased due to the fact they can freely
interact with the outdoors and the ability to work in a comfortable
environment which is naturally lit and is constantly supplied with fresh
air. Both the primary and secondary skins can be opened allowing the
building total interaction with its surroundings.

protective skin

The penetrable, openable skin

Figure 8

28
This metal mesh skin makes up the majority of the façade, howev er,
there is exposed glass on the west and east facades, which makes use
of a translucent material which masks its structure on the exterior. The
idea is, when the sun illuminates the space, or when the space is lit at
night the structure will “shine” through the translucent material. This
design element was influenced by the sun which shines though a leaf
exposing the delicate structure or skeleton of the leaf. The structure
remains true to the concept and instead of masking it, I felt to express
and expose it as it played a vital role in the form of the building.

The concept of light coming through the structure

THE VISUAL
Figure 9 VERSUS THE TACTILE

THE VISUAL VERSUS THE TACTILE

The tangible influences

Figure 10

The building was designed around the experience of the user. The
experience of walking through the building is similar to the experience
of walking through the mangrov es with regards to light, shadow,
textures and forms. The metal mesh screen which casts similar light

29
patterns into the space aims to re-create the journey through the
mangrov es; the architecture therefore becomes about the emotive.

The play of light

Figure 11

This building is designed to be a piece of inhabited sculpture which has

been influenced purely by its surroundings and strives, in ev ery aspect
of its design, to integrate itself naturally into the mangroves. It is driv en
by the idea of sustainability and centred on the user’s experience of
the space. The building never striv es to achiev e a sense of arriv al and
the focus remains purely on the beauty of the surroundings which the
architecture of the building endeavours to delight itself in. I feel as if,
ev en without knowing the principles behind critical regionalism, I have
managed to achiev e a level of local integration which makes strong
reference to the site and still remain within the boundaries of the
universal.

30
 CONCLUSION

“There are t wo strong conquerors of forgetfulness of men; poetry and archit ect ure
and bet ween t he t wo archit ecture is might ier in it s realit y, the more potent to bring
back t o mind the past long lost. We may liv e wit hout archit ect ure’ we may worship
wit hout her but we cannot remember wit hout her.” J ohn Ruskin (Crit ical Regionalism.
Archit ect ure and Ident it y in a Globalized World. Pg 16)

31
As globalization increasingly enters every facet of our liv es, its
homogenizing effect on architecture has compelled architects to
include the principles of critical regionalism. It is an alternative theory to
Modernism or post Modernism whose v alues lie with industrialization,
mass production and internationalism; where critical regionalism
embraces local culture, geography and sustainability. The principals of
critical regionalism are becoming increasingly urgent and the impact
of globalization, if left unchecked, would become economically costly,
ecologically distractiv e and calamitous to the population.

32
BIBLIOGRAPHY

33
GENERAL INFORMATION
-Book references-

-Nesbitt, K (editor) (1996) Theorizing a New Agenda for Architecture; An

Analogy of Architecture Theory 1965 – 1995. New York: Princeton
Architectural Press.
-Lefaivre, L and Tzonis, A (2003) Critical Regionalism ; Architecture and
Identity in a Globalized World. Munich, Berlin, London, New York: Prestel
Verlag.

-internet reference-

www.wikipedia.org/wiki/Critical_regionalism

6 POINTS OF CRITICAL REGIONALISM

-book reference-

-Frampton, K (1985) Post Modern Culture. Article: Towards a Critical

Regionalism : Six Points for an Architecture of Resistance. Edited by:
Foster, H, London Pluto Press

-internet reference-

Paterson (1995) Critical Analysis of “Towards a Critical Analysis”

www.earthlink.net/aisgp/texts/regionalism/regionalism.html

INTERNATIONAL EXAMPLE
-books-

34
-Lefaivre, L and Tzonis, A (2003) Critical Regionalism ; Architecture and
Identity in a Globalized World. Munich, Berlin, London, New York: Prestel
Verlag.
LOCAL EXAMPLE
-journal refernces-

-W P. (Feb 2003) Journal of the KwaZulu Natal Institute for Architecture.

Volume 28, pg1. (Article: 2003 KZ-NIA Awards of Merit: Africa Centre,
Som khele)
-Van Heerden, D (Feb 2002) Journal of the KwaZulu Natal Institute for
Architecture. Volume 27, pg 7-10. (Article: Aids and Architecture;
Medical Research Facilities at Som khele)
-Unknown author (Nov /Dec 2004) Leading Architecture and Design. Pg
37
-Unknown author (Mar/Apr 2003) Leading Architecture and Design. Pg
19-22
-Unknown author (2002/2003) Digest of South Africa. Volume 7, pg 62-
63. (Article: The Africa Centre for Health and Population Studies)

ILLUSTRATIONS

Figure 1 Sourced from Architect, Derek v an Heerden

Figure 2 Sourced from Architect, Derek v an Heerden
Figure 3 Sourced from Architect, Derek v an Heerden
Figure 4 Sourced from Architect, Derek v an Heerden
Figure 5 Sketch Up model done by author
Figure 6 1st image: hand drawn by author. 2nd image:
www.stateofdesign.com.au/awards_shortlist.php (visited
on the 24th of October)
Figure 7 www.stateofdesign.com.au/awards_shortlist.php

35
Figure 8 1st image:
www.stateofdesign.com.au/awards_shortlist.php 2nd
image: hand drawn by author
Figure 9 100 Architects and 10 Critics, Author and photographer
unknown. Page 52
Figure 10 photographs taken by the author
Figure 11 1st image: hand drawn sketch by author. 2nd image: 100
Architects and 10 Critics, Author and photographer
unknown. Page 107
Figure 12 Sourced from Architect, Derek v an Heerden
Figure 13 www.homeandabroad.com/c/107/Site/136619 (visited on
the 24th of October)
Figure 14 architecture.about.com/…/blutzon-bagsv aerd.htm (visited
on the 24t h of October)
Figure 15 www.aalborgwhite.com (visited on the 24t h of October)

36