Kevin Throy C. Elpedes Arch 18 Prof.

CS Bulaong March 23, 2012 CRITICAL REGIONALISM: ARISING THE IMPORTANCE OF IDENTITY IN ARCHITECTURE Critical regionalism is the response to identity crisis in architecture. As we have discussed in the class, it is an architectural answer of creating architecture to be neither a vacuously international practice nor a slushy utilization of the vernacular. It is regionalist in the sense of not being internationalist and critical in the sense of not being a slavish imitation of older forms. The first thing we should know to have better comprehension of this concept is why a nations identity is that important. There are many factors that tell us why this is so. First, a countrys identity is what makes it outstand. Second, it is what defines the culture of the nation. It is the distinguishing feature of every land. For me, when a nation is seen to be different and unique to its self, that nation will be a point of interest of its neighbouring countries thus increasing the potential for foreign tourists to come by. These are but few reasons why the identity of a nation is important consequently requiring critical regionalism in the field of architecture. In todays modernizing society, globalization and standardization is very prominent. We can see everywhere the breakthrough of technology. And as I often experience, the feel of every technological centers are all the same. All amazement and fascination is covered with the feeling of estrangement . Its feels as if you are no longer where you think you are. This is the dark side of the internationalist style in architecture. One situation, I might tell, is the feel that I had as I walked through the Mind Museum in Global City, Taguig. Though the building looks good, I dont develop the very feel of Taguig itself. These technological aspirations may grow us profit but it will never emphasize the Philippines as a nation for it can easily be compared to other countries which are more technological than ours. Now, let me discuss some buildings that for me has embedded its cultural responsibility to its homeland. Let us take Francisco Maosa and Ildefonso Santoss San Miguel Corporation Building in Ortigas. It is a midrise building that resembles the banaue rice terraces. Two major features of the buildings are its green plants and the glass windows leaning outward. These slanting glasses are surrounded by greens planted around the building. This utilization of glasses and greens make the building greener as the glass windows reflect the plants surrounding them. San Miguel Corporation is one of the biggest Filipino corporations that are known worldwide. It is a collection of all fields and is connotatively seen for mass production. The building, as I have mentioned earlier, brings us to mind about the banaue rice terraces which also functions for mass production of rice crops for the country. The idea of the building mimics the concept of the local rice plants as a source of the countries basic needricethus we can imply that the building itself suggests its importance by giving the view point that San Miguel Corporation gives the needs of the society and now even at a larger scale international. This building, I can say, is a form of critical regionalist architecture. It is critical regionalist in the sense that it exemplifies the knowledge about the Philippines as one of the earliest rice producing countries and also metaphorically shows the pride of the San Miguel Corporation as one of the biggest companies for food and beverages production. Another example that I can cite is the Mode-Gakuen Spiral Towers in Japan. Located on busy Main Street of Nagoya, Japan, the Mode-Gakuen Spiral Towers were designed for three schools that represent the school of fashion design, computer programming, and medical support. The concept of the towers is derived from the enthusiasm of students from three schools, twining and rising up to the sky then departing to the real

world. At first glance, this building looks like three cut bamboos intertwined to form a strong pillar. This building, though being technological in the design, can be considered critical regionalist as it shows the present identity of Japan being the most industrial country in the world without leaving its cultural identity towards its view point in the importance of nature in its setting. Under the day light, these spiral towers may be interpreted as one that disguises itself as part of the sky being surrounded by numerous glass windows or a bamboo stick standing by the lake of water in a traditional Japanese mini garden. On the other hand, it is seen as a highly technological structure under the night sky being filled with its outstanding colour display. This is how Japan has shown its identity amidst the thin line between the vernacular past and the technological present. On a larger scale, Asia being a big region of the world contains several cultures within itself. However, this does not say that Asia as a region has no identity as a whole. Because of the similarities in its context, Asian Architecture, particularly Southeast Asian Architecture, is described as tropical. It also shows that because Asia has its shared beliefs and overlapping traditions, whether it is in religion or in cultural practices, Asian architecture can be considered to have its own identity. A nations identity is indeed very important. It is the measure of the total growth of the country. One cant say that because of the arising technological breakthrough, a country can be considered growing in the same way, it definitely will not show a nations growth when it keeps a tight grip to its historic past. To solve this issue, we have the concept of critical regionalism. In all aspects of a nations self, being distinguished is very vital as it shows how the country has progressed. In architecture, critical regionalism is easily recognizable. For it readily shows that in todays modernizing age, the culture, the tradition and the self of a nation through architecture can be identified.