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  • Kenneth Frampton, Towards A Critical Regionalism: Six Points For An Architecture of Resistance

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    Davide Tommaso Ferrando
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    Frampton is especially well known for his writing on twentieth-century architecture. His books include Modern Architecture: A Critical History (1980; revised 1985, 1992 and 2007) and Studies in Tectonic Culture (1995). Frampton achieved great prominence (and influence) in architectural education with his essay "Towards a Critical Regionalism" (1983) — though the term had already been coined by Alexander Tzonis and Liane Lefaivre. Also, Frampton's essay was included in a book The Anti-Aesthetic. Essays on Postmodern Culture, edited by Hal Foster, though Frampton is critical of postmodernism. Frampton's own position attempts to defend a version of modernism that looks to either critical regionalism or a 'momentary' understanding of the autonomy of architectural practice in terms of its own concerns with form and tectonics which cannot be reduced to economics (whilst conversely retaining a Leftist viewpoint regarding the social responsibility of architecture).

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    Kenneth Frampton, Towards a Critical Regionalism: Six Points for an Architecture of Resistance

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    Frampton is especially well known for his writing on twentieth-century architecture. His books include Modern Architecture: A Critical History (1980; revised 1985, 1992 and 2007) and Studies in Tectonic Culture (1995). Frampton achieved great prominence (and influence) in architectural education with his essay "Towards a Critical Regionalism" (1983) — though the term had already been coined by Alexander Tzonis and Liane Lefaivre. Also, Frampton's essay was included in a book The Anti-Aesthetic. Essays on Postmodern Culture, edited by Hal Foster, though Frampton is critical of postmodernism. Frampton's own position attempts to defend a version of modernism that looks to either critical regionalism or a 'momentary' understanding of the autonomy of architectural practice in terms of its own concerns with form and tectonics which cannot be reduced to economics (whilst conversely retaining a Leftist viewpoint regarding the social responsibility of architecture).

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    © All Rights Reserved
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    4K views8 pages

    Kenneth Frampton, Towards A Critical Regionalism: Six Points For An Architecture of Resistance

    Uploaded by

    Davide Tommaso Ferrando
    Frampton is especially well known for his writing on twentieth-century architecture. His books include Modern Architecture: A Critical History (1980; revised 1985, 1992 and 2007) and Studies in Tectonic Culture (1995). Frampton achieved great prominence (and influence) in architectural education with his essay "Towards a Critical Regionalism" (1983) — though the term had already been coined by Alexander Tzonis and Liane Lefaivre. Also, Frampton's essay was included in a book The Anti-Aesthetic. Essays on Postmodern Culture, edited by Hal Foster, though Frampton is critical of postmodernism. Frampton's own position attempts to defend a version of modernism that looks to either critical regionalism or a 'momentary' understanding of the autonomy of architectural practice in terms of its own concerns with form and tectonics which cannot be reduced to economics (whilst conversely retaining a Leftist viewpoint regarding the social responsibility of architecture).

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    Towards a Critical Regionalism: Six Points for an Architecture of Resistance KENNETH FRAMPTON The phenomenon of uiversaliation, while being an advancement of man Kind, a the same time consiaes@ sort ofsbte destruction, not oy of ‘radional cultures, which might not be an irreparable wrong, ut aie of ‘ha shal call for theme being the creative nclns of reat alures, that rat nh ai owl wen ie ha all mance the etical and mythical nucleus of mankind. The conc sprigs up from there We have he fling tha hs dle worl ciaion a he some tert a sor of ation or wearing aay a the expense ofthe cull ‘esurces which hare made the great izations othe past. Ths thet “apressed. among other distrbing eects, by the spreading before our eyes ‘of amedioee ciation whichis the absurd counterpart of what I was ust Calling elementary culture. Everywhere throughout the worl, one fds he Same bad movie, the same slot machines, the same plastic or aluminum

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