Additional Information In lieu of an abstract, here is a brief excerpt of the content: Essays on Postmodern Culture.
Six points for an architecture of resistance", Frampton recalls Paul Ricoeur 's "how to become modern and to return to sources; how to revive an old, dormant civilization and take part in universal civilization". According to Frampton's proposal, critical regionalism should adopt modern architecture, critically, for its universal progressive qualities but at the same time value should be placed on the geographical context of the building.
Emphasis, Frampton says, should be on topography, climate, light; on tectonic form rather than on scenography i. Frampton draws on phenomenology for his argument. This is revealed by the rational, modular, neutral and economic, partly prefabricated concrete outer shell i. He notes, for instance, feeling the contrast between the friction of the brick surface of the stairs and the springy wooden floor of the council chamber.
Curtis and Suha Ozkan[ edit ] There have been two different perceptions of Regionalism in architecture. One of which is of Western writers, like Curtiswhose definitions are not encompassing enough to analyse architectural styles especially in the last two centuries in the Islamic countries, like Iran.
However, Ozkan's definition of Regionalism is more objective. Here the aim is to make evident a disruption and loss of place, that is already a fait accomplithrough reflection and self-evaluation.
Critical regionalist architects[ edit ] In addition to Aalto and Utzon, the following architects have used Critical Regionalism in the Frampton sense in their work: Glenn Murcutt 's simple vernacular architectural style is representative of an Australian variant to critical regionalism.
In SingaporeWOHA has developed a unique architectural vocabulary based on an appreciation of the local climate and culture.
In cultural studies[ edit ] Subsequently, the phrase "critical regionalism" has also been used in cultural studies, literary studies, and political theory, specifically in the work of Gayatri Chakravorty Spivak.
In her work "Who Sings the Nation-State? Connecting Politics and Culture in the American Landscape traces the trajectory of the term critical regionalism from its original use in architectural theory to its inclusion in literary, cultural, and political studies and proposes a methodology based on the intersection of those fields.Kenneth Frampton, "Towards a Critical Regionalism: Six Points for an Architecture of Resistance", in The Anti-Aesthetic.
Essays on Postmodern Culture () edited by Hal Foster, Bay Press, Seattle. Stylianos Giamarelos ().
The Anti-Aesthetic does important cultural work by thus mapping the interfaces of postmodernism and poststructuralism, and the book itself refuses a unified position on postmodernism, just as poststructuralism attacks seamless narratives, "master discourses" and all other unities.
A continuing best-seller -- with more than 60, copies sold -- The Anti-Aesthetic is a touchstone volume for postmodern debate and theory.
Though the cultural stakes and terms have changed over the last decade, this collection still illuminates -- perhaps now even more lucidly -- a 4/5(1). The Anti?Aesthetic: Essays on Postmodern Culture. PortWashington: Bay Press, Hal Foster.
Recodings, Port TownsendJameson. Postmodernism, Or The Cultural Logic of Late Capitalism intellectual capital reporting: Topics by nbsp; Note: This page contains sample records for the topic intellectual capital reporting from.
reviews REVIEWS The Anti-Aesthetic: Essays on Postmodern Culture. Ed. and intro. by Hal Foster. Port Townsend, Washington, pp. $ (paper). In The Anti-Aesthetic, preeminent critics such as Jean Baudrillard, Rosalind Krauss, Fredric Jameson, and Edward Said consider the full range of postmodern cultural production, from the writing of John Cage, to Cindy Sherman's film stills, to Barbara Kruger's collages.5/5(1).