This was the week of our deadline for the annotated bibliography, where we draw a line under our research so far and create a bibliography that we have made notes for ourself of the relevance and importance of each source.

CARLSON-REDDIG, K., 2011. Re-Reading Critical Regionalism, I. SABOUN and J. VANEGAS, eds. In: Local Identities Global Challenges, ACSA Fall Meeting 2011 2011, Association of Collegiate Schools of Architecture.

Conference Proceedings

A thorough revisiting of the concept of critical regionalism. Well written and written from today’s perspective, as much of the writing about critical regionalism is from the 80’s and 90’s. She states (as well as Frampton does latterly) that there is a new urgency in the recognition of the destruction that the built environment has played and a large part in global warming. In her conclusion, she discusses: “An architectural approach which combines the evolved intelligence of the local with the most effective capabilities of current technology must hold great sway” This is key to what I want to bring to my ceramic practice. She discusses that now there is even more compelling reasons to work with a critical regionalism due to the pressure our material culture is putting on resources.

COLLINS, H., 2010. Creative research: the theory and practice of research for the creative industries. Lausanne: AVA Publishing.

Book whole

A source for analysing how to qualitatively interpret different types of sources and data, specific to visual and studio based projects. Will help in structuring my discussion of what I collect onsite and my methodology.

DAHN, J., 2015. New directions in ceramics: from spectacle to trace. London: Bloomsbury.

Book whole

A critical study of contemporary artists using innovative techniques including raw clay. I’ve found it difficult to comprehensively list what is happening in contemporary ceramics as it is not a field that is traditionally written about. This is a good resource to branch out from


DAHN, J. and JONES, J., 2013. Interpreting ceramics: selected essays. Bath: Wunderkammer Press.

Book whole

Essays examining contemporary issues in ceramics. A condensing of the journal Interpreting Ceramics first 10 years of writings. A dense source for me to keep going back to for critical discussion.

DE WAAL, E., 2004. Speak for yourself. Interpreting Ceramics, (5),

Journal paper

De Waal writes primarily to encourage ceramic artists to break their silence and write about their work. As mentioned before, it is not a field that traditionally writes about what they are doing and why.

He discusses the need to contextualise ceramics: –
‘my contention is that we have to reground ceramics within the material cultures from which they come, that is in the materiality of their making and in their commoditisation as objects. Both of these aspects are crucial. If we can take the complexity of the making of objects more seriously, rather than regarding their creation as an essentialist outcome of various cultural factors, then we may find that there is more to talk about in these ineffable objects than we thought. For instance, when we overhear anthropologists, ethnologists or other writers on material culture talking what do we learn about the ability of objects to change their meanings?’ There seems to be a whole discourse on why we need more ceramicists to write about the aims and methods of their work not just technical issues.

EDITED BY DIANA COOLE AND SAMANTHA FROST., 2010. New Materialisms. US: Duke University Press.

Whole book

Discussions that many fields are moving their thoughts towards Object Orientated Ontology; which means that we are situating ourselves as objects with the same importance as other objects. As opposed to considering humans as above all other objects. Rethinking our relationship to materials and materialism. Interesting to think about this in relation to collecting materials on site.


FORREST, M., 2013. Natural glazes: collecting and making. London: Bloomsbury.

Whole book

Resource for processing the samples I’ve began collecting onsite, clay, slate and grasses etc. for making glazes. I’ve been coming to the book repeatedly to look up information on collecting and processing samples.

Ideas on where and what to collect, and instructions on how to source and turn the items into natural glazes. Good manual for instructions on how to fire samples etc. and good examples.

Frampton, K., 2006. Critical Regionalism Revisited: Reflections on the Mediatory Potential of Built-Form. In: M. Umbach and H. Huppauf, eds., Vernacular Modernism: Heimat, Globalization, and the Built Environment, California: Stanford University Press p. 193.

FRAMPTON, K., 2013. Towards an Agnostic Architecture. Milano: Editoriale Domus, 972.

Book section and Journal article

More recent writings from Frampton on Critical Regionalism. He is even more emphatic and critical in these writings about the direction in which the built environment is developing globally, he cites the example of ‘instant city of Dubai’ to illuminate how we are ‘laying the world to waste and ourselves with it’. He is much more alarmed and extreme in his arguments than he was in earlier writings, such as we are ‘the project to Americanize the world’. He has an ecological viewpoint and states that we are no longer in a growth period but ‘in a state of excess’.

FRAMPTON, K., 1987. Ten Points on an Architecture of Regionalism: A Provisional Polemic, Center Vol. 3: New Regionalism, 1987, Austin: Center for American Architecture and Design.

FRAMPTON, K., 1983. Towards a Critical Regionalism: Six Points for an Architecture of Resistance. In: H. FOSTER, ed, The Anti-Aesthetic – Essays on Postmodern Culture. Seattle: Bay Press.

Book chapter and Conference proceedings.

In both texts, which were written in the 80’s Frampton is attempting to bring order in a time of rapid change in architecture. He feels that there have been irrevocable changes in the previous 40 years and that architectural design is being standardised to be more economic due to the recent large-scale production methods. He discusses ways in which we can address contemporary problems that have resulted from this in the built environment such as ‘placelessness’. He sets out points that can be addressed – each is a pairing of dichotomous architectural practices; one embodies the place-specific characteristics of Critical Regionalism, while the second illustrates its less regional equivalent.

He suggests: –

“mediate the impact of universal civilization with elements derived indirectly from the peculiarities of a particular place.”

A balance between the two. The usage of local materials, labour, techniques with up-to-date technology. Again, relating directly to my aims and objectives, but situated in the studio and onsite.

GRAY, C. and MALINS, J., 2017. Visualizing research: a guide to the research process in art and design. Oxon: Routledge.

Whole book

Source for situating and structuring my research methodology. Book specifically for visual based projects, and helping define my practice-based research approach and understanding it in the context of the greater research community. I’ve been coming back to it to help structure my methodology – multi-method and practice based.

MACFARLANE, R., 2016. Landmarks. UK: Penguin Random House UK.

Whole book

Using language to create a sense of place, MacFarlane has assembled a glossary of vernacular terms relating to the landscape and weather. I will continue to use this in my methods of capturing the essence of a place. There is a beautiful set of Gaelic terms relating to different aspects of a landscape, relating to water, mountains etc. as well as describing weather.


NORBERG SCHULZ, C., 1996. The Phenomenon of Place. In: K. NESBITT, ed, Theorizing a New Agenda for Architecture an Anthology of Architectural Theory 1965-1995. New York: Princeton Architectural Press, pp. 422-426.

Book Chapter

Defines what we mean by ‘place’ – “What, then, do we mean with the word ‘place’? Obviously, we mean something more than abstract location. We mean a totality made up of concrete things having material substance, shape, texture, and color. Together these things determine an “environmental character,” which is the essence of place.”

Interestingly he discusses how we can translate an “experienced meaning” in nature to a different medium, such as architecture.

I will investigate and discuss further in relation to translating in ceramics. A key text for my thinking.

PATES, V., 2014. I love dirt; ceramics etc. Blogger.

Online blog

A ceramic artist who collects local materials – interestingly from tarmac to termite hill gravel, to local clay, and adds to clay bodies. Lots of information and ideas on collecting and processing local samples, things that I wouldn’t have thought to incorporate into my work, eg. I picked up some paper cups that had been dropped as rubbish when I was collecting samples which I may try to incorporate into the clay.

ROSE, G., 2016. Visual methodologies: an introduction to researching with visual materials. 4th ed. London; Thousand Oaks, CA: Sage; SAGE Inc.

Whole book

Reference book for theoretical aspects relating to the recent developments in visual research. Main interest for my research is the discussion of ‘sites’ for the visual materials. She proposes four sites – production, actual site of image, circulation and audiencing.
Interesting distinction between types of visual data used for research, if the objects are found – eg existing photos, or if they are produced as part of the research project to explore the subject. Something to revisit

RELPH, E., 1976. Place and placelessness. Pion.

Whole book

My main reference source – place and placelessness in the built environment. It illustrates the relationship we have with our own places, Relf investigates the essence of place and believes that the spirt of a place is in its landscape. He discusses the cultural and communal ‘insideness’ we have with a place that he feels are most important in understanding ‘the phenomenon of place’ p. 142)

SMITH, I., November/December 2017. Psychedelic Ceramics. Ceramic Review, 288, pp. 12-16.

Journal article

An article about Takuro Kuwata, a ceramicist whom I would suggest works in a critical regionalist way – he utilises traditional Japanese skills and forms but with a contemporary aesthetic. He makes amongst other things tea bowls that I think display the concept of Hybridity, using vivid glazes and textures from his every day palette of living in a big city with advertising hoardings and neon lights, the tea bowls form follows the formal, traditional method made for generations.

I want to further explore hybridity, a concept I came across in relation to Japanese weaving techniques, mixing tradition with new technology.

WEST, T., 2017. Tana West Ceramic Bricoleur: Portfolio. WordPress.

Online Blog

An example of a contemporary ceramic artist who (I think) works in a critically regionalist way – collecting local materials to make clay and glazes, wants to connect maker with locality and local concerns. Inspiring body of work that I will keep coming back to look at the methodology employed especially regarding on site collection

WIKIPEDIA, September 2017, 2017-last update, Critical Regionalism [Homepage of Wikimedia Foundation, Inc.], [Online]. Available: [12/11, 2017].

Online forum

Second-tier research tool for initial searching, never used as a primary source. Factual content has to be checked. Good for checking recent citations of critical regionalism and following them up.


WIKIPEDIA, 11/14, 2017-last update, Tadao Ando [Homepage of Wikimedia Foundation Inc.], [Online]. Available: [12/04, 2017].

Online forum

An architect attributed to using a critical regionalist approach to designing buildings (never mentioned by himself, only those that write about him, perhaps because he is self-taught). He creates a relationship to the site by relating the design of the building to the landscape, history and culture. He is a cutting edge designer, his main material is concrete to which he carves out spaces and views to the site, and brings the site into the building. His designs are minimal as to emphasise the space and the quality of light, his emphasis is on stimulating the senses and on the experience of the users of the building, rather than making a formal expression.

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