The Architecture of Critical Regionalism: A Study of Identity Through the Design of Museums

The discovery of oil led to rapid development in Qatar since the 1980s, which changed the social and economic condition of the country. Consequently, these changes found its way into public architecture, which resulted in plethora of expressions like many of the ambitious developing Nations. The new blend of architecture consisted of variety of architecture that ranges from old structures to contemporary and technologically advanced buildings. Projects of monumental scale became the new norms and rhetoric to express their social, cultural, and political identities. One of such development was museums' constructions, which became an integral part of the narrative of global advancement. However, it also led to an adverse increase in transformation in the sets of guiding ideologies synonymous with the locale. The Arab region has been a culture that thrived on oral narratives and customs from the traditional tribal societies. Whereas, realizing such a worldview comes with the stumbling block of hiring foreign architects who always evolve Western narratives. The international architects have a significant dichotomy to the Regionalism and symbolism. Therefore, most of the museums evoke imagery that contrasts. This thesis observes two case studies of museum architecture in Qatar under the lens of Kenneth Frampton's Critical Regionalism; a theory of architecture that suggests architecture for the future while still connected to its past and traditions, striving to create better architecture. Distinction is made between the museum of Islamic Art as a relatively Critical Regionalist building as compared to the National Museum of Qatar that is more of a deconstructive building. The museum is missing many attitudes of Critical Regionalist approach, emphasizing on the normative optimization and scenographic approach of iconic form of the building.