TOA

Theory of Architecture
Authorship + Disclaimer
This work is the property of
Pedro Santos Jr. and Dianne Ancheta.
For questions, contact the authors at arch.
pedrosantosjr@gmail.com and arch.
dianneancheta@gmail.com.
Creative Commons
This presentation is licensed under the Creative
Commons Attribution NonCommercial ShareAlike 4.0
International License and is not licensed for commercial
use. To view a copy of this license, visit http:
//creativecommons.org/licenses/by-nc-sa/4.0/
INTRODUCTION
Rationale, competencies, and scope according to
PRC/PRBOA
RATIONALE / DESCRIPTION
Understanding of the theories and principles of design
and architectural design process
RATIONALE / DESCRIPTION
Analysis of anthropometric, proxemic, and kinesthetic
requirements of space in relation to architectural design
RATIONALE / DESCRIPTION
Analysis of socio-cultural and technological trends which
are contributory to the development of contemporary
architecture.
COMPETENCIES
▪ Relates the principles of architectural design to other
art forms.
▪ Transforms the psychological, visual and perceptual
language of architecture to signs and symbols of
architectural design.
▪ Identifies and applies principles of design composition.
▪ Assesses current theories and principles on
architectural design and applies this theories and
principles in the architectural design process.
COMPETENCIES
▪ Applies anthropometrics and ergonomics in
architectural design; applies proxemic and kinesthetic
requirements of space for human comfort in the
context of Filipino culture, their behaviors and
traditions and its effects on architectural space and
design.
▪ Applies analytical tools in determining the relevance of
architectural design theories to cultural development.
▪ Utilizes critical socio-cultural and technological
methods for analyzing design concepts in relation to
national development.
COMPETENCIES
▪ Correlates designing with interiors and landscapes in a
holistic approach.
▪ Applies significance of climate in the design process.
▪ Employs different processes and instruments that
apply in a climate-responsive design.
▪ Applies different concepts, theories and principles of
tropical design as applies to different tropical design
scenario and architectural design problem.
▪ Correlates the significance of philosophies of great
architects and their works to contemporary
architecture.
EXAM SUBJECT WEIGHTS
▪ 30%: History or architecture, theory of architecture;
principles of planning; architectural practice
▪ 30%: Structural design; building materials and
construction; utilities
▪ 40%: Architectural design and site planning
SCOPE OF TOA
▪ Module 1: Introduction to Theory and Architecture
▪ Module 2: Elements of Architecture and Principles of
Design
▪ Module 3: Design Perception
▪ Module 4: Tropical Architecture
▪ Module 5: Masters of Architecture
MODULE 1
Introduction to Theory and Architecture
OVERVIEW OF THE MODULE
▪ Module 1: Introduction to Theory and Architecture
▪ Part 1.1: Definition of theory and architecture
▪ Part 1.2: Architectural system and orders
▪ Part 1.3: Processes in architectural design
PART 1.1
Definition of Theory and Architecture
What is theory?
Theory
Abstract thought or speculation resulting in a system
of assumption or principles used in analyzing,
explaining, or predicting phenomena, and proposed or
followed as a basis of action.
TYPES OF THEORY
▪ Descriptive: simply explains events or phenomena.
▪ Prescriptive: prescribes guidelines.
What is architecture?
Architecture
The art and science of designing and constructing
buildings.
Art
The conscious use of skill, craft, and creative
imagination in the production of what is beautiful,
appealing, or of more than ordinary significance.
Science
A branch of knowledge dealing with a body of facts or
truths obtained by direct observation, experimental
investigation, and methodical study, systematically
arranged and showing the operation of general laws.
PART 1.2
Architectural Systems and Orders
Architectural systems

ROBOTO 44
Architectural systems
The architecture of space, ▪ Organizational pattern,
structure, and enclosure relationships, hierarchy
▪ Qualities of shape, color,
texture, scale,
proportion
▪ Qualities of surfaces,
edges, and openings
Architectural systems
Experienced through ▪ Approach and entry
movement in space and time ▪ Path configuration
and access
▪ Sequence of spaces
▪ Light, view, touch,
hearing, and smell
Architectural systems
Achieved by means of ▪ Structure and enclosure
technology ▪ Environmental protection and
comfort
▪ Health, safety, and welfare
▪ Durability
Architectural Systems
Accommodating a program ▪ User requirements, needs,
aspirations
▪ Socio-cultural factors
▪ Economic factors
▪ Legal restraints
▪ Historical tradition and
precedents
Architectural Systems
Compatible with its context
▪ Site and environment
▪ Climate: sun, wind,
temperature, and
precipitation
▪ Geography: soils,
topography,
vegetation, and water
▪ Sensory and cultural
characteristics of the
place
VILLA SAVOYE
Poissy, east of Paris. Le Corbusier.

This graphic analysis will illustrate the

way architecture embodies the
harmonious integration of interacting
and interrelated parts into a complex and
unified whole.
Spatial System
The three-dimensional integration of
program elements and spaces
accommodates the multiple functions
and relationships of a house.
Structural System
A grid of columns support horizontal
beams and slabs.
The cantilever acknowledges the
direction of approach along the
longitudinal axis.
Enclosure System
Four exterior wall planes define a
rectangular volume that contains the
program elements and spaces.
Circulation System
The stair and ramp penetrate and link the
three levels, and heighten the viewer’s
perception of forms in space and light.
The curved form of the entrance foyer
reflects the movement of the
automobile.
Context
A simple exterior form wraps around a
complex interior organization of forms
and spaces.
Elevating the main floor provides a better
view and avoids the humidity of the
ground.
A garden terrace distributes sunlight to
the spaces gathered around it.
Architectural orders
Architectural Orders
Physical ▪ Solids and voids ▪ Space
▪ Interior and exterior ▪ Structure
▪ Enclosure
▪ Machines
Architectural Orders
Perceptual Sensory perception ▪ Approach and
and recognition of Departure
the physical ▪ Entry and Egress
elements by ▪ Movement through
experiencing them the order of spaces
sequentially in time ▪ Functioning of and
activities within
spaces
▪ Qualities of light,
color, texture, view,
and sound.
Architectural Orders
Conceptual Comprehension of ▪ Images
the ordered and ▪ Patterns
disordered ▪ Signs
relationships among ▪ Symbols
a building’s ▪ Context
elements and
systems and
responding to the
meanings they
evoke.
PART 1.3
Processes in Architectural Design
Design process
A purposeful activity aimed at devising a plan for
changing an existing situation into a future preferred
state.
Design phases
1. Initiation
2. Preparation
3. Synthesis
4. Evaluation
5. Action
6. Reevaluation
Initiation
Identifying a problem and its social, economic, and
physical context.
Preparation
Collecting and analyzing relevant information and
establishing goals and criteria for an acceptable
solution.
Synthesis
Discovering constraints and opportunities, and
hypothesizing possible alternative solutions.
Evaluation
Simulating, testing, and modifying acceptable
alternatives according to specified goals and criteria.
Action
Selecting and implementing the most suitable
solution.
Reevaluation
Assessing how well an implemented solution in use
satisfies the specified goals and criteria.
End of Module 1
TOA
Theory of Architecture
Authorship + Disclaimer
This work is the property of
Pedro Santos Jr. and Dianne Ancheta.
For questions, contact the authors at arch.
pedrosantosjr@gmail.com and arch.
dianneancheta@gmail.com.
Creative Commons
This presentation is licensed under the Creative
Commons Attribution NonCommercial ShareAlike 4.0
International License and is not licensed for commercial
use. To view a copy of this license, visit http:
//creativecommons.org/licenses/by-nc-sa/4.0/
MODULE 3
Design Perception
OVERVIEW OF THE MODULE
▪ Module 3: Design Perception
▪ Part 3.1: Space Articulation
▪ Part 3.2: Proxemics
▪ Part 3.3: Architectural Styles
Part 3.1
Space Articulation
Space
Space is the three-dimensional field in which objects
and events occur and have relative position and
direction, especially a portion of that field set apart in
a given instance or for a particular purpose.
Spatial Relationships
Spaces may be related to each other in several
fundamental ways:
▪ Space within a space;
▪ Interlocking spaces;
▪ Adjacent spaces; and
▪ Spaces linked by a common space.
Space within a space
In this type of spatial relationship, the larger,
enveloping space serves as a three-dimensional field
for the smaller space contained within it.
Moore House
California, US. Charles Moore.
Moore House
California, US. Charles Moore.
Interlocking spaces
An interlocking spatial relationship results from the
overlapping of two spatial fields and the emergence of
a zone of shared space.
Plan for St. Peter
Second Version. Donato Bramante and
Baldassare Peruzzi.
Villa at Carthage
Tunisia. Le Corbusier
Adjacent spaces
Adjacency is the most common type of spatial
relationship.

It allows each space to be clearly defined and to

respond, each in its own way, to specific functional or
symbolic requirements.
Chiswick House
London, England. Lord Burlington and
William Kent.

The spaces are individualistic in size,

shape, and form. The walls that enclose
them adapt their forms to accommodate
the differences between adjacent
spaces.
Lawrence House
Sea Ranch, California. Moore-
Turnbull/MLTW.

Three spaces—the living, fireplace, and

dining areas—are defined by changes in
floor level, ceiling height, and quality of
light and view, rather than by wall planes.
Spaces linked
by a common space
Two spaces that are separated by distance can be
linked or related to each other by a third, intermediate,
space.
One-Half House
John Hejduk.
Spatial Organization
▪ Centralized
▪ Linear
▪ Radial
▪ Clustered
▪ Grid
Centralized
A centralized organization is a stable, concentrated
composition that consists of a number of secondary
spaces grouped around a large, dominant, central
space.
Taj Mahal
Agra, India.

The pattern of circulation and movement

within a centralized organization may be
radial, loop, or spiral in form. In almost
every case, however, the pattern will
terminate in or around the central space.
Villa Farnese
Caprarola, Italy. Giacomo da Vignola.

The pattern of circulation and movement

within a centralized organization may be
radial, loop, or spiral in form. In almost
every case, however, the pattern will
terminate in or around the central space.
Villa Farnese
Caprarola, Italy. Giacomo da Vignola.

The pattern of circulation and movement

within a centralized organization may be
radial, loop, or spiral in form. In almost
every case, however, the pattern will
terminate in or around the central space.
National Assembly
Building
Dacca, Bangladesh. Louis Kahn.

The pattern of circulation and movement

within a centralized organization may be
radial, loop, or spiral in form. In almost
every case, however, the pattern will
terminate in or around the central space.
National Assembly
Building
Dacca, Bangladesh. Louis Kahn.

The pattern of circulation and movement

within a centralized organization may be
radial, loop, or spiral in form. In almost
every case, however, the pattern will
terminate in or around the central space.
Linear
A linear organization consists essentially of a series
of spaces. These spaces can either be directly related
to one another or be linked through a separate and
distinct linear space.
Residential
Expansion
St. Andrew’s University, Scotland.
James Stirling.

Linear Sequences of Spaces

Residential
Expansion
St. Andrew’s University, Scotland.
James Stirling.

Linear Sequences of Spaces

Lloyd Lewis
House
Libertyville, Illinois. Frank Lloyd Wright.

Linear Sequences of Rooms

Lloyd Lewis
House
Libertyville, Illinois. Frank Lloyd Wright.

Linear Sequences of Rooms

Romano House
Kentfield, California. Esherick Homsey
Dodge & Davis.

Adapting to Function and Site

Romano House
Kentfield, California. Esherick Homsey
Dodge & Davis.

Adapting to Function and Site

Radial
A radial organization of space combines elements of
both centralized and linear organizations. It consists
of a dominant central space from which a number of
linear organizations extend in a radial manner.
Guggenheim
Museum
Bilbao, Spain. Frank Gehry.

The central space of a radial

organization is generally regular in form.
The linear arms, for which the central
space is the hub, may be similar to one
another in form and length and maintain
the regularity of the organization’s
overall form.
Guggenheim
Museum
Bilbao, Spain. Frank Gehry.

The central space of a radial

organization is generally regular in form.
The linear arms, for which the central
space is the hub, may be similar to one
another in form and length and maintain
the regularity of the organization’s
overall form.
Canberra
Australia. Walter Burley Griffin.
H. F. Johnson
House
Wind Point, Wisconsin. Frank Lloyd
Wright.

A specific variation of a radial

organization is the pinwheel pattern
wherein the linear arms of the
organization extend from the sides of a
square or rectangular central space.
Wingspread
(Herbert F. Johnson House) Wind Point,
Wisconsin. Frank Lloyd Wright.

A specific variation of a radial

organization is the pinwheel pattern
wherein the linear arms of the
organization extend from the sides of a
square or rectangular central space.
Wingspread
(Herbert F. Johnson House) Wind Point,
Wisconsin. Frank Lloyd Wright.

A specific variation of a radial

organization is the pinwheel pattern
wherein the linear arms of the
organization extend from the sides of a
square or rectangular central space.
Clustered
A clustered organization relies on physical proximity
to relate its spaces to one another. It often consists of
repetitive, cellular spaces that have similar functions
and share a common visual trait such as shape or
orientation.
Yeni-Kaplica
(Thermal Bath) Bursa, Turkey.

Spaces Organized by Geometry

Yeni-Kaplica
(Thermal Bath) Bursa, Turkey.

Spaces Organized by Geometry

Palace of King
Minos
Knossos, Crete.

Spaces Organized Around a Dominant

Space
Palace of King
Minos
Knossos, Crete.

Spaces Organized Around a Dominant

Space
Rajarajeshwara
Temple
Thanjavur, India.

Spaces Organized within a Spatial Field

Rajarajeshwara
Temple
Thanjavur, India.

Spaces Organized within a Spatial Field

St. Carlo alle
Quattro Fontane
Rome. Francesco Borromini.

Spaces Organized by Axial Symmetries

St. Carlo alle
Quattro Fontane
Rome. Francesco Borromini.

Spaces Organized by Axial Symmetries

Gamble House
Pasadena, California. Greene & Greene.

Spaces Organized by Geometric Pattern

Gamble House
Pasadena, California. Greene & Greene.

Spaces Organized by Geometric Pattern

Grid
A grid organization consists of forms and spaces
whose positions in space and relationships with one
another are regulated by a three-dimensional grid
pattern or field.
Shodhan House
Ahmedabad, India. Le Corbusier.
Shodhan House
Ahmedabad, India. Le Corbusier.
Eric Boissonas
House I
New Canaan, Connecticut. Philip
Johnson.
Eric Boissonas
House I
New Canaan, Connecticut. Philip
Johnson.
Part 3.2
Proxemics
Proxemics
Proxemics is the study of the symbolic and
communicative role of the spatial separation
individuals maintain in various social and
interpersonal situations, and how the nature and
degree of this spatial arrangement relates to
environmental and cultural factors.
Personal Space
The variable and subjective distance at which one person
feels comfortable talking to another. Also called
personal distance.
LEVELS OF
DISTANCES
▪ Intimate Distance
▪ Personal Distance
▪ Social Distance
▪ Public Distance
Intimate Distance
0-18 inches (0-450mm).

Voluntarily selected gap between people

who are drawn to each other. At this
close range, vision is distorted and any
vocalization is a whisper, moan, or grunt.
Personal Distance
18 inches to 4 feet (450mm-1.20m)
The sense of body heat is lost. Eyesight
begins to focus, and vocalization comes
into play. Although only ritualized touch
is typical, the other person is still at arm’
s length, available to be grasped, held, or
shoved away.
Social Distance
4 to 10 feet (1.20m - 3.00m)

This is the zone of impersonal

transaction. We now have to rely solely
on what we can see and hear.
By the middle of the range, the eye can
focus on an entire face. When the
distance is more than eight feet, it’s OK
to ignore another’s presence and it’s
easy to disengage from a conversation.
Public Distance
10 feet to infinity (3 meters and beyond)

This is the zone where we can no longer

pick up subtle nuances of meaning from
the face or tone of voice. The eye can
take in the whole body at a glance.
It’s the distance of the lecture hall, mass
meetings, and interactions with powerful
figures until such time as they bid you to
come closer.
SEMI-FIXED
FEATURE SPACE
Furniture arrangement in public places
has a distinct relationship to the degree
of conversation.

▪ Sociopetal
▪ Sociofugal
Sociopetal Space
Spaces which tend to bring people
together.
Sociofugal Space
Tend to keep people apart and
discourage conversations.
Part 3.3
Architectural Styles
Style
A particular or distinctive form of artistic expression
characteristic of a person, people, or period.
Moorish
▪ prevalent in Spain and Morocco;
▪ influences were Mesopotamian brick and stucco
techniques;
▪ frequent use of horseshoe arch, and Roman columns
and capitals.
Alhambra
Andalusia, Spain.
Classical
▪ derived from the principles of Greek and Roman
architecture.
Colosseum
Rome, Italy.
Romanesque
▪ emerged from Roman and Byzantine elements;
▪ characterized by massive articulated wall structures,
arches and powerful vaults.
Piazza del Duomo
Piazza dei Miracoli. Pisa, Italy.
Gothic
▪ revolutionary style of construction;
▪ emerged from Romanesque and Byzantine forms;
▪ characterized by a delicate balance of forces, with
thrusts directed throughout a rigid structural lattice.
▪ features were height and light, achieved through a
mixture of skeletal structures and ever increasing
windows.
Chartres
Cathedral
Chartres, France.
Renaissance
▪ developed during the rebirth of classical art and
learning in Europe;
▪ characterized by the use of classical orders, round
arches, and symmetrical proportions.
S. Maria Novella
Florence, Italy. Alberti.
Baroque
▪ more ornate than the Renaissance style;
▪ deliberate in its attempt to impress, and was lavish of
all styles, both in its use of materials and in the effects
it achieves.
Miag-ao Church
Iloilo.
Rococo
▪ final phase of the Baroque;
▪ characterized by a profuse, semi-abstract
ornamentation;
▪ associated with lightness, swirling forms, flowing lines,
ornate stucco work, and arabesque ornament.
Catherine Palace
St. Petersburg, Russia.
Neoclassicism
▪ characterized by monumentality, strict use of the
orders, and sparing application of ornament;
United States
Capitol
Washington, D.C.
Expressionism
▪ buildings were treated not only as functional structures
but also as sculptural objects;
Einstein Tower
Potsdam, Germany. Erich Mendelsohn.
Art Nouveau
▪ style of fine and applied art characterized by fluid,
undulating motifs, often derived from natural forms.
Sagrada Família
Barcelona, Spain.
Art Deco
▪ Style Moderne;
▪ marked by geometric motifs, streamlined and
curvilinear forms, sharply defined outlines, often bold
colors.
Metropolitan
Theater
Manila. Juan Arellano.
International Style
▪ functional architecture devoid of regional
characteristics;
▪ characterized by simple geometric forms, large
untextured, often white surfaces, large areas of glass,
and general use of steel or reinforced concrete
construction.
Barcelona
Pavilion
Spain. Mies van der Rohe.
Bauhaus
▪ The concepts and ideas were characterized chiefly by
the synthesis of technology, craft, and design
aesthetics;
▪ emphasizes on functional design.
Bauhaus School
and Faculty
Dessau, Germany. Walter Gropius.
Brutalism
▪ emphasizes the aesthetic use of basic building
processes, especially of cast-in-place concrete, with no
apparent concern for visual amenity.
Unité d'Habitation
Marseille, France. Le Corbusier.
Post-modernism
▪ reaction against International style and Modernism.
▪ encourages use of elements from historical vernacular
styles and often playful illusion, decoration, and
complexity.
Sony Tower
New York City. Philip Johnson.
Organic Architecture
▪ expression of personal freedom;
▪ harmony between structure and the environment;
▪ integration of individual parts to the whole concept;
▪ all forms should express the natural use of materials.
Fallingwater
Pennsylvania. Frank Lloyd Wright.
Deconstruction
▪ “Neo-modern” or “post-structuralism”;
▪ questions traditional assumptions and takes modernist
abstraction to an extreme and exaggerates already
known motifs.
Imperial War
Museum North
Greater Manchester, England. Daniel
Libeskind.
Evolutionary Architecture
▪ Eugene Tsui, major proponent;
▪ design that grows and develops based on climatic and
ecological elements, as well as advances in
technology;
▪ approached as a living organism as if natural forces
had shaped the structure.
Fish House
Berkeley, California. Eugene Tsui.
Conceptual Architecture
▪ “invisible” or “imaginary” architecture;
▪ represents plans and drawings for buildings and cities
that have never been constructed;
▪ pure research or speculation.
End of Module 3
TOA MODULE 4
Tropical Architecture
Authorship + Disclaimer
This work is the property of
Pedro Santos Jr. and Dianne Ancheta.
For questions, contact the authors at
arch.pedrosantosjr@gmail.com and
arch.dianneancheta@gmail.com.
Creative Commons
This presentation is licensed under the Creative
Commons Attribution-NonCommercial-ShareAlike 4.0
International License. To view a copy of this license, visit
http://creativecommons.org/licenses/by-nc-sa/4.0/
PART 4.1
Elements, factors, and concepts of climatic
design
Climate basics
“Climate”
A measure of the average pattern of variation in
temperature, humidity, atmospheric pressure, wind,
precipitation, atmospheric particle count and other
meteorological variables in a given region over long
periods of time.
CLIMATE VERSUS WEATHER
▪ Climate is different from weather, in that weather
only describes the short-term conditions of
these variables in a given region.
CLIMATIC ELEMENTS
▪ Solar radiation or sunlight
▪ Air temperature
▪ Atmospheric humidity
▪ Precipitation
▪ Wind
THE KÖPPEN SYSTEM
▪ One of the most widely-used climate
classification systems.
▪ It was first published by Russian German
climatologist Wladimir Köppen in 1884, with
several later modifications by Köppen himself,
notably in 1918 and 1936.
THE KÖPPEN SYSTEM
▪ The system is based on the concept that native
vegetation is the best expression of climate.
▪ Thus, climate zone boundaries have been
selected with vegetation distribution in mind.
THE KÖPPEN SYSTEM
▪ The Köppen climate classification scheme
divides climates into five main groups, each
having several types and subtypes:
▪ Type A: Tropical climates
▪ Type B: Dry (arid and semiarid) climates
▪ Type C: Temperate climates
▪ Type D: Continental climates
▪ Type E: Polar and alpine climates
TROPICAL CLIMATE (A)
▪ Found in a nearly unbroken belt around the Earth
at low latitudes, mostly within 15° N and S.
TROPICAL CLIMATE (A)
▪ Their location within a region in which available
solar radiation is large and relatively constant
from month to month ensures both high
temperatures (generally in excess of 18 °C) and a
virtual absence of thermal seasons.
TROPICAL CLIMATE (A)
▪ In A climates, the terms “winter” and “summer”
have little meaning, but in many locations, annual
rhythm is provided by the occurrence of wet and
dry seasons.
TROPICAL CLIMATE (A)
▪ Type A climates are controlled mainly by the
seasonal fluctuations of the trade winds and
monsoons.
▪ Köppen specifies three A climates:
▪ Tropical rainforest climate (Af)
▪ Tropical monsoon climate (Am)
▪ Tropical wet-dry climate (Aw)
Recommended forms and orientations for isolated buildings in different climatic regions.
TROPICAL
Cebu, Philippines
DRY CLIMATES (B)
▪ Arid and semiarid climates cover about a quarter
of Earth’s land surface, mostly between 50° N
and 50° S, but they are mainly found in the 15–
30° latitude belt in both hemispheres.
“Arid”
A land or a climate having little or no rain and is
typically too dry or barren to support lush
vegetation.
DRY CLIMATES (B)
▪ They exhibit low precipitation, great variability in
precipitation from year to year, low relative
humidity, high evaporation rates (when water is
available), clear skies, and intense solar radiation.
DRY CLIMATES (B)
▪ Köppen’s classification recognizes three B
climates:
▪ Tropical and subtropical desert (BWh)
▪ Mid-latitude steppe and desert climate (BSh)
▪ Tropical and subtropical steppe climate (BSk)
Recommended forms and orientations for isolated buildings in different climatic regions.
DRY
Phoenix, Arizona
TEMPERATE CLIMATES (C)
▪ These climates have an average monthly
temperature above 10 °C (50 °F) in their warmest
months, and an average monthly temperature
above −3 ° C (27 F) in their coldest months.
TEMPERATE CLIMATES (C)
▪ In Europe this includes areas from coastal
Norway south to southern France.
▪ In Asia, this includes areas from South Korea, to
east- China from Beijing southward, to northern
Japan.
Recommended forms and orientations for isolated buildings in different climatic regions.
TEMPERATE
Haus, Norway
CONTINENTAL CLIMATES (D)
▪ These climates have an average temperature
above 10 °C (50 °F) in their warmest months, and
a coldest month average below −3 °C
▪ These usually occur in the interiors of continents
and on their upper east coasts, normally north of
40°N.
Recommended forms and orientations for isolated buildings in different climatic regions.
CONTINENTAL
Alberta, Canada
POLAR CLIMATES (E)
▪ These climates are characterized by average
temperatures below 10 °C in all 12 months of the
year.
▪ This includes the following subtypes:
▪ Tundra climate (ET)
▪ Snow and ice climate (EF)
▪ Highland climate (H)
POLAR
Northern parts of Alaska
Climate of the
Philippines
CLIMATE OF THE PHILIPPINES
▪ The climate of the Philippines is tropical and
maritime.
▪ It is characterized by relatively high temperature,
high humidity and abundant rainfall.
▪ It is similar in many respects to the climate of the
countries of Central America.
EL NIDO
Palawan, Philippines
SAMAL ISLAND
Davao, Philippines
SIARGAO ISLAND
Surigao Del Norte, Philippines
PANGLAO
Bohol, Philippines
CARAMOAN
Camarines Sur, Philippines
BANTAYAN ISLAND
Cebu, Philippines
BORACAY ISLAND
Aklan, Philippines
PALAUI ISLAND
Cagayan Valley, Philippines
PAGUDPUD
Ilocos Norte, Philippines
GREAT STA. CRUZ
ISLAND
Zamboanga City, Philippines

"Isla Great Santa Cruz53" by Wowzamboangacity - MGM.

The most important elements of the country's
weather and climate are the following:
▪ Temperature
▪ Humidity
▪ Rainfall
TEMPERATURE
▪ Excluding Baguio, the mean annual temperature
in the Philippines is 26.6 °C.
▪ The coolest months fall in January with a mean
temperature of 25.5 °C while the warmest month
occurs in May with a mean temperature of 28.3
°C.
TEMPERATURE
▪ Latitude is an insignificant factor in the variation
of temperature while altitude shows greater
contrast in temperature.
▪ Thus, the mean annual temperature of Baguio
with an elevation of 1,500 meters is 18.3°C. This
makes the temperature of Baguio comparable
with those in the temperate climate.
BAGUIO CITY
The temperature of Baguio is
comparable with those in the temperate
climate and because of this, it is known
as the summer capital of the Philippines.
TEMPERATURE
▪ The difference between the mean annual
temperature of the southernmost station in
Zamboanga and that of the northernmost station
in Laoag is insignificant.
▪ In other words, there is essentially no difference
in the mean annual temperature of places in
Luzon, Visayas or Mindanao measured at or near
sea level.
HUMIDITY
▪ Humidity refers to the moisture content of the
atmosphere.
▪ Due to high temperature and the surrounding
bodies of water, the Philippines has a high
relative humidity.
▪ The average monthly relative humidity varies
between 71% in March and 85% in September.
HUMIDITY
▪ The combination of warm temperature and high
relative humidity gives rise to high perceived
temperature throughout the archipelago.
▪ It is especially uncomfortable during March to
May, when temperature and humidity attain their
maximum levels.
RAINFALL
▪ Rainfall is the most important climatic element
in the Philippines.
▪ Rainfall distribution throughout the country
varies from one region to another, depending
upon the direction of the moisture-bearing winds
and the location of the mountain systems.
RAINFALL
▪ The mean annual rainfall of the Philippines varies
from 965 to 4,064 millimeters annually.
▪ Baguio City, eastern Samar, and eastern Surigao
receive the greatest amount of rainfall while the
southern portion of Cotabato receives the least
amount of rain. At General Santos City in
Cotabato, the average annual rainfall is only 978
millimeters.
SEASONS
Using temperature and rainfall as bases, the
climate of the country can be divided into two
major seasons: rainy and dry.
SEASONS
▪ The rainy season, from June to November
▪ The dry season, from December to May, which
may be subdivided further into:
▪ The cool dry season, from December to February
▪ The hot dry season, from March to May
CLIMATE TYPES
There are four recognized climate types in the
Philippines, and they are based on the
distribution of rainfall.
CLIMATE TYPES
▪ Type I. Two pronounced seasons: dry from November to
April and wet during the rest of the year.
▪ Type II. No dry season with a pronounced rainfall from
November to January.
▪ Type III. Seasons are not very pronounced, relatively dry
from November to April, and wet during the rest of the year.
▪ Type IV. Rainfall is more or less evenly distributed
throughout the year.
CLIMATE TYPES
Four recognized climate types in
the Philippines, based on the
distribution of rainfall.

Source: PAGASA
PREVAILING
WINDS
▪ Hanging amihan (northeast),
November-April
▪ Hanging habagat (southwest), May-
October
Monsoon
A monsoon is a seasonal shift in the prevailing wind
direction, that usually brings with it a different kind
of weather.
TYPHOONS
▪ Typhoons have a great influence on the climate
and weather conditions of the Philippines.
▪ A great portion of the rainfall, humidity and
cloudiness are due to the influence of typhoons.
▪ They generally originate in the region of the
Marianas and Caroline Islands of the Pacific
Ocean which have the same latitudinal location
as Mindanao.
TYPHOONS
▪ Their movements follow a northwesterly
direction, sparing Mindanao from being directly
hit by majority of the typhoons that cross the
country.
▪ This makes the southern Philippines very
desirable for agriculture and industrial
development.
PART 4.2
Theories and principles of tropical design
 Basics of
passive design
GOALS FOR VARIOUS CLIMATES
▪ Cool climates
▪ Maximum thermal retention
▪ Maximum heat gain
▪ Maximum wind resistance

▪ Temperate climates
▪ Moderate thermal retention
▪ Moderate heat gain
▪ Slight wind exposure (humidity control)
GOALS FOR VARIOUS CLIMATES
▪ Hot-humid climates
▪ Maximum wind exposure
▪ Maximum internal airflow
▪ Minimum heat gain

▪ Hot-dry climates
▪ Minimum heat gain
▪ Moderate wind resistance
▪ Moderate internal airflow
GERONIMO
MANAHAN
“The passively cooled urban house”, a
prototype house designed by Geronimo
Manahan in collaboration with the
Ministry of Energy.
PASSIVE DESIGN
Design that works with the environment to
exclude unwanted heat or cold and take
advantage of sun and breezes (inducing
comfort conditions in the building interiors),
therefore avoiding or minimizing the need for
mechanical heating or cooling.
PASSIVE COOLING
The use of passive cooling principles in the tropics
results in a building that is comfortable, energy
efficient and results in substantial savings in
running costs of both cooling and lighting.
PROS/CONS OF
PASSIVE COOLING
▪ Typically, initial costs for passive
cooling systems will be higher
because these systems are typically
integral to the building envelope
▪ However, this is often offset by the
minimal operating costs required, as
well as the minimized impact on the
environment.
ACTIVE COOLING
A building design approach that addresses the
problem of inducing comfort by means of
equipment that consume energy.
PROS/CONS OF
ACTIVE COOLING
▪ In active systems, the initial cost of
the building envelope will be low.
▪ But this will soon be recouped by the
costs for equipment, maintenance,
and energy consumption.
 Principles of
passive design
PRINCIPLES OF
PASSIVE DESIGN
 Avoid heat gain
 Encourage natural ventilation
 Make use of natural light
 Create cool outdoor areas
AVOID HEAT GAIN
1. Orient the building to reduce exposure to midday sun, particularly
summer sun.
2. Use materials with low thermal mass as a general rule.
3. Shade walls and windows, particularly any walls with high
thermal mass.
4. Use glazing on windows that cannot be effectively shaded.
5. Use insulation, light colors, and heat-reflective surfaces.
ENCOURAGE NATURAL VENTILATION
1. Orient the building and windows towards prevailing winds.
2. Include operable windows and ceiling vents that enable the
building to naturally ventilate.
MAKE USE OF NATURAL LIGHT
1. Install shaded windows.
2. Install shaded skylights, light tubes, and other natural lighting
devices.
CREATE COOL OUTDOOR AREAS
1. Use verandas and deep balconies to shade and cool incoming air.
2. Use landscaping to provide shade without blocking cooling
breezes and use planting to reduce ground temperature and
minimize reflected heat.
Passive design
considerations
MAIN CONSIDERATIONS
1. Orientation
2. Ventilation
3. Landscaping
4. Thermal Mass
5. Insulation
6. Windows
7. Natural lighting
1. ORIENTATION
Orientation concerns the position of the
building on the site as well as the arrangement
of the rooms within it.
ORIENTATION
▪ There are two main goals to consider
when considering the building
orientation:
▪ Orientation for minimal solar
heat gain.
▪ Orientation for maximum air
flow.
Sun charts illustrating the variation in the sun’s movement in relation to latitude.
SUN PATH
DIAGRAMS
 Azimuth Lines - Azimuth angles run around the
edge of the diagram.
 Altitude Lines - Altitude angles are represented
as concentric circular dotted lines that run
from the center of the diagram out.
 Date Lines - Date lines start on the eastern side
of the graph and run to the western side and
represent the path of the sun on one particular
day of the year.
 Hour Lines/Analemma - Hour lines are shown
as figure-eight-type lines that intersect the date
lines and represent the position of the sun at a
specific hour of the day.
SUN PATH
DIAGRAMS
 Azimuth Lines - Azimuth angles run around the
edge of the diagram.
 Altitude Lines - Altitude angles are represented
as concentric circular dotted lines that run
from the center of the diagram out.
 Date Lines - Date lines start on the eastern side
of the graph and run to the western side and
represent the path of the sun on one particular
day of the year.
 Hour Lines/Analemma - Hour lines are shown
as figure-eight-type lines that intersect the date
lines and represent the position of the sun at a
specific hour of the day.
SUN PATH
DIAGRAMS
How to read sun path diagrams:
SUN PATH
DIAGRAMS
How to read sun path diagrams:
At 9:00AM,
SUN PATH
DIAGRAMS
How to read sun path diagrams:
At 9:00AM,
On April 1,
SUN PATH
DIAGRAMS
How to read sun path diagrams:
At 9:00AM,
On April 1,
the azimuth is 62 degrees, and
SUN PATH
DIAGRAMS
How to read sun path diagrams:
At 9:00AM,
On April 1,
the azimuth is 62 degrees, and
the altitude is 30 degrees.
ORIENTATION FOR MIN. HEAT GAIN
▪ Generally, the best approach is to design so that
all walls are shaded from the sun all year round.
▪ It may be desirable to admit some northern sun
especially during the cool months (October-
March). This can be done by planning the width
of eaves and awnings.
ORIENTATION FOR MAX. AIR FLOW
▪ In the Philippines, the prevailing winds are
north-easterly from October-March and
south-westerly from April-September. The
building design must take advantage of this.
▪ The lack of breeze during the hottest days can
pose challenges for achieving effective natural
ventilation. Designing to encourage
convection flow is very effective at these
times.
The rule of convection
Warm air rises, cool air sinks.
2. VENTILATION
Ventilation, circulation of air or to replace stale
air with fresh air.
STACK
VENTILATION
Uses the principle of convection to
induce air flow.
PASSIVE VENTILATION
▪ Designing a building in a way that maximizes
natural ventilation will greatly reduce the need for
air-conditioning
▪ Air movement over the body, even if the air not
much cooler, creates a feeling of cool due to the
evaporation of moisture from the skin
PASSIVE VENTILATION METHODS
▪ Maximizing breezes
▪ Orient the building to make the most of prevailing
winds in the locality
▪ Align vents, windows and doors (reasonably straight
line) to allow air to flow through the building
▪ Minimize internal obstacles or blockages such as
internal walls to allow for unimpeded ventilation
▪ Raise the building off the ground to catch breezes
PASSIVE VENTILATION METHODS
▪ Removing hot air
▪ Design for convection air flow to remove hot air from the
building
▪ Convection air flow is created by hot air rising and exiting at
the highest point, which naturally draws in cool air from the
outside
▪ This can be achieved by placing low window openings across
a space from high window openings
▪ This will be even more effective if the incoming air is being
drawn from a shaded area where plants/trees grow
PASSIVE VENTILATION METHODS
▪ Designing for “mixed-mode” use
▪ A building can be design to be mixed-mode. This
means that it will rely on natural ventilation in cooler
months, and use energy-efficient air conditioning in
hotter months

▪ Low thermal mass materials are particularly suitable

for mixed-mode buildings, provided that the building
is well insulated
PASSIVE VENTILATION METHODS
▪ Roof ventilation
▪ Ventilating the ceiling cavity is an effective way of
replacing accumulated hot air with cool air from
outside using convection

▪ It also reduces heat radiated from the ceiling cavity

towards the inner parts of the building

▪ Example: Ridge vents can let hot air out while cool air
enters through the eave vents
3. LANDSCAPING
Reducing the extent of paving and other hard
surfaces with vegetation.
LANDSCAPING
▪ The hard surfaces of pavement around buildings
absorb and re-radiate heat, creating a hotter
microclimate
▪ Thus, it is smart to minimize the extent of paving
and replace them with vegetation
URBAN HEAT ISLAND
A city or metropolitan area that is
significantly warmer than its surrounding
rural areas due to human activities.
LANDSCAPING
▪ Planting areas around the building creates a cooler
environment due to a plant’s ability to transpire or
lose moisture, which cools the air
▪ External temperatures can be reduced by over 5°C
by using ground cover or lawn instead of paving
▪ Denser vegetation provides a greater cooling effect
▪ Air that is drawn from planted areas is much cooler
than air drawn from paved areas
4. THERMAL MASS
Thermal mass is the ability of building materials
to absorb, store, and release heat.
TROMBE WALL
A trombe wall is a system for indirect
solar heat gain. It consists of a dark
colored wall of high thermal mass facing
the sun, with glazing spaced in front to
leave a small air space. The glazing traps
solar radiation like a small greenhouse.
THERMAL MASS
▪ In tropical climates, the use of materials with low
thermal mass is preferable particularly on walls
that are directly exposed to the sun.
▪ This is because lightweight construction such as
timber respond quickly to cooling breezes,
allowing the building to cool down faster
5. INSULATION
Insulation controls the rate at which a building
loses or gains heat, keeping warmer air in
during winter and excluding external heat in
summer.
INSULATION
▪ Insulation is one of the most effective ways to
reduce heat input to a building and can be
installed in the roof, ceiling and walls of the
building.
TYPES OF INSULATION
▪ There are generally two types of insulation: bulk
insulation and reflective insulation.
▪ In the tropics, reflective insulation installed under
roof sheeting is highly effective as it does not
trap heat inside the building. However bulk
insulation is more effective at preventing loss of
cool air from the building and so improves the
efficiency of air-conditioning.
Bulk insulation
Bulk insulation acts as thermal mass and resists
the transfer of heat. Bulk insulation includes
materials such as mineral wool, cellulose fiber,
polyester and polystyrene.
ROCK WOOL
A type of insulation that is made from
actual rocks and minerals. This type of
insulation is commonly used in building
construction, industrial plants, and in
automotive applications due to its
excellent ability to block sound and heat.
GLASS WOOL
An insulating material made from fibers
of glass arranged using a binder into a
texture similar to wool. The process traps
many small pockets of air between the
glass, and these small air pockets result
in the thermal insulation properties.
Reflective insulation
Reflective insulation mainly resists heat flow due to
its high reflectivity and low ability to re-radiate heat
and is more effective when installed with an air
layer next to the shiny surface.
REFLECTIVE
INSULATION
Reflective insulation is usually shiny
aluminum foil laminated onto paper or
plastic.
R-VALUE
▪ Insulation materials are given an R-value, which
rates the material’s resistance to heat flow and
therefore indicates its effectiveness.
▪ The higher the R-value, the greater the insulating
effect.
R-VALUE
▪ R-values are additive. For instance if you have a
material with an R-value of 12 attached to
another material with an R-value of 3, then both
materials combined have an R-value of 15.
U-VALUE
▪ The U-value is the heat transfer coefficient, which
simply means that is a measure of an assembly's
capacity to transfer thermal energy across its
thickness.
▪ The U-value of an assembly is the reciprocal of
the total R-value of the assembly.
R-VALUE RECOMMENDATIONS
▪ In the tropics, it is generally recommended to
have a minimum of R 2.5 insulation in naturally
ventilated house ceilings, and a minimum of R
3.5 insulation in ceilings and walls of air
conditioned houses.
R-VALUES OF MATERIALS
Material Thickness R-value
Air space 1/2" up to 4" 1.00
Common brick 4" 0.80
Concrete masonry unit (CMU) 4" 0.80
Hardwood 3/4" 0.68
Tile 0.05
Single pane window 1/4" 0.91
Double pane window with 1/4" air space 1.69
Double pane window with 1/2" air space 2.04
6. WINDOWS
Windows are an important way to encourage
and direct air flow into a building.
WINDOWS
▪ Louvers and casement style windows allow
building users to control how much natural air
enters the building.
WINDOWS
▪ Well-placed louvers or
windows, at floor level
and at the highest point
of the room, create
convection air flow
which draws air into the
building and creates
breezes to cool
occupants.
WINDOWS
▪ In a tropical climate, windows should ideally be
shaded from direct sunlight all year round and
should open to allow air flow.
▪ Where effective shading cannot be achieved,
insulating windows against heat transfer can
reduce cooling costs.
TINTED GLASS
▪ Tinted glass has a tint applied to the
glass during manufacture, to reduce
the amount of heat transmitted
through it.
REFLECTIVE
COATINGS
▪ Reflective coatings are thin films of
metal or metal oxide that are applied
to standard glass.
▪ They stop greater amounts of heat
gain than some toned glass,
however, they have the potential to
create glare problems for
neighbouring properties, and can
significantly reduce the quantity of
light admitted through the glass.
SOLAR SHADING
Shading devices shield windows and other glazed
areas from direct sunlight in order to reduce glare
and excessive solar heat gain in warm weather.
 Horizontal overhangs are most
effective when they have southern
orientations.

 Horizontal louvers parallel to a wall

permit air circulation near the wall and
reduce conductive heat gain.
 Louvers may be operated manually or
controlled automatically with time or
photoelectric controls to adapt to the
solar angle.
 Slanted louvers provide more
protection than those parallel to a
wall.
 Angle varies according to the range of
solar angles.

 Louvers hung from a solid overhang

protect against low sun angles.
 Louvers may interfere with view.
 Vertical louvers are most effective for
eastern or western exposures.
 Louvers may be operated manually or
controlled automatically with time or
photoelectric controls to adapt to
solar angle.
 Separation from wall reduces
conductive heat gain.
 Eggcrates combine the shading
characteristics of horizontal and
vertical louvers and have a high
shading ratio.
 Eggcrates, sometimes referred to as
brise-soleil, are very efficient in hot
climates.
 Solar blinds and screens can provide
up to a 50% reduction in solar
radiation, depending on their
reflectivity.
 Heat-absorbing glass can absorb up
to 40% of the radiation reaching its
surface.
Sizing Overhangs
What should be the minimum depth of
the sun shade for this window on
October 16 at 10AM?
Sun Path Diagram, Manila.
0.25m

What should be the minimum depth of

the sun shade for this window on May 16
at 1PM?
1.90m
0.30m
7. NATURAL LIGHTING
Maximizing the amount of natural light that
enters the building can lead to significant
energy savings by reducing the need for
artificial lighting.
MAXIMIZING NATURAL LIGHT
▪ Skylights
▪ Atria
▪ Light shelves
▪ Clerestory windows
▪ Light tubes
SKYLIGHTS
Skylights can provide good quality light to
work spaces that are away from
windows. But they need to be shaded and
glazed to prevent heat transfer.
Some skylights are also vented to allow
hot air to escape.
ATRIA
An atrium is a large open space, often
several stories high and having a glazed
roof and/or large windows.
The benefit of an atrium is that hot air
can be vented at the top rather than
accumulating near the building users.
LIGHT SHELVES
A light shelf is an architectural element
that allows daylight to penetrate deeper
into a building.
A light shelf is a horizontal light-reflecting
overhang which is placed above eye-level
and has a high-reflectance upper surface.
CLERESTORY
WINDOWS
These are high, vertically placed windows
that are ideally north facing.
Clerestory windows can be a good
source of diffuse light, and can also be
useful in allowing hot air to leave the
building.
LIGHT TUBES
Solar tubes, light tubes or light pipes are
used for transporting or distributing
natural or artificial light.
Air movement
AIR MOVEMENT
▪ Air movement is vital in passively-cooled
environments in hot-humid localities
▪ This is particularly critical for most urban areas
and lowlands in the Philippines
AIR MOVEMENT
▪ Moving air that hits the human body promotes
evaporation of sweat and induces a cooling
sensation.
▪ Thus, air flow into the interiors should be directed
to the occupancy zones especially those far from
windows
AIR MOVEMENT
▪ Although there is a need to induce air
movement during the hot-humid
periods of the year, there are also
periods of the year when the building
should be able to resist typhoon
winds
Principles of air flow
WIND
The movement of air through a building is
generated by differences in air pressure as well as
temperature. The resulting patterns of air flow are
affected more by building geometry and orientation
than by air speed.
PRINCIPLE #1
Air flows from a high pressure
area to a low pressure area.
PRINCIPLE #2
Air possesses inertia. Once set in
motion, it tends to continue to
flow in its initial direction until
some intervening force is met.
PRINCIPLE #3
Air flows through the path of least
resistance.
Inducing Air
Movement
Thermal Comfort
Thermal comfort is the condition of mind that
expresses satisfaction with the thermal
environment. Maintaining this standard of thermal
comfort for occupants of buildings or other
enclosures is one of the important goals of HVAC
design engineers.
 High inlets direct air flow upward,
resulting in a loss of cooling effect.
 Low inlets direct air flow at occupants.
 Outlets should be as large or larger
than inlets for maximum air flow.
 The position of an outlet has little
effect on the air flow but should allow
rising warm air to escape.
Overhangs over openings direct flow
upward which may be undesirable for
cooling.

Louvers can beneficially redirect and

diffuse air flow.
Roof overhangs increase incoming flow
of air.

Slots in overhangs equalize external

pressure.
Sea and Land
Breeze
SEA AND LAND BREEZE
▪ SEA BREEZE – wind from the sea (high pressure)
directed towards the land (low pressure); due to
daytime heating.
▪ LAND BREEZE – wind from land (high pressure)
directed towards the sea (low pressure); due to
night time cooling.
Tropical Architecture
TROPICAL
ARCHITECTURE
Tropical architecture can be regarded as a type
of green building applicable specifically for
tropical climates, using design to optimally
reduce buildings’ energy consumption,
particularly the cooling load.
MAIN OBJECTIVES (HOT HUMID)
▪ Maximize filtered air movement/speed up winds
▪ Minimize humidity and avoid mold growth
▪ Provide maximum shade, especially in late morning and all
afternoon
▪ Create a cool and dark microclimate
▪ Low building density for better air movement
▪ Vegetation is desirable as a radiation absorbent surface and for
its evaporative and shade properties. However, it has to be
arranged in a way that does not impede air circulation
TROPICAL
ARCHITECTURE
▪ Samoans long ago did not install
walls to allow free-flow breezes.
TROPICAL
ARCHITECTURE
▪ Malayan homes’ plentiful windows
aim to maximize cross-ventilation.
BAHAY KUBO
▪ Living platform elevated on stilts, adaptation to damp ground
conditions
▪ High-pitched roof, rain water can be quickly drained, creates large
air space (insulation), heat is radiated at an angle rather than
directly on living space below
▪ Large windows, cross ventilation
▪ Operable windows, awning type, protection from rain at the same
time provides shade
▪ Wide roof overhangs
▪ Walls and roof are constructed of thatch, low U-value
▪ Bamboo flooring, slats allows air to breeze upward
▪ Surrounding gardens
BAHAY NA BATO
▪ Living platform is elevated, heavy stone walled ground floor
▪ High-pitched roof, rain water can be quickly drained, creates large
air space (insulation), heat is radiated at an angle rather than
directly on living space below.
▪ Wide eaves, alero, underside was fitted with latticed vents
▪ Large windows, capiz panels allow daylight to penetrate interiors
▪ Ventanillas, operable windows on barandillas
▪ Volada, cantilevered gallery along the perimeter of the second
floor, double layered façade
▪ Calado, latticed openings above interior walls
▪ Operable louvers or jalousies, dynamic exterior louvers
▪ Wooden walls, low U-value
PRINCIPLES
▪ The consideration of the weather, hydrography
and ecosystems of the environment in which
buildings are built for maximum performance
with the least impact.
▪ The efficacy and moderation in the use of
construction materials, giving priority to low
energy content compared to high energy.
PRINCIPLES
▪ The reduction of energy consumption for heating,
cooling, lighting and equipment, covering the
remainder of the claim with renewable energy
sources.
▪ The minimization of the building overall energy
balance, covering the design, construction, use and
end of its life.
▪ The fulfillment of requirements of comfort, safety,
lighting and occupancy of buildings.
Improving Natural
Ventilation and
Daylighting
▪ Building should be sited in high
altitudes for maximum cool airflow
and locations with evaporative
possibilities are advantageous
▪ Settlements have to be properly
oriented regarding prevailing winds
▪ Settlements in flat areas (less natural
features: hill sides, slopes) should
include vegetation because the air is
cooled while crossing green shaded
areas
▪ Sun orientation: preference for north
orientations of the main facades of
the building

▪ Wind orientation: main walls and

windows should face the prevailing
wind direction
▪ Orient active living areas to the
northeast to collect early morning
sun.

▪ Glass areas should face north with

properly designed overhangs.

▪ Plant trees in south.

▪ East and west windows should be

avoided to minimize radiation with
low sun angles.
▪ Outlets at higher levels serve to vent
hot air

▪ Semi-open spaces such as balconies

and porches can be used
advantageously for daytime activities
as well as give protection from
rainfall.
▪ The form of the roof should be
planned to promote air flow. Vents at
the rooftop induce ventilation and
draw hot air out. A double roof with
ventilated space in between can be
used to promote air flow. The space
between can also act as a heat
buffer.

▪ Air should enter the building through

shaded outdoor areas, avoiding
passing through heated surfaces.
▪ Openings of a comparatively smaller
size can be placed on the windward
side, while the corresponding
openings on the leeward side should
be bigger for facilitating natural
ventilation.
 Opening shape matters and can
influence airflow effectiveness. Long
horizontal strip windows can ventilate
a space more evenly.
 Tall windows with openings at top and
bottom can use convection as well as
outside breezes to pull hot air out the
top of the room while supplying cool
air at the bottom.
END
TOA Bonus Module
The Pritzker Laureates
Authorship + Disclaimer
This presentation was prepared by Arch. Pedro Santos Jr.
For questions or corrections, contact the author at
arch.pedrosantosjr@gmail.com.
Introduction
The Pritzker Architecture Prize
Awarded annually to honor a living architect whose built work
demonstrates talent, vision and commitment, which has
produced consistent and significant contributions to humanity
and the built environment through the art of architecture.
The Pritzker Architecture Prize
● Often referred to as the Nobel Prize of architecture
● Awarded irrespective of nationality, race, creed, or
ideology
● Founded in 1979 by Jay A. Pritzker and his wife Cindy, the
award is funded by the Pritzker family and is sponsored by
the Hyatt Foundation
The Pritzker Architecture Prize
● Laureates receive US$100,000, a citation certificate, and a
bronze medallion
● Nominations are solicited from a range of people,
including past laureates, academics, critics and others with
expertise and interest in the field of architecture
● A jury consisting of five to nine experts in their own fields of
architecture, business, education, publishing, and culture
deliberate and announce the winner
The Laureates
1970-1980s
1979: Philip Johnson
● Nationality: USA
● Jury citation:
○ “His work demonstrates a combination of the qualities of
talent, vision and commitment that has produced
consistent and significant contributions to humanity and
the environment.”
○ “As a critic and historian, he championed the cause of
modern architecture and then went on to design some of
his greatest buildings.”
Glass House
New Canaan, Connecticut
Williams Tower
Houston, Texas
Williams Tower
Houston, Texas
Crystal Cathedral
California, USA
Rothko Chapel
Houston, Texas
Lipstick Building
New York City, USA
1980: Luis Barragan
● Nationality: Mexico
● Jury citation:
○ “We are honoring Luis Barragán for his commitment to
architecture as a sublime act of the poetic
imagination. He has created gardens, plazas, and
fountains of haunting beauty—metaphysical
landscapes for meditation and companionship.”
Casa Barragan
Mexico City, Mexico
Casa Barragan
Mexico City, Mexico
Casa Barragan
Mexico City, Mexico
Cuadra San
Cristobal
Mexico City, Mexico
Cuadra San
Cristobal
Mexico City, Mexico
Cuadra San
Cristobal
Mexico City, Mexico
Torres de Satélite
Mexico
1981: James Stirling
● Nationality: United Kingdom
● Jury citation:
○ We honor James Stirling—a prodigy for so many
years—as a leader of the great transition from the
Modern Movement to the architecture of the New—an
architecture that once more has recognized historical
roots, once more has close connections with the
buildings surrounding it, once more can be called a
new tradition.
Seeley Historical
Library
England
1982: Kevin Roche
● Nationality: USA
● Jury citation:
○ An innovator who does not worship innovation for itself, a
professional unconcerned with trends, a quiet humble man
who conceives and executes great works, a generous man
of strictest standards for his own work.
Knights of
Columbus Building
New Haven, Connecticut
1983: Ieoh Ming Pei
● Nationality: USA
● Jury citation:
○ Ieoh Ming Pei has given this century some of its most
beautiful interior spaces and exterior forms.
○ His work over the past forty years includes not only
palaces of industry, government and culture, but also
moderate and low-income housing. His versatility
and skill in the use of materials approach the level of
poetry.
John F. Kennedy
Library
Massachusetts, United States
OCBC Center
Singapore
1984: Richard Meier
● Nationality: USA
● An American abstract artist and architect, whose
geometric designs make prominent use of the
color white
● Jury citation:
○ We honor Richard Meier for his single-minded
pursuit of the essence of modern architecture. He
has broadened its range of forms to make it
responsive to the expectations of our time.
High Museum of Art
Atlanta, Georgia
The Atheneum
New Harmony, Indiana
1985: Hans Hollein
● Nationality: Austria
● Jury citation:
○ In the design of museums, schools, shops, and
public housing, he mingles bold shapes and
colors with an exquisite refinement of detail and
never fears to bring together the richest of
ancient marbles and the latest in plastics.
Haas House
Vienna Austria
Abteiberg Museum
Mönchengladbach, Germany
1986: Gottfried Bohm
● Nationality: Germany
● Born into a family of architects, He has been
considered to be both an expressionist and
post-Bauhaus architect
● Jury citation:
○ “He has taken care to see that the elements in his
work which suggest the past also bear witness to his
ready acceptance, whether in the design of churches,
town halls, public housing, or office buildings, of the
latest and best in our contemporary technology.”
Pilgrimage Church
Neviges, Germany
1987: Kenzo Tange
● Nationality: Japan
● One of the most significant architects of the
20th century, combining traditional Japanese
styles with modernism, and designed major
buildings on five continents. An influential
patron of the Metabolist movement.
● Jury citation:
○ In preparing a design, Tange arrives at shapes
that lift our hearts because they seem to emerge
from some ancient and dimly remembered past
and yet are breathtakingly of today.
Yoyogi National
Stadium
Tokyo, Japan
St. Mary’s
Cathedral
Tokyo, Japan
1988: Oscar Niemeyer + Gordon Bunshaft

● Nationality: Brazil (Niemeyer) and USA (Bunshaft)

● Jury citation:
○ Bunshaft: From the landmark Lever House in New York City to his
crowning achievement in Saudi Arabia, his forty years of designing
masterpieces of modern architecture demonstrate an
understanding of contemporary technology and materials that is
unsurpassed.
○ Niemeyer: There is a moment in a nation's history when one
individual captures the essence of that culture and gives it form.
In Brazil, Oscar Niemeyer has captured that essence with his
architecture.
National Congress
Brasilia, Brazil
Cathedral
of Brasilia
Brasilia, Brazil
Niterói
Contemporary Art
Museum
Niterói, Rio de Janeiro, Brazil
Lever House
1989: Frank Gehry
● Nationality: Canada
● Jury citation:
○ His sometimes controversial, but always arresting
body of work, has been variously described as
iconoclastic, rambunctious and impermanent, but
the jury, in making this award, commends this
restless spirit that has made his buildings a unique
expression of contemporary society and its
ambivalent values.
Biomuseo
Panama City, Panama
Dr Chau Chak Wing
Building
Sydney, Australia
Walt Disney
Concert Hall
Los Angeles, California
1990s
1990: Aldo Rossi
● Nationality: Italy
● An Italian architect and designer who accomplished the
unusual feat of achieving international recognition in four
distinct areas: theory, drawing, architecture and product
design.
● Jury citation:
○ Each of Rossi's designs, whether an office complex, hotel,
cemetery, a floating theatre, an exquisite coffee pot, or even toys,
captures the essence of purpose.
San Cataldo
Cemetery
Modena, Italy
San Cataldo
Cemetery
Modena, Italy
1991: Robert Venturi
● Nationality: USA
● Jury citation:
○ He has expanded and redefined the limits of the art of
architecture in this century...his thin but potent volume,
Complexity and Contradiction in Architecture, published in
1966, is generally acknowledged to have diverted the
mainstream of architecture away from modernism.
Vanna Venturi
House
Philadelphia, Pennsylvania
Guild House
Spring Garden Street, Philadelphia
1992: Alvaro Siza Vieria
● Nationality: Portugal
● Jury citation:
○ The architecture of Alvaro Siza is a joy to the
senses and uplifts the spirit. Each line and
curve is placed with skill and sureness.
Like the early Modernists, his shapes, molded
by light, have a deceptive simplicity about
them; they are honest.
Ibere Camargo
Foundation
Porto Alegre, Brazil
Bouça Housing
Complex
Porto, Portugal
1993: Fumihiko Maki
● Nationality: Japan
● Jury citation:
○ He is a modernist who has fused the best of both
eastern and western cultures to create an architecture
representing the age-old qualities of his native country
while at the same time juxtaposing contemporary
construction methods and materials.
Four World
Trade Center
New York City, USA
National Museum of
Modern Art
Kyoto, Japan
1994: Christian de Portzamparc
● Nationality: France
● Jury citation:
○ Portzamparc is a prominent member of a new generation of
French architects who have incorporated the lessons of the
Beaux Arts into an exuberant collage of contemporary
architectural idioms, at once bold, colorful and original. His
is an architecture that draws on French cultural tradition
while paying homage to the master architect and
countryman, Le Corbusier.
Philharmonie
Luxembourg
Luxembourg City, Luxembourg
Philharmonie
Luxembourg
Luxembourg City, Luxembourg
1995: Tadao Ando
● Nationality: Japan
● Jury citation:
○ Ando's architecture is an assemblage of artistically
composed surprises in space and form. There is
never a predictable moment as one moves through
his buildings. He refuses to be bound by convention.
Originality is his medium and his personal view of the
world is his source of inspiration.
Church of the Light
Ibaraki, Osaka, Japan
Church on the
Water
Hokkaido, Japan
Church on the
Water
Hokkaido, Japan
Naoshima
Contemporary
Art Museum
Naoshima Island, Japan
Naoshima
Contemporary
Art Museum
Naoshima Island, Japan
1996: Rafael Moneo
● Nationality: Spain
● Jury citation:
○ As a writer and critic, devoting almost as much time to
education as he does to design, he further shapes the
future of architecture with his words. His words as a
teacher are most important, influencing faculties and
students alike with his steady commitment to the
modernist tradition, both in the United States and Spain.
Museum of
Roman Art
Mérida, Spain
Cathedral of Our
Lady of the Angels
Los Angeles, California
Kursaal Congress
Centre
Spain
1997: Sverre Fehn
● Nationality: Norway
● Jury citation:
○ The architecture of Norwegian Sverre Fehn is a
fascinating and exciting combination of modern forms
tempered by the Scandinavian tradition and culture
from which it springs. He gives great primacy in his
designs to the relationship between the built and the
natural environment.
Norwegian
Pavilion, 1958
Worlds Fair
Brussels, Belgium
Hedmark Museum
Hamar, Norway
Nordic Pavilion
2016 Venice Architecture Biennale
1998: Renzo Piano
● Nationality: Italy
● Jury citation:
○ Renzo Piano's architecture reflects that rare melding
of art, architecture, and engineering in a truly
remarkable synthesis, making his intellectual curiosity
and problem-solving techniques as broad and far
ranging as those earlier masters of his native land,
Leonardo da Vinci and Michelangelo.
Menil Collection
Houston, Texas
Menil Collection
Houston, Texas
Pinacoteca
Giovanni e Marella
Agnelli
Torini, Italy
Pompidou Centre
Paris, France
1999: Norman Foster
● Nationality: United Kingdom
● Jury citation:
○ Sir Norman Foster's pursuit of the art and science of
architecture has resulted in one building triumph
after another, each one in its own way, unique.
Commerzbank
Headquarters
Frankfurt, Germany
30 St Mary Axe
London, United Kingdom
Apple Park
Cupertino, California
HSBC Building
Hong Kong
2000s
2000: Rem Koolhas
● Nationality: Netherlands
● Jury citation:
○ Rem Koolhaas is that rare combination of visionary
and implementer—philosopher and
pragmatist—theorist and prophet—an architect
whose ideas about buildings and urban planning
made him one of the most discussed
contemporary architects in the world even before
any of his design projects came to fruition.
Seattle Central
Library
Seattle, USA
Netherlands Dance
Theatre
The Hague, Netherlands
2001: Herzog and de Meuron
● Nationality: Switzerland
● Jury citation:
○ The architecture of Jacques Herzog and Pierre de
Meuron combines the artistry of an age-old
profession with the fresh approach of a new
century’s technical capabilities.
Elbe
Philharmonic Hall
Hamburg, Germany
Prada Store
Omotesando, Tokyo
VitraHaus
Weil am Rhein, Germany
Beijing National
Stadium
Beijing, China
1111 Lincoln Road
Miami Beach, Florida
1111 Lincoln Road
Miami Beach, Florida
1111 Lincoln Road
Miami Beach, Florida
2002: Glenn Murcutt
● Nationality: Australia
● Jury citation:
○ Although his works have sometimes been
described as a synthesis of Mies van der Rohe
and the native Australian wool shed, his many
satisfied clients and the scores more who are
waiting in line for his services are
endorsement enough that his houses are
unique, satisfying solutions.
Marie Short House
New South Wales, Australia
Fredericks' House
New South Wales, Australia
2003: Jorn Utzon
● Nationality: Denmark
● Jury citation:
○ Jørn Utzon is an architect whose roots extend back into
history—touching on the Mayan, Chinese and Japanese,
Islamic cultures, and many others, including his own
Scandinavian legacies.
Sydney Opera
House
Sydney, Australia
Sydney Opera
House
Sydney, Australia
Bagsværd Church
Bagsværd, Denmark
2004: Zaha Hadid
● Nationality: Iraq / United Kingdom
● Jury citation:
○ It is not surprising that one of the architects whose
work Ms. Hadid admires is another Pritzker Prize
winner, the preeminent South American author of
Brasilia, and other major works—Oscar Niemeyer.
They share a certain fearlessness in their work and
both are unafraid of risk that comes inevitably with
their respective vocabularies of bold visionary
forms.
Vitra Fire Station
Weil am Rhein, Germany
Galaxy Soho
Beijing, China
Dongdaemun
Design Plaza
Seoul, South Korea
Jockey Club
Innovation Tower
Hong Kong
Heydar Aliyev
Center
Baku, Azerbaijan
2005: Thom Mayne
● Nationality: USA
● Jury citation:
○ Like the Eameses, Neutra, Schindler, and Gehry before
him, Thom Mayne is an authentic addition to the tradition
of innovative, exciting architectural talent that flourishes
on the West Coast.
Graduate House
University of Toronto, Toronto, Canada
Diamond Ranch
High School
Pomona, California
2006: Paulo Mendes da Rocha
● Nationality: Brazil
● Jury citation:
○ Paulo Mendes da Rocha of Sao Paulo, Brazil, inspired
by the principles and language of modernism, as well
as through his bold use of simple materials, has over
the past six decades produced buildings with a deep
understanding of the poetics of space.
Chapel of Saint
Peter,
Campos de Jordão, São Paulo, Brazil
Brazilian Museum
of Sculpture
São Paulo, Brazil
2007: Richard Rogers
● Nationality: United Kingdom
● Jury citation:
○ His fascination with technology is not merely for artistic
effect, but more importantly, it is a clear echo of a building’s
program and a means to make architecture more productive
for those it serves. His championing of energy efficiency and
sustainability has had a lasting effect on the profession.
Pompidou Center
Paris, France
Millenium Dome
London, UK
2008: Jean Nouvel
● Nationality: France
● Jury citation:
○ For over 30 years, Jean Nouvel has pushed architecture’s
discourse and praxis to new limits. His inquisitive and agile
mind propels him to take risks in each of his projects, which,
regardless of varying degrees of success, have greatly
expanded the vocabulary of contemporary architecture.
Torre Agbar
Barcelona, Spain
Philharmonie
de Paris
Paris, France
One Central Park
Sydney, Australia
One Central Park
Sydney, Australia
100 11th Avenue
New York City, New York
Fondation Cartier
Paris, France
Leeum Samsung
Museum of Art
Seoul, South Korea
2009: Peter Zumthor
● Nationality: Switzerland
● Jury citation:
○ His buildings have a commanding presence, yet
they prove the power of judicious intervention,
showing us again and again that modesty in
approach and boldness in overall result are not
mutually exclusive. Humility resides alongside
strength.
Therme Vals
Switzerland
Therme Vals
Switzerland
Therme Vals
Switzerland
Therme Vals
Switzerland
Kunsthaus Bregenz
Bregenz, Austria
Bruder Klaus
Field Chapel
Mechernich-Wachendorf, Germany
Bruder Klaus
Field Chapel
Mechernich-Wachendorf, Germany
2010s
2010: SANAA
● Nationality: Japan
● Names: Kazuyo Sejima and Ryue Nishizawa
● Jury citation:
○ It may be tempting to view Sejima and Nishizawa’s refined
compositions of lightness and transparency as elitist or
rarefied. Their aesthetic, however, is one of inclusion.
Their approach is fresh, always offering new possibilities...
They use common, everyday materials while remaining
attuned to the possibilities of contemporary technology.
Rolex Learning
Center
Lausanne, Switzerland
Rolex Learning
Center
Lausanne, Switzerland
Rolex Learning
Center
Lausanne, Switzerland
21st Century
Museum of
Contemporary Art
Kanazawa, Ishikawa, Japan
2011: Eduardo Souto de Zamora
● Nationality: Portugal
● Jury citation:
○ In their apparent formal simplicity, Souto de Moura’s
buildings weave together complex references to the
characteristics of the region, landscape, site, and wider
architectural history. Often simple geometries are
underlined through interplay of solid and void or light and
shadow.
Paula Rego
Museum
Cascais Municipality, Portugal
Cantareira Building
Porto, Portugal
2012: Wang Shu
● Nationality: China
● Jury citation:
○ Wang Shu´s buildings have a very rare attribute—a
commanding and even, at times, monumental
presence, while functioning superbly and creating a
calm environment for life and daily activities.
Ningbo History
Museum
Zhejiang Sheng, China
Ningbo History
Museum
Zhejiang Sheng, China
Vertical Courtyard
Apartments
Hangzhou, China
Ceramic House
Jinhua, China
Ceramic House
Jinhua, China
2013: Toyo Ito
● Nationality: Japan
● Jury citation:
○ Whoever reviews Ito’s works notices not only
a variety of functional programs, but also a
spectrum of architectural languages. He has
gradually developed and perfected a personal
architectural syntax, which combines
structural and technical ingenuity with formal
clarity.
Sendai
Mediatheque
Miyagi Prefecture, Japan
Kaohsiung National
Stadium
Kaohsiung, Taiwan
International
Museum of the
Baroque
Puebla, Mexico
International
Museum of the
Baroque
Puebla, Mexico
2014: Shigeru Ban
● Nationality: Japan
● Jury citation:
○ He is an outstanding architect who, for twenty
years, has been responding with creativity and
high quality design to extreme situations
caused by devastating natural disasters…
When tragedy strikes, he is often there from
the beginning, as in Rwanda, Turkey, India,
China, Italy, and Haiti, and his home country of
Japan, among others.
Centre
Pompidou-Metz
Lorraine, France
Cardboard
Cathedral
Christchurch, New Zealand
Paper Dome
Taiwan
2015: Frei Otto
● Nationality: Germany
● Jury citation:
○ The lessons of his pioneering work in the field of
lightweight structures that are adaptable, changeable
and carefully use limited resources are as relevant today
as when they were first proposed over 60 years ago.
Munich Olympic
Stadium
Munich, Germany
Tuwaiq Palace
Saudi Arabia
Tuwaiq Palace
Saudi Arabia
2016: Alejandro Aravena
● Nationality: Chile
● Jury citation:
○ What really sets Aravena apart is his commitment to
social housing. Since 2000 and the founding of
ELEMENTAL, he and his collaborators have
consistently realized works with clear social goals.
Calling the company a “Do Tank,” as opposed to a
think tank, they have built more than 2,500 units
using imaginative, flexible and direct architectural
solutions for low cost social housing.
UC Innovation
Center
Santiago, Chile
Quinta Monroy
Housing
Iquique, Chile
Villa Verde Housing
Constitución, Chile
2017: RCR Arquitectes
● Rafael Aranda, Carme Pigem, and Ramon Vilalta
● Nationality: Spain
● Jury citation:
○ All their works have a strong sense of place and are
powerfully connected to the surrounding landscape. This
connection comes from understanding – history, the
natural topography, customs and cultures, among other
things – and observing and experiencing light, shade,
colors and the seasons.
Rural House
Girona, Spain
La Lira Theatre
Girona, Spain
La Lira Theatre
Girona, Spain
Soulages Museum
Rodez, France
End
Bibliography