Ar Theory 1 N 2 Compiled

7/4/2020
Architecture as the Highest form of Art

Ar. Franz Allan M. Rodriguez
HOLY ANGEL UNIVERSITY

SCHOOL OF ENGINEERING & ARCHITECTURE
Department of Architecture
Lecture Content in Theory of Architecture 1 (ARTHEORY1)
1st Semester, Curriculum 2018-2019
Target Program Outcomes (PO):

(a) create architectural solutions by applying knowledge in history,
theory, planning, building technology and utilities, structural concepts
and professional practice.
(i) effectively communicate orally and in writing using English or Filipino
Week 2 Learning Output:

•Determine the various theorists and philosophers that influenced the
world’s view in Architecture
• Recognize Architecture as the highest form of Arts
• Identify the facets Architecture being an outline of art, science &
profession
• Elaborate Vitruvius’ view on Architecture; Utilitas, Firmitas & Venustas.
• Understand Vitruvius’ views as reflected in his book; Ten Books on
Architecture
• Display effective communication skills
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ART
•the expression or application of
human creative skill and imagination
•typically in a visual form such as

painting or sculpture, producing works
to be appreciated primarily for their
beauty or emotional power
Art is an expression of one’s personal

emotions that cannot be confined to
one definition. It takes on endless
forms and can be interpreted in
multiple ways through diverse
perspectives - Avery Singer, 3rd Year at
University of Virginia & Reality Television Personality
Art is imagination in motion. Taking

something from the brain and
transforming it into something
tangible; something that can be
questioned, loved, hated, moving, and
easily remembered or forgotten.
Without art there is no point in life and
without life art could not flourish - Brad
Bass, Broadway Actor (Wicked, Memphis, Jersey
Boys)
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Art is an alternative world, one we create

that stands in contrast to the world we
regularly live in, which is messy, unplanned,
unedited, uninspired, unfocused, draining,
largely immoral....Art is the best of our
imaginings, shaped to share. - Vanessa Ochs, Creative
Writing Fellowship Recipient from National Endowment for the
Arts
Art reflects humanity and provides a

means to process unspeakable joy and
unbearable pain. It is an avenue to
express what words can’t convey. In
that sense, art can be more real, more
truthful, than reality. - Lucinda McDermott,
Award Winning Actress & Playwright
Major constituents of the

arts include:
•Literature (including
drama, poetry, and prose);
"acquaintance with letters"
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•Performing arts
(among them
dance, music, film
and theatre) and;
•Visual arts (including

architecture, ceramics,
drawing, painting,
photography, and sculpting).
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"Architecture is the highest form of art by definition.

The mother of all arts, it's said. A lot of people do buildings. That
doesn't mean they put up architecture. There's a huge difference.
And the missing link is, is it a work of art?" – Harry Seidler
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ETYMOLOGY
GREEK :
ARCHI = first or
original
TECT = the ability to

put things together
Sanskrit root
ARTS = everything
in its right place
ARCHITECTURE
It is the ART The product or result of architectural
architecture work: buildings collectively
and SCIENCE A style or method of building

architecture characteristic of people, place or
time.
of DESIGNING The profession that embodies
“Architecture”
architecture
and CONSTRUCTING The conscious act of forming

architecture things resulting in unifying or
coherent structure.
BUILDINGS
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Marcus Vitruvius Pollio (born c. 80–70 BC, died

after c. 15 BC) was a Roman writer, architect and
engineer. He is best known as the author of the multi-
volume work De Architectura ("On Architecture").
VITRUVIAN VIRTUES:
•UTILITAS - it should be useful and function well for
the people using it. (Functional & Utilitarian)
•FIRMITAS - it should stand up robustly and remain
in good condition. (Strong & Stable)
•VENUSTAS - it should delight people and raise their
spirits. (Aesthetically Appealing)
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DE ARCHITECTURA :
Excerpts from De architectura:

1. The architect should be equipped with
knowledge of many branches of study and
varied kinds of learning, for it is by his
judgment that all work done by the other
arts is put to test. This knowledge is the
child of practice and theory. Practice is the
continuous and regular exercise of
employment where manual work is done
with any necessary material according to
the design of a drawing. Theory, on the
other hand, is the ability to demonstrate
and explain the productions of dexterity
on the principles of proportion.
2. Architecture depends on Order,
Arrangement, Eurythmy, Symmetry,
Propriety, and Economy.
DE RE AEDIFICATORIA
De re aedificatoria (English: On the Art of
Building) is a classic architectural treatise written by
Leon Battista Alberti between 1443 and 1452.
Although largely dependent on Vitruvius' De
architectura, it was the first theoretical book on the
subject written in the Italian Renaissance and in 1485
became the first printed book on architecture. It was
followed in 1486 with the first printed edition of
Vitruvius.
Alberti’s Ten Books consciously echoes

Vitruvius' writing, but he also adopts a critical
attitude toward his predecessor. In his
discussion, Alberti includes a wide variety of
literary sources, including Plato and Aristotle,
presenting concise version of sociology of
architecture.
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INFLUENCES ON ARCHITECTURAL
DESIGN
Physical Needs
Self Preservation – Basic Needs
include Food, Shelter & Clothing (Others
include Power, Water, Transportation,
Ecological Balance, Education, Sports,
Medical, Livelihood).
Reproduction – for the population to

increase & continue in existence.
SHELTER – something that covers,

protects, or defends as a root that shields
one from the elements & changes.
INFLUENCES ON
ARCHITECTURAL DESIGN
The modern man’s shelter shall
have:
a. Necessities – warm, dry house

with glazed doors, windows,
sanitation & permanency.
b. Conveniences – rooms shall be

arranged economically.
c. Comforts – must contain the

labor saving devices which
provide heat, ventilation & instant
communication. The furnishings
are designed for comfort.
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INFLUENCES ON
Emotional Needs
The emotional reactions of man have to do
with the instincts stirred by the forces of
RELIGION & ART and with the desire to
indulge in RECREATION.
Intellectual
Needs
EDUCATION, SCENCE &
GOVERNMENT, demand a
proper Architectural Setting.
Intellect or reason alone
may erect a utilitarian
building; emotion will endow
it beauty & interest
INFLUENCES ON
ACTIVITIES OF MAN
•Desire for PRESERVATION – in obtaining food, shelter, clothing &
security, civilized man must have commerce, government &
religion.
e.g. residential, commercial, religious & government
buildings.
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INFLUENCES ON
ACTIVITIES OF MAN
•Desire for RECOGNITION – this is a desire for prestige, pride &
ambition, social status, physical supremacy, intellectual
attainment, personal or civic, result in the struggle for position.
e.g. Skyscrapers & Landmarks; Paris has the Eiffel Tower, New
York has the Statue of Liberty, Sydney has the Sydney Opera
House, Greece has the Parthenon, et. al.
INFLUENCES ON
ACTIVITIES OF MAN
•Desire for RESPONSE – this arises from his wish for love,
friendship & sociability.
e.g. semi public buildings with banquet halls & ball rooms,
living rooms, mall streets, etc..
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INFLUENCES ON
ACTIVITIES OF MAN
•Desire for SELF-EXPRESSION – This is the urge of man to assert
himself as an individual.
e.g. theaters & museums
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The Architectural Systems & Orders: Form, Surface, Texture & Tone
Ar. Franz Allan M. Rodriguez


and professional practice
(b) effectively communicate orally and in writing using English or Filipino
•Identify the various types, properties and relationship of forms
• Draw a distinction between Visible & Invisible Structure
• Discuss the Basic elements of Architectural Design.
• Elucidate the relation of Form in Architecture; its variations, visual properties,
transformations & relationships.
• Determine the different spatial organizations.
• Analyze scenarios involving the highlighted topics to advance critical thinking &
abstract ability of each student.
• Analyze the relationship of forms and apply knowledge gained on succeeding
activities in the course
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THE VISIBLE & INVISIBLE STRUCTURE

•INVISIBLE STRUCTURE – refers to the plan.
The Plan is the beginning of a building. It is
the foundation upon which the scheme of
the structure rests.
•VISIBLE STRUCTURE – by enclosing space,
volume or mass is created. It is basically the
Form & the Surface.
THE •Organizational pattern,

ARCHITECTURE OF: relationships, hierarchy
Space •Qualities of shape, color, texture,
Structure scale, proportion
Enclosure •Qualities of surfaces, edges and
openings
ARCHITECTURAL
SYSTEMS
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ARCHITECTURAL SYSTEMS
A.3. Architecture must accommodate the
following programs:
•User requirements, needs, aspirations
•Socio-cultural factors
•Economic factors
•Historical tradition & precedents
A.4. Architecture must be compatible to its

context:
•Site and environment
•Climate: sun, wind, temperature and
precipitation
•Geography: soils, topography, vegetation and
water
•Sensory and cultural characteristics of the
place
BASIC ELEMENTS OF DESIGN
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Point - The two ends of a line

•The intersection of two lines
•The meeting of lines at the corner
of a plane or volume
•The center of a field
Line - A point extended becomes a

line with properties of:
 Length
 Direction
 Position
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Plane - A line extended becomes a

plane with properties of:
 Length and width
 Shape
 Surface
 Orientation
 Position
 Base, Wall & Overhead Plane
FORM – In an Architectural discussion, the

accepted definition of form deals with shape &
when the figure is three-dimensional, it becomes
MASS.
•In Architectural Composition, mass is more
important than surface. In the design of a building,
“we should proceed from the general to the
particular”.
•General = massing ; Particular = roof, windows,

doors, walls & details.
•MASS – can be vigorous or weak; it can have
vitality & strength, or it may be indecisive &
faltering. If it is correctly composed in an arresting
manner, mass alone will arouse a definite
emotional reaction.
•VOLUME – a plane extended in a direction other
than its intrinsic direction becomes a volume.
Conceptually, a volume has 3 dimensions;
length, width & depth.
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VISUAL PROPERTIES OF FORM

1. Shape: the principal identifying characteristic
of form; shape results from the specific
configuration of a form’s surfaces & edges.
•In Architecture, we are concerned with the
shapes of:
planes (floor, walls, ceilings) that encloses
the space.
openings (windows, doors) within a spatial
enclosure.
the silhouettes of building forms
PRIMARY SHAPES
The Circle – a series of points arranged equally
& balanced about a point.
- the circle is centralized, introverted figure
that is normally stable & self centering in its
environment.
- placing a circle in the center of a field will
reinforce its natural centrality.
- circular plans include: Stonehenge;
Tempietto, San Pietro in Montorio
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PRIMARY SHAPES
The Triangle – signifies stability. When resting
on one of its sides, the triangle is an extremely
stable figure.
- It is used in construction and
design of every description. We see it in the
framework of buildings and bridges. Because it is a
rigid figure, the shape of a triangle cannot be
changed when pressure is applied to it. For this
reason the triangle provides an excellent support
for many structures.
Ex: Trusses on roof; Structural frames.
PRIMARY SHAPES
The Square – represents the pure & the
national. It is static & neutral figure having no
preferred direction. Like the triangle, it is stable
when resting on one of its sides, & dynamic when
standing on one of its corners.
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PLATONIC SOLIDS
Sphere– centralized & highly concentrated
form. It generated from a circle & from any
viewpoint, it retains its circular shape. Example:
Geodesic Dome by Sir Buckminster Fuller
PLATONIC SOLIDS
Cylinder– is a centralized about the axis
defined by the centers of its two circular faces.
It can be extended easily along the axis. The
cylinder is a stable form, if it rests on one of its
circular faces; becomes unstable when its
central axis is inclined.
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PLATONIC SOLIDS
Cone– is generated by rotating an equilateral
triangle about its vertical axis. Like a cylinder, it
is highly stable when it rests on its circular base;
unstable when tipped or overturned
PLATONIC SOLIDS
Pyramid– this, unlike a cone, is relatively
hard & angular
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PLATONIC SOLIDS
Cube– prismatic form that has 6 square faces
of equal size, and twelve edges of equal length.
VISUAL PROPERTIES OF FORM

 Size: the real dimensions of form, its
length, width & depth; the scale is
dependent by its size relative to other
forms in its context.
 Color: the hue, intensity & tonal value
of a form’s surface; color is the
attribute that most clearly
distinguishes a form from its
environment.
 Texture – surface characteristic of a
form
 Position – it is the form’s location
relative to its environment.
 Orientation – A form’s position
relative to the ground plane.
 Visual Inertia – the degree of stability
& concentration of a form.
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THE TRANSFORMATION OF FORM

Dimensional Transformation – a form can be
transformed by altering one or more of its dimensions
& still retain its family identity.

Subtractive Transformation – a form can be
transformed by subtracting a portion of its volume.
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Additive Transformation – a form can be
transformed by the addition of elements to its volume.
The nature of the additive process will determine
whether the identity of the initial form is retained or
altered.
FOUR BASIC GROUPING OF FORMS

SPATIAL TENSION – this type of relationship requires that the
2 forms be relatively close to each other, or share a common
visual trait such as shape of material of color.
EDGE TO EDGE – two forms share a common edge, and can
pivot about that edge.
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FOUR BASIC GROUPING OF FORMS

FACE TO FACE – this type of relationship requires the two from
to have flat, planar surfaces that are parallel to each other.
INTERLOCKING VOLUMES – two forms interpenetrate each
other’s space.
FIVE DIAGRAMS OF FORMS

CENTRALIZED FORMS – Consists of a number of secondary forms
clustered about a dominant, central, parent forms.
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LINEAR FORMS – Consists of forms arranged sequentially in
arrow.

RADIAL FORMS – Are composition of linear forms that extend
outward from central forms in a redial manner.
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CLUSTERED FORMS – Consist of forms that are grouped together
by proximity or the sharing of a common visual trait.

GRID FORMS – modular forms regulated by three-dimensional grids.
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Principles of Design & Composition


•Distinguish the differences of contrast, proportion, scale, balance, rhythm, unity &
character
• Apply the elements of composition with play of relationships within & without
the structure
• Draw & associate the effects of each element as a unit & part of a whole
composition
•Compose sketches manifesting some of these principles in composition.
• Develop critical thinking & abstract ability
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GOOD TASTE – is a discerning judgment which one exercises in

connection with the better things of life. Taste must be based upon
knowledge of the rules of proper conduct with respect to our
actions & of the principles of good composition in regard to our
artistic endeavors.
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1.A
2.B
3.A
4.B
5.A
6.A
7.A
8.B
9.A
10.B
11.B
12.B
13.A
14.A
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CONTRAST
It is the difference & variety. Contrast is the opposite of Similarity.
If similarity exists to a marked degree, the effect is monotony or a
state of being monotonous.
CONTRAST
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CONTRAST
CONTRAST
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CONTRAST
CONTRAST
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CONTRAST
CONTRAST
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PROPORTION
it deals entirely with relationships. It is
evident by a comparison which the eye
makes between the size, shape & tone of
various objects or parts of composition.
PROPORTION
Golden Section – defined geometrically as a line that is divided such that the
lesser portion is to the greater as the greater is to be the whole.
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PROPORTION
0, 1, 1, 2, 3, 5, 8, 13, 21, 34, 55, 89, 144, 233,

377, 610, 987, 1597, 2584, 4181, 6765,
10946, 17711, 28657, 46368, 75025, 121393,
196418, 317811, ...
- The Fibonacci
Series is a
sequence of
numbers first
created by Leonardo
Fibonacci (fi-bo-na-
chee) in 1202.
PROPORTION
Golden Rectangle – is one whose side lengths are in the golden ratio or
approximately 1:1.618. A distinctive feature of this shape is that when a square section
is removed, the remainder is another golden rectangle; that is, with the same aspect
ratio as the first.
Example: The longer

dimension of a
rectilinear room is 12
meters (x), using the
Golden rectangle rule,
determine the length of
the other side. y/x
Answer: y = 7.4156
meters
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PROPORTION
PROPORTION Classical Architecture’s

Proportion
•The Equilateral Triangle has
long been accepted as a form
with good proportions. Its center
of gravity is low, & it tapers in a
regular manner from the base of
the composition.
•Classical & renaissance
buildings show that arched &
rectangular opening are two
diameters high.
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PROPORTION
Ken Modular Grid – Japanese way of
proportioning using Tatami Mats which is
a standard 3x6 shaku.
1 mat= 3 x 6 shaku or
½ x 1 ken
Ht of room = no. of mats x 0.3
PROPORTION
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PROPORTION
PROPORTION
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PROPORTION
Anthropometrics –
literally meaning
measurement of humans.
Average Filipino
Height: 157.65 cm
• Male: 163.5 cm (5'

4.4")
• Female: 151.8 cm (4'
11.8")
SCALE
It is a fixed proportion used in determining measurements &

dimensions. It basically refers to sizes.
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SCALE
Generic Scale – the size of the building element relative
to other forms in its context.
SCALE
Human Scale – the size of
the building element or
space relative to the
dimensions & proportions
of human body.
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SCALE
Human Scale – the size of
the building element or
space relative to the
dimensions & proportions
of human body.
BALANCE
In architecture, it means that the form is at the state
of equalization or at equilibrium.
Axis- line established by 2

points in space about which
forms and spaces can be
arranged; regulates movement.
Although imaginary, this is an
invisible powerful regulating
device that may imply
symmetry
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BALANCE
Symmetrical balance – Either can revolve about a Center line or
Central axis, Formal or Radial. It gives a monumental effect.
BALANCE
Symmetrical balance
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BALANCE
Unsymmetrical /
Asymmetrical balance –
more subtle & elusive but the
most difficult to attain. It
attempts to satisfy the eye
without any effort to place
equal masses at similar
distances from the center of
composition.
BALANCE
Unsymmetrical / Asymmetrical balance
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BALANCE
Gravitational – Picturesque balance. Composition is at a
complete adaptation to its surroundings.
RHYTHM
It refers to movement,
repetition & spacing.
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RHYTHM
Unaccented Rhythm – if
equally spaced patterns
are introduced on the
unbroken wall, then
regular repetition is
present.
RHYTHM
Accented Rhythm –
if details are arranged
in such a manner that
some are more
important than others,
then the eye grasps
the significance of this
relationship & pauses
longer in
contemplating the
larger elements.
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UNITY
if the earlier principles of Hierarchy – it may
composition are met, then there is be defined by creating
harmony. imageability, interest,
association, emotional
effects, reflecting use
and reflecting values.
The principle of
hierarchy implies that
in most architectural
composition, real
differences exist
among their forms &
spaces.
UNITY
Exceptional Size - a form may dominate an architectural
composition by being significantly different in size.
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UNITY
Unique Shape – forms & spaces can be made visually dominant
by differentiating their shape.
UNITY
Strategic Location – strategically
placed to call attention to
themselves as being the important
elements in a composition.
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CHARACTER
it refers to the expression of the building.
Characters in Architecture is derived from
three types (3). They are characters from:
1. Function Character – use of the building
2. Association Character – influence of
traditional types.
3. Personality – human quality or emotional
appeal
CHARACTER
Personality of Character with regards to application of masses,
lines & color treatment:
•Heavy Masses -------- Sedate (Composed & Dignified)
•Straight Lines --------- Sturdiness (Masculine Effect)
•Horizontal Lines ------ Repose (Rest, Peace) Stability, Comfort, &
Widening Effect
•Vertical Lines ---------- Strength (Power, Vitality, Active,
Inspirational, Monumentality)
•Diagonal Lines -------- Movement, Vigor & Speed
•Irregular Lines -------- Informal treatment or setting
•Curved Lines ---------- Grace (Refinement, Feminine, Emotional,
Continuity & Flexibility)
•Bright Colors ---------- Cheerful, Conspicuous, Attractive,
Advancing Effect.
•Cool Colors ------------ Restful, Suggests distance
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CHARACTER
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Visual Acuity and Perception


•Compare & contrast the pros & cons of one scheme with another before
finalizing or concluding
•Develop the student’s skill in determining possible & impossible figures
(i.e. forms & illustrations, etc.)
•Recognize the possible visual illusions that manifests on an architectural
design
•Develop critical thinking & communication skill
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READ:
fi yuo cna raed tihs, yuo hvae a sgtrane mnid, too.
Cna yuo raed tihs? Olny 55 plepoe tuo fo 100 anc.
i cdnuolt blveiee taht I cluod aulaclty uesdnatnrd waht I was

rdanieg.
The phaonmneal pweor of the hmuan mnid, aoccdrnig to a
rscheearch at
Cmabrigde Uinervtisy,
it dseno't mtaetr in waht oerdr the ltteres in a wrod are,
the olny iproamtnt tihng is taht the frsit and lsat ltteer be in
the rghit pclae.
The rset can be a taotl mses and you can sitll raed it whotuit a
pboerlm.
Tihs is bcuseae the huamn mnid deos not raed ervey lteter by
istlef,
but the wrod as a wlohe.
Azanmig huh?
yaeh and I awlyas tghuhot slpeling was ipmorantt!
If you can read this, your brain is 50% faster than those who can't
FINISHED FILES ARE THE

RESULT OF YEARS OF
SCIENTIF IC STUDY
COMBINED WITH THE
EXPERIENCE OF YEARS.
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HOW MANY F’s DO YOU SEE?

There are six F's in the sentence.
•A person of average intelligence finds three of

them.
•If you spotted four, you're above average. If you
got five, you can turn your nose at most anybody.
•If you caught six, you are a genius.
HOW MANY CUBES ARE THERE?
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HOW MANY COLORS WERE USED?
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Perception – it is the
process by which we
organize & interpret the
patterns of stimuli in our
environment, the
immediate intuitive
recognition, as an act of
aesthetic quality.
Acuity – it increases with

the increase in the
intensity of illumination.
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Perception
Perception
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Spatial Perception
Man uses two eyes for the perception of objects in nature & continually shifts
his focus on attention. In so doing, two different types of vision are used:
B.1.1. Stereoscopic - is the ability to overlap views, which are slightly

different, into one image. The visual process created an illusion of a 3-
dimensional depth making it possible to judge distances.
B.1.2. Kinesthetic – man

experiences space in movements
of the eye from one part of a
whole work of art or another.
Space is experienced while
viewing a two-dimensional
surface because we
unconsciously attempt to
organize its separate parts so
that they can be seen as a
whole.
Figureground
Figureground – a phenomenon
wherein drawings consisting
black lines, any line which
surrounds an area, and which is
recognized as representing an
object is quickly picked by the
observer.
We always perceive the ground

side as being shapeless and
extended behind the figure, never
seeing both shapes simultaneously.
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Figureground
Figureground
This ambiguous image

shows either a lady peering
at herself in her mirror, or a
grinning skull. To see the
skull, back up a distance
from the picture.
Entitled "All Is
Vanity", this certainly
is one of the most famous
optical illusions of all time.
Drawn by Charles Allen

Gilbert in 1892, the
illustration was not seen by
the mass public until 1902
when it appeared in a
magazine.
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Figureground
Impossible Figures
Impossible Figures - is a type
of optical illusion consisting of
a two-dimensional figure which
is instantly and subconsciously
interpreted by the visual
system as representing a
projection of a three-
dimensional object although it
is not actually possible for such
an object to exist (at least not
in the form interpreted by the
visual system).
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Impossible Figures
Impossible Figures
Escherian Stairwell
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Impossible Figures
Relativity (M. C. Escher) Waterfall (M. C. Escher)
Impossible Figures
The Penrose triangle, also known

as the Penrose tribar, is an impossible
object. It was first created by the
Swedish artist Oscar Reutersvärd in
1934.
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Visual / Optical Illusions

Visual or Optical Illusions - characterized by visually perceived images
that differ from objective reality. The information gathered by the eye is
processed in the brain to give a perception that does not tally with a physical
measurement of the stimulus source.
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There are three main types: literal optical
illusions that create images that are different
from the objects that make them,
physiological ones that are the effects on the
eyes and brain of excessive stimulation of a
specific type (brightness, color, size, position,
tilt, movement), and cognitive illusions, the
result of unconscious inferences.
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Trompe-l'œil - is an art technique
involving extremely realistic imagery
in order to create the optical
illusion that the depicted objects exist
in three dimensions. Forced
perspective is a comparable illusion in
architecture.
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Perception of Space, Depth & Distance

An important feature of our perception of depth and solidity of objects is
constituted by the shadows which are casts upon parts of them by the general
illumination. Normally SHADOWS appear on the receding parts of object &
indicates recession & hence solidity.
4 Types of Monocular Cues in depth perception:

1. Superposition – If the object appears to be cut off the view of
another, we usually perceive the first objects as nearer.
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2. Apparent Magnitude & Relative Size – If there is an array of like objects
of different sizes, the smaller ones are perceived as being farther away.

3. Height in Place – As we look along a flat plane, objects farther away appear to
be higher, so that we can create an impression of depth for objects of the same
size by placing them on different heights.
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4. Texture – For irregular surfaces such as rocks or waving surfaces of the ocean,
there is gradient of texture with distance so that the ‘grain’ becomes finer as
distances becomes greater.
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Color Theory, Schemes and Psychology


•Determine the various psychological implications of color both on the
exterior & interior application of a building
• Classify the appropriate colors applicable on specific structures
• Validate the usage of colors on existing structures, interior & exterior
• Elaborate how to use the color wheel
• Elaborate the proper application of color schemes
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COLOR this is a
phenomenon of light &
visual perception that
maybe described in
terms of an individual’s
perception of hue,
saturation & lightness
for objects, & hue,
saturation, &
brightness of light
sources.
CHROMATICS – The
Science of Colors.
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TERMS TO KNOW
Hue: Another name for color
The term 'hue' denotes color, any color. It means the name of a color and can be used interchangeably with the
word 'color'. Each hue in the spectrum has its own characteristic. Some are bright, some are dull; some are dark,
some light, some are strong, some weak.
Chroma: Intensity or saturation

of color
Value: The lightness or darkness
of a color.
Tint: Color + White
Tone: Color + Grey
Shade: Color + Black
Key Color: Dominant color in a color
scheme or mixture.
Red - is a very aggressive color. It is not often used in large areas for
bedrooms as it is a stimulating color, but used to highlight and create the
element of romance, love and passionate luxury through the use of drapery,
bed linen and accessories. Red is a vibrant color, a powerful color. It is good for
drapes, Lobby, etc.
Psychology:
Warm, Stimulate, Generate Aggression, Angry, Assertive,
Exciting, Strength, Excitement, Vitality, Physical Power,
Flatters Skin Color, Advances, Luxury, Power,
Danger Signal, Stop Signal, Arouses, Hot, Passionate,
Rich, Celebratory, Luck, Love, Romance, Courage, Fire,
Vigorous, Luxury, Bold, Brave, Increases Blood Pressure,
Increases Respiratory Rate, Aids Digestion,
Increases Strength, Bullying, Physical, Impulsive,
Sensuous, Extreme, Athletic.
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RED
Hues of Red
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Blue – the word itself is derived from the Old French word bleu.
- it’s the color of intellectual activity & influence the mood
& feelings evoked in a space.
- It is the ideal color for reception areas as it is formal,
conservative and balancing.
Psychology:
Cool, Tranquilizer, Healing, Peace Bringing Properties,
Relaxing, Restful, Openness, Expansiveness, Sedative,
Formality, Water Association, Fresh, Airy,
Sense Of Wellbeing, Refreshing, Lowers Blood
Pressure, Justice, Slows Respiratory Rate,
Antidote For Red, Conceptual, Responsible, Serenity,
Loyalty, Dogmatic, Pragmatic, Rigid, Manipulative,
Conservative, Authoritative, Smart, Balancing,
Masculine or Feminine, Spatial, Heavenly.
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BLUE
Hues of Blue
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Yellow - is the happiest and cheerful color to use in interior design and
decorating.
Psychology:
Sunshine, warmth, fun, happiness, warning,
friendship, caution, slow, intelligence, cowardice,
love, animal crossing, Mardi Gras, summer, lemons,
Easter, autumn, electricity, liberalism, hope,
optimism, imagination, curiosity
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YELLOW
Hues of Yellow
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Green– the secondary color which is a product of blue & yellow.

- it has a nerve calming effect and is ideal in bathrooms and bedrooms as it
has relaxing and calming properties.
- It can be used with a wide brush, and highlighted with bold accents, just
like flowers popping out from under their leaves.
Psychology:
Cool, Relaxing, Restful, Discreet, Security, Harmony,
Calming, Steady Nerves, Balance, Elegant, Sophisticated,
Envy, Jealousy, Inexperience, Quietly Social, Wealth,
Refreshment, Compassion, Rejuvenation, Balance,
Growth, Birth, Expansiveness, Moderation, Conventional.
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GREEN
Hues of Green
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Violet– the secondary color which is approximately nearer to blue.

- Violet is a spectral color which is closer to blue, while Purple is a
combination of red and blue or light violet. The purples are colors that
are not spectral colors – purples are extra-spectral colors.
- Violet is great for girls bedrooms as it is peaceful and calm.
- works well in working or learning areas.
Psychology:
Well Balanced, Restful, Promotes Peace And
Calm, Serene, Regal, Dignified, Elegance, Day Dreaming,
Spiritual, Royalty, Supremacy, Quietness, Reverence, Lowers
Blood Pressure, Internal Dialogue, Philosophical,
Thinking, Creativity, Mourning.
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VIOLET
Hues of Violet
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Orange– the secondary color which occurs between red and yellow in the
visible spectrum.
- use where there will be large congregations of people as it decreases
irritability and hostility and improves social behavior.
- useful in large learning institutions like universities and schools.
- popular color choice for teenager children’s bedrooms as it is cheerful,
happy and active and has anti depressive properties.
Psychology:
Warm, Anti Depressant, Happiness, Joyfulness, Cheerful,
Assertive, Dynamic, Spontaneous, Liveliness, Welcoming,
Social, Pleasure Seeking, Extroverted, Exuberance,
Decreases Irritability And Hostility, Emotional, Active,
Boldness, Improves Social Behavior, Induces Appetite.
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ORANGE
Hues of Orange
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Black– the color of objects that do not emit or reflect light in any part of the visible
spectrum; they absorb all such frequencies of light. Although black is
sometimes described as an "achromatic", or hue-less, color, in practice it
can be considered a color.
Psychology:
Black is the color of authority and power. It is popular in fashion because it makes people
appear thinner. It is also stylish and timeless. Black also implies submission. Priests wear black
to signify submission to God. Some fashion experts say a woman wearing black implies
submission to men. Black outfits can also be overpowering, or make the wearer seem aloof or
evil.
White– a color, the perception of which is evoked by light that stimulates all three
types of color sensitive cone cells in the human eye in nearly equal amounts and with
high brightness compared to the surroundings.
Psychology:
Brides wear white to symbolize innocence and purity.
White reflects light and is considered a summer color.
White is popular in decorating and in fashion because it is light,
neutral, and goes with everything. However, white shows dirt
and is therefore more difficult to keep clean than other colors.
Doctors and nurses wear white to imply sterility.
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Color Wheel - A color circle, based on red, yellow and blue, is traditional in the field
of art. Sir Isaac Newton developed the first circular diagram of colors in 1666. Since
then, scientists and artists have studied and designed numerous variations of this
concept.
Harmony can be defined as a pleasing arrangement of parts, whether it be music, poetry,

color, or even an ice cream sundae.
In visual experiences, harmony is something that is pleasing to the eye. It engages the
viewer and it creates an inner sense of order, a balance in the visual experience. When
something is not harmonious, it's either boring or chaotic.
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WHAT IS A COLOR SCHEME

A Color Scheme is a combination of colors that harmonize with each
other.
Mono-chromatic: Using one color (hue) throughout, utilizing that
colors various tints, tones and shades. When using a mono-
chromatic scheme using multiple textures creates character and
maintains unity.
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other.
Analogous: Using three colors (hues) that are neighboring each
other on the color wheel. These schemes can be warm or cool since
colors are adjacent on the color wheel.
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other.
Complementary: Using two colors (hues) that are opposites such as
red and green or violet and yellow. Choose varying tints tones and
shades which will give the bold dramatic effect you are looking for.
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A Color Scheme is a combination of colors that harmonize with each other.
Split - Complementary: The split-complementary color scheme is a
variation of the complementary color scheme. In addition to the base color,
it uses the two colors adjacent to its complement.
This color scheme has the same strong visual contrast as the
complementary color scheme, but has less tension.
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other.
Triadic: Using three colors (hues) that are equal distance apart on
the color wheel, such as red, yellow and blue or using secondary
colors yellow-green, blue-violet, and red-orange.
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other.
Tetradic: The rectangle or tetradic color scheme uses four colors
arranged into two complementary pairs.
This rich color scheme offers plenty of possibilities for variation.
The tetradic color scheme works best if you let one color be dominant.

other.
Achromatic: use only black, white and grey, they posses no other
hue. They are restrained and sophisticated.
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TIPS on choosing schemes:

1. Walls, floors, ceiling - People feel more
comfortable in room with light ceiling, medium
walls and dark floors and it corresponds to the
color of sky, foliage and earth respectively.
2. Proportions of the room - If a room is too large,
the effect can be subdued by using dark colors
and complementary color schemes. If the room is
too small, it can be made to appear larger by the
use of light colors and monochromatic and
analogous color schemes.
3. Larger areas on façade should be painted with
light colors with small horizontal bands painted in
dark colors.
4. Choice of color scheme also depends upon the
nature of projects. For residential areas,
harmonious color schemes (monochromatic or
analogous) are preferred.
5. In the Philippines, warm colors are much
preferred at the exterior & landscape
complements the overall effect of the building.
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LMD: Light, Medium and Dark - How you use these colors can affect the overall
appearance of your room.
• Light- Is the Background- this is usually easy to achieve since most rentals
are equipped with light to off-white walls.
• Medium- Large furniture and windows - Since the color of these objects
will blend with the above lighter selection, the medium furniture will
ground the room and give it a foundation.
• Darker- Accessories. Since your eye is drawn to a darker more intense color
you will be able to arrange you accessories in a manner to guide the eye
flowing through your room.
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Anthropometrics & Ergonomics


•Distinguish the significance of spatial dimensions in architectural design
• Compare & contrast the pros & cons of one scheme with another before
finalizing or concluding
• Develop the student’s skill in analyzing dimensions used in Architectural
practice
• Develop critical thinking & communication skill
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st
1 Semester, Curriculum 2018-2019
Class Activity:
Theme: Anthropometrics
In order to fully appreciate the course subject, students are required to bring a cut-out
of a Manila paper with and area of 1.00sq.m. (1mx1m), additional Manila papers, a
measuring tape and scotch tape. This will be part of class discussion only. Activity after
Slide 17. Room sizes and passageways would be explained through this class activity.
Anthropometry / Anthropometrics
Anthropometry - This is the

branch of ergonomics that deals
Anthropometrics
with body shape and size. It is a

description of the physical variation
in humans by measurement; a basic
technique of physical anthropology.
Anthropometrics is the practice of
anthropometry and involves the
collection, analysis and application of
anthropometric data.
Anthropometry simply means "measurement

of people". The word is derived from the Greek
‘anthros’ meaning man, and ‘metron’
meaning measure.
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Anthropometrics
Anthropometry Data
A. Stature - the vertical distance from the floor to the
Anthropometrics
vertex (i.e. the crown of the head)
Applications: As a cross-referencing dimension for

comparing populations and estimating data; defines the
vertical clearance required in the standing workspace;
minimal acceptable height of overhead obstruction such
as lintels, roof beams, light fitting, etc.
If you ask an adult person to tell you their ‘height, you
must expect them to overestimate by an average of
about 25mm.”
B. Shoulder Height - Vertical distance from the floor to

the acromion (i.e. the bony tip of the shoulder).
Applications: The approximate center of rotation of the

upper limb and, hence, of use in determining zones of
comfortable reach; reference datum for location of
fixtures, fittings, controls etc.
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Anthropometry Data
C. Elbow Height - Vertical distance from the floor to the
Anthropometrics
radiale. (The radiale is the bony landmark formed by the
upper end of the radius bone which is palpable on the
outer surface of the elbow.)
Applications: An importance reference datum for the

determination of work-surface heights, etc.
D. Hip Height - Vertical distance from the floor to the

greater trochanter (a bony prominence at the upper end
of the thigh bone, palpable on the lateral surface of the
hip).
Applications: Center of rotation of the hip joint, hence the

functional length of the lower limb.
Anthropometry Data
E. Knuckle Height - Vertical distance from the floor to
Anthropometrics
metacarpal III (i.e. the knuckle of the middle finger).
Applications: Reference level for handgrips; for support

(handrails, etc.) approximately 100mm above knuckle
height is desirable. Handgrips on portable objects should
be at less than knuckle height. Optimal height for exertion
of lifting force.
F. Sitting Height - Vertical distance from the sitting

surface to the vertex (i.e. the crown of the head).
Applications: Clearance required between seat and

overhead obstacles.
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Anthropometry Data
G. Sitting elbow height (also known as elbow rest
Anthropometrics
height)- Vertical distance from the seat surface to the
underside of the elbow.
Applications: Height of armrests; importance reference

datum for the heights of desk tops, keyboards, etc., with
respect to the seat.
H. Thigh thickness (also known as thigh clearance)-

Vertical distance from the seat surface to the top of the
uncompressed soft tissue of the thigh as its thickest
point, generally where it meets the abdomen.
Applications: Clearance required between the seat and

the underside of tables or other obstacles.
Anthropometry Data
I. Buttock-knee length- Horizontal distance from the
Anthropometrics
back of the uncompressed buttock to the front of the

kneecap.
Applications: Height of armrests; importance reference

datum for the heights of desk tops, keyboards, etc., with
respect to the seat.
J. Knee Height- Vertical distance from the floor to the

upper surface of the knee .
Applications: Clearance required between the seat and

the underside of tables or other obstacles.
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Anthropometry Data
K. Popliteal height - Vertical distance from the floor to
Anthropometrics
the popliteal angle at the underside of the knee where the
tendon of the biceps femoris muscle inserts into the lower
leg.
Applications: Reach dimension defining the maximum

acceptable height of the seat.
L. Shoulder breadth (bideltoid) - Maximum horizontal

breadth across the shoulders, measured to the
protrusions of the deltoid muscles.
Applications: Clearance at shoulder level.
Anthropometry Data
M. Hip breadth- Maximum horizontal distance across
Anthropometrics
the hips in the sitting position.
Applications: Clearance at seat level; the width of a seat

should be not much less than this.
N. Chest (bust) depth - Maximum horizontal distance

from the vertical reference plane to the front of the
chest in men or breast in women.
Applications: Clearance between seat backs and

obstructions.
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Anthropometry Data
O. Abdominal depth - Maximum horizontal distance
Anthropometrics
from the vertical reference plane to the front of the
abdomen in the standard sitting position.
Applications: Clearance between seat back and

obstructions.
P. Shoulder-elbow length - Distance from the

acromion to underside of the elbow in a standard sitting
position.
Anthropometry Data
Q. Elbow-fingertip length- Distance from the back of
Anthropometrics
the elbow to the tip of the middle finger in a standard

sitting position.
Applications: Forearm reach; used in defining normal

working area.
R. Upper limb length - Distance from the acromion to

the fingertip with the elbow and wrist straight
(extended).
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Anthropometry Data
S. Upper Limb length- Distance from the acromion to
Anthropometrics
the fingertip with the elbow and wrist straight (extended).
T. Head length - Distance between the glabella (the

most anterior point on the forehead between the brow
ridges) and the occiput (back of the head) in the midline.
Applications: Reference datum for location of eyes,

approximately 20mm behind glabella.
Anthropometry Data
U. Head Breath - Maximum breadth of the head above
Anthropometrics
the level of the ears.
Applications: Clearance
V. Span - The maximum horizontal distance between the

fingertips when both arms are stretched out sideways.
Applications: Lateral Reach
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Anthropometry Data
W. Elbow Span- Distance between the tips of the
Anthropometrics
elbows when both upper limbs are stretched out sideways
and the elbows are fully flexed so that the fingertips touch
the chest.
Applications: A useful guideline when considering ‘elbow

room’ in the workspace.
X. Weight - Nude body weight is measured by a physician scale
Applications: Mostly used in structural support for seats and body restraint
system.
Others Include: Hand & Foot Length & Breath, Grip Lengths, etc.
Factors affecting Anthropometric Data: HUMAN DIVERSITY
A. GENDER Differences - We can be
Anthropometrics
fairly sure that sex differences in stature

and related body dimensions most
differences in bodily proportions are almost
entirely biological in their origin, although
there may be a small overlay of differences
attributable to lifestyle, etc.
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B. ETHNIC Differences - An ethnic
Anthropometrics
group is a population of individuals who
inhabit a specified geographical
distribution and who have certain physical
characteristics in common which serve, in
statistical may be presumed to be
predominantly hereditary, although the
extent to which this is the case is
sometimes contentious.
For Example: Black Africans have

proportionally longer lower limbs than
Europeans; Far Eastern samples have
proportionally shorter lower limbs, the
difference being most marked in the
Japanese, less in the Chinese and Koreans
and least in the Thai and Vietnaese. These
differences of proportion occur
throughout the stature range.
C. GROWTH development- At birth
Anthropometrics
we weigh some 3.3kg, and we are 500mm

in length, of which our trunks represent
some 70%.
In the two decades that follow, our body

length increases between three- and
fourfold, our weight increases around 20-
fold and our linear proportions change so
that in the adult state the length of the
trunk accounts for only 52% of the stature.
However, the adult condition is by no

means stationary – our bodily proportions
are modified by our lifestyles and the
inevitable process of ageing
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D. SECULAR Trend- Human biologists
Anthropometrics
use the term ‘secular trend’ to describe
alteration in the measurable
characteristics of a population of human
being occurring over a period of time. Over
a period of at least a century biosocial
changes have been occurring in the
population of much of the world which
have led to:
-increase in the rate of growth of children;
-earlier onset of puberty, as indicated by

menarche (the onset of the menstrual cycle)
in girls and the adolescent growth spurt in
both boys and girls;
- increase in adult stature, with a possible

decrease in the age at which adult stature is
reached.
E. Social class and occupation –
Anthropometrics
In a fascinating study of primiparae (women

pregnant for the first time) in Abredeed.
Thomson (1959) found that stature was
stratified by the occupation of the subject’s
father, by her own occupation and her
husband’s occupation but remarkably, that
tall girls had a stronger tendency to marry
upwards, with respect to their father’s and
their own occupations, than did short ones.
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F. Ageing–
Anthropometrics
Longitudinal studies show that at around 40
years of age we begin to shrink in stature,
that the shrinkage accelerates with age,
and that women shrink more than men.
The shrinkage is generally believed to occur
in the intervertebral discs of the spine –
resulting in the characteristics round back
of the elderly.
Use Of Anthropometric Data
•The data should be reasonably representative of the population that
Anthropometrics
would use the item.
•The design features must accommodate a broad spectrum of

people.
•When items are designed for specific groups, the data used should
be specific for such groups.
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Anthropometrics Anthropometric Data (Average)
Anthropometric Data (Average)
Anthropometrics
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Ergonomics
Ergonomics is the science of
fitting workplace conditions and job
demands to the capabilities of the
working population. Effective and
Ergonomics
successful "fits" assure high
productivity, avoidance of illness
and injury risks, and increased
satisfaction among the workforce.
Ergonomics is
concerned with the
‘fit’ between the
user, equipment and
their environments.
Ergonomics
Aims of Ergonomics:
I. Comfort is much more than a

soft handle. Comfort is one of the
Ergonomics
greatest aspects of a design’s

effectiveness. Comfort in
the human-machine interface and
the mental aspects of the product
or service is a primary ergonomic
design concern.
Comfort in the human-machine

interface is usually noticed first. Physical
comfort in how an item feels is pleasing
to the user. If you do not like to touch it
you won't. If you do not touch it you
will not operate it. If you do not operate
it, then it is useless.
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Ergonomics
Aims of Ergonomics:
II. Efficiency - is quite simply

making something easier to do.
Ergonomics
Efficiency comes in many forms
however.
•Reducing the strength required

makes a process more physically
efficient.
•Reducing the number of steps in a
task makes it quicker (i.e. efficient)
to complete.
•Reducing the number of parts
makes repairs more efficient.
Ergonomics
Specialization in Ergonomics
A. Physical ergonomics - is concerned
with human anatomy, and some of the
anthropometric, physiological and bio
Ergonomics
mechanical characteristics as they relate to

physical activity.
Physical ergonomics is the human body’s responses to

physical and physiological work loads. Repetitive strain
injuries from repetition, vibration, force, and posture fall into
this category.
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Ergonomics
Ergonomics Physical ergonomics
Ergonomics
Example of Solution to a Physical Ergonomic Concern:
•Good posture - Be sure to sit all the way back in your chair. Your knees
Ergonomics
should be lower than or at the same level as your hips. Keep your feet
supported.
· Typing technique - Your arms should "float" over your keyboard - your
wrists/palms should not be resting on the desktop or even on a wrist rest
(unless you are breaking between typing spurts). Keep your wrists straight
and hands relaxed (this is true when using your pointing device, as well).
Hit the keys lightly.
· Placement - Your monitor should be at an arm's length away from you at

eye level (you should not have to tilt your head in any way to see the
screen). Keep your keyboard and mouse close together and within close
reach. Center your keyboard in front of you.
· Breaks - It is important to take lots of breaks. And these breaks are even
better if you do some stretching during them.
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Ergonomics
B. Cognitive ergonomics - concerned with mental processes, such
as perception, memory, reasoning, and motor response, as they affect
interactions among humans and other elements of a system. Examples
Ergonomics
include diagnosis, decision making, and planning. Cognitive ergonomics
aims at enhancing performance of cognitive tasks by means of several
interventions
C. Organizational ergonomics – it deals with the optimization of

systems. As such it is also known as Systems ergonomics.
Organizational ergonomics subjects include communication, work design,

shift (work hours) management, crew resource management, teamwork,
virtual organizations, telework, and quality management.
Ergonomics
Furniture
By definition: movable objects
intended to support various human
activities such as seating and
Ergonomics
sleeping.
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Ergonomics
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Space, Circulation &

Proxemics


•Distinguish the role & significance of zoning & activity
analysis
•Relate the importance of Proxemic distances to Architectural
space planning
•Assess the positive effects of studying the nature of spaces
before doing a schematic plan
•Develop critical thinking & abstract ability in spatial planning
& external considerations
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Planning for Potential Circulation

Circulation refers to the way people move through and interact with a
building. Solving problems in Architectural Design begins with the familiar study
of plan elements, which develops into consideration of interior & exterior areas.
5 Elements of Circulation:
•Approach – the distant view
•Entrance – from outside to inside.
•Configuration of the path – sequence
•Path – Space Relationship
•Pass by Spaces
•Pass through Spaces
•Terminate in a Space
•Form of the Circulation Space

Circulation - APPROACH “The Distant View”
Prior to actually entering a building’s Before passing into the interior of a
interior, we approach its entrance along a building, we have to approach its
path. This is the first phase of the entrance along a path
circulation system. This is the first phase of the circulation
system, when we are preparing to see,
experience, and use the spaces within a
building
The approach and entrance can vary in
duration from a few paces through a
compressed space, to a lengthy and
circuitous route.
The nature of the approach may
contrast with what is confronted at its
termination, or it may be continued on
into the building’s interior sequence of
spaces, obscuring the distinction
between inside and outside
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Frontal APPROACH
it leads directly to a building’s entrance.

Oblique APPROACH
path can be redirected one or more times to
delay and prolong the sequence of approach.
An oblique approach enhances the effect of

perspective on the front façade and form of a
building. The path can be redirected one or
more times to delay and prolong the sequence
of the approach
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Spiral APPROACH
it emphasizes the three dimensional form of a
building as it move around its perimeter.
A spiral path prolongs the sequence of

the approach and emphasizes the
three-dimensional form of a building
as we move around its perimeter
The building entrance might be
viewed intermittently during the
approach to clarify its position or it
may be hidden until the point of
arrival

Circulation
PORTALS or Gateways
Portals and gateways have traditionally
been means of orienting us to the path
beyond and welcoming our entry
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Entrance separates “here” from “there”. Entering into a defined field of
exterior space, a building or a room within a building involves the act of
penetrating a vertical plane that distinguishes one space from another and
separates, where you are, from where you are going
1. This act of entering can be

made significant in a number
of ways not just by punching
a hole in a wall
2. A passage can be created
through an implied plane
established by two pillars or
an overhead beam
3. If greater visual and spatial Normally when a wall is used to define and
continuity between two enclose a space or series of spaces, an
spaces is desired, even a entrance is accommodated by an opening
change in level can establish in the plane of the wall
a threshold and mark the However, the form of the openings can
passage from one place to range from a simple hole in the wall to an
another elaborate, articulated gateway

Circulation - ENTRANCE “From Outside to Inside”
Flush Entrance
Flush ENTRANCE maintains the
maintain the continuity of a wall’s surface. continuity of the
surface of a wall and
can be, if desired,
deliberately obscured
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Projected ENTRANCE
It forms a transitional space, announces its
function to the approach, and provides
overhead shelter

Recessed ENTRANCE
also provide shelter & receive a portion of
exterior space into the realm of the building.
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Configuration of the Path “The Sequences of Spaces”
All paths have a starting point, from which we are taken through a sequence of spaces
to our destination. All paths of movement are linear in nature.
All paths of movement, those of people, cars, goods,
or services are linear in nature
All paths have a starting point, after which we are
taken through a sequence of spaces to our destination
1. The nature of the configuration of a path influences
and is influenced by the organizational pattern of the
spaces it links
2. The configuration of a path may reinforce a spatial
organization by paralleling its pattern

Path-Space Relationship “Edges, Nodes, and Terminations of the Path”
include edges, nodes, and terminations of the path. Paths may be related to the
spaces they link in the following ways; pass by spaces, pass through spaces, or
terminate in a space. Paths may be related to the spaces they link in a number of
ways.
A. Pass by Spaces
1. The integrity of each space is
maintained
2. The configuration of the path is
flexible
3. Mediating spaces can be used to link
the path with the spaces
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Circulation - PATH-SPACE RELATIONSHIP “Edges, Nodes, and
Terminations of the Path”
B. Pass through Spaces

Circulation - PATH-SPACE RELATIONSHIP “Edges, Nodes, and
Terminations of the Path”
C. Terminate in a Space
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Form of the Circulation Space
includes corridors, halls, galleries, stairways, and rooms. A circulation path may
be; enclosed, open on one side, or open on both sides. The width and height of a
circulation space should be proportionate with the type and amount of
movement it must handle. A distinction in scale should be established between a
public promenade, or more private hall, and a service corridor
Planning for SPACE
The Concept of Space

Man has created SPACE to express the structure of his world. We may call this creation,
either Expressive or Artistic Space.
B.1. Space – it is a three-dimensional field in which objects and events occur and have
relative position & direction especially a portion that field set apart in a given instance or
for a particular purpose.
B.2. Architectural Space – it is a concretization of man’s existential space. It has to adopt
itself to the needs of organic action as well as facilitating orientation through perception.
B.3. Euclidean Space – ordinary 2 or 3 dimensional space in which Euclid’s definition and
axioms apply. It is also called the Cartesian space.
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Planning for SPACE

Proxemics – is the study of measurable distances between people as they
interact. It has a symbolic & communicative role in spatial separation individuals
maintain in various social & interpersonal situations.
Personal Space – it is an
invisible boundary
surrounding the person’s body
into which intruders may not
come.
Planning for SPACE

Space - PROXEMICS
4 Distant Zones
•Intimate Distance– within a 50cm distance.
•Personal Distance – within a 51cm – 1.00m
distance
•Social Distance – within 1.01m – 3.00m
distance
•Public Distance – within 3.01m – 30.00m
distance
*Not close – more than 30.00m
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Planning for SPACE

Space to Space Relationship
A. Space within a Space
a large space can envelop, and contain it’s volume, a smaller space. The
contained space should not be too large as there will be no differentiation in
size & the original notion would be destroyed.
Planning for SPACE

B. Interlocking Spaces
it contains of 2 spaces whose fields
overlap to form a zone or shared
space.
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Planning for SPACE

C. Adjacent Spaces
This allow each space to be clearly
defined and to respond, each its own
way, to its functional or symbolic
requirements.
Planning for SPACE

D. Spaces Linked by a common Space
2 spaces that are separated by
distance can be linked, or related to
each other, by a third, intermediate
space.
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Planning for SPACE

Spatial Organization
I. Centralized
A central, dominant space about which a
number of secondary spaces are grouped.
Planning for SPACE

II. Linear
A linear sequence of repetitive spaces .
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Planning for SPACE

III. Clustered
Spaces grouped by proximity or the sharing of
a common visual trait or relationship.
Planning for SPACE

IV. Radial
A central space from which linear
organizations of space extend in a radial
manner.
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Planning for SPACE

V. Grid
Spaces organized within the field of a
structural or other grid.
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Architectural Design
Considerations


Week 10-11 Learning Output:
•Determine the various design considerations
that affect the design thinking and process
• Develop critical thinking in design with
respect to the discussed considerations
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DESIGN CONSIDERATIONS
Architectural Design considerations are formulated to
bring to the attention of the designers in applying
various design principles and requirements to buildings
and facilities.
Characteristic of Tropical Countries
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Design Objectives in Response to the Characteristics of Tropics
Orientation, Natural Lighting and Ventilation
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Building Orientation
refers to the way a building is
situated on a site and the positioning
of windows, rooflines, and other
features.
A building oriented for solar design

takes advantage of passive and
active solar strategies.
Passive solar strategies use energy

from the sun to heat and illuminate
buildings.
Tropical Countries
Orientation
West – Kitchen ; Service Areas; Toilet facilities

East – Living Area; Entrance; Dining Area
North – Bedrooms (would also work facing the Northeast and East)
South – Service Areas, Carport, etc.
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Tropical Countries Orientation

Amihan – it refers to the season
dominated by the trade winds, which are
experienced in the Philippines as a cool
northeast wind. As a general rule of
thumb, the Philippines' Amihan weather
pattern begins sometime in September or
October and ends sometime in May or
June. There may, however, be wide
variations from year to year.
Habagat - the Philippines

experiences the west or southwest wind;
south-west monsoon. The Habagat season
is characterized by hot and humid
weather, frequent heavy rainfall, and a
prevailing wind from the west.
Tropical Countries Orientation
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East and West Elevations:

Walls that face the east and west
should generally be as well insulated
as possible, to prevent summer heat
gain from the low morning and
evening sun. These elevations can
benefit from shading from trees,
shrubs or climbing plants.
Ventilating is the process of "changing" or replacing air in any space to

provide high indoor air quality (i.e. to control temperature, replenish oxygen,
or remove moisture, odors, smoke, heat, dust, airborne bacteria, and carbon
dioxide).
Ventilation is used to remove

unpleasant smells and excessive
moisture, introduce outside air, to keep
interior building air circulating, and to
prevent stagnation of the interior air.
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Ventilation includes both the exchange of air to the outside as well as

circulation of air within the building. It is one of the most important factors for
maintaining acceptable indoor air quality in buildings. Methods for
ventilating a building may be divided
into mechanical/forced and natural types.
Natural ventilation is the process of supplying and

removing air through an indoor space without using mechanical
systems. It refers to the flow of external air to an indoor space as a
result of pressure or temperature differences.
Cross ventilation relies on

wind to force cool exterior air into
the building through an inlet
(window, door, etc.) and to force
warm interior air out of the
building through an outlet
(window, door, etc.).
As one would expect, a window's

orientation to the direction of wind
movement is critical to the amount of
air flowing through an inlet. As a rule-
of-thumb, an inlet is useful for cross
ventilation if the direction of wind
flow is in the range of -45 degrees to
45 degrees to the surface normal of
the window.
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Stack effect is the

movement of air into
and out of
buildings, chimneys, fl
ue gas stacks, or other
containers, and is
driven by buoyancy.
The stack effect is also

referred to as the
"chimney effect",
and it helps
drive natural
ventilation, infiltration
and fires.
Stack effect
The warmer indoor air rises up through the building and

escapes at the top either through open windows, ventilation
openings, or other forms of leakage.
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In both cross and stack ventilation, the amount of heat removed from a
building is directly proportional to the inlet and outlet areas. The larger the
inlet and outlet areas, the more air can travel through the
building and the more heat can be removed.
It is the smaller of the inlet and outlet areas which determines how much air
can flow through the building. Making the inlet area greater than the
outlet area or vice versa will increase ventilation slightly. However, a
ratio of more than 2:1 (or 1:2) is not very useful. Keep in mind that the volume of
air flowing into a building must equal the volume of air leaving the building.
Thus, the velocity of air through the smaller opening will be
greater.
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Venturi Effect
Where the wind forces air in one side of the building and out
through the roof, or the flow of air through the building draws air in
at a lower level known as the Venturi effect.
The Venturi effect is the
reduction in air
pressure that results
when a air flows
through a constricted
section (or choke) of a
pipe
The Venturi effect is a special case of Bernoulli`s principle, in the case of

air flow through a tube or pipe with a constriction in it. The fluid (air flow)
must speed up in the restriction, reducing its pressure and producing a partial
negative pressure via the Bernoulli effect.
Venturi Effect
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Security & Safety
Safety is the state of being "safe", the
condition of being protected from harm or
other non-desirable outcomes. Safety can
also refer to the control of recognized
hazards in order to achieve an acceptable
level of risk.
Security is the freedom from, or

resilience against, potential harm (or
other unwanted coercive change) from
external forces.
Security Architecture is a
unified security design that addresses the
necessities and potential risks involved in a
certain scenario or environment. It also
specifies when and where to apply security
controls. The design process is generally
reproducible.
Broken Windows Theory -

a metaphor for disorder within
neighborhoods. Their theory links disorder
and incivility within a community to
subsequent occurrences of serious crime.
It suggests that visible signs of crime, anti-

social behavior and civil disorder create an
urban environment that encourages
further crime and disorder, including
serious crimes.
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Broken Windows Theory
Consider a building with a few broken windows. If the

windows are not repaired, the tendency is for vandals to
break a few more windows. Eventually, they may even
break into the building, and if it's unoccupied, perhaps
become squatters or light fires inside.
Crime prevention through environmental

design (CPTED) is a multi-disciplinary approach to
deterring criminal behavior through environmental design.
CPTED strategies rely upon the ability to influence offender
decisions that precede criminal acts.
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design (CPTED)

design (CPTED)
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Accessibility
Accessibility – concept of accessible design and practice of accessible
development ensures both "direct access" (i.e. unassisted) and "indirect access"
meaning compatibility with a person's assistive technology.
Accessibility
Different types of disabilities
You may come across many disabilities in your work life.
Some examples of common disabilities you may find are:
vision Impairment
•deaf or hard of hearing
•mental health conditions
•intellectual disability
•acquired brain injury
•autism spectrum disorder
•physical disability
•Pregnant woman
•a person carrying or bringing kids / toddlers
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Accessibility
Accessibility
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Accessibility
Circulation
Circulation - refers to the way people, the blood of the buildings, move
through space.
Circulation is often thought of as the 'space between the spaces', having a

connective function, but it can be much more than that. It is the concept that
captures the experience of moving our bodies around a building, three-
dimensionally and through time.
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Zoning
Zoning - refers to the designation of areas and spaces in planning. Are these
spaces Private? Public? Semi Private?
Aesthetics
Aesthetics is a branch of
philosophy dealing with the nature of
beauty, art, and taste, with the creation
and appreciation of beauty. It is more
scientifically defined as the study of
sensory or sensori-emotional values,
sometimes called judgments of
sentiment and taste.
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Aesthetics
The word aesthetic is derived from the Greek αἰσθητικός (aisthetikos, meaning
"esthetic, sensitive, sentient"), which in turn was derived from αἰσθάνομαι
(aisthanomai, meaning "I perceive, feel, sense")
The case of "beauty" is different

from mere "agreeableness"
because, "If he proclaims
something to be beautiful, then he
requires the same liking from
others; he then judges not just for
himself but for everyone, and
speaks of beauty as if it were a
property of things."
Aesthetics
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Aesthetics in Architecture
Architecture is a design process which involves
planning, designing, creating, erecting, constructing and
executing construction of various types of spaces that
are functionally efficient, economical, and aesthetically
pleasing.
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Architectural
Concepts


(b) use concepts and principles from specialized fields and allied
disciplines into various architectural problems
(c) effectively communicate orally and in writing using English or Filipino
•Review the process of architectural conceptualization
emanating from design philosophies
•Distinguish the broader concerns which form a context for
understanding the derivation of an architectural concept
•Determine the when & where to apply specific
considerations in Architectural Design
•Apply Design concepts in future activities
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Architectural Concepts
Concepts in Architecture are normally thought of as
belonging to the schematic design phase of the
planning process. This traditionally has been where
the designer has generated big ideas for the
building design.
“An initial generalized idea”

“A mental image deriving from the project situation.”
“The preliminary grammar for developing the principal
project issues.”
“The designer’s first ideas about building morphology.”
Thematic or Symbolic Architectural Concepts
Analogies : LITERALLY relating architectural form with other objects or processes
A. Biological Analogy – Architecture based on Anatomy. It is a

concept under Organic Architecture. It is usually influenced by the
environment.
Natural
Critics and philosophers since ancient Greece have looked to
organisms as offering perfect models of that
harmonious balance and proportion between the parts of a design which
is synonymous with the classical ideal of beauty.
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Living organisms, and works of art, are schemata, definite after their
kinds, which Nature and Man respectively form by qualifying matter. The quantity
of matter used in any case is determined by the form subserved; the size of a
particular organ, or part, is determined by its form, which again is determined by
the form (limiting the size) of the whole organism, or work.
Animals and plants

grow to sizes determined by their
particular structures, habitats, and
conditions of life, and each separate
organ observes the proportion of the
whole to which it belongs.
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Metacarpal bone from vulture’s wing,

stiffened after the manner of a Warren’s
truss.
Skeleton of fossil
bison and
two-armed
cantilever of the
Forth Bridge
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Mechanical Analogy
 Scientific evolution and artistic evolution follow the same laws.
 Movement and Function
 Collaboration in the progressive accumulation of technical knowledge
 Precise destination and expression of potentialities.
B. Mechanical Analogy
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Mechanical Analogy
C. Gastronomic Analogy
 Suggests that gastronomic arts held a
unique connection with architecture. Both
architecture and the culinary arts are “a
necessity rather than a luxury” and are each
equally concerned with both science and art.
 It goes beyond scientific analysis, requires
intuition, imagination, enthusiasm, immense
amount of organizational skills.
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Gastronomic Analogy
Architect Marco Frascari critiques mainstream
contemporary architecture by comparing the
built products of Modern and Post-Modern
theories to fast food. Fastfood is here being
used as something that is generally
recognized as unhealthy or “bad for
us.”Frascari contends that these theories’ ultimate
goals are to “produce buildings that ‘look good’ over
a predetermined life span” and goes on to state that
“these look like the real thing, but they have been
designed to be gulped down...there is no
possibility, no reason, to take the time and
pleasure to taste them.”
Gastronomic Analogy
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D. Linguistic Analogy
 We can speak of the expressions of architecture, much as we speak of
linguistic expressions in our natural language, and of the meaning of
architectural expressions or, to put it simply, of architectural meaning.
ARCHITECTURAL SEMANTICS: It is important that the direction in semantics
connected with the concept . Understanding a sentence means
understanding a language.
 The role of the building in the semantics of architecture is isomorphic to
the role of the sentence in the semantics of verbal language.
Linguistic Analogy
“The wall is a metaphor for the uprising generation and it represents the academic
growth and the intense process of testing ideas. Just like when you write down on
paper a thought and then you suddenly realize that something even better came to
your mind. You crumple the paper and throw it away and you are
ready to start over. ”
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Functional Concepts in Architecture
A. Functional Concepts
 Traditional definition of Architecture: Utilitas, Firmitas and Venustas.
Architectural Programming
Optimization and Satisfaction of Needs
“ORNAMENTS had nothing to do with architectural beauty
since a building was only beautiful when it satisfied a need”
LESS IS MORE – Ludwig Mies Van der Rohe
Structural Concepts in Architecture
A. Structural Concepts
 By Gravity, Post and Lintel, Arches and Vaults, Flying buttresses, Domes.
 Frames, Tube and Mushroom Construction, Stretched membrane,
suspended systems
 Stratification and Prefabrication.
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Over the past 20-30 years, the world has witnessed the emergence of the
architecture of unusual shapes, resembling forms of wildlife. Coverage of buildings,
similar to the bizarre sea shell surfaces , dome shell interpreting the contours of bird
eggs, transparent grid - the structure that lead to the complex interplay of branches
forest thickets or skeletal radiolarian skeletons.
"The most common logic" figures "- the essence of
... the most common relations of things ". This
means that the shape of the human thinking is
nothing but a reflection of the processes of coming
to the objective world, so mathematical logic
eventually enveloped the symbols in mathematics
relationship and communication components of the
objective world - nature and thinking.”
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Symbolic Analogy in Design
Symbol is something that represents something else by association,
resemblance, or convention, especially a material object used to
represent something invisible or immaterial, deriving its meaning
chiefly from the structure in which it appears.
Semantic Theory - focuses on the

meaning of elements of the environment and
not on the patterns of the structures per se.
“The various products of culture — language, scientific

knowledge, myth, art, religion — become parts of a single
great problem-complex: they become multiple efforts, all
directed toward the one goal of transforming the passive
world of mere impressions, in which the spirit seems at first
imprisoned, into a world that is pure expression of the human
spirit”
— Ernst Cassirer, The Philosophy of Symbolic Forms (p. 80)
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 An “analogy” or “drawing analogies”
or “analogical reasoning” is a comparison
of two things that are essentially
dissimilar but are shown through the
analogy to have some similarity .
Analogies are comparisons of the similar

features of two things-they are also mental
telescopes through which you can spy
ideas. People look at two unrelated things-
one thing from the problem and
something from an unrelated world.
They find the relation between them and
tease from the comparison a new idea.
Analogy is a tool that enhances creativity often work counter to the mind’s instinct to
view a problem from a single perspective.
Helicopters: The
hummingbird can also
hover and fly
backwards.
Hypodermic
needles: The scorpion
uses the pointed tip of its
tail to inject poison.
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Analogy is a tool that enhances creativity often work counter to the mind’s instinct to
view a problem from a single perspective.
Anesthesia: Many
snakes use venom to
paralyze and desensitize
their prey before eating
it.
Backhoe: Its boom

& stick resembles to
that of the mantis
aimed at collecting and
grabbing materials.
Analogies can be:
Close/Direct analogies: A straight functional
parallel where facts, knowledge and technology from
one field are applied to another field.
Personal analogies: You attempt to see yourself

as personally involved in the problem you are trying to
solve . When trying to design a new clock, ask yourself
what it would be like to be the hands of the clock .
Fantasy: This involves using your imagination
without reference to objective reality. What is the
image that comes into your mind if you were to solve
it in your wildest fantasy?
Remote analogies: These are more likely to

challenge assumptions and lead to new insights and
ideas. In the extreme, they merge into the use of
random stimuli.
Symbolic analogies are a presentation of the
key elements of a challenge in visual image [
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Biomorphic Architecture is a design
approach is so sympathetic that it is well
integrated with the buildings, surroundings
and site, becoming part of a unified design.
Also termed as Bionic Architecture.
Bionic architecture sets itself in opposition

to traditional rectangular layouts and
design schemes by using curved forms and
surfaces reminiscent of structures in
biology and fractal mathematics. One of
the tasks set themselves by the movement's
early pioneers was the development of
aesthetic and economic justifications for their
approach to architecture.
Casa Mila by Antoni
Gaudi - It was a controversial
design at the time for the bold
forms of the undulating stone
facade and wrought
iron decoration of the
balconies and windows,
designed largely by Josep
Maria Jujol, who also created
some of the plaster ceilings.
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The concept of design

futuristic Cathedral of Our Lady of
the Angels belong
architects Xiaofeng Mei and Gao
Xiaotian. The project, which aims
to give the church a new
generation of supernatural spirit of
the modern progressive world
view is based on the
deconstruction of stereotypes and
the use of bionic principles of
construction.
The Bowoos temporary pavilion is a bionic

inspired wooden structure that references the
material-efficient construction methods found
in nature. The collaborative project was
created by architecture students at Saarland
University in Saarbrücken, Germany. It is
influenced by biomimetics, specifically
drawing inspiration from the shells of marine
plankton.
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Treescraper Tower of Tomorrow As the

name suggests, this is a skyscraper that has
been designed in a way that mimics the
growth and change of a tree. A curved,
aerodynamic building, it uses minimal
construction materials, while making
maximum use of the enclosed space. All of
the water in the building is recycled in a
manner similar to that of how a tree would
re-use water and nutrients. Wastewater
from sinks flows into the building's three
gardens and the water from the gardens is
subsequently re-used in the toilets. It
should go without saying that it uses solar
electricity and is made completely of
recyclable materials.
Expressionism or expressionist
architecture exhibits some of the
qualities of the original movement
such as distortion, fragmentation or
the communication of violent or
overstressed emotion
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Experience Music Project
"We started collecting pictures of
Stratocasters, bringing in guitar bodies,
drawing on those shapes in developing
our ideas.“ SMASHED ELECTRIC GUITAR
The central "Sky Church" room pays homage
to Jimi Hendrix and other rock 'n' roll icons
using a 40-foot (12 m) high, 70-foot (21 m) wide
video screen and an 18-panel montage of images.
Jimi Hendrix called his music “electric church”
because he believed music was his religion. His
belief is put into practice at Seattle’s Experience
Music Project, where one room is simply called the
Sky Church, a great hall inspired by Jimi’s concept
of a place where people of all ages, interests and
backgrounds could come together to experience
music.
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Taipei 101 participates in the

symbolism of a world center where earth
and sky meet and the four compass
directions join.
The height of 101 floors commemorates

the renewal of time: the new century that
arrived as the tower was built (100+1)
and all the new years that follow (January
1 = 1-01).
The main tower features a series of

eight segments of eight floors each. In
Chinese-speaking cultures the
number eight is associated
with abundance, prosperity and good
fortune. In cultures that observe a seven-
day week the number eight symbolizes a
renewal of time (7+1).
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The repeated segments
simultaneously recall the rhythms of an
Asian pagoda (a tower linking earth and
sky), a stalk of bamboo (an icon of
learning and growth), and a stack of
ancient Chinese ingots or money boxes
(a symbol of abundance).
Curled ruyi figures
appear throughout the
structure as a
design motif. The ruyi is
an ancient symbol
associated with heavenly
clouds. It connotes
healing, protection and
fulfillment. It appears in
celebrations of the
attainment of new career
heights.
Cathedral of Brasília (Catedral

Metropolitana Nossa Senhora Aparecida)
is the Roman
Catholic cathedral serving Brasília, Brazil,
and serves as the seat of the Archdiocese
of Brasília.
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Our Lady of Aparecida is a celebrated 18th-century clay

statue of the Blessed Virgin Mary, in the traditional form
of the Immaculate Conception. The image is widely
venerated by Brazilian Roman Catholics, who consider
her as the principal patroness of Brazil
Described as the “Guardians” of

the Indian state of Gujarat, the
Naga Towers are a modern
take on the country’s traditional
architecture. The futuristic design
is, in my opinion, a
clever interpretation of the Indian
cultural symbol of the Nāga
(snake) using form and structure.
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The symbolism attached to the Nāga is
extensive. The coiled body of the serpent
rising represents the symbolic rising of
the Kundalini, or spiritual energy, and the
many heads represent a manifold seemingly
disparate perceptions of reality actually unified
in form, and the the hooded head represents
the mastery emotion and materialism.
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Building Envelope &

Bio-Climatic Architecture


(a) create architectural solutions by applying knowledge in history, theory, planning,
building technology and utilities, structural concepts and professional practice
(c) participate in the generation of new knowledge such as pioneering concepts and ideas
of site and building design beyond the regular physical and location boundaries and
contexts.
•Determine the elements to analyze the site where the structure will be built
• Discuss the merits of the elements of building envelope; i.e. roof, fenestrations &
walls
• Discuss the importance of natural landscape
• Apply the methods, types & styles discussed on formulating the solution on the
proposed structure
• Associate the elements of circulation & zoning with the spatial planning earlier
discussed
• Develop critical thinking & abstract ability in spatial planning & coordination
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The "Building Envelope" is the

element that separates
conditioned space from
unconditioned space or the
outdoors
The building envelope directly
influences the energy performance of
a building in the following ways:
•Resisting undesirable heat transfer.
•Allowing desirable heat transfer.
•Providing heat storage (delayed heat
transfer).
•Allowing daylight penetration.
•Preventing undesirable light
penetration (glare).
•Allowing desirable ventilation.
•Preventing undesirable ventilation.
BASIC COMPONENTS include: Windows, Walls & Roofs.
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Wall – by definition, it is any of the upright

construction elements presenting a
continuous surface and serving to enclose,
divide or protect an area. Wall is a usually
solid structure that defines and sometimes
protects an area and /or delineates a space
in the open air.
Types of Walls:
•Exterior Wall – a wall forming
part of the envelope of a building,
having one face exposed too the
weather or earth.
•Interior Wall – any wall within a
building, entirely surrounded by
an exterior wall.
•Partition – an interior wall
dividing a room or part of a
building into separate areas.
•Shear wall, Retaining wall,
Bearing wall.. Etc..
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Window - is a transparent or a translucent

opening in a wall or door that allows the
passage of light and, if not closed or sealed,
air and sound. Windows are usually glazed or
covered in some other transparent or
translucent material. Windows are held in
place by frames, which prevent them from
collapsing in. Many glazed windows may be
opened, to allow ventilation, or closed, to
exclude inclement weather.
•Casement – a window sash

opening on hinges generally
attached to the upright side of its
frames.
•Awning – a window having one or more

sashes swinging outward on hinges
generally attached to the top of the frame.
•Hopper – a window having one or more

sashes swinging inward on hinges
generally attached on the bottom. Jalousie – a window having horizontal
glass or wood louvers which pivot
simultaneously in a common frame.
Clerestory - a window
set in a roof structure
or high in a wall, used
for day lighting.
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•Fixed – a window that cannot be opened,

whose function is limited to allowing light
to enter (Unlike an unfixed window, which
can open and close). Clerestory windows
are often fixed. Transom windows may be
fixed or operable.
•Sliding – a
window that
operates or moves
by sliding one
track, usually
parallel to the wall.
Stained Glass - a
window composed of
pieces of colored
glass, transparent,
translucent or
opaque, frequently
portraying persons or
scenes.
Transom - window above a

door; in an exterior door
the transom window is
often fixed, in an interior
door it can open either by
hinges at top or bottom, or
rotate on hinges. It
provided ventilation before
forced air heating and
cooling. A fan-shaped
transom is known as a
fanlight.
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Roof - is the covering on the

uppermost part of a building. A roof
protects the building and its
contents from the effects of
weather.
Functions of Roof:
•The chief purpose of a roof system
is to keep nature out of a structure;
specifically to provide a barrier to
the intrusion of water.
•Because the purpose of a roof is to
protect people and their
possessions from climatic elements,
the insulating properties of a roof
are a consideration in its structure
and the choice of roofing material.
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Site Development – the 2

primary considerations in
siting a building are the
orientation of the sun and
the orientation of the
wind.
Landscaping can also

improve the performance;
shade trees can seasonally
control direct radiation
from the sun; ground
surfaces can control
reflected radiation,
planted ground cover can
moderate air temperature,
and wind breaks can
diminish the forces of the
winds.
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Elements of Site Control

The purpose of Site Control is to
modify adverse climatic forces at a
distance before they impact the
building. The elements of Site control
include windbreaks, shade trees,
ground surfaces, orientation to the
sun & to the wind, and underground
structures.
Espalier Pergola or Arbor
Tapis Vert Trellis
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Courtesy of Arch. Paulo Alcazaren
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Passive Solar Planning – In

utilizing the sun, the first
principles are to exclude it
from the interior space in
summer and to accept it
interiorly (with adjustable
drapes) for warmth in
December, January & mid-
February (the cold months).
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•Orientation of the Wind – windbreaks

consist of either a fence or a row of
trees or shrubs which reduce air
infiltration through windows by
diminishing the wind pressure. The
most effective location for a windbreak
is upwind a distance of 1.5 to 2.5 times
the height of the building.
Example: Building height = 9 meters,

therefore the most effective location for a
windbreak is at 13.5meters – 22.5 meters.
Solar Shading in Summer

•Shade by Structural Elements – this
influence affects the facades of the buildings.
They are being designed to intercept
exteriorly the rays of the sun in the summer.
•Powered louvers to diminish heat gain – if a
building is arranged to intercept the rays of
the sun before they pass through its glass
walls instead of toward, the air conditioning
heat gain load can often be cut in half.
White roofs & desert cooling

•White roofs or cool roofs are a “hot” topic these
days as a means to help stem global warming.
Most of us know better than to wear black on a
hot day, but when it comes to the roofs on our
houses, temperature often takes a back seat to
aesthetics. Dark roofs mean higher air
conditioning bills, and higher carbon dioxide
emissions as a result.
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Natural Heating & Day lighting

If the sun’s energy is to be used directly
for heating in the cold season, it can also
contribute to the illumination of the
heated space. Hot air is effectively
vented out with the use of strategically
located clerestories, which are windows
located on the side of the roof for
ventilation purposes. The size of the
rooms especially for offices should be
determined by the available natural
light.
C.2.6. Utilization of Natural growth

•Shade Trees – Deciduous trees provide
shade in the summer and admit light
during the colder season.
C.2.7. Building Configuration – The

overall shape of the building affects the
amount of energy it will consume. In
general, a configuration that resists
unwanted heat transmission for a given
enclosed volume, a building must be
constructed with minimum exposed
areas. A spherical or round building has
less surface area and thus less heat gain
or loss than any other shapes for an
equal amount of total floor area.
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Structural Concepts for

Architecture


(a) create architectural solutions by applying knowledge in history, theory,
planning, building technology and utilities, structural concepts and professional
practice
(b) use concepts and principles from specialized fields and allied disciplines into
various architectural problems
(c) effectively communicate orally and in writing using English or Filipino
•Compare & Contrast Structure & Building
• Identify the need to understand the structural & engineering concepts in
architecture
• Draw the logic of structural forms
• Evaluate the reason for their physical form
• Describe a brief History of Structural architecture & focus particularly the
development of columns, lintels / beams, arches, vaults, domes & buttresses
• Relate them to modern day structures
• Describe the three more commonly used structural materials; concrete, steel &
timber
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In Architecture & Engineering:
A Structure is a body or
assemblage of bodies in space to
form a system capable of
supporting loads.
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BUILDING versus STRUCTURE
Often the words Architectural Structure

and Architectural Buildings are
confused, because in many languages
one word covers both. However, a
Building is a type of architectural
structure used for supporting and
sheltering continuous occupancy or
habitation.
Buildings are therefore normally

enclosed structures, while non-building
Structures may be open to the
environment.
A Brief
History of
Structural
Architecture
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Egyptian Structures
The first structural engineer in history seems to
have been Imhotep, one of only two commoners to
be deified. He was the builder of the Step pyramid
of Sakkara about 3,000 B.C., and yielded great
influence over ancient Egypt. The Egyptian
pyramids are ancient pyramid-shaped masonry
structures located in Egypt.
Greek & Roman

Structures
Science made much less
progress under the Romans
than under the Greeks. The
Romans apparently were
more practical, and were
not as interested in abstract
thinking compared to
Greeks though they were
excellent fighters and
builders.
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ARCHES:
Romans also developed the arches. An
arch is both an Architectural &
Structural element that spans a space
while supporting weight.
The arch is significant because, in

theory at least, it provides a structure
which eliminates tensile stresses in
spanning an open space.
This is useful because several of the

available building materials such as
stone, cast iron and concrete can
strongly resist compression but are
very weak when tension, shear or
torsional stress is applied to them. By
using the arch configuration,
significant spans can be achieved.
PARTS OF THE ARCH:
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VAULT
A Vault is an architectural term
for an arched form used to
provide a space with a ceiling or
roof.
A barrel vault, also known as
a tunnel vault or a wagon vault,
is an architectural element
formed by the extrusion of a
single curve (or pair of curves, in
the case of a pointed barrel
vault) along a given distance. The
curves are typically circular in
shape, lending a semi-cylindrical
appearance to the total design.
The barrel vault is the simplest
form of a vault: effectively a
series of arches placed side by
side, i.e., one after another. It is
a form of barrel roof.
PARTS OF A BARREL VAULT:
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Groin Vault
A groin vault or groined vault (also
sometimes known as a double barrel
vault or cross vault) is produced by the
intersection at right angles of two
barrel vaults. The word groin refers to
the edge between the intersecting
vaults
DOME
A dome can be thought of as
an arch which has been rotated
around its central vertical axis. Thus
domes, like arches, have a great deal
of structural strength when properly
built and can span large open spaces
without interior supports.
Roman domes of the pagan period

are essentially found in three
environments: baths, villas or palaces,
and tombs or mausoleum.
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THE PANTHEON
One of the most notable Roman
constructions was the
Pantheon; it is the best-
preserved major edifice of
ancient Rome and one of the
most significant buildings in
architectural history. In shape it
is an immense cylinder
concealing eight piers, topped
with a dome and fronted by a
rectangular colonnaded porch.
The great vaulted dome is 43 m
(142 ft) in diameter, and the
entire structure is lighted
through one aperture, called an
oculus, in the center of the
dome. The Pantheon was
erected by the Roman emperor
Hadrian between AD 118 and
128.
Emergence of Byzantine
Structures
Medieval masons' efforts to solve the
problems associated with supporting
heavy masonry ceiling vaults over wide
spans. The problem was that the heavy
stonework of the traditional arched
barrel vault and the groin vault exerted
a tremendous downward and outward
pressure that tended to push the walls
upon which the vault rested outward,
thus collapsing them. A building's
vertical supporting walls thus had to be
made extremely thick and heavy in
order to contain the barrel vault's
outward thrust.
Pendentive - a constructive device

permitting the placing of a circular
dome over a square room or an
elliptical dome over a rectangular room
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Buttresses & Flying

Buttresses
A buttress is an architectural
structure built against (a
counter fort) or projecting
from a wall which serves to
support or reinforce the wall.
A flying buttress is a specific

form of buttressing most
strongly associated with Gothic
church architecture. The
purpose of any buttress is to
resist the lateral forces pushing
a wall outwards (which may
arise from stone vaulted
ceilings or from wind-loading
on roofs) by redirecting them
to the ground.
Buttresses &
Flying Buttresses
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Renaissance Structures
Filippo Brunelleschi was a Florentine architect and
one of the initiators of the Italian Renaissance. He
is perhaps most famous for inventing linear
perspective and designing the dome of the
Florence Cathedral or the Duomo. (Basilica di
Santa Maria del Fiore)
Its shape was dictated by its structural needs one
of the first examples of architectural
functionalism. Brunelleschi made a design feature
of the necessary eight ribs of the vault, carrying
them over to the exterior of the dome, where they
provide the framework for the dome's decorative
elements, which also include architectural reliefs,
circular windows, and a beautifully proportioned
cupola.
Renaissance Structures
The Papal Basilica of Saint
Peter officially known in Italian
as Basilica Papale di San Pietro in
Vaticano and commonly known
as Saint Peter's Basilica, is a Late
Renaissance church located within
the Vatican City. Saint Peter's
Basilica has the largest interior of
any Christian church in the world.
Contrary tobelief, it is not the
Pope’s seat but the Papal
Archbasilica of St. John Lateran ,
also located in Rome
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Behavior of Loads on Structures
Structural Loads
1. Dead load as consisting "... of the weight of all materials
of construction incorporated into the building...". This is
generally considered to mean that anything that is a fixed
part of the structure is a dead load.
2. Live loads are a result of the occupancy of a structure. In
other words, it varies with how the building is to be used.
Live Loads are those loads which are transient and can
change in magnitude.
3. Lateral loads are live loads whose main component is
horizontal force acting on the structure. Typical lateral
loads would be a wind load against a facade, an
earthquake, the earth pressure against a beach front
retaining wall or the earth pressure against a basement
wall.
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Structural Forms & Elements
Column - a vertical structural element that transmits, through compression, the

weight of the structure above to other structural elements below. It may be
designed to resist lateral forces. Other compression members are often termed
"columns" because of the similar stress conditions. Columns are frequently used
to support beams or arches on which the upper parts of walls or ceilings rest.

Beam - a horizontal
structural element that
is capable of
withstanding load
primarily by resisting
bending. The bending
force induced into the
material of the beam
as a result of the
external loads, own
weight, span and
external reactions to
these loads is called a
bending moment.
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Structural Forms & Elements Truss - is a structure

comprising one or more
triangular units
constructed with
straight members
whose ends are
connected at joints
referred to as nodes. A
truss consists of
straight members
connected at joints.
Trusses are composed
of triangles because of
the structural stability
of that shape and
design. A triangle is the
simplest geometric
figure that is
structurally sound.
Foundations or Footings - is a
structure that transfers loads to the
earth. Foundations are generally
broken into two categories: shallow
foundations and deep foundations
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Structural Materials for Construction

Concrete – is a composite
construction material, composed of
cement (commonly Portland
cement) and other cementitious
materials such as fly ash and slag
cement, aggregate (generally a
coarse aggregate made of gravel or
crushed rocks such as limestone, or
granite, plus a fine aggregate such
as sand), water and chemical
admixtures. In Philippine
Construction, a concrete is
basically composed of Cement,
Fine aggregates such as sand, and
Course aggregates such as gravel,
plus water to bind the said
components.

Structural Steel – is steel
construction material, a
profile, formed with a specific
shape or cross section and
certain standards of chemical
composition and mechanical
properties. Structural steel
shape, size, composition,
strength, storage, etc., is
regulated in most
industrialized countries.
Structural steel members,

such as I-beams, have high
second moments of area,
which allow them to be very
stiff in respect to their cross-
sectional area.
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Timber – is wood in any of its stages from felling through readiness for use as
structural material for construction, or wood pulp for paper production.
Wood construction is common for many single-family houses throughout the

world. In areas where timber and wood materials are easily accessible, wood
construction is often considered to be the cheapest and best approach for small
housing structures.
15
School of Engineering & Architecture
Architecture Program
Theory OF
ARCHITECTURE 2
Requirements
A. CAPSTONE PROJECT
Submit online a portfolio of all the illustrations and

activities done during the whole semester in PDF File.
TWO MAIN WORDS
ARCHITECTURE
&
Theory
References:
1. Ching, Francis D.K., A Visual Dictionary of Architecture
2. Espinosa, Kevin, History of Architecture
ARCHITECTURE
Latin architectura
Architecture is the art
Greek ἀρχιτέκτων and science of
“arkhitekton” designing and
architect constructing buildings
Francis D.K. Ching

ἀρχι ”arkhi” chief A Visual Dictionary of Architecture
τέκτων ”tekton”
builder
CHIEF BUILDER
THEORY
Theory - a
- From the Greek word
supposition or a
“theorein” meaning “to system of ideas
look at” intended to
- a belief, policy, or procedure explain
proposed or followed as the something,
basis of action
especially one
- a plausible or scientifically
based on general
acceptable general principle
or body of principles offered principles
to explain phenomena independent of
the thing to be
explained.
Evolution of Architectural Styles
by Arch. Franz Allan M. Rodriguez, uap
Function & History
•The buildings of the past were developed because of definite and

tangible needs.
•The functions determine their plan, shape and treatment.
•Knowing the past would aid in solving today’s problems.
•Art & Architecture went through three (3) very definitely
recognized phases in the course of their development.
1. ARCHAIC – saw the groping of untried hands in an attempt to

master new problems & new media, on effort to find an
expression for a new material.
Function & History
2. MASTERY – the buildings or art produced during this

time show that the designer or artist has discovered
how to control his medium & is sure of his technique
& performance. This is the height of the
development.
Function & History
3. DECADENCE – is marked with the artist becoming too sure of

himself & begins to take liberties with his materials. His designs
were less structural & were too ornate.
“This marks the decline & is the beginning of the end.”
Architectural Movements of the Classical Period
Greek – more of the temple & theatre
type of architecture. Attention to the
design was founded on the exterior to
satisfy outside worship.
Construction was the post &

lintel.
Greek Architecture stresses

refinement of line & simplicity
of detail. It has clarity, strength
& repose.
Greek
Greek
Greek
Telamon
Canephora Caryatids
Atlas
Roman– where the appeal of

Greek architecture is spiritual, that of
the Romans is often pretentious. The
builders of the Roman Empire are
tagged as engineers than architects.
They built magnificent temple,
palaces, baths. They developed round
arch & pier.
Roman
Roman structures are richly ornate but
less fundamental (as oppose to Greeks)
Roman
Tuscan Composite
Architectural Movements of the Medieval Period
Romanesque– this is a church architecture

period. Instead of depending upon stability impaired
by sheer mass, it employed the round arch & vault.
This architectural style is honest in its use of brick &
stone, direct & vigorous in its arrangement of mass
& detail.
Romanesque
Gothic– the activity of

the period was a result of
intense religious passion–
the spiritual urge which
found an outlet in
consummation of the
soaring, vertical quality of
cathedrals.
Notable features are pointed

arches, slender piers, flying
buttresses, together with
stained glass windows, etc.
Gothic
Classical Ornaments (Grotesque)
Griffin
Gargoyle
Chimera
Classical Ornaments
Star of David Rosette Anthemion
Chi-Rho
Cross
Fleur De Lis
Classical Ornaments
Coronet
Palmette
Festoon
Broken Pediment
Swan’s Neck
Classical Ornaments
Classical Ornaments
Architectural Movements of the 15th to 18th Period
Renaissance– demonstrated a conscious revival

and development of certain elements of ancient
Greek and Roman thought and material culture.
Renaissance style places emphasis on symmetry, proportion, geometry and

the regularity of parts as they are demonstrated in the architecture of classical
antiquity and in particular ancient Roman architecture, of which many
examples remained.
Basilica Papale di San Pietro in Vaticano
The Papal Basilica of Saint
Peter officially known in Italian
as and commonly known as Saint
Peter's Basilica, is a Late
Renaissance church located within
the Vatican City. Saint Peter's
Basilica has the largest interior of
any Christian church in the world.
Contrary to belief, it is not the
Pope’s seat but the Papal
Archbasilica of St. John Lateran ,
also located in Rome
Basilica di Santa Maria del Fiore
Filippo Brunelleschi was a Florentine architect
and one of the initiators of the Italian
Renaissance. He is perhaps most famous for
inventing linear perspective and designing the
dome of the Florence Cathedral or the
Duomo.Brunelleschi made a design feature of
the necessary eight ribs of the vault, carrying
them over to the exterior of the dome, where
they provide the framework for the dome's
decorative elements, which also include
architectural reliefs, circular windows, and a
beautifully proportioned cupola.
Nuestra Señora del Santisimo Rosario
On December 8, 1829 , Culiat was
made into a new town with the
gracious name of “ANGELES” in
honor of the Holy Guardian Angels,
which became the Titular Patrons,
and also for being the namesake of
the founder Don Angel. The Church
authorities placed the new town
under the patronage and
protection of the Most Holy Virgin
of the Rosary.
The Holy Rosary Church is a living

monument. It is not only to the
engineering and architectural skills
of a certain Don Antonio de la
Camara from Manila.
Baroque– is reflected in opulent and
dramatic churches with irregular shapes and
extravagant ornamentation.
It is characterized by new explorations of form,
light and shadow and dramatic intensity.
Fragmentary or deliberately incomplete
architectural elements
Has large-scale ceiling frescoes.
Baroque emphasized the symmetry of forms
Baroque
Betis Church or the Parish
Church of St. James the Apostle
The main attraction of the Church is the original
ceiling mural done by the famous painter Simon
Flores (1839-1904). The retablo, a classic altar, is
ornately decorated with carved designs. The religious
frescoes in the ceiling and murals on the wall with its
intricate sculpture and paintings in gold dust are
reminiscent of the Renaissance age of European Art.
Baroque
San Guillermo Parish Church
Bacolor is one of the oldest towns
in the Philippines. The church was
originally constructed by the
Augustinian Friars in 1576. The
church boasts of having main
retablo, side retablos and pulpit
that are heavily gilded with gold
leaves. The rich decorations of the
church depict the Baroque style of
architecture. Only half of the
original facade of the church can
be seen today due to the eruption
of Mount Pinatubo in 1991 which
half-buried the church.
Rococo
Baroque artists gave up their
symmetry and became increasingly
ornate, florid, and playful. It is
seen as a combination of the
French rocaille, meaning
stone, and coquilles,
meaning shell, due to reliance
on these objects as motifs of
decoration. It was a lighter, more
graceful, yet also more elaborate
version of Baroque architecture.
Details include tree branches,
clouds, flowers, sea shells, surf,
coral, seaweed, spray, and scrolls.
Rococo emphasized the asymmetry
of forms.
Rococo
Architectural Period of Revivalism
Colonial– the Renaissance movement

reached the easier colonies through the
Georgian style by the way of England. The
style was of simple, symmetrical architecture
which combined refined delicate mouldings
with slender, graceful columns.
Victorian Style– this

was the name given to the attempt
during the 70’s & 80’s to bring
romance through the medium of
architecture & interior decoration.
The architects believed that in
order to give beauty, it seemed
necessary to load it with
meaningless turrets, gables &
jigsaw ornaments.
Victorian Style
It resulted with no structural sense
& was exemplified by the so-called
“Eastlake style” & the Victorian
Gothic.
Tudor Revival– emphasis was on the simple, rustic and the less impressive
aspects of Tudor architecture, imitating in this way medieval cottages or country
houses.
Though the style follows these more modest characteristics, items such as
steeply pitched roofs, half-timbering often infilled with herringbone brickwork,
tall mullioned windows, high chimneys, jettied (overhanging) first floors above
pillared porches, dormer windows supported by consoles, and even at
times thatched roofs, gave Tudor Revival its more striking effects.
Tudor Revival
Greek Revival– Greek forms & details

were applied to all types of buildings. Even if the
result was a structure which was pleasing to the
eye, they were often quite illogical in regard to
function. The style was too inflexible to permit
an easy adaptation.
What happened was only an
architecture of façade
arrangements.
Pedimented gable
Symmetrical shape
Heavy cornice
Wide, plain frieze
Bold, simple moldings
Gothic Revival– the people began to tire the

formality of the Greek style, thus they turned into the
informality of Gothic. They began to adapt the Gothic
but were not successful in capturing the spirit of the
style. So the result was rather hard and cold structure
which also lacked flexible quality of European buildings.
Gothic Revival Iglesia ni Cristo

Church
primarily serve as places of
worship and are used for other
religious functions. Carlos
Antonio Santos-Viola designed
churches for the Iglesia ni Cristo
(INC) religious group.
There are multiple entrances
leading to the main sanctuary,
where males and females sit
on either side of the aisle
facing a dais where sermons
are made. The choir loft is
located behind the dais, and in
larger churches, baptistry
pools for immersion baptism
are located at the back of the
church.
Romanesque Revival– this architectural

style was marked with bold & massive details.
Henry Hobson Richardson popularized the said

style. The style he popularized is named for
him: Richardsonian Romanesque. Along with Louis
Sullivan and Frank Lloyd Wright, Richardson is one of
"the recognized trinity of American architecture"
Romanesque Revival buildings

tended to feature more
simplified arches and windows
than their historic counterparts.
Romanesque Revival
Renaissance Revival
Neo-Renaissance architecture, is a diverse and perhaps the
only style of architecture to have existed in so many forms,
and still common to so many countries.
Palladian Architecture
Palladian– The term

"Palladian" normally refers to buildings
in a style inspired by Andrea Palladio
's own work; that which is recognized
as Palladian architecture.
Palladian architecture shows
influence from Roman times, but is
famous for it's grand, orderly look. Palladian architecture is
laced with influences from
Roman architecture.
Columns and stonework
are almost always seen.
This is mostly due to
Andrea Palladio studying
Roman architecture, as
well as his work as a stone
cutter in his early teens.
One of the most recognizable
features of Palladio’s work was
perhaps the Palladian window that
adorned the front of many buildings.
Many of Andrea Palladio’s work
involved a large central window that
featured a semicircular arch. Each
side of the Palladian window was
framed by a pilaster.
Villa Architecture
Villa Capra "La Rotonda” is a Renaissance villa having a completely symmetrical
building having a square plan with four facades, each of which has a projecting portico. The
whole is contained within an imaginary circle which touches each corner of the building and
centres of the porticos. The name La Rotonda refers to the central circular hall with
its dome. To describe the villa, as a whole, as a 'rotonda' is technically incorrect, as the
building is not circular but rather the intersection of a square with a cross. Each portico has
steps leading up, and opens via a small cabinet or corridor to the circular domed central hall.
Antecedents of the Contemporary Architecture
Age of Industrial
Revolution– The Industrial
Revolution marks a major turning point
in history; almost every aspect of daily
life was influenced in some way.
Crystal Palace (Victorian) -

The Crystal Palace's creator, Sir Joseph
Paxton had been the head gardener at
Chatsworth House. Because of the recent
invention of the cast plate glass method
in 1848, which allowed for large sheets of
cheap but strong glass, it was at the time
the largest amount of glass ever seen in a
building and astonished visitors with its
clear walls and ceilings that didn't require "Built out of prefabricated and wrought-iron
interior lights, thus a "Crystal Palace". elements and based on a four-foot module”
Art Nouveau – General term to

describe flowing, sinuous designs, based on
natural forms, popular in Europe. The name
"Art Nouveau" is French for "new art".
Design Motif: WHIPLASH Lines - a

connected series of reverse curves of more
or less elliptical form, used as a major design
motif in the art Nouveau style.
One of the defining emblems of the Art Nouveau

movement was the whiplash motif. It has been
known by various other names and formats,
ranging from ‘noodle’ to ‘tapeworm’ but the
moniker of ‘whiplash’ has stayed with the
movement.
Art Nouveau – “Whiplash lines”
Art Nouveau – varies in different

countries:
Jugendstil - German Art Nouveau
Sezession / Secession / Secessionstil
– Vienna, Austria
Stile Liberty – Italy
Modernismo – Spain
Arte Nova – Portugal
Others
Fin De Sieclism - France
•Stile Floreal ("floral style")
•Lilienstil ("lily style")
•Style Nouille ("noodle style")
•Paling Stijl ("eel style")
•Wellenstil ("wave style")
Art Nouveau
Jugendstil
Art Nouveau
Jugendstil
Art Nouveau Founding Architects Paul Hankar was
a Belgian architect and
Henry Clemens designer , is considered
Van de Velde was one of the principal
a Belgian Flemish painte architects to work in
r, architect and interior the Art Nouveau style
designer. He could be in Brussels at the turn
considered one of the of the twentieth
main founders and century.
representatives of Art
Nouveau in Belgium.
Victor Horta is one of the most important names in

Art Nouveau architecture; the construction of his Hôtel
Tassel in Brussels in 1892-3 means that he is sometimes
credited as the first to introduce the style
to architecture from the decorative arts.
Victor Horta’s Horta
Hôtel Tassel Museum
House
Art Nouveau Architects
Antoni Gaudí i Cornet was
a Catalan architect and figurehead
of Catalan Modernism. Gaudí's
works reflect his highly individual
and distinctive style and are largely
concentrated in the Catalan capital
of Barcelona, notably his magnum
opus, the Sagrada Família.
Much of Gaudí's work was marked

by his four life passions:
1. Architecture Gaudí’s Roman Catholic faith intensified
2. Nature during his life and religious images
3. religion and permeate his work. This earned him the
4. love for Catalonia. nickname "God's Architect"
Sagrada Familia (TO BE COMPLETED BY 2026-2028)
In November 2010 was consecrated and

proclaimed a minor basilica by Pope
Benedict XVI
Casa Mila - was a controversial design

at the time for the bold forms of the undulating
stone facade and wrought iron decoration of
the balconies and windows. Casa Milà was a
predecessor of some buildings with a
similar biomorphic appearance: i.e.
Guggenheim Museum, Notre dame du Haut,
Einstein Tower & Disney Concert Hall.
Casa Batlló - The local name for the

building is Casa dels ossos (House of Bones), as
it has a visceral, skeletal organic quality. Much
of the façade is decorated with a mosaic made
of broken ceramic tiles (trencadís) that starts in
shades of golden orange moving into greenish
blues. The roof is arched and was likened to the
back of a dragon or dinosaur.
Art Nouveau Architects Hector Guimard was an architect,
who is now the best-known representative
of the French Art Nouveau or Fin De
Sieclism .
His inimitable stylistic vocabulary suggests plants
and organic matter, while remaining abstract.
Flexible mouldings and a sense of movement are
found in stone as well as wood carvings. Guimard
also employed some structural innovations.
One hundred years after what
Le Corbusier termed the
"magnificent gesture" of Art
Nouveau, most of Guimard's
buildings remain inaccessible
to the public, and he has no
museum devoted to him.
Paris Metro or Métropolitain Entrance
Art Nouveau Architects Charles Rennie Mackintosh was a
Scottish architect, designer, watercolourist and artist..
He is the main representative of Art Nouveau in the
United Kingdom.
While working in architecture, Charles Rennie
Mackintosh developed his own style: a contrast between
strong right angles and floral-inspired decorative motifs
with subtle curves, e.g. the Mackintosh Rose motif,
along with some references to traditional Scottish
architecture.
Along with the Industrial

Revolution, Asian style and
emerging modernist ideas
also influenced
Mackintosh's designs.
Glasgow School of Art
The School of Architecture is named after GSA's

most famous alumnus, Charles Rennie Mackintosh,
and is highly rated by the architecture profession
Art Deco – a eclectic artistic and
design style that began in Paris in the
1920’s. The structure of Art Deco is based
on mathematical geometric shapes. It was
widely considered to be an eclectic form
of elegant and stylish modernism, being
influenced by a variety of sources.
Art Deco was an angular dynamic ornamental

style, and its lavishness is attributed to reaction
to the forced austerity imposed by World War I.
Art Deco is characterized by use of materials such as

aluminium, stainless steel, lacquer, Bakelite,
Chrome and inlaid wood. Exotic materials such as
sharkskin (shagreen), and zebra skin were also
evident.
Art Deco Patterns

Manila Metropolitan Theater –

ART DECO building designed by the Filipino
Architect Juan M. Arellano. During the
liberation of Manila by the United States and
Filipino forces in1945, the theatre was severely
damaged, losing some of its roofing and walls
battered.
On June 23, 2010, Former president Gloria Macapagal-Arroyo and Manila

Mayor Alfredo Lim re-opened the theater after extensive renovations.
Chrysler Building– an Art Deco style skyscraper in New York
City designed by Architect William Van Alen. The corners of the 61st
floor are graced with eagles ; on the 31st floor, the corner
ornamentation are replicas of the 1929 Chrysler radiator caps.The
building is constructed of masonry, with a steel frame, and metal
cladding. In total, the building currently contains 3,862 windows on
its facade and 4 banks of 8 elevators designed by the Otis Elevator
Corporation.
The Chrysler Building is also renowned and recognized for its

terraced crown. Composed of seven radiating terraced arches.
Empire State Building
The Empire State
Building is a 103-
story skyscraper locate
d in Midtown
Manhattan, New York
City, at the intersection
of Fifth
Avenue and West 34th
Street.
It is designed in the
distinctive Art
Deco style and has
been named as one of
the Seven Wonders of
the Modern World by
the American Society
of Civil Engineers.
Art Deco
Far Eastern
University Building
Among the buildings on FEU's
campus complex, five by Pablo
Antonio garnered recognition
for FEU in 2005 from the
United Nations Educational,
Scientific and Cultural
Organization (UNESCO), who
bestowed the Asia Pacific
Heritage Award for Cultural
Heritage on the university for
"the outstanding preservation
of its Art Deco structures."
Art Deco
Arts & Crafts – abolish HISTORICISM
& REVIVALISM. Design “honest buildings”
that expressed universal values.
The philosophy was an advocacy of

traditional craftsmanship using simple forms
and often medieval, romantic or folk styles of
decoration.
The main developer of the Arts and Crafts
style was William Morris
RED HOUSE - designed for Morris by Architect Philip Webb,

exemplifies the early Arts and Crafts style, with its well-proportioned solid
forms, wide porches, steep roof, pointed window arches, brick fireplaces and
wooden fittings. Webb rejected the grand classical style, based the design on
British vernacular architecture and attempted to express the texture of ordinary
materials, such as stone and tiles, with an asymmetrical and quaint building
composition.
Beaux - Arts– rich neo-classical style favored by the Paris based arts in
the 19th & early 20th century France. Though the Beaux-Arts style embodies an
approach to a regenerated spirit within the grand traditions rather than a set of
motifs, principal characteristics of Beaux-Arts architecture included:
•Alternating male and female mascarons decorate keystones on the San Francisco
City Hall
•Flat roof & Rusticated and raised first story
•Hierarchy of spaces, from "noble spaces"—grand entrances and staircases— to
utilitarian ones
•Arched windows / Arched and pedimented doors
•Classical details: references to a synthesis of historicist styles and a tendency
to eclecticism; fluently in a number of "manners"
•Symmetry / Subtle polychromy
•Statuary, sculpture (bas-relief panels, figural sculptures, sculptural groups), murals,
mosaics, and other artwork, all coordinated in theme to assert the identity of the
building & Classical architectural details:
balustrades, pilasters, garlands, cartouches, with a prominent display of richly
detailed clasps (agrafes), brackets and supporting consoles
Beaux - Arts
Beaux - Arts
Eclecticism– a style that incorporates

mixture of architectural styles. It draws
upon multiple theories, styles, or ideas to
gain complementary insights into a subject,
or applies different theories in particular
cases.
Modernism
The Early Modernists– Louis Sullivan & later his student Frank Lloyd
Wright waged a WAR against tradition in Architecture, bought sought to reveal the
structural scheme of the building.
Louis Henri Sullivan was
an American architect, and has been called the
"father of skyscrapers“ and "father
of modernism“. He is considered by many as
the creator of the modern skyscraper, was an
influential architect and critic of the Chicago
School, was a mentor to Frank Lloyd Wright, and an
inspiration to the Chicago group of architects who
have come to be known as the Prairie School.
Along with Henry Hobson
Richardson and Frank Lloyd Wright,
Sullivan is one of "the recognized trinity of
American architecture".
Modernism
Earlier Skyscrapers
Guaranty / Prudential Wainwright

Modernism
Seagram Building Structuralism– iron construction,

initiated by Sir Joseph Paxton’s
Crystal Palace, brought about a trend
in Architecture.
Crystal Palace
Modernism
Structuralism
The Willis Tower (formerly named, and still

commonly referred to as, the Sears Tower) by
Skidmore, Owings and Merrill. The Willis
Tower is the tallest building in the United States and
the 7th-tallest freestanding structure in the world.
Modernism
Structuralism
Modernism
Structuralism
The Glass House or Johnson house

by Philip C. Johnson
It was an important and influential project for
Johnson and for modern architecture. The
building is an essay in minimal structure,
geometry, proportion, and the effects of
transparency and reflection. The house is an
example of one of the earliest uses of industrial
materials like glass and steel in home design.
Modernism
Structuralism
The original World Trade Center was a
complex with seven buildings featuring
landmark twin towers, he complex was
designed in the early 1960s by Minoru
Yamasaki . The complex opened on April 4,
1973, and was destroyed in 2001 during
the September 11 attacks.
Modernism
Structuralism
Modernism
Structuralism
Modernism
Monumentalism– in
Chicago Tribune Architecture, one aspect of individualism
stands out: the Idea of building
monuments.
Adolf Franz Karl Viktor Maria Loos - he explored the idea

that the progress of culture is associated with the deletion
of ornament from everyday objects, and that it was therefore a
crime to force craftsmen or builders to waste their time on
ornamentation that served to hasten the time when an object
would become obsolete.
Modernism
Monumentalism
Built in 1889, it has become both a

global icon of France and one of the Eiffel Tower
most recognizable structures in the world. by Engr. Gustave Eiffel
Modernism
Monumentalism
It was built as a monument to the westward

expansion of the United States. At 630 feet
(192 m), it is the tallest man-made monument in
the United States, Missouri's tallest accessible
building, and the largest architectural structure
Gateway Arch, or Gateway to designed as a weighted or
the West by Eero Saarinen flattened catenary arch
Modernism
Monumentalism
The London Eye is a giant Ferris

wheel situated on the banks of the River Thames
in London, England.
Architects: Frank Anatole, Nic Bailey, Julia
Barfield, Steven Chilton, Malcolm Cook, David
Marks, Mark Sparrowhawk
Modernism
Monumentalism
Quezon Memorial Circle by Filipino architect Federico S. Ilustre is

a national park and shrine located in Quezon City, former capital of
the Philippines (1948–1976). The park is an ellipse bounded by the Elliptical Road. Its
main feature is a mausoleum containing the remains of Manuel L. Quezon, the
second President of the Philippines, and his wife, First Lady Aurora Quezon.
Modernism
Modernism– term to describe the new, socially progressive, undecorated
cubic democratic (CUBISM), & functionalist architectural intentions of the first half
of the 20th Century. Salk Institute
Villa Savoye in Poissy
Robie House
Modernism
Peter Behrens - He was important for
the modernist movement, as several of the
movements leading names (for example Ludwig Mies
van der Rohe, Le Corbusier and Walter Gropius)
worked for him when they were young. He was one
of the leaders of architectural reform at the turn of
the century and was a major designer of factories
and office buildings in brick, steel and glass.
AEG Turbine Factory
In 1907, AEG (Allgemeine

Elektrizitäts-Gesellschaft) retained
Behrens as artistic consultant. He
designed the entire corporate identity
(logotype, product design, publicity, etc.)
and for that he is considered the first
industrial designer in history.
Modernism
International Style –
a major architectural style that
emerged in the 1920s and 1930s, the
formative decades of Modern
architecture. The term originated from
the name of a book by Henry-Russell
Hitchcock and Philip Johnson, The
International Style.
The typical International Style high-rise

usually consists of the following:
1. Square or rectangular footprint
2. Simple cubic "extruded rectangle"
form
3. Windows running in broken
horizontal rows forming a grid
4. All facade angles are 90 degrees.
Modernism
International Style Lovell House
by Richard
Neutra - He was
famous for the
attention he gave to
defining the real
needs of his clients,
regardless of the size
of the project, in
contrast to other
architects eager to
impose their artistic
vision on a client.. His
domestic
architecture was a
blend of art,
landscape and
practical comfort.
Turun Sanomat
Modernism
International Style
Hugo Alvar Henrik Aalto - the span of his
career, from the 1920s to the 1970. What is typical
for his entire career, however, is a concern for
design as a Gesamtkunstwerk, a total work
of art; whereby he - together with his first
wife Aino Aalto - would design not just the
building, but give special treatments to the
interior surfaces and design furniture, lamps, and
furnishings and glassware.
Finlandia Hall
Alvar and Elissa Aalto in the 1950s
Modernism Old US Embassy, Manila,
Architect by Alfred Aydelott. This
International Style Manila landmark just disappeared
recently. It was a 60s International
style structure distinctive because of
its brise soliel (sun screens or
grill) that mitigated Manila's
tropical sun. Aydelott created a
rational plan with spaces distributed
over four levels of air-conditioned
space.
Modernism
International Style
Marlim Mansions Hotel

Clark Air Base Hospital /
Modernism Regional Medical Center
International Style (Abandoned)
Modernism
Unite d Habitation
Trellick Tower, London
by Le Corbusier.
by Ernő Goldfinger.
Brutalism - from the French béton

brut, or "raw concrete", a phrase used
by Le Corbusier to describe the poured board-
marked concrete with which he constructed
many of his post-World War II buildings.
Modernism
Brutalism
Modernism
Brutalism
Modernism
Brutalism
Habitat 67, or simply Habitat, is a model

community and housing complex
in Montreal, Canada designed by Israeli–
Canadian architect Moshe Safdie. It was
originally conceived as his master's thesis in
architecture at McGill University and then built
as a pavilion for Expo 67, the World's Fair held
from April to October of 1967.
Modernism
Brutalism
Old Manila International Airport

was renovated in the late 70s to reflect a
changing style in architecture - the
brutalist movement that the CCP of
National Artist for Architecture
Leandro Locsin was a prime example.
The original style of the 1960s structure
was the International style
Modernism
Brutalism
Cultural Center of the Philippines - Tanghalang Pambansa (National

Theater) - The CCP provides performance and exhibition venues for
various local and international productions at its eponymous 62-hectare
complex located in the Cities of Pasay and Manila. Its artistic programs
include the production of performances, festivals, exhibitions, cultural
research, outreach, preservation, and publication of materials on
Philippine art and culture.
Modernism
Brutalism
Manila Film Center is a national building located at the southwest end of

the Cultural Center of the Philippines complex in Pasay City, Philippines. The structure
was designed by Architect Froilan Hong where its edifice is supported on more than
nine hundred piles which reaches to the bed-rock about 120 feet below. The Manila
Film Center served as the main theater for the 1st Manila International Film Festival
(MIFF) from the 18th to the 29th of January, 1982. The building has also been the
subject of controversies due to an accident that happened during the final stages of its
construction in 1981.
Modernism
Brutalism
Modernism Constructivism - The style was
passionate pleading for ideas on form &
space. It combined advanced technology
and engineering with an avowedly
Communist social purpose.
Narkomtiazhprom, Vesnin brothers, 1934
Flats,
Zamoskvorechye,
Moscow (late Rusakov Workers' Club
1920s) by Konstantin Stepanovich Melnikov
Modernism
Mid-Century Modern –
was much more organic in form and
less formal than the International Style.
This style emphasized creating
structures with ample windows and
open floor-plans with the intention of
opening up interior spaces and bringing
the outdoors in.
National Congress of Brazil,

Oscar Niemeyer
Metropolitan Cathedral of Our Lady Aparecida /

Cathedral of Brasilia by Oscar Niemeyer
Modernism
Mid-Century Modern
TWA Flight Center or

Trans World Flight Center
Opened in 1962 as a standalone terminal at New York City's John
F. Kennedy International Airport (JFK) for Trans World Airlines. It
was designed by Eero Saarinen. Eero Saarinen shared the
same birthday as his father, Eliel Saarinen.
Modernism
Neo-Plasticism (De Stijl)–
In its precise meaning, this term relates to
the theory of Pure Plastic Art.
Proponents of De Stijl sought to express a
new utopian ideal of spiritual harmony and
order. They advocated pure abstraction and
universality by a reduction to the essentials
of form and color; they simplified visual
compositions to the vertical and
horizontal directions, and used
only primary colors along
with black and white.
Rietveld Schröder
House
by Gerrit Rietveld
Modernism Bauhaus–
Staatliches Bauhaus.; ART +
TECHNOLOGY; stood for "School of
Building". The Bauhaus school was
founded by Walter Gropius in Weimar.
The influence of the Bauhaus Style can be
seen in numerous consumer products from
bent metal furniture & hanging
globe lamps to the black, block
lowercase letterings to be found
on exhibition posters.
It was under three different architect-
directors: Walter Gropius from 1919 to
1928, Hannes Meyer from 1928 to
1930 and Ludwig Mies van der
Rohe from 1930 until 1933, when the
school was closed by its own leadership
under pressure from the Nazi regime
Modernism
Bauhaus
Walter Adolph Georg Gropius was
a German architect and founder of
the Bauhaus School. Henry van de Velde,
the master of the Grand-Ducal Saxon School of
Arts and Crafts in Weimar was asked to step
down in 1915 due to his Belgian nationality. His
recommendation for Gropius to succeed him
In 1919, Gropius was involved in
led eventually to Gropius's appointment as
master of the school in 1919. the Glass
Chain utopian expressionist cor
respondence under the pseudonym
"Mass." Usually more notable for his
functionalist approach, the "Monument
to the March Dead," designed in 1919
and executed in 1920, indicates that
expressionism was an influence on him
at that time.
Modernism
Bauhaus
Marcel Breuer was one of the masters of
Modernism, Breuer displayed interest in
modular construction and simple forms.
Breuer studied and taught at the Bauhaus in
the 1920s. The Bauhaus curriculum stressed
the simultaneous education of its students in
elements of visual art, craft and the
technology of industrial production.
Wassily
Chair Model B3
chair
Whitney Museum of
American Art, New York
Modernism
Bauhaus
The Bauhaus Dessau Bauhaus building in Chemnitz

Modernism
CIAM–
Congrès internationaux d'architecture moderne; responsible for a series of events
and congresses arranged around the world by the most prominent architects of
the time, with the objective of spreading the principles of the Modern Movement
focusing in all the main domains of architecture (such as landscape, urbanism,
industrial design, and many others).
Chandigarh Legislative Building
Modernism
Organic Architecture
a philosophy
of architecture which
promotes harmony
between human
habitation and the
natural world
through design
approaches so
sympathetic and well
integrated with its site
that buildings,
furnishings, and
surroundings become
part of a unified,
interrelated
composition. Fallingwater or Kauffman House by Frank Lloyd Wright
Modernism
"Let the design:
1. be inspired by nature and be
sustainable, healthy, conserving, and
diverse.
2. unfold, like an organism, from the seed
within.
3. exist in the "continuous present" and
"begin again and again".
4. follow the flows and be flexible and
adaptable.
5. satisfy social, physical, and spiritual
needs.
6. "grow out of the site" and be
unique.
7. celebrate the spirit of youth, play and
surprise.
Solomon Guggenheim Museum
8. express the rhythm of music and the
by Frank Lloyd Wright
Modernism
Modernism
Modernism
Metabolism
In the late 1950s a small group of young
Japanese architects and designers joined
forces under the title of "Metabolism". Their
visions for cities of the future inhabited by a
mass society were characterized by large
scale, flexible, and expandable
structures that evoked the processes
of organic growth. In their view, the
traditional laws of fixed form and function
were obsolete.
Nakagin Capsule Tower by Kisho Kurokawa

Modernism
Metabolism
Arata Isozaki designed Clusters in the Air

Post-Modernism
Post-Modernism (POMO)
Postmodernity in architecture is said to
be heralded by the return of "wit,
ornament and reference" to
architecture in response to the formalism
of the International Style of modernism. As
with many cultural movements, some of
Postmodernism's most pronounced and
visible ideas can be seen in architecture. Auditorio de Tenerife in Santa Cruz
de Tenerife bySantiago Calatrava,
Postmodern architecture has also
been described as "neo-eclectic",
where reference and ornament have
returned to the facade, replacing
the aggressively
Vanna Venturi House by Robert Venturi
unornamented modern styles.
Post-Modernism
Portland Building by Michael Graves Bank of America Center by Philip Johnson

Modernist architects may regard postmodern buildings as vulgar, associated
with a populist ethic, and sharing the design elements of shopping malls, cluttered
with "gew-gaws". Postmodern architects may regard many modern buildings as
soulless and bland, overly simplistic and abstract.
Post-Modernism
The Sony Tower, formerly the AT&T
Building by Philip Johnson became
immediately controversial for its ornamental
top (sometimes mocked as "Chippendale", after
the open pediments characteristic of the
famous English designer's bookcases and other
cabinetry), but enjoyed for its spectacular
arched entranceway, measuring about seven
stories in height. With these ornamental
additions, the building
challenged architectural modernism's
demand for stark functionalism and
purely efficient design. The effect the
building had on the public at large has been
described as legitimizing the postmodern
architecture movement on the world stage.
Post-Modernism
Team Disney Burbank , California, has served as the corporate headquarters

of The Walt Disney Company since 1991. In January 2006, the site was
rechristened Team Disney – The Michael D. Eisner Building in honor of former
Disney CEO Michael Eisner. Michael Graves designed the building, which features
large figures of the dwarves from Snow White and the Seven Dwarfs on its facade.
Neo-Modernism
Neo-Modernism
SM Mall of Asia (MOA) by Arquitectonica is a

shopping mall owned and developed by SM Prime
Holdings, the largest mall developer and owner in
the Philippines. SM Mall of Asia is the one of the
largest mall in the Philippines after SM City
North EDSA in terms of Gross leasable area.
Neo-Modernism
Neo-Modernism (POMO)
TriNoma (Triangle North of Manila) - The mall
is composed of four major levels with two minor
ones on ground and on grade. The mall is
characterized by alfresco areas punctuated with
water features and landscaping. These water
features flow into pools at the TriNoma Park, an
oasis that sits atop the mall.
Neo-Modernism
Neo-Modernism
Taipei 101 or formerly known as the Taipei
World Financial Center by C.Y. Lee &
Partners, is a landmark skyscraper located
in Taiwan. The building ranked officially as
the world's tallest from 2004 until the
opening of the Burj Khalifa in Dubai in 2010.
Taipei 101 is designed to withstand

the typhoon winds and earthquake tremors
common in its area of the Asia-Pacific.
Neo-Modernism
Neo-Modernism
Taipei 101 participates in the symbolism of a world
center where earth and sky meet and the four
compass directions join.
The height of 101 floors commemorates the
renewal of time: the new century that arrived as
the tower was built (100+1) and all the new
years that follow (January 1 = 1-01).
The repeated segments simultaneously recall the
rhythms of an Asian pagoda (a tower linking earth and
sky, also evoked in the Petronas Towers), a stalk of
bamboo (an icon of learning and growth), and a stack of
ancient Chinese ingots or money boxes (a symbol of
abundance). The four discs mounted on each face of the
building where the pedestal meets the tower represent
Shadow of Taipei 101 tower in the
coins.
late afternoon. The adjoining park
(circular feature, bottom) acts as
the face of a sundial.
Neo-Modernism
Neo-Modernism
Taipei 101 or formerly known as the Taipei

World Financial Center by C.Y. Lee &
Partners
Neo-Modernism
Neo-Modernism
Burj Khalifa or known as Burj Dubai by
Architect Adrian Smith at SOM prior to
its inauguration, is a skyscraper in Dubai,
United Arab Emirates, and is currently
the tallest manmade structure in the
world, at 829.84 m (2,723 ft).
Neo-Modernism
Neo-Modernism
The design architect, Adrian Smith, has said

the triple lobed footprint of the building was
inspired by the flower Hymenocallis.
Neo-Modernism
Neo-Modernism
Petronas Towers are skyscrapers and twin
towers in Kuala Lumpur, Malaysia. Designed by
Argentine Architect César Pelli and Filipino-
Malaysian Engineer Deejay Cerico under the
consultancy of J. C. Guinto, and Filipino
Designer Dominic "Minick" Saibo,
the Petronas Towers were the tallest buildings in the
world for six years, until Taipei 101 was completed in
2004.
Neo-Modernism
Neo-Modernism
With a steel and glass facade designed to resemble
motifs found in Islamic art, it became a
reflection of Malaysia's Muslim religion.
Another Islamic influence on the design is that the cross

section of the towers is based on a Rub el Hizb, albeit with
circular sectors added to meet office space requirements.
Green Architecture
Buildings using a process that is
environmentally responsible & resource
efficient throughout a building's life-cycle.
 less taxing to the environment
 concerned for natural resources
 better in environmental and energy
performance
 using a rating system as reference for
design & construction
 after the welfare, productivity and
comfort for the occupants
Contextualism
In architectural theory, contextualism is a
theory of design wherein modern
building types are harmonized with
urban forms usual to a traditional city.
•Takes its clues from adjacent buildings,
whatever their individual merits
•Based on association and not on 333 West Wacker Dr (on the left), a good
composition, could produce buildings of example of ‘contextualism’, apparently, with a
enduring aesthetic quality curved and shimmering green-tinted facade
which is supposed to ‘flow in harmony with the
river’s hue’.
The Carré d'art at Nîmes by Sir Norman Foster in

southern France houses a museum of
contemporary art and the city's library.
Constructed of glass, concrete and steel, it faces
the Maison Carrée, a perfectly preserved Roman
temple that dates from the 1st century BC.
High-Tech / Neo Brutalism
High Tech or Neo Brutalism, (Structural
Expressionism) is an architectural style that
emerged in the 1970s, incorporating elements of
high-tech industry and technology into building
design. High-tech architecture appeared as a
revamped modernism, an extension of
those previous ideas aided by even
more advances in technological
achievements.
Structural Expressionist buildings reveal their
structure on the outside as well as the inside,
but with visual emphasis placed on the
internal steel and/or concrete skeletal
structure as opposed to exterior concrete
walls of Brutalism. The HSBC Hong Kong headquarters
By Sir Norman Foster
It may also refer to the works whose
structure showed a display of precise
steel & technology. All the servicing
systems of the buildings were
openly on display & not
concealed in dusts or covers.
Centre Pompidou or Georges Pompidou (Paris) by Renzo Piano
The Lloyd's building (also sometimes known

as the Inside-Out Building) by Richard Rogers
30 St Mary Axe, the Swiss Re Building
by Sir Norman Foster
John Hancock Center at 875
North Michigan Avenue in
High-Tech / Neo Brutalism the Streeterville area of Chicago, Illinois,
is a 100-story, 344 m tall skyscraper,
constructed under the supervision
of Skidmore, Owings and Merrill
One of the most famous buildings of the High tech or structural expressionist style, the
skyscraper's distinctive X-bracing exterior is actually a hint that the structure's skin is indeed
part of its 'tubular system'. This idea is one of the architectural techniques the building used to
climb to record heights . This X-bracing allows for both higher performance from tall structures
and the ability to open up the inside floo rplan (and usable floor space) if the architect desires.
Neo-Vernacularism
Neo-Vernacular Architecture is
a kind of architecture that improves
vernacular tradition. However, architecture
is a little different from the other categories
of culture. Architects applying new or high
technology when we conceive a building in
neo-vernacular style. Communion between
different areas is very difficult so each area
had its own vernacular architecture. And
after a long time they become a component
of vernacular culture. This condition
leads to the primary disadvantage
of vernacular architecture, the
limited technology.
Neo-Vernacularism
Modern Asian Style
Neo-Vernacularism
Modern Asian Style
Neo-Vernacularism
Modern Filipino Style
Neo-Vernacularism
Modern Filipino Style
Nature's Church - A showcase of Filipino architecture. From the concept of

former parish priest Fr. Pierino Rogliardi and executed by noted architect Francisco
"Bobby" Mañosa and landscapist Linggoy Alvarez, a truly refreshing and unique
Nature's Church was erected in 1988. Peaceful and quiet amidst a canopy of trees,
God is indeed within whispering distance. Capiz doves fly high above the
congregation sitting on cut logs and boulders placed in harmony with the rest of the
landscape.
Also known as Tahanang Pilipino, the
Coconut Palace is the official residence and
principal workplace of the Vice President of the
Neo-Vernacularism Philippines and is located at the CCP Complex, in
Modern Filipino Style Pasay City. The Coconut Palace, built in 1978, was
commissioned by former first lady Imelda
Marcos. It is made of several types of Philippine
hardwood, coconut shells, and a specially
engineered coconut lumber apparently known as
Imelda Madera. Each of the suites on the second
floor is named after a specific region of the
Philippines and displays some of the handicrafts
these regions produce.
Critical Regionalism
is an approach
to architecture that strives to
counter placelessness and lack
of identity in Modern
Architecture by using the
building's geographical context.
San Miguel Corporation Building Architect: Francisco

Manosa, Ildefonso Santos, Jr.
Minimalism
A style where the work is set out to expose
the essence, essentials or identity of a subject
through eliminating all non-essential forms,
features or concepts.
The term minimalism is also used to describe a
The reconstruction of Ludwig Mies
trend in design and architecture where in the van der Rohe's German
subject is reduced to its necessary elements. Pavilion in Barcelona
Minimalist design has been highly influenced
by Japanese traditional design and
architecture.
Minimalism
Minimalist architecture simplifies living space to

reveal the essential quality of buildings and conveys
simplicity in attitudes toward life. It is highly inspired
from the Japanese traditional design and the concept
of Zen philosophy.
Futuristic
Blobism or Blob Architecture
Blobism or Blobismus are terms for a
movement in architecture in which buildings
have an organic, amoeba-shaped, bulging
form. Future Systems'
blobitecture
design for
the 2003 Selfridg
es department
store, was
intended to
evoke the female
sillouette and a
famous
"chainmail" dress
designed by Paco
Rabanne in the
1960s.
Futuristic
The Sage Gateshead by Sir Norman
Foster is a centre for musical education,
performance and conferences, located
in Gateshead on the south bank of the River
Tyne, in the northeast of England.
Futuristic The Kunsthaus Graz, Grazer
Blobism or Blob Architecture Kunsthaus, or Graz Art
Museum was built as part of
the European Capital of
Culture celebrations in 2003 and
has since become an architectural
landmark in Graz, Austria. Its
exhibition program specializes
in contemporary art of the last
four decades.
"Friendly Alien" by Peter Cook and Colin Fournier

Futuristic
Allianz Arena is lit up in red

when Bayern Munich plays, in blue
when 1860 Munich plays, and in white
when in use by the German National
Team.
The Allianz Arena (2006 FIFA World
Cup Stadium Munich) by Herzog & de
Meuron is a football stadium in the
north of Munich, Bavaria, Germany.
Futuristic
Archigram
Archigram was an avant-
garde architectural group formed in
the 1960s - based at the Architectural
Association, London - that was David Greene
futurist, anti-heroic and pro-
consumerist, drawing inspiration Peter Cook
from technology in order to create a
new reality that was solely expressed
through hypothetical projects.
Futuristic proposals expressed
hope about the power of technology
to transform and improve the world. Ron Herron
Michael Webb
The main members of the group were Peter Cook, Warren Chalk, Ron Herron, Dennis
Crompton, Michael Webb and David Greene. Designer Theo Crosby was the "hidden
hand" behind the group
Futuristic
Archigram
The Walking City, Ron Herron, 1964
The Walking City is constituted by intelligent buildings or robots that are in the
form of giant, self contained living pods that could roam the cities. The form
derived from a combination of insect and machine and was a literal interpretation
of Corbusier's aphorism of a house as a machine for living in.
Futuristic
Archigram
Plug-in-City, Peter Cook, 1964
Plug-in-City is a mega-structure with no buildings, just a massive framework

into which dwellings in the form of cells or standardized components
could be slotted. The machine had taken over and people were the raw material
being processed, the difference being that people are meant to enjoy the experience.
Futuristic
Archigram
Instant City is a mobile technological event that drifts into underdeveloped, drab
towns via air (balloons) with provisional structures (performance
spaces) in tow. The effect is a deliberate overstimulation to produce mass
culture, with an embrace of advertising aesthetics. The whole endeavor is intended
to eventually move on leaving behind advanced technology hook-ups.
Green Architecture
London City Hall by Sir Norman Foster has an

unusual, bulbous shape, purportedly intended to reduce
its surface area and thus improve energy efficiency,
although energy use measurements have shown this
building to be fairly inefficient in terms of energy use.
Green Architecture
Menara Mesiniaga - The building is an

environmental filter, an analogy for synthesis and
analysis. The Menara Mesiniaga is a built work that
utilizes a basis of traditional Malaysian building models
and their transition or evolution into modern
principles. It is Ken Yeang’s vision of the tropical
garden city and it uncovers “the relationship of
buildings, landscape and climate . . .” transforming the
impact of high rise development in the ecosystem of a
city
Green Architecture
Menara Mesiniaga by Arch. Ken Yeang

Green Architecture
Green Architecture
Green Architecture
Expressionism – The style was characterized by an early-modernist adoption of
novel materials, formal innovation, and very unusual massing, sometimes inspired by
natural biomorphic forms, sometimes by the new technical possibilities offered by the mass
production of brick, steel and especially glass.
1. Distortion of form for an emotional effect.
2. Subordination of realism to symbolic or stylistic expression of inner experience.
3. An underlying effort at achieving the new, original, and visionary.
4. Profusion of works on paper, and models, with discovery and representations
of concepts more important than pragmatic finished products.
5. Often hybrid solutions, irreducible to a single concept.
6. Themes of natural romantic phenomena, such as caves, mountains, lightning, crystal and
rock formations. As such it is more mineral and elemental than florid and organic which
characterized its close contemporary art nouveau.
7. Utilizes creative potential of artisan craftsmanship.
8. Tendency more towards the gothic than the classical. Expressionist architecture also
tends more towards the Romanesque and the rococo than the classical.
9. Though a movement in Europe, expressionism is as eastern as western. It draws as much
from Moorish, Islamic, Egyptian, and Indian art and architecture as
from Roman or Greek.
10. Conception of architecture as a work of art.
Expressionism
US Air Force Academy
Einstein Tower in Potsdam-Berlin, 1919-22

(Erich Mendelsohn)
Expressionism
Bahai Home of Worship / Lotus Temple

Expressionism
The Sydney Opera House is a multi-venue performing

arts centre in the Australian city of Sydney. It was conceived
and largely built by Danish architect Jørn Utzon, finally
opening in 1973 after a long gestation starting with his
competition-winning design in 1957.
Expressionism
Beijing National Stadium (BNS) was a joint venture among architects

Jacques Herzog and Pierre de Meuron of Herzog & de Meuron
Deconstructivism
Deconstructivism is a development of postmodern
architecture that began in the late 1980s. It is
characterized by ideas of fragmentation, an
interest in manipulating ideas of a structure's
surface or skin, non-rectilinear shapes which
serve to distort and dislocate some of
the elements of architecture, such as
structure and envelope.
The Vitra
Design
Museum by Frank
Deconstructivism O. Gehry is an
internationally
renowned, privately
owned museum
for design .
Eero Saarinen's Tulip Chair

Deconstructivism
The Jewish Museum

Berlin (Jüdisches Museum
Berlin) is the largest Jewish
museum in Europe. In two
buildings, one of which is a
new addition specifically
built for the museum
by architect Daniel
Libeskind.
Wexner Center for the Arts by Peter
Eisenman is The Ohio State University’s
Deconstructivism multidisciplinary, international laboratory for
the exploration and advancement of
contemporary art.
The design includes a large,

white metal grid meant to
suggest scaffolding, to give the
building a sense of
incompleteness in tune with the
architect's deconstructivist tastes
Deconstructivism
The Walt Disney
Concert Hall at 111 South
Grand Avenue in Downtown
Los Angeles, California, is the
fourth hall of the Los Angeles
Music Center. It is designed
by Frank Owen Gehry.
Deconstructivism
Frank Gehry’s House
Deconstructivism
The Vitra Fire Station was the first
international design work of Zaha
Hadid and demonstrates her
technique of mixing polygons with
triangular structures, getting a sense
of movement characteristic of her
designs.
Deconstructivism
Le Corbusier
(Master of Form)
Le Corbusier
(Master of Form)
October 6, 1887 – August 27, 1965
Ludwig Mies Van Der Rohe Frank Lloyd Wright

(Master of Structure) (Master of Space)
Le Corbusier adopted his pseudonym in the 1920s,
Le Corbusier allegedly deriving it in part from the name of a distant
ancestor, "Lecorbésier."
Real Name:
•Swiss-born
French ARCHITECT, design
er, urbanist, writer and pa
inter, famous for being
one of the pioneers of
what now is
called MODERN
architecture.
He was a pioneer in studies of modern
high design and was dedicated to
providing better living conditions for the
residents of crowded cities.
In 1918, Le Corbusier met
the Cubist painter Amédée
Ozenfant, in whom he
recognized a kindred spirit.
Ozenfant encouraged him to
paint, and the two began a
period of collaboration.
Rejecting Cubism as
irrational and
"romantic," the pair
jointly published their
manifesto, Après le
cubisme and
established a new
artistic
movement, Purism.
His Immeubles
Villas (1922) was
such a project that called
for large blocks of cell-like
individual apartments
stacked one on top of the
other, with plans that
included a living room,
bedrooms and kitchen, as
well as a garden terrace.
For a number of years French officials had been unsuccessful in

dealing with the squalor of the growing Parisian slums, and Le
Corbusier sought efficient ways to house large numbers of people
in response to the urban housing crisis. He believed that his
new, modern architectural forms would provide a new
organizational solution that would raise the quality of
life for the lower classes.
Ideas & Principles of Le Corbusier
“You employ stone, wood

and concrete, and with
these materials you build
houses and palaces. That is
construction. “
Ingenuity is at work. But

suddenly you touch my
heart, you do me good, I am
happy and I say: "This is
beautiful." That is
Architecture. Art enters
in.
“Space and light
and order. Those
are the things that
men need just as
much as they need
bread or a place to
sleep.”
Villa Jeanneret-Perret
The house is a machine for living in.

Vers une architecture,
translated into English as Toward an
Architecture and commonly known
as Towards a New
Architecture is a collection
of essays written by Le Corbusier,
advocating for and exploring the concept
of modern architecture. The book has
had an undeniable lasting effect on the
architectural profession, serving as
the manifesto for a generation of
architects, a subject of hatred for others,
and unquestionably a
critical piece
in the Theory of
Architecture.
Aesthetic of the Engineer,
Architecture
Le Corbusier begins the book with a fierce
assertion: Architecture is
disconnected and lost in the
past. On the other hand, he says, Engineers
have begun to embrace new technologies
and build simple, effective structures that
serve their purpose and are honest in
construction. In order for architects to regain
relevance, they must embrace the new artistic
ideal. This artistic-spiritual element derives from a
new way of life, manifested in architecture, which
can stir a mind both rationally and emotionally in a
way that a simply pretty building cannot.
1. Mass
Our eyes are constructed to enable
us to see forms in light. Primary
forms are beautiful forms
because they can be clearly
appreciated. Architects today no
longer achieve these simple forms.
Working by calculation, engineers
employ geometrical forms, satisfying
our eyes by their geometry and our
understanding by their mathematics;
their work is on the direct line of
good art
2. Surface
A mass is enveloped in its surface, a
surface which is divided up according to
the directing and generating lines of the
mass; and this gives the mass its
individuality. Architects today are
afraid of geometrical constituents
of surfaces. The great problems of
modern construction must have a
geometrical solution. Forced to work
in accordance with the strict needs of
exactly determined conditions, engineers
make use of form-generating and form-
defining elements. They create limpid and
moving plastic facts.
3. Plan
The plan is the generator.
Without plan, you have lack
of order and willfulness. The
plan holds in itself the essence of
sensation. The great problems of
tomorrow, dictated by collective
necessities, put the question of
'plan' in a new form. Modern life
demands, and is waiting for, a
new kind of plan, both for the
house and for the city
The Illusion of the Plan

The plan proceeds from within to
without; the exterior is the result of an
interior. The elements of architecture and light and
shade, walls and space. Arrangement is the gradation of
aims, the classification of intentions. Man looks at the
creation of architecture with his eyes, which are 5 feet
6 inches from the ground. One can only consider aims
which the eye can appreciate and intentions which take
into account architectural elements. If there come into
play intentions which do not speak the language of
architecture, you arrive at the illusion of plans, you
transgress the rules of the Plan through an error in
conception, or though a leaning towards empty show.
MODULOR - Le
Corbusier explicitly used
the golden ratio in his
devised system for the
scale of architectural
proportion. He saw this
system as a continuation
of the long tradition of
Vitruvius, Leonardo da
Vinci's "Vitruvian Man“.
International Style
By 1950 he had changed course, abandoning Purism, as he called it, for

something more robust and sculptural. His spartan, lightweight architecture
turned rustic, with heavy walls of brick and fieldstone and splashes of
bright color. He discovered the potential of reinforced concrete and made it
his own, leaving the material crudely unfinished, inside and out, the marks of
wooden formwork plainly visible. Concrete allowed Le Corbusier to
explore unusual shapes.
“In no way relates[s] to aesthetic fantasies or a striving for fashionable effects, but concern
architectural facts that imply an entirely new kind of building”
1. PILOTIS “the pilotis elevating the mass off the ground”
2. FREE PLAN “the free
plan, achieved through
the separation of the
load-bearing columns
from the walls
subdividing the space”
3. FREE FACADE “the corollary of the free plan in the
vertical plane”
4. RIBBON WINDOWS “It offers a direct connection and
association with the horizon, and as such becomes an element
that mediates one’s perception of nature.”
”
5. ROOF GARDEN “the roof garden, restoring, supposedly,
the area of ground covered by the house. ”
Selected Projects of Le Corbusier
in Poissy
Modulor design -- the result of Corbu's researches into mathematics,
architecture (the golden section), and human proportion
"pilotis" -- the house is raised on stilts to separate it from the earth, and to use the
land efficiently. These also suggest a modernized classicism.
no historical ornament
abstract sculptural design
pure color -- white on the outside, a color with associations of newness,
purity, simplicity, and health (LeCorbusier earlier wrote a book entitled, When the
Cathedrals were White), and planes of subtle color in the interior living areas
a very open interior plan
dynamic , non-traditional transitions between floors -- spiral staircases and
ramps
built-in furniture
ribbon windows (echoing industrial architecture, but also providing openness
and light)
roof garden, with both plantings and architectural (sculptural) shapes
integral garage (the curve of the ground floor of the house is based on the
turning radius of the 1927 Citroen)
in Poissy
FLOOR PLAN(s)
in Poissy
EXTERIOR
INTERIOR
Ship of God
The walls of Ronchamp give the
building its sculptural
character. The thick (4’-12’
thick), gentle curving walls act as a
practical method of supporting the
concrete and masonry construction,
as well as the massive curvilinear
roof. However, the walls do not
solely act as structural and
sculptural elements; they also act as
acoustic amplifiers, especially in the
case of the eastern exterior wall
that reflects the sound out over the
field from the outdoor altar.
Concept: Corbusier wanted the

space to be meditative and
reflective in purpose. The stark
white walls add to this purist
mentality that when the light enters
into the chapel there becomes this
washed out, ethereal
atmosphere.The effect of
the light evokes
expressive and emotional
qualities that create heightened
sensations in tune with the religious
activities.
The most striking part of Ronchamp is

the curved roof that peels up
towards the heavens. The
curving roof appears to float above
the building as it is supported by
embedded columns in the walls, which
creates a 10 cm gap between the roof
and the walls, which allow for a sliver
of clerestory light. The roof is actually
the only glimpse of mechanized
influence in the overall design of
Ronchamp; the roof’s curvature
mimics the curves of an
airplane wing.
The Unite d’ Habitation in Marseille,

France was the first large scale project for
the famed architect, Le Corbusier. In
1947, Europe was still feeling the effects of
the Second World War, when Le Corbusier
was commissioned to design a multi-
family residential housing project
for the people of Marseille that were
dislocated after the bombings on
France. Completed in 1952, the Unite d’
Habitation was the first of a new housing
project series for Le Corbusier that focused
Béton Brut, lead to an
on communal living for all the inhabitants
approach popularly
to shop, play, live, and come together in a
known as
“vertical garden city.”
Brutalism.
Le Corbusier’s idea of the “vertical garden city” was

based on bringing the villa within a larger volume
that allowed for the inhabitants to have their own
private spaces, but outside of that private sector
they would shop, eat, exercise, and gather together.
Le Corbusier as a Planner
The City of Chandigarh was
the first planned city in India and is
known internationally for its
architecture and urban design. The
city has projects designed by
architects such as Le
Corbusier, Pierre Jeanneret, Matthew
Nowicki, and Albert Mayer. This
vision of Chandigarh, contained in
the innumerable conceptual maps on
the drawing board together with
notes and sketches had to be
translated into brick and mortar.
The name Chandigarh translates as

"The Fort of Chandi".
Architectural Finishes is of exposed brick and boulder stone masonry in

its rough form produced unfinished concrete surfaces, in geometrical
structures.
Plan conformed to the modern city planning principles of Congrès

International d'Architecture Moderne CIAM, in terms of division of
urban functions, an anthropomorphic plan form, and a hierarchy of road and
pedestrian networks.
Le Corbusier
(Master of Form)
Ludwig Mies Van der Rohe
(Master of Structure)
March 27, 1886 – August 17, 1969
Le Corbusier Frank Lloyd Wright

(Master of Form) (Master of Space)
Maria Ludwig Michael Mies or
Ludwig Mies van der Rohe, along
with Walter Gropius and Le Corbusier, are
pioneers of Modern architecture widely
regarded as the. Mies, like many of his
post World War I contemporaries, sought to
establish a new architectural style that could
represent modern times just as Classical and
Gothic did for their own eras.
He created an influential twentieth century
architectural style, stated with extreme
clarity and simplicity. His mature buildings
made use of modern materials such as
industrial steel and plate glass to define
interior spaces.
Mies sought to create free and open

spaces, enclosed within a structural
order with minimal presence.
LESS IS MORE
Architect Ludwig Mies van der Rohe adopted the
motto "Less is more" to describe his aesthetic tactic
of arranging the numerous necessary components of
a building to create an impression of extreme
simplicity, by enlisting every element and detail to
serve multiple visual and functional purposes
He is often associated with the aphorisms"Less

is More”. Mies van der Rohe designed rational,
minimalist skyscrapers that set the standard for
modernist design.
GOD IS IN THE DETAILS - the idea that whatever one does should be
done thoroughly; i.e. details are important.
“God is in the details,” meaning opportunities

for discovery and creativity come from digging
into the details.
The original quote, God is in the

details, is such a positive anthem
that speaks to the poetry of the
details and the artistic focus
and follow through required to
achieve anything of worth.
PURE FORM
Skin & Bone is a treatment of exterior as weightless,

non supporting skins rather than heavy solids obedient to
gravity.
Pure Form - clarity of straight lines & reflecting

surfaces. Some say that he stripped architecture of all
humanity, creating cold, sterile and unlivable
environments. Others praise his work, saying he created
architecture in its most pure form.
THEORY OF SKYSCRAPER DESIGN
A Skyscraper is a very tall,
continuously habitable building. The
minimum height requirement
currently accepted is 800 feet (244
meters). The word skyscraper was
first applied to such buildings in the
late 19th century, reflecting public
amazement at the tall buildings being
built in New York City.
Originally, skyscraper was a nautical

term for a tall mast or sail on a sailing
ship.
A Curtain Wall is an outer covering of a

building in which the outer walls are non-
structural, but merely keep out the
weather. As the curtain wall is non-
structural it can be made of a lightweight
material reducing construction costs.
Opaque Façade for skyscrapers
means it’s not transparent. Light cannot
pass through it. It also can mean that the
object does not reflect light, an object
without luster.
Play of Reflections
BAUHAUS
The school existed in three German cities Weimar,
Dessau and Berlin, under three different architect-
directors: Walter Gropius from 1919 to
1928, Hannes Meyer from 1928 to 1930
and Ludwig Mies van der Rohe from
1930 until 1933, when the school was closed by
its own leadership under pressure from
the Nazi regime.
The changes of venue and leadership resulted in a

constant shifting of focus, technique, instructors,
and politics. For instance: the pottery shop was
discontinued when the school moved from
Weimar to Dessau, even though it had been an
important revenue source; when Mies van der
Rohe took over the school in 1930, he
transformed it into a private school, and
would not allow any supporters of Hannes
Meyer to attend it.
FURNITURE
Mies designed modern furniture pieces using new industrial technologies that have
become popular classics, such as the Barcelona chair and table, the Brno chair,
and the Tugendhat chair. His furniture is known for fine craftsmanship, a mix of
traditional luxurious fabrics like leather combined with modern chrome frames, and a
distinct separation of the supporting structure and the supported surfaces, often
employing cantilevers to enhance the feeling of lightness created by delicate structural
frames.
Brno chair (model Tugendhat

Barcelona chair was chair (MR70) is
exclusively designed for number MR50)
a modernist cantilever a modernist cantilever
the German Pavilion
chair chair for the Tugendhat
House
FURNITURE
FARNSWORTH HOUSE
Designed and built from 1946 to 1951, Farnsworth House is considered a

paradigm of international style architecture in America. The house's structure
consists of precast concrete floor and roof slabs supported by a carefully crafted steel
skeleton frame of beams, girders and columns. The facade is made of single panes of
glass spanning from floor to ceiling, fastened to the structural system by steel
mullions. The building is heated by radiant coils set in the concrete floor; natural cross
ventilation and the shade of nearby trees provide minimal cooling. Though it proved
difficult to live in, the Farnsworth House's elegant simplicity is still regarded as an
important accomplishment of the international style.
FARNSWORTH HOUSE
BARCELONA PAVILION
It was the German Pavilion for the 1929
International Exposition in Barcelona,
Spain. This building was used for the
official opening of the German section
of the exhibition. It was an important
building in the history of modern
architecture, known for its simple form
and extravagant materials, such as
marble and travertine.
BARCELONA PAVILION
TUGENDHAT HOUSE OR VILLA TUGENDHAT
It is one of the pioneering prototypes
of modern architecture in Europe.
Rohe's design principle of "less is
more" and accent on functional
amenities of the house created a fine
example of early functionalism
architecture, a ground breaking new
vision in building design at the time.
SEAGRAM BUILDING
The Seagram Building is
a skyscraper in New York City
designed by Ludwig Mies van der
Rohe, in collaboration with Philip
Johnson. It stands as one of the
finest examples of
the functionalist aesthetic and a
masterpiece of
corporate modernism.
860-880 LAKESHORE DRIVE APARTMENTS
It is a twin pair of glass-and-steel apartment
towers on N. Lake Shore Drive.
The 26 floor, 254 ft (82 m)

tall towers were designed
by the architect Ludwig
Mies van der Rohe, and
dubbed the "Glass House"
apartments
Frank Lloyd Wright
(Master of Space)
Frank Lloyd Wright
(Master of Space)
June 8, 1867 – April 9, 1959
Le Corbusier Ludwig Mies van der Rohe

(Master of Form) (Master of Structure)
Frank Lloyd Wright spent more than 70
years creating designs that revolutionized the art
and architecture of the twentieth century.
:
Frank Lincoln Wright
He is an Architect.
He was a prolific writer, an educator
and a philosopher.
He designed furniture, fabrics, art glass,
lamps, dinnerware, silver, linens and
graphic arts.
He authored twenty books and
countless articles, lectured throughout
the United States and in Europe.
Wright is considered by most authorities to be
the 20th century's greatest
architect.
Indeed, the American Institute of Architects in
a recent national survey, recognized Frank
Lloyd Wright to be "the
greatest
American architect of all time."
"Architectural Record" magazine (the official
magazine of the American Institute of
Architects) declared that Wright's buildings
stand out among the most significant
architectural works during the last 100 years in
the world.
Wright demonstrated that he was a competent impressionist of Louis Sullivan's

ornamental designs and two short interviews later, was an official apprentice in
Adler & Sullivan firm.
Between 1900 and 1901, Frank Lloyd Wright
completed houses which have since been
considered the inception of the "Prairie
style".
marked by horizontal lines, flat

or hipped roofs with
broad overhanging eaves,
windows grouped in horizontal
bands, integration with the
landscape, solid construction,
craftsmanship, and discipline in
the use of ornament. Horizontal
lines were thought to evoke
and relate to the
native prairie landscape.
Ward Willits House
Ward Willits House; Highland Park,

Illinois, 1901 one of the first Prairie
Houses by Frank Lloyd Wright
Designed in 1901, the Willits house is considered the first of the

great Prairie houses. Built in the Chicago suburb of Highland Park, Illinois, the house
presents a symmetrical facade to the street. The plan is a cruciform with four wings
that extend out from a central hearth.
Arthur Heurtley House
The house was constructed in 1902. The

Heurtley House is considered one of
the earliest examples of a Frank Lloyd
Wright house in full Prairie style.
Darwin D. Martin House
"It can be argued that the Martin House

Complex ... is the most important house
design of the first half of Wright's career,
matched only by Fallingwater over 30
years later."
Robie House
It was designed and built between 1908 and 1910 and is renowned as the greatest
example of Prairie style, the first architectural style that was
uniquely American.
Unity Temple
Unity Temple; Oak Park, Illinois
Because of its consolidation of aesthetic intent and structure through use of a single
material, reinforced concrete, Unity Temple
is considered by many
architects to be the first modern building in the world. This idea became
of central importance to the modern architects who followed Wright, such as Mies Van Der
Rohe, and even the post-modernists, such as Frank Gehry.
Mature Organic Architecture
Fallingwater or Kaufmann Residence is a house was built partly over a
waterfall on Bear Run.
In 1991, members of
the American Institute of
Architects named the house
the "best all-time
work of American
architecture" and in
2007, it was ranked
twenty-ninth on
the list of America's
Favorite
Architecture according
to the AIA.
Edgar Kaufmann Sr. was a successful Pittsburgh businessman and president
of Kaufmann's Department Store. His son, Edgar Kaufmann, Jr., studied
architecture briefly under Wright.
In November 1934, Wright visited Bear
Run and asked for a survey of the area
around the waterfall. One was prepared by
Fayette Engineering Company of Uniontown,
Pennsylvania including all the
site's boulders, trees and topography, and
forwarded to Wright in March 1935. It took
nine months for his ideas to crystallize into
a design, quickly sketched up in time for a
visit by Kaufmann to Taliesin in September
1935. It was then thatKaufmann
first became aware that Wright
intended to build the home
above the falls, rather than
below them to afford a view of
the cascades as he had
expected.
The construction was plagued by conflicts
between Wright, Kaufmann, and the
construction contractor. Uncomfortable with
what he saw as Wright's insufficient
experience using reinforced concrete,
Kaufmann had the architect's
daring cantilever design reviewed by a firm of
consulting engineers. Upon receiving
their report, Wright took offense
and immediately requested
Kaufmann to return his drawings
and indicated he was withdrawing
from the project. Kaufmann relented to
Wright's gambit and the engineer’s report was
subsequently buried within a stone wall of
the house.
This organically designed private
residence was intended to be a
nature retreat for its owners. The
house is well-known for its
connection to the site; it is built
on top of an active waterfall
which flows beneath the house.
Bear Run and the sound of its water

permeate the house, especially
during the spring when the snow is
melting, and locally quarried
stone walls and cantilevered
terraces resembling the nearby
rock formations are meant to
be in harmony.
Wright's passion for Japanese

Architecture was strongly reflected in
the design of Fallingwater, particularly in
the importance of interpenetrating exterior
and interior spaces and the strong
emphasis placed on harmony between man
and nature.
Taliesin West was Architect Frank Lloyd Wright's winter home and school in the
desert from 1937 until his death in 1959 at the age of 91. Today it is the main campus of
the Frank Lloyd Wright School of Architecture.
The structure's walls are made of local desert rocks, stacked within wood forms,
filled with concrete. Wright always believed using the materials readily available
opposed to those that must be transported to the site.
Taliesin West
“Arizona needs its own architecture… Arizona’s long, low, sweeping lines, uptilting planes.
Surface patterned after such abstraction in line and color as find “realism” in the patterns of
the rattlesnake, the Gila monster, the chameleon, and the saguaro, cholla or staghorn – or
is it the other way around—are inspiration enough.” – Frank Lloyd Wright
Johnson Wax
Headquarters is the
world headquarters and
administration building of S. C.
Johnson & Son in Racine,
Wisconsin.
Johnson Wax Headquarters
The construction of the Johnson Wax building created controversies for the architect. In
the Great Workroom, the dendriform columns are 9 inches (23 cm) in diameter at the
bottom and 18 feet (550 cm) in diameter at the top, on a wide, round platform that
Wright termed, the “Lily pad ." This difference in diameter between the bottom
and top of the column did not accord with building codes at the time.
Price Tower is Frank Lloyd
Wright’s only vertically-oriented
structure other than the Johnson
Wax Headquarters. It is a
nineteen story, 221 foot high
tower in Bartlesville, Oklahoma.
Solomon R. Guggenheim Museum
From the street, the building looks like a
white ribbon curled into a
cylindrical stack, slightly wider at
the top than the bottom. Its
appearance is in sharp contrast to the more
typically boxy Manhattan buildings that
surround it, a fact relished by Wright who
claimed that his museum would make the
nearby Metropolitan Museum of Art "look like
a Protestant barn.“The
spiral design
recalled a nautilus shell, with
continuous spaces flowing freely
one into another.
Solomon R. Guggenheim Museum
"Wright's building made it socially and
culturally acceptable for an architect to design
a highly expressive, intensely personal
museum. In this sense almost every museum
of our time is a child of the Guggenheim."
Nathan G. Moore House
Broadacre City
It was both a planning statement and a socio-political scheme by which

each U.S. family would be given a one acre (4,000 m²) plot of land from the federal
lands reserves, and a Wright-conceived community would be built anew from this. In a sense
it was the exact opposite of transit-oriented development. There is a train station and a few
office and apartment buildings in Broadacre City, but the apartment dwellers are expected to
be a small minority.
Frank Lloyd Wright
(Master of Space)
Architects &
Architectural Styles
Chapter 1
American architectural firm with its
headquarters in Chicago, Illinois.
It was formed in Chicago in 1936 by Louis

Skidmore and Nathaniel Owings; in
1939 they were joined by John O.
Merrill.
SOM's founding partners — Louis Skidmore, Nathaniel Owings and John O. Merrill.
Due to their faithful following of Ludwig Mies Van Der Rohe’s
ideas, Frank Lloyd Wright nicknamed them "The Three
Blind Mies".
FACTS about SOM
They opened their first branch in New
York City, New York in 1937.
SOM is one of the largest architectural
firms in the world.
Their primary expertise is in high-end
commercial buildings, as it was SOM that
led the way to the widespread use of the
modern international-style or "glass
box" skyscraper
SOM provides services in Architecture,
Building Services/MEP Engineering, Digital
Design, Graphics, Interior Design, Structural
Engineering, Civil Engineering, Sustainable
Design and Urban Design & Planning.
Notable Architects working under SOM
1. Gordon Bunshaft
2. Natalie de Blois
3. Myron Goldsmith
4. Bruce Graham
5. Brigitte Peterhans
6. Gertrude Kerbis
7. Walter Netsch
8. Edward Charles Bassett
9. Adrian Smith
10. Larry Oltmanns
11. Fazlur Rahman Khan
12. Lucien Lagrange
13. David Childs Adrian Smith
Gordon Bunshaft Bruce Graham
FACT: In 1988, Gordon Bunshaft nominated himself for

the Pritzker Prize and eventually won it.
DESIGN IDEAS:
Nature | Structure; Structural Efficiency Through

Natural Geometries
As building structure, organic bracing is capable of

fragmenting forces by sharing loads more uniformly
within the structure and transferring them into the
building foundation.
The Performative Workplace
In today’s economic climate, every company is seeking

to use resources more efficiently. But an ever-changing
market requires that businesses strengthen their
competitive advantages at the same time. Peter Drucker
once observed that “knowledge worker productivity
requires that the knowledge worker is both seen and
treated as an ‘asset’ rather than a ‘cost.’”
Lever House, designed by Gordon
Bunshaft and Natalie de Blois of Skidmore,
Owings and Merrill and located at 390 Park
Avenue in New York City, is the
quintessential and seminal glass-box
skyscraper built in the International
style according to the design principles
of Ludwig Mies van der Rohe. Completed
in 1952, it was the first curtain
wall skyscraper in New York City.
Willis Tower Burj Khalifa
John Hancock Center

Jin Mao Tower is an 88-
story landmark super tall skyscraper in
China. Until 2007 it was the tallest building
in the PRC, the fifth tallest in the world by
roof height and the seventh tallest by
pinnacle height.
Its postmodern form, whose complexity

rises as it ascends, draws on
traditional Chinese architecture such as the
tiered pagoda, gently stepping back to
create a rhythmic pattern as it rises. Like
the Petronas Towers in Malaysia, the
building's proportions revolve around
the number 8, associated with
prosperity in Chinese culture.
Ninoy Aquino
International
Airport
Terminal 3 or NAIA-3, is
the newest and biggest
terminal in the NAIA complex,
wherein construction started Terminal 3 is built on a 63.5-hectare lot that
in 1997. sits on Villamor Air Base. The terminal
building has a total floor area of 182,500 m²,
having a total length of 1.2 kilometers. A
four-level shopping mall connects the
terminal and parking buildings.
The PBCom
or Philippine Bank of
Communications Tower is an
office skyscraper that currently is still the tallest
building (vs. the Gramercy Residences) in the
Philippines. PBCom Tower was designed by local
architectural firm GF & Partners Architects, in
cooperation with international architects Skidmore,
Owings & Merrill, LLP.
Its exterior double-glazed, unitized curtain walls

in aluminum frames, together with a
monumental lighting effect, create a facade
that reflects a fusion of art and function. Its
interiors are an elegant interplay of glass, natural
stone and metal.
One World Trade Center, more simply known as 1
WTC, and formerly known as the Freedom Tower, is the lead
building of the new World Trade Center complex in Lower
Manhattan of New York City. The 105-story super
tall skyscraper is being constructed in the northwest corner of
the 16-acreWorld Trade Center site, occupying the location
where the original 8-story 6 World Trade Center once stood.
The Lopez Centre is a proposed building
that will rise at a one-hectare area at JP
Rizal, Rockwell Center, Makati City.It was
launched in 2008 as a mixed-use building that
has 50 floors, 320 meters.
It is designed after the new One World

Trade Center in New York City. One of its
earlier designs included a crown on top
but it was later changed to a new and
better design.
Zuellig Building Rising 33
stories to height of 160 meters, the
Zuellig Building is the first premium
office tower in the Philippines to be
erected since 2000. It is also the first
building in Makati that has been pre-
certified by the U.S. Green Building
Council (USGBC) at the LEED Gold level,
and is expected to achieve LEED Platinum
certification by September 2013.
Simplicity of expression is achieved with the all-glass

façade and the use of large floor-to-ceiling glazing
panels. The building gains its identity from the ceramic
frit pattern of the glass curtain wall. Inspired by bamboo
and flowing water, this distinctive texture lends
reference to local organic motifs and serves to
supplement the shading capabilities of the building
envelope.
Zuellig Building
It is a Swiss architecture firm, founded and
headquartered in Basel, Switzerland in 1978.
Herzog & de Meuron is a partnership led by

five Senior Partners – Jacques
Herzog, Pierre de
Meuron, Christine Binswanger, Ascan
Mergenthaler and Stefan Marbach.
"We look for materials which are as breathtakingly beautiful as the cherry
blossom in Japan, as dense and compact as the rock formations of
the Alps or as mysterious and unfathomable as the surface of the
oceans. We look for materials which are as intelligent, versatile and
complex as natural phenomena, in other words materials which don't just
appeal to the eyes of the astounded art critic, but are also really efficient and
appeal to all our senses – not just vision but also hearing, smell, taste and
touch."
Jacques Herzog and Pierre de Meuron established their office in Basel in 1978. The
partnership has grown over the years –Christine Binswanger joined the practice as
Partner in 1994, successively followed by Robert Hösl and Ascan Mergenthaler in
2004,Stefan Marbach in 2006, David Koch and Markus Widmer in 2008, Esther
Zumsteg in 2009, and Andreas Fries in 2011.
Christine Binswanger Stefan Marbach Ascan Mergenthaler Andreas Fries

Their formal gestures have generally Jacques Herzog and Pierre de Meuron are
progressed from the purist simplicity both visiting professors at Harvard University,
of rectangular forms to more complex Graduate School of Design (GSD), USA, since
and dynamic geometries. 1994 (and in 1989). They are professors at the
Swiss Federal Institute of Technology Zurich
(ETH) – Department of Architecture, Network
City and Landscape, since 1999, and co-
founders of the ETH Studio Basel –
Contemporary City Institute.
"They refine the traditions of modernism to

elemental simplicity, while transforming
materials and surfaces through the
exploration of new treatments and
techniques.“ - Ada Louise Huxtable
Prada Aoyama, Tokyo, Japan “The shape of the building is substantially
influenced by the angle of incidence of the
local profile. Depending on where the
viewer is standing, the body of the building
will look more like a crystal or like an
archaic type of building with a saddle
roof. ”
“The rhomboid-shaped grid on the façade is clad on all sides with a combination of convex,
concave or flat panels of glass. These differing geometries generate facetted reflections,
which enable viewers, both inside and outside the building, to see constantly changing
pictures and almost cinematographic perspectives of Prada products, the city and
themselves.”
1111 Lincoln Road, Florida U.S.A.
“ A car park is a public facility, like a train station or an airport, where people change from one
mode of transportation to another. The garage is a fully open concrete structure. Ceiling heights
vary between standard parking height and double or even triple height, in order to
accommodate other programs, permanently as well as temporarily.”
Allianz Arena, Munich Germany
Three themes define our architectural and urban concept for the world championship football
stadium in Munich (the Allianz Arena): the presence of the stadium as an illuminated body
that can change its appearance and is situated in an open landscape, the procession-like
arrival of fans in a landscaped area and the crater-like interior of the stadium itself.
Beijing National Stadium / Bird’s Nest, China Chinese
themselves
nicknamed the
stadium
"Bird‘s Nest"
in the very
early stages of
the project.
From the distance, the stadium
looks like a gigantic collective
shape, like a vessel whose
undulating rim echoes the
rising and falling ramps for
spectators inside the stadium.
The spatial effect of the stadium
is novel and radical, and yet
simple and of an almost archaic
immediacy. Its appearance is
pure structure.
Triangle, Paris, France; Project 2006 – planned completion 2016
The environmental approach of the project
is also perceptible in its simple, compact
volume, which limits its ground impact
while evolving in plan, section and
elevation to take full advantage of solar
and local wind behavior.
"Triangle” is primarily perceived at the metropolitan

scale of the city of Paris. Its elevated stature will lend
major visibility to the Porte de Versailles and the Parc
des Expositions site within the overall conurbation.
Portsmouth Dockland Stadium, England; Project 2007
“Football at the heart of the city, at
the heart of the community”
In order to preserve these existing
historic features, the footprint of the
project is minimized, thus also
maximizing the aquatic surrounding.
The two programmed elements are integrated into a

dual structure: Stadium and Housing. The Stadium
Concourse is expanded and opened to the public
creating a public space that acts beyond the game: the
concourse is independent of the dynamic of the game
and incorporates the activity of a city centre in size
and activity.
Stade Bordeaux Atlantique, Bordeaux, France;
Compétition 2010-2011, planned complétion 2015
The new Bordeaux stadium is an expression of fundamentally new architecture. The pure
shape of the volume, by contrast to its light and open structure, creates an at once
monumental and graceful architectural piece elegantly suited to the grand landscape of
Bordeaux.
Stadium architecture combines three constitutive elements: the bowl containing the game
and its spectators, the concourse as the transitional element between the playing field and
the outside surroundings and, finally, the overall appearance.
New Headquarters for BBVA, Madrid, Spain; Competition 2007, project
2007-2010, planned completion phase 1 in 2012, phase 2 in 2014
An oasis, a carpet
A linear structure of three-story buildings, with courtyards, passages and irrigated gardens,
is laid over the entire site – which has a considerable slope - like a carpet, analogous to an
Arabian garden. The low-rise arrangement fosters communication: instead of taking
elevators, people walk up stairs that encourage informal exchange; maximized visual
transparency gives everybody a view and generates a sense of community; whilst the
relatively small units permit employees to identify with their particular workgroup.
Daniel Libeskind
Daniel Libeskind, B.Arch. M.A. BDA AIA
History and Theory of

Architecture at the School of
Comparative Studies
Libeskind completed his first building at the age

“Libeskind was a of 52, with the opening of the Felix Nussbaum
musician at a Haus in 1998.
young age before He founded Studio Daniel Libeskind.
giving up music to
Daniel Libeskind
In 1968, Libeskind briefly worked as an apprentice to
architect Richard Meier. In 1972, he was hired to
work at Peter Eisenman's New York Institute
for Architecture and Urban Studies, but he quit
almost immediately.
Daniel Libeskind met Nina

Lewis, his future wife and
business partner, at the Bundist-
run Camp Hemshekh in upstate
New York in 1966. They married
a few years later and, instead of
a traditional honeymoon,
traveled across the United
States visiting Frank Lloyd
Nina and Daniel Libeskind have three Wright buildings on a Cooper
children, Lev, Noam and Rachel. Union fellowship.
Daniel Libeskind
“Life it is not just a series of calculations and a
sum total of statistics, it's about experience, it's
about participation, it is something more complex
and more interesting than what is obvious.”
“I don't get to sleep

when I'm in New York.
Really. I'm living on
adrenaline.”
“To provide meaningful architecture is not to
parody history but to articulate it.”
“I think there is a new awareness in this 21st century

that design is as important to where and how we live as
it is for museums, concert halls and civic buildings.”
“Critics often describe Libeskind's work
as deconstructivist.”
Daniel Libeskind Daniel Libeskind
established his
architectural
studio in Berlin,
Germany in 1989
after winning the
competition to
build the Jewish
Museum in Berlin.
In February 2003,
Studio Daniel
Libeskind moved
its headquarters
from Berlin to
New York City
when Daniel
Libeskind was
selected as the
master planner for
the World Trade
Center
redevelopment.
Daniel Libeskind
Felix Nussbaum Haus
A museum in Osnabrück, Germany,
which houses the paintings of German-
Jewish painter Felix Nussbaum. The
building also houses an exhibition space,
which focuses on racism and
intolerance.
The museum consists of three intersecting "volumes."

The oak volume houses Nussbaum's prewar art.
The second volume, which slices violently through
the first, is made from concrete and contains the
paintings Nussbaum made while in hiding from
the Nazis. Dubbed "Nussbaum Gang," it evokes the
cramped quarters in Brussels where Nussbaum
painted his last canvasses. The metal volume
displays the artist's newly-discovered paintings.
Daniel Libeskind
Jewish Museum, Berlin
The Museum itself, consisting of about 15,000

square meters, is a twisted zig-zag and is accessible
only via an underground passage from the Berlin
Museum's baroque wing. Its shape is reminiscent of
a warped Star of David. A "Void," an empty space
about 20m tall, slices linearly through the entire
building.
Libeskind, a musician himself, took inspiration from music
and considered the museum the final act of Arnold
Schoenberg's unfinished opera, Moses und Aron . Walter
Benjamin's One Way Street's 60 sections determined the
number of sections that comprise the museum's zigzag
section.
Daniel Libeskind Crystals at CityCenter
Las Vegas , NV
The crystalline & metal clad façade signal
to visitors well in advance of arrival that
Crystals is not a traditional retail
environment. An entryway into the retail
area from the Strip will draw pedestrians
into the public arcade, covered by a
spiraling roof structure. From the interior,
the roof’s dramatic angles and skylights
become a backdrop for the luxury retail
and dining it houses which include Louis
Vuitton, TIFFANY & CO., and Bulgari as
well as concept restaurants from
Wolfgang Puck and Todd English.
Daniel Libeskind
Reflections at Keppel Bay
The series of high-rise
Keppel Bay, Singapore
undulating towers is the focal
point of this project. These sleek
curving forms of alternating heights
create graceful openings and gaps
between the structures allowing all
to have commanding views of the
waterfront, Sentosa, the golf course
and Mount Faber.
The project was completed in December 2011

and is the recipient of the BCA Green Mark
Gold Award from Singapore’s building and
construction authority.
Daniel Libeskind
The Run Run Shaw Creative Media Centre
Hong Kong, China
Each space, whether self-contained or open, is a
unique shape. Many of the walls slope or slice through
space. An abundance of natural light throughout
further enhances the spirit of limitless possibility and
outside-the-box thinking.
Daniel Libeskind
18.36.54
CT, USA
The name of home derives from
the 18 planes, 36 points, and 54
lines of the spiraling ribbon which
defines it’s living spaces.
Daniel Libeskind
Grand Canal Square Theatre
and Commercial Development
Dublin, Ireland
With the dramatic theatre elevation as a backdrop and platforms for viewing, the piazza itself
becomes a stage for civic gathering.
With their twin facades, glazed courtyards and landscaped roofs, the two office blocks which
make up the Commercial Development provide sustainable, state of the art work
environments.
Daniel Libeskind
Extension to the
Denver Art Museum
The Hamilton Building’s design recalls
the peaks of the Rocky Mountains
and geometric rock crystals found in
the foothills near Denver. The
materials of the building closely relate
to the existing context as well as
introducing innovative new materials,
such as the 9,000 titanium panels
which cover the building’s surface
and reflect the brilliant Colorado
sunlight.
Daniel Libeskind
Imperial War Museum North
It was recognized with awards or prize nominations for its architecture, but has also
been criticized for poor energy efficiency. The museum features a permanent
exhibition of chronological and thematic displays, supported by hourly audiovisual
presentations which are projected throughout the gallery space.
Felix Candela
Félix Candela Outeriño
a Spanish architect known for his
significant role in the development
of
and
Candela’s major contribution to
architecture was the development of
made out
of .
Builder . Engineer . Structural A

Felix Candela
Félix Candela is regarded as one the
greatest Spanish architects of the 20th
century. He is celebrated for his feats of
architectural engineering that
transform concrete into
visual poetry with his structural
design based on hyperbolic
paraboloid geometric form.
His work with thin-shell concrete roof structures

broke barriers between architecture and
engineering that opened the way for other
architects such as Santiago Calatrava.
Felix Candela
Candela worked very hard
during his lifetime to prove
the real nature and potential
reinforced concrete had in
structural engineering.
Reinforced concrete is
extremely efficient in
This shape
a dome or shell like shape.
eliminates tensile forces
in the concrete. He also
looked to solve
problems by the
simplest means
possible.
Felix Candela
"It is forgotten that mathematics is only a means, ... but that the
rigidity and precision of mathematical reasoning can not
guarantee us the exactness of the results of its application because
we must always begin from a supposed arbitrary original."
" I am a practical man, because I
have no choice. I must be practical
in order to survive and therefore I
choose only to build structures
that I can calculate myself. ”
Felix Candela
The Oceanogràfic of the City of Arts and
Sciences is the largest aquarium in
Europe and contains representatives of
the world’s main marine ecosystems.
The architecture of the

complex is a work of the
architect Felix Candela and the
engineers Alberto
Domingo and Carlos
Lazaro, who made the
structural design of the
concrete coverings of the
buildings.
Felix Candela
Félix Candela’s fourth thin
concrete shell built, the
Cosmic Rays Laboratory, was
the first of his stunning
hyperbolic paraboloids, the
form of his most famous
structures. The laboratory is
the thinnest major structure
ever built. At only 5/8 inch, it
displays a daring solution to
the problem of building a
structure with an interior that
permits the measurement of
cosmic radiation.
Felix Candela
The form of the shell

was a play of the
hypar with free
curved edges, that is,
the edges of the
shell are parabolic
and free of any edge
stiffeners that would
conceal the thinness
of the shell. The
groined vault
consists of four
intersecting hypars, a
structure that he had
not yet attempted.
Felix Candela
One exciting aspect of
Milagrosa is Candela’s design
process of each bay. He started
with an asymmetrical
umbrella, tilted it so that the
short side rested on the ground,
and then pulled up the middle
of the short side to form a
pointed triangle referred to
as a half-bay. By placing two of
these forms back to back,
Candela formed one full bay
and then he designed the nave
of the church through four of
these bays.
Felix Candela
Structural Designer: Felix Candela

Architects: Manuel Larrosa and Guillermo
Rosell
Helmut Jahn The buildings of German-American Architect
Helmut Jahn (born 1940) dramatically
combine the modernist, glass-skinned style
of Mies van der Rohe with traditional
architectural imagery.
Helmut Jahn
New Modernism
High Modernism
The architect's respect for
Helmut Jahn history appears even in his most
modernistic of urban structures.
Arch. Helmut Jahn was able to
demonstrate a sensitivity to
urban context often lacking in
modern architecture.
Jahn's love of curves and
setbacks executed in
glass resulted in some of
the most
dramatic skyscraper designs
of the last quarter of the
twentieth century.
Using broad references from architectural history

and appealing to a public visual memory nurtured
on cartoons and Hollywood movies, he made use
of a wide range of sources from the recent and
distant past for his architectural compositions.
Helmut Jahn
Helmut Jahn
Sony Center
Made of steel cable, fiberglass membrane, and glass,
the Sony Center "crown" is a landmark on the skyline
that glows in different colors at night.
The Sony Center by Helmut Jahn is an ambitious urban
place-making project, with seven buildings defining the
center's urban edges and pedestrian passages in all
directions. It includes hotels, condominium, restaurants,
IMAX theater, film theaters, museum, offices &
Shops. It’s not just a building but a part of the
city.
Helmut Jahn
Liberty Place
Liberty Place is a skyscraper complex
in Philadelphia, Pennsylvania, United States. The
complex is composed of a 288 m skyscraper
called One Liberty Place, a 58-story 258 m
skyscraper called Two Liberty Place, a two-story
shopping mall called the Shops at Liberty Place,
and the 14-story Westin Philadelphia Hotel.
The steel and blue glass skyscrapers were

heavily influenced by New York
City's Chrysler Building. The major influence
is the spire made of gabled angular setbacks.
Helmut Jahn
Veer Towers
Veer Towers are twin 37-story, 150m towers, located on
the Las Vegas Strip in Paradise, Nevada, each housing
337 luxury condominium units ranging in size from 46 to
140 m2. The two towers lean in opposite directions.
13 million square feet in
thirteen buildings
Helmut Jahn 10 million square feet of office
space, including 3 million
Hudson Yards square foot Morgan Stanley
headquarters
Redevelopment Project 13 acres of public space
(Proposal only) 550,000 square feet of retail
space
"Forum" - main plaza on the
eastern section of the
property, "serving as a new
'town square'"
3,000 residential units; almost
300 permanently affordable
apartments
I. M. Pei
“Master of Modern Architecture for
the New Era”
In 1983, he won the Pritzker Prize
Ieoh Ming Pei's
He is known for combining

traditional architectural elements
with progressive designs based on
simple geometric patterns.
Pei has been aptly described as combining a
classical sense of form with a contemporary
mastery of method.
In 1955, he established I. M. Pei & Associates. (The
name changed later to I. M. Pei & Partners.)
I. M. Pei I.M. Pei is known for using large, abstract
forms and sharp, geometric designs. His
glass-clad structures seem to spring from
the high tech modernist movement.
"I believe that Architecture is

a pragmatic Art. To become
Art it must be built on a
foundation of necessity."
Pei attempted to meet renowned architect Frank

Lloyd Wright, but gave up after waiting for two
hours.
I. M. Pei
Pei was more intrigued by modern

architecture, and also felt intimidated
by the high level of drafting proficiency
shown by other students. He decided to
abandon architecture and transferred
to the engineering program
at Massachusetts Institute of
Technology (MIT) Once he arrived, however, the dean of the architecture
school commented on his eye for design and convinced Pei to
return to his original major.
I. M. Pei
John F. Kennedy Presidential Library and Museum
Pei considers the John F. Kennedy Library "the most important commission" in his life.
Critics generally liked the finished building, but the architect himself was unsatisfied.
The years of conflict and compromise had changed the nature of the design, and Pei
felt that the final result lacked its original passion. "I wanted to give something very
special to the memory of President Kennedy," he said in 2000. "It could and should
have been a great project."
I. M. Pei
National Gallery of Art, East Building
The trapezoidal site was sliced into two
triangles — one for each function — with a
triangular atrium unifying the whole. In plan,
section and elevation, the interlocking
volumes merge inseparably in a spatial
dialogue of rigorous geometry, technical
innovation and exacting craftsmanship.
I. M. Pei
Fragrant Hills and Javits Convention Center
Underlying the design is a strategy to
provide a "Third Way" wherein advanced
Western technology is grafted onto the
essence of Chinese vernacular architecture
without literal imitation. The skylight was
the only major imported component;
everything else was constructed by local
craftsmen using age-old techniques and
materials. Fragrant Hill thus draws from
the living roots of tradition to sow the
seed of a new, distinctly Chinese form of
modern architecture that can be adapted,
not merely adopted, for diverse building
types.
The Chinese architectural community at the

time also showed little interest in the
building, as they tended to
celebrate postmodern architects from the US
like Michael Graves.
Some critics eased their
I. M. Pei opposition after witnessing the
proposed scale of the pyramid.
Le Grand Louvre
Pei was acutely aware, as he said, that "the history of Paris was embedded in the
stones of the Louvre."
Pei estimated that 90 % of Parisians opposed his design. "I received many angry
glances in the streets of Paris," he said.
To minimize the impact
of the structure, Pei
I. M. Pei demanded a method of
glass production that
Le Grand Louvre resulted in clear panes.
It was mirrored
by another inverted
pyramid underneath, to
reflect sunlight into the
room.
I. M. Pei
Bank of China
Pei felt that his design for
the Bank of China Tower in Hong
Kong needed to reflect "the
aspirations of the Chinese
people".
The design that Pei developed for

the Bank of China Tower was not only
unique in appearance, but also sound
enough to pass the city's rigorous
standards for wind-resistance. The
tower was planned around a
visible truss structure, which distributed
stress to the four corners of the base.
Using the reflective glass that had
become something of a trademark for
him, Pei organized the facade around a
series of boxed X shapes.
I. M. Pei
Macao Science Center
The Macao Science Center in Macau was
designed by Pei Partnership Architects in
association with I. M. Pei. The project to build
the science center was conceived in 2001 and
construction started in 2006
The main part of the

building is a distinctive
conical shape with a spiral
walkway and large atrium
inside, similar to
the Solomon R.
Guggenheim
Museum in New York.
Kenzo Tange
Renowned Japanese architect of the second half
of the twentieth century who has fused the
architectural traditions of
his native Japan with the
contemporary philosophy and
traditions of the western world.
"It was, I believe, around 1959 or at

the beginning of the sixties that I
began to think about what I was later
to call STRUCTURALISM"
He was a Post-war Architect &

shows interest in Urban Planning.
Kenzo Tange's work
Kenzo Tange marked a revived

awareness of Japanese
architectural
traditions expressed
through a contemporary
interpretation of
architectural form.
Kenzo Tange has
become an architect of
the world largely
because his work is so
intensely Japanese.
Le Corbusier inspired Kenzo Tange.

Kenzo Tange demonstrated that a unique
regionalism could be developed, and
recognized, within the circumstance of the international
style.
Kenzo Tange
“Architects today tend to depreciate themselves, to regard
themselves as no more than just ordinary citizens without the
power to reform the future.”
“ There is a powerful need for Symbolism,

and that means the architecture must have
something that appeals to the human
heart.”
Kenzo Tange
In the initial design the Hiroshima Peace Memorial Museum was dominated by adjoining
utility buildings, which were linked to it by high-level walkways. Tange refined this
concept to place the museum prominently at the centre, separate from the utility
buildings (only one of which was subsequently designed by him). In addition to
architectural symbolism, he thought it important for the design to centre around the
building that houses the information about the atomic explosion.
Kenzo Tange
The two gyms are placed in a landscaped platform. In fact, despite

their monumental size, they give the impression that the roofs are
born the park itself, emphasizing its relationship with the surrounding
environment.
Kenzo Tange takes advantage of the gap between the two curves to
propose an imposing triangular access, which, despite having a
monumental scale, seem to be born of the earth, giving the building
a feeling of lightness.
Kenzo Tange
The Kagawa Prefectural
Government Hall on the island of
Shikoku was completed in 1958. Its
expressive construction could be
likened to the Daibutsu style
seen at the Todai-ji in Nara. The
columns on the elevation bore
only vertical loads so Tange was
able to design them to be thin,
maximizing the surfaces for
glazing. Although the hall has been
called one of his finest projects, it
drew criticism at the time of its
construction for relying too heavily
on tradition.
Kenzo Tange
The plan of the building is in the form of a cross,
from which eight hyperbolic parabolas rise.
These open upwards to form a cross of light
which continues vertically the length of the four
facades.
To this rhomboid volume other secondary

constructions are added, including the
baptistery and the baptismal font. Their
rectangular volumes contrast with the symbolic
character of the cathedral. The bell tower is 60
m in height and stands at a little distance from
the main building of the cathedral. The exterior
surfaces are clad in stainless steel, which gives
them a special radiance in keeping with the
religious character of the building.
Kenzo Tange
Tange designed a large civic centre with a
plaza dominated by two skyscrapers.
These house the administration offices
whilst a smaller seven-storey building
contains assembly facilities. All three
buildings equipped with state-of-the-art
building management systems that
monitored air quality, light levels and
security.
The external skin of the building makes

dual references to both tradition and the
modern condition. Tange incorporated
vertical and horizontal lines reminiscent
of both timber boarding and the lines on
semiconductor boards.
Kenzo Tange
Futuristic aluminium-clad building on the
reclaimed land complex of Odaiba in Tokyo
bay, housing the headquarters of Fuji-Sankei
Communications, the studios of Fuji
Television, and Nippon Broadcasting. The
structure comprises two towers on a seven-
storey base interconnected by a lattice of
"corridors in the sky", which support a 32-m
diameter sphere containing an observation
gallery and restaurant.
Loius Kahn
is one of the most influential architects of the mid-20th
century, realized relatively few buildings but all with formal restraint and
emotional expressiveness and regarded as an inspired progression from the
International Style.
monumental beyond
modernism.
Loius Kahn
Loius Kahn
“To express is to drive.

And when you want to give something presence,
you have to consult nature.
And there is where Design comes in.
And if you think of Brick, for instance,

and you say to Brick,
"What do you want Brick?"
And Brick says to you
"I like an Arch."
And if you say to Brick
"Look, arches are expensive,
and I can use a concrete lintel over you.
What do you think of that?"
"Brick?"
Brick says:
"... I like an Arch"”
Loius Kahn
Salk Institute for
Biological Studies
It consists of two symmetric buildings
with a stream of water flowing in the
middle of a courtyard that separates
the two.
Loius Kahn
First Unitarian Church of Rochester
Kahn used two architectural approaches to

situate his buildings' users both in society and
in themselves. One is monumentality, which
anchors people socially and promotes a
feeling of community.
The other is
authenticity, which
fosters self-awareness
and promotes
individual
responsibility.
Loius Kahn
Kimbell Art Museum
The museum is composed of 16 parallel vaults that are each 30.5 m long, 6 m high and 6 m
wide.
Kahn used several techniques to give the
galleries an inviting atmosphere. The ends of
the vaults, which are made of concrete block,
are faced with travertine inside and out
The steel handrails were

"blasted" with ground pecan
shells to create a matte
surface texture.
Loius Kahn
Richards Medical Research Laboratories
A breakthrough building for Kahn, this design saw his first clear
articulation of the concept of 'servant' and 'served' spaces"
The served spaces are the laboratories themselves. The servant spaces are the
independently structured shafts for ventilation and stairways that are attached to
the outside of the laboratory towers and also the two service towers
Architects &
Chapter 1
Architects &
Chapter 2
by Arch. Franz Allan M.
Rodriguez, uap
Oscar Ribeiro de Almeida
Niemeyer Soares Filho
He is a pioneer in exploring the formal
possibilities of reinforced concrete solely for their
aesthetic impact.
His buildings are often characterized by being

spacious and exposed, mixing volumes and empty
space to create unconventional patterns and often
propped up by pilotis.
He died on December 2012 at the age of 104.

“I am not attracted to straight angles or to the straight
line, hard and inflexible, created by man. I am attracted
to free-flowing, sensual curves. The curves that I find in
the mountains of my country, in the sinuousness of its
rivers, in the waves of the ocean, and on the body of
the beloved woman. Curves make up the entire
Universe, the curved Universe of Einstein”
“We hated Bauhaus. It was a
bad time in architecture. They
just didn’t have any talent. All
they had were rules. Even for
knives and forks they created
rules. Picasso would never have
accepted rules. The house is like
a machine? No! The mechanical
is ugly. The rule is the worst
thing. You just want to break
it.”
My work is not about "form

follows function," but "form
follows beauty" or, even better,
"form follows feminine."
National Congress of Brazil
At the center is the House of
Parliament office tower. The domed
structure on the left is the seat of the
Senate, and the bowl-shaped building
on the right is the seat of the Chamber
of the Deputies.
The cathedral is a hyperboloid
structure constructed from 16 concrete columns,
Cathedral of Brasília the Metropolitan Cathedral of Our Lady
Aparecida (Catedral Metropolitana Nossa
Senhora Aparecida), dedicated to the Blessed
Virgin Mary under her title of Our Lady of
Aparecida, proclaimed by the Church as Queen and
Patroness of Brazil, is an expression of the
architect Oscar Niemeyer.
Niterói Contemporary Art Museum
The saucer-shaped modernist structure,
which has been likened to a UFO, is set on a
cliffside, at the bottom of which is a beach.
In the film Oscar Niemeyer, an architect
committed to his century, Niemeyer is seen
flying over Rio de Janeiro in a UFO which
then lands on the site, suggesting this to be
the origin of the museum.
Oscar Niemeyer Museum /
NovoMuseu/ Niemeyer’s Eye
The museum features many of Niemeyer's

signature elements: bold geometric forms,
sculptural curved volumes placed
prominently to contrast with rectangular
volumes, sinuous ramps for pedestrians,
large areas of white painted concrete, and
areas with vivid murals or paintings.
Oscar Niemeyer International
Cultural Centre
The architect described the
Niemeyer Centre as "An open
square to the humankind,
a place for education,
culture and peace". It is
formed by five main elements: the
open square,
the auditorium, the dome, the
tower, & the multi-purpose building
Palácio do Planalto
The presidential palace was a major feature of Lucio
Costa's plan for the newly established capital city.
The architect of the Palácio do Planalto was Oscar
Niemeyer, who designed most of the important
buildings in Brasília. The idea was to project an image of
simplicity and modernity using fine lines and waves to
compose the columns and exterior structures.
Rem Koolhaas
Dutch Architect, Architectural
Theorist, Urbanist and "Professor in
Practice of Architecture and Urban
Design" at the Graduate School of
Design at Harvard University.
In 2000 Rem Koolhaas won the Pritzker

Prize. In 2008 Time put him in their top
100 of The World's Most Influential
People.
He speaks of naturalness and

artificiality, that architecture revolves
around a permanent doubt about this
duality.
'All Architectures
are Survivors'
Rem Koolhaas
With his partners in the Office for
Metropolitan Architecture (OMA), the
firm he co-founded in 1975 in
Rotterdam, the Netherlands, he has
produced some of the most
distinctive buildings of the past 20
years.
Koolhaas celebrates the "chance-like"

nature of city life: "The City is an
addictive machine from which there is
no escape" "Rem Koolhaas...defined
the city as a collection of “red hot
spots.”
He is also the Architect of Most

PRADA stores and catwalks.
Rem Koolhaas “Not many architects
have the luxury to
“Architecture should change reject significant
the world so much as the things.”
world should change “We live in an almost
architecture.” perfect stillness and
work with incredible
urgency.”
Rem Koolhaas
Seattle Public Library
Rem Koolhaas conceived the
new Central Library building as a
celebration of books, deciding
after some research that despite
the arrival of the 21st century
and the "digital age," people still
respond to books printed
on paper.
“Let the building's
required functions
dictate what it
should look like,
rather than imposing
a structure and
making the functions
conform to that.”
Rem Koolhaas
China Central Television Headquarters
The CCTV Headquarters is a 234 m, 44-
storey skyscraper in the Beijing Central Business
District (CBD). The construction of the building is
considered to be a structural challenge, especially
because it is in a seismic zone.
. Because of its radical
shape, it's said that a taxi
driver first came up with
its nickname dà kùchǎ (大
裤衩), roughly translated
as, "big boxer shorts"
Rem Koolhaas "This century has seen an architecturally frantic
attempt to escape from the tyranny of the
notorious "shoe-box" shaped concert hall“-OMA
Casa da Música
Architecture critic from the New York Times,
classified it as the "most attractive project the
architect Rem Koolhaas has ever built" and
saying it's "a building whose intellectual ardor is
matched by its sensual beauty". It also compares
it to the "exuberant design" in Frank
Gehry's Guggenheim Museum in Bilbao.
Rem Koolhaas
IIT McCormick Tribune Campus Center (MTCC)
The McCormick Tribune Campus Center seeks
to reinvigorate the urbanism inherent – but
long since neglected – in Mies van der Rohe's
1940 masterplan for the Illinois Institute of
Technology. The large single-storey Campus
Center provides a focal point for the previously
sundered halves of the campus, and features a
noise-absorbing steel tube wrapping the
Elevated metro that runs directly over the
building and, inside, a dense mosaic of
programs
Sir Norman Foster
Norman Robert Foster,
Baron Foster of Thames Bank
He became the 21st Pritzker Architecture
Prize Laureate in 1999
In 1990 he was granted a Knighthood in the
Queen’s Birthday Honours, and in 1999 was
honored with a Life Peerage, becoming Lord
Foster of Thames Bank.
“The quality of our surroundings has a

direct influence on the quality of our
lives, whether that is in the workplace,
at home or in the public realm.” GREEN
ARCHITECTURE
British architect Norman Foster is famous
for "High Tech" design that explores
technological shapes and ideas.
Sir Norman Foster
Foster believes that the best architecture comes from a
synthesis of all the elements that separately comprise and
inform the character of a building:
1. the structure that holds it up;
2. the services that allow it to
function;
3. its ecology;
4. the quality of natural light;
5. the symbolism of the form;
6. the relationship of the building to
the skyline or the streetscape;
7. the way you move through or
around it;
8. and last but not least its ability to
lift the spirits.
Sir Norman Foster
“The important thing about the structure was that it grew from two
streams of consciousness at the same time. One was the social need -
the other was the technological need. Put another way it had to work
well and look good - both from close-up and from afar. I suppose that is
why I can never answer questions such as: ‘what is more important, the
function or the aesthetics?’ For me they are inseparable, the one grows
out of the other. This involves manipulation, massaging and finally
integration, but never the imposition of one to the detriment of the
other.”
Sir Norman Foster
Willis Faber & Dumas Headquarters
The centre of the building is constructed
from a grid of concrete pillars, 14 m
apart, supporting cantilevered concrete
slab floors. The exterior is clad in a dark
smoked glass curtain wall. The
central escalator well leads up to a
rooftop staff restaurant surrounded by a
rooftop garden
Sir Norman Foster
Stansted Airport
Stansted Airport challenged all the accepted
rules of airport terminal design. By turning the
building ‘upside down’ the lightweight roof is
freed simply to keep out rain and let in light.
Energy efficient, environmentally discreet within
its rural setting, technologically advanced yet
incredibly simple to use and experience,
Stansted has become a model for airport
planners and designers around the world.
Sir Norman Foster
Canary Wharf Underground Station
The entire roof of the station is laid out as a
landscaped park; the only visible station
elements are the swelling glass canopies that
cover its three entrances and draw daylight
deep into the station concourse.
Sir Norman Foster
Commerzbank Headquarters
At fifty-three storeys, the Commerzbank is the world’s first
ecological office tower. The project explores the nature of the
office environment, developing new ideas for its ecology and
working patterns. Sky gardens that spiral around the building
bring daylight and fresh air into the central atrium and are
the visual and social focus for village-like clusters of offices.
The Commerzbank Tower is shaped as a 60 meters

wide rounded equilateral triangle with a central,
triangular atrium. At nine different levels, the atrium
opens up to one of the three sides, forming large sky
gardens.
Sir Norman Foster
Hongkong and Shanghai
Bank Headquarters
The main characteristic of HSBC Hong Kong
headquarters is its absence of internal
supporting structure.
Another notable feature is that
natural sunlight is the major source of
lighting inside the building. There is a bank
of giant mirrors at the top of the atrium,
which can reflect natural sunlight into the
atrium and hence down into the plaza.
Through the use of natural sunlight, this
design helps to conserve energy.
The HSBC building has a wide open area
(the Statue Square) in front of it, with no
other buildings blocking its view
of Victoria Harbour; thus, it is considered
to have "good feng shui."
Sir Norman Foster
Hearst Tower
The 182-meter Hearst Tower is the first
"green" high rise office building completed in
New York City, with a number
of environmental considerations built into
the plan. The floor of the atrium is paved
with heat
conductive limestone. Polyethylene tubing is
embedded under the floor and filled with
circulating water for cooling in the summer
and heating in the winter. Rain collected on
the roof is stored in a tank in
the basement for use in the cooling system,
to irrigate plants and for the water sculpture
in the main lobby. 85% of the building's
structural steel contains recycled material.
Sir Norman Foster
Chek Lap Kok Airport
It is characterized by a lightweight roof, free of
service installations; natural lighting; and the
integration beneath the main concourse of
baggage handling, environmental services and
transportation. With its uncluttered spaces, bathed
in light, it forms a spectacular gateway to the city.
Sir Norman Foster
Millennium Bridge
The Millennium Bridge springs from a dynamic
collaboration between engineering, art and
architecture to provide the first new Thames crossing
since Tower Bridge. A shallow suspension structure, it
is designed to allow pedestrians unimpeded views up
and down river. A thin ribbon of steel by day, it is
illuminated to form a blade of light at night.
Sir Norman Foster
Other works
Architects &
Architectural
Styles
Chapter 3
Rodriguez, uap
Renzo Piano
Italian High Tech Architect. He is
the recipient of the Pritzker
Architecture Prize on the year
1998.
In 1981, Piano founded the "Renzo
Piano Building Workshop"
He worked together with Richard

Rogers from 1971 to 1978;)
He also had a long collaboration with the

engineer Peter Rice.
"serenity of his best buildings
can almost make you believe
that we live in a civilized
world"
Renzo Piano
“My inspiration came from the land, ... and, of course, from Paul Klee . . .
and the poetics of his paintings.”
“A museum, ... is a place where one

should lose one's head -- and I hope you
will lose it.”
“because the center of the

composition is not a
building, but an empty
space.”
Renzo Piano
Jean-Marie Tjibaou Cultural Centre
It celebrates the
vernacular Kanak culture,
the indigenous culture of
New Caledonia,
The Kanak building
traditions and the resources
of modern international
architecture were blended
by Piano.
Renzo Piano
Jean-Marie Tjibaou Cultural Centre
The formal curved axial layout, 250 meters long on the top
of the ridge, contains ten large conical cases or pavilions
patterned on the traditional Kanak Grand Hut design.
Renzo Piano
Living Roof of the California Academy of Sciences
The new Academy is a masterpiece in sustainable
architecture, blends seamlessly into the park's natural
setting, and is filled with hundreds of innovative exhibits
and thousands of species of plants & animals.
Renzo Piano
Kansai International Airport
When Renzo Piano first visited the site for the
new Kansai airport, he had to travel by boat
from Osaka harbor. There was no land to build
on. Instead, the airport was constructed on an
artificial island resting on piles.
Inspired by this challenge, Piano drew

sketches of a large glider landing on the
proposed island. He then modeled his
plan for the airport after the shape of an
airplane with corridors stretching out
like wings from a main hall.
Renzo Piano
Centre Georges Pompidou
Along with Richard Rogers, the design of
the Centre "turned the architecture
world upside down"
Renzo Piano
Zentrum Paul Klee
A museum dedicated to the artist Paul Klee.
The shapes of the building echo the
curves of the surrounding countryside,
and even burrow into the land to
become part of the landscape. The three
"hills" of the Centre each correspond to
a different function of the building,
which in turn recall the life of the artist:
as poet, musician, and painter.
Renzo Piano
Columbus International Exposition
The theme was "Christopher Columbus, The
Ship and the Sea”. The buildings that
showcase technological shapes and
materials.
Renzo Piano
The Shard
The Shard is one of the most enigmatic
buildings to adorn the London skyline in
recent years. The vision of its creator, the
much lauded Italian architect Renzo Piano
was for a vertical ‘City in the Sky’.
Richard Rogers
a British architect noted for

his modernist and
functionalist designs.
Since founding the practice in 1977,

Richard Rogers has gained international
renown as an architect and urbanist.
2007 Pritzker Prize winner Richard

Rogers is known for grand yet
transparent buildings with bright, light-
filled spaces and flexible floor plans.
Richard Rogers
Based on the rationale that the
greatest amount of floor space possible
should be allowed for the interior so as
to maximize space to appreciate the
exhibitions, everything from the lifts to
the sewage pipes were made visible on
Modern style of architecture associated
the outside of the structure.
with Richard Rogers. In 1977 Rogers,
along with Renzo Piano, completed
the Pompidou Centre in Paris.
This inside-out style

was termed
'Bowellism'. This
is a category of
High Tech
Architecture.
Richard Rogers
“Form follows profit
is the aesthetic
principle of our
times.”
I believe very strongly,

and have fought since
many years ago - at least
over 30 years ago - to
get architecture not just
within schools, but
architecture talked
about under history,
geography, science,
technology, art.
Richard Rogers
Lloyds Building
The building was innovative in having its services
such on the outside, leaving an uncluttered space
inside. The twelve glass lifts were the first of their
kind in the UK. It is important to note that (like
the Pompidou Centre) this building was highly
influenced by the work of Archigram.
Richard Rogers
Millennium Dome
The Millennium Dome, colloquially referred
to simply as The Dome, is the original name
of a large dome-shaped building, originally
used to house the Millennium Experience, a
major exhibition celebrating the beginning
of the third millennium.
Externally, it appears as a large

white marquee with twelve
100 m-high yellow support
towers, one for each month of the
year.
Richard Rogers
Madrid-Barajas Airport
Richard Rogers' design for
Terminal 4, Barajas Airport in
Madrid has been praised for its
architectural clarity and
transparency.
Circulation works well and the massing

on the "wavy" top are fascinating.
Richard Rogers
88 Wood Street
With this building, it expresses the structure
as ornamental order. Materials employed are
concrete frame with steel bracing & glass
curtain wall
Richard Rogers
Antwerp Law Court
Trees line the arrow-straight
roads that lead through Flanders
to Antwerp. The Law Courts
echo the characteristics of the
landscape around Antwerp
Richard Rogers
Roger’s Flexi-House
The homes are constructed from
sustainable materials and employ
unique features including an ‘EcoHat’ –
allowing hot air to be re-used to
optimize energy consumption and
provide passive solar water heating – as
well as layouts which optimize space
and light."
Zaha Hadid
Dame Zaha Mohammad Hadid,
DBE (Arabic: ‫ زها حديد‬Zahā Ḥadīd; born 31
October 1950) is an Iraqi-British
architect. She received the Pritzker
Architecture Prize in 2004—the
first woman to do so—and the
Stirling Prize in 2010 and 2011.
Her buildings are distinctively futuristic,
characterized by the "powerful, curving
forms of her elongated structures”
with "multiple perspective points and
fragmented geometry to evoke the
chaos of modern life"
“There are 360 degrees, so
why stick to one?”
Zaha Hadid
Zaha Hadid's style is boldly
contemporary, organic and
innovative.
The architect pushes

design through new
technology and materials
and never does ordinary.
Besides creating architecture the

architect is a celebrated
painter, designer of furniture
and interior products +
fittings such as bowls and
chandeliers.
Zaha Hadid
Zaha Hadid was born on 31 October 1950,
in Baghdad, Iraq. She grew up in one of
Baghdad's first Bauhaus-inspired buildings
during an era in which "modernism connoted
glamor and progressive thinking" in the
Middle East.
She worked for her former professors,

Koolhaas and Zenghelis, at the Office for
Metropolitan Architecture, in Rotterdam,
the Netherlands; she became a partner in
1977.
Through her association with Koolhaas, she

met Peter Rice, the engineer who gave her
support and encouragement early on at a time
when her work seemed difficult.
Zaha Hadid
Zaha Hadid
Zaha Hadid
Zaha Hadid
Zaha Hadid
Zaha Hadid
Zaha Hadid
Santiago Calatrava
Santiago Calatrava Valls is
a Spanish architect, sculptor
and structural engineer whose
principal office is in Zürich,
Switzerland. He has offices in
Zürich, Paris, Valencia, and
New York City
Calatrava has received numerous
recognitions. In 1992 he received
the prestigious Gold Medal from
the Institution of Structural
Engineers. In 1993, the Museum of
Modern Art in New York held a
major exhibition of his work called
"Structure and Expression".
Santiago Calatrava
Calatrava is also a prolific sculptor and painter, claiming that the
.
On 10 December 2011 he was
appointed a member of
the Pontifical Council for
Culture for a five year renewable
term by Pope Benedict XVI.
Calatrava's style has been
heralded as bridging the
division between structural
engineering and architecture.
Santiago Calatrava
Lyon-Saint Exupéry
Airport (formerly known as Lyon
Satolas Airport)
The building's most striking profile, based on
two converging steel arches 120 meters long
and 40 meters high.
The building is most obviously expressive of a
bird, symbolizing flight with even more
dynamism than Saarinen's TWA terminal in
New York, the two main arches coming
together at the bird's beak. Calatrava insists
this was not its origin: "I never thought of a
bird, but more of the research that I
am sometimes pretentious enough to
call sculpture" - which is inspired more
by the shape of the human eye.
Santiago Calatrava, said it
Santiago Calatrava resembles a bird being

released from a child's
PATH Terminal at the WTC hand. The roof was originally
designed to mechanically open to
increase light and ventilation to the
enclosed space.
The PATH Terminal at the

WTC site in New York is the
final building design for the
rebuilding project. In the
days immediately following
the reveal, it is clear that
this building has
captured the favor of
the general public.
Santiago Calatrava
Lisbon Orient Station
is one of the main transport
hubs in Lisbon, Portugal.
The station bears considerable resemblance to Calatrava's

earlier Allen Lambert Galleria within Toronto's Brookfield Place.
Some influence from Gothic architecture can also be
found.
Santiago Calatrava
Samuel Beckett Bridge
this is the second bridge in the area designed
by Calatrava. The shape of the spar and its
cables is said to evoke an image of
a harp lying on its edge. (The harp is
a secular icon for Ireland and things Irish.)
The main span of the Samuel

Beckett Bridge is supported by
31 cable stays from a doubly
back-stayed single forward
arc tubular tapered spar.
Santiago Calatrava
80 South Street was a
residential skyscraper proposed for
construction in New York City. However, the
project was canceled on April 16, 2008 in the
wake of a declining real estate market
The design of the building consisted of 12 four-storey

cubes stacked on top of one another, cantilevered off
a central concrete column standing above an 8-storey
base. The slender concrete core would contain
elevators, fire stairs and risers for plumbing and power.
Santiago Calatrava
Architects &
Architectural
Styles
Chapter 3
Rodriguez, uap
American Architect Michael Graves re-
interpreted the rational style that had been
introduced by Le Corbusier in the 1920s into
a neoclassical style. By the mid-1970s,
Graves had become less concerned with
the roots of Modernism and had
developed a wide-ranging eclecticism in
which he abstracted historical forms and
emphasized the use of color.
In 2003, an infection of unknown origin

(possibly bacterial meningitis) left Graves
paralyzed from the waist down. He is still
active in his practice, which is currently
involved in a number of projects
The 2012 Richard H. Driehaus Prize for

Classical Architecture has been awarded to
Michael Graves and will be presented at a
ceremony in Chicago on March 24, 2012.
“In designing hardware to be used
every day, it was important to keep
both the human aspects and the
machine in mind. What looks good
also often feels good.”
“As an architect, I find myself interested in the artifacts of daily life and how
they can be related to architecture. Because I see architecture and design as
part of the same aesthetic continuum, I think it’s unnecessary to distinguish
between making a space, a building, or a piece of hardware, aside from their
more obvious differences of program and scale. When I begin to design, I first
make sure that all the pragmatic issues of the project are met and then, I
work from there. ”
Michael Graves designed the
building, which features
large figures of the dwarves
from Snow White and
the Seven Dwarfs on its
facade.
The main structure is crowned with two, 14 m tall
Swan statues. The colored facade is adorned
with turquoise waves similar to the Dolphin's
banana-leaf motif. Graves utilized pop art
graphics, colors and details reminiscent of the
Florida coast to create a thematic context
consistent with Disney’s mandate that even the
architecture should entertain guests of all ages.
The Dolphin Hotel faces a companion
building, the Swan Hotel, across a large
crescent-shaped lake spanned by a
landscaped pedestrian causeway.
It is a 15-story municipal office building. It
uses variety of surface materials and
colors, small windows, and inclusion of
prominent decorative flourishes, was in
stark contrast to the architectural style
most commonly used for large office
buildings at the time, and made the
building an icon of postmodern
architecture.
Michael Graves & Associates show
their another great taste of modern
architectural building. The interior
of each house is painted a different
color, which becomes a way-finding
device and also helps the students
identify with their “community,” a
vital part of the school’s teaching
philosophy.
The project calls for the design
of single family prototype
homes intended to serve the
needs of wounded soldiers and
their families.
Michael Graves & Associates was
commissioned to create a concept
design for an expansion to the
Kangwon Land Casino in Korea. The
colors are inspired by traditional
Korean costumes. Guests pass into an
artful and museum like display of
Korean ceramic jars, illuminated
surfaces and graphic moving images.
The styles of jars vary from different
dynasties and historic periods of
Korean history.
Tadao Ando 安藤忠雄
a Japanese architect whose approach to architecture was
categorized as Critical Regionalism & Minimalism.
He invokes a Japanese sense of materiality,

junction and spatial narrative through the
pared aesthetics of international
modernism.
“I was never a good student. I always preferred

learning things on my own outside of class.
When I was about 18, I started to visit temples,
shrines and tea houses in Kyoto and Nara;
There's a lot of great traditional architecture in
the area. I was studying architecture by going to
see actual building, and reading books about
them.”
“The logic of Modernism, you could say, is
born from functionalism as we know it, but
that is only the beginning of what Modernism
is all about. Modernist architecture also has
to deal with people. And people always relate
to the spirit of the place, or to the spirit of the
time. Without this spirit, Modernist
architecture cannot fully exist. Since there is
often a mismatch between the logic and the
spirit of Modernism, I use architecture to
reconcile the two.”
“But in Japan, there's nothing like that, since the temple is
made of wood. The divine spirit inside the building is eternal,
so the enclosure doesn't have to be”
Architectural features of Ando
Ando's architectural character, always with three
distinct features are:
1. Geometry - in the building itself is a perfect
geometry are applying.
2. Nature - by injecting architecture of nature
and the natural elements of the building
makes Harmony. Natural to use the Iran-
contrived nature, i.e, with water the yard
with a pond and trees, and light means using
glass.
3. Substance - honest geonchuk jaeryoin
Concrete (Unfinished Concrete) and the glass
is the spirit of the ongoing inquiry.
Tadao Ando often uses Zen philosophies
Church of the Light when conceptualizing his structures. One
The Church of the Light consists of 5.9m theme he expresses in this work is the dual
concrete cubes (5.9m wide x 17.7m long x nature of existence. The space of the chapel
5.9m high) penetrated by a wall angled at is defined by light, the strong contrast
15°, dividing the cube into the chapel and between light and solid. In the chapel light
the entrance area. enters from behind the altar from a cross
cut in the concrete wall that extends
vertically from floor to ceiling and
horizontally from wall to wall, aligning
perfectly with the joints in the concrete
Church of the Light
At this
intersection of
light and solid the
occupant is
meant to become
aware of the
deep division
between the
spiritual and the
secular within
himself or herself.
Church on the water
The Church on the water, is one of its
most successful achievements which
uses nature as an element involved in
the design. In it, Ando succeeds in
creating a microcosm in which
combines a simple but masterful
concepts on the profane and the
sacred, the artificial and natural, and
closed above the vacuum and infinity.
Modern Art Museum of Fort Worth
“...pavilions that seem to float on the water...”
The desire to use diffused and reflected natural light
within the gallery spaces was a major influence on
the building's design.
Museum of Wood Culture
The museum pays tribute
to the culture of wood in its
different manifestations in
the world. It is a space for
reflection rather than
simply a space for the
exhibition of objects.
Detail and simplicity,

tradition and modernity,
openness and intimacy,
nature and artificial light
and shadow are resolved
binomials with sobriety,
humility and expertise in
this forum.
Water Temple Awaji Island
A concrete
stairway which
cuts the circular
pool in two
symmetrical
halves descends
down into
momentary
darkness from
the light, below
the water, and,
eventually, into
the sacred space
of the Buddhist
temple.
Awaji Yumebutai
Awaji Yumebutai
International
Conference Center is
a resort and
conference center
surrounded by a rich
natural environment.
4x4 House
Each unit is a block of concrete that serves as
a lighthouse overlooking the view of the sea.
The first house has minimal floor dimensions,
approximately 4x4 meters and instead
addresses the necessities of the occupants in
height, using a basement, ground floor and
three other floors above this.
The second house becomes different from the

first one when we study the vertical accesses.
While the first is developed by a staircase, the
second one has an elevator. Another
difference between them is the materials that
were used; the original house was built
entirely in concrete while the second one
used wood as well, by request of the
customer
 It was founded in 1995 by Kazuyo
Sejima + Ryue Nishizawa/Sanaa
In 2010, Sejima and Nishizawa were

awarded the Pritzker Prize,
architecture's highest honor.
Kazuyo Sejima + Ryue Nishizawa / S A N A A
Kazuyo Sejima and Ryue Nishizawa have
been working collaboratively under the
name ‘SANAA’ since 1995. Sejima studied
architecture at the Japan Women's
University before collaborating with
architect Toyo Ito. She launched her own
practice in 1987 and was named ‘Young
Architect of the year’ in Japan in 1992.
Nishizawa studied architecture at
Yokohama National University and, in
addition to his work with Sejima, has also
maintained an independent practice since
1997.
Nishizawa appreciates Le Corbusier, Mies van der Rohe, Oscar Niemeyer “these are
an unforgetable ‘trio’ for me.”
“probably our interest now is more how to organize ‘a program’ within a building
- the layout of rooms and how people move inside. but also how to keep a
relationship between the ‘program’ and the outside and then how the outside
fits to the surroundings. in each project we have different requirements and the
site is different, we try to find our way.” - Sejima
21st Century Museum of Contemporary Art, Kanazawa Japan
The building has a circular form, with
a diameter of 112.5 meters. This
shape aims to keep the appearance
of the overall building volume low, to
mitigate the scale of the project and
allows access from multiple points of
entry. The transparency of the
building further manifests the wish
to avoid the museum being
perceived as a large, introverted
mass.
Christian Dior building, Omotesandō
On one of Tokyo's most fashionable streets the
world's luxury retailers are elbowing each other in
order to attract shoppers' attention. This battle
goes beyond price, value, and quality. It extends to
the very architecture of their shops. Dior's
Omotesando building is an outgrowth of that
competitive spirit in a city
Zollverein School of Management and Design, Germany
“Walls with holes” or “walls with Windows”. The school building is an architectural
celebration of the cube. Measuring about 115 feet on each side, the building is almost
perfectly square. The four floors are of varying heights with an asymmetrical arrangement of
square windows of varying sizes.
The first floor of the Zollverein School is an open study area with
no partitions.
The New Museum of Contemporary Art - 2003 to 2007 - New York City
The seven-story composition - a stack of rectangular boxes
shifted off axis in different directions, clad in silvery
galvanized, zinc-plated steel, and punctuated by skylights
and windows
"We have tried to design a
transparent building in the
sense that we are not hiding
what is happening behind
the surface of the structure."
Kazuyo Sejima + Ryue
Nishizawa
At night, the building's

metallic exterior will be
washed with artificial
lighting from within.
Rolex Learning Center
The Rolex Learning Center is the
campus hub and library for the École
Polytechnique Fédérale de
Lausanne (EPFL), in Lausanne,
Switzerland.
The building is rectangular in plan, but appears to be
more organic in shape because of the way that its roof
and floor undulate gently, always in parallel. with few
visible supports, the building touches the ground lightly,
leaving an expanse of open space beneath which draws
people from all sides towards a central entrance.
Architects &
Chapter 2
Rodriguez, uap
Vernacular Architecture – is a term used to categorize methods
of construction which use locally available resources and traditions
to address local needs and circumstances. Vernacular architecture
tends to evolve over time to reflect the environmental, cultural and
historical context in which it exists. It has often been dismissed as
crude and unrefined, but also has proponents who highlight its
importance in current design.
It can be contrasted against Polite Architecture which is

characterized by stylistic elements of design intentionally
incorporated for aesthetic
"Folk building growing in response to actual needs, fitted into
environment by people who knew no better than to fit them with
native feeling". - Frank Lloyd Wright
One of the most important things that we can learn
by looking at vernacular architecture is the
seemingly simple (almost low-tech) methods of
which we can create a building that is perfectly
adapted to the building’s users and the building’s
locale.
We can learn from this

and it can help prevent
some of the devastating
things architects do,
namely sacrificing a
building’s function,
comfort, or ecological
friendliness in the pursuit
of some aesthetic quality
or even worse, an
architect’s egotistical
pursuits.
Influences on the Vernacular Architecture
Climate
Buildings in cold climates invariably have
high thermal mass or significant amounts of
insulation. They are usually sealed in order
to prevent heat loss, and openings such as
windows tend to be small or non-existent.
Buildings in warm climates, by contrast, tend
to be constructed of lighter materials and to
allow significant cross-ventilation through
openings in the fabric of the building.
Buildings for a continental climate must be
able to cope with significant variations in
temperature, and may even be altered by
their occupants according to the seasons.
Buildings take different forms depending on
precipitation levels in the region - leading to
dwellings on stilts in many regions with
frequent flooding or rainy monsoon
seasons. Flat roofs are rare in areas with
high levels of precipitation.
Culture, Tradition & Religion.
The way of life of building occupants, and
the way they use their shelters, is of great
influence on building forms. The size of
family units, who shares which spaces, how
food is prepared and eaten, how people
interact and many other cultural
considerations will affect the layout and size
of dwellings.
There are many cultures around Nomadic dwellings
the world which include some
aspect of nomadic life, and they
have all developed vernacular
solutions for the need for shelter.
These all include appropriate
responses to climate and customs
of their inhabitants, including
practicalities of simple
construction, and if necessary,
transport.
Environment & Materials
The local environment and the
construction materials it can
provide govern many aspect of
vernacular architecture. Areas
rich in trees will develop a
wooden vernacular, while areas
without much wood may use
mud or stone. In the Far East it
is common to use bamboo, as it
is both plentiful and versatile.
Vernacular, almost by definition,
is sustainable, and will not
exhaust the local resources. If it
is not sustainable, it is not
suitable for its local context,
and cannot be vernacular.
Philippine Vernacular Architecture
•The architecture of the Philippines is a reflection of the history and heritage of the
country. The pre-colonial architecture of the Philippines consisted of the “Nipa hut or
Bahay Kubo” made from natural materials but there are some traces of large-scale
construction before the Spanish colonizers came but not well documented.
• An example of this is the pre-colonial walled city of Maynilad although later after
the Spanish colonization, dismantled by the Spaniards and rebuilt as Intramuros.
There are also other minor pre-colonial walled cities like Betis and Macabebe.
Philippine Geography
The Philippines is an archipelago comprising
7,107 islands with a total land area of 300,000
km2. The 11 largest islands contain 94% of the
total land area. The largest of these islands is
Luzon at about 105,000 km2. The islands are
volcanic in origin, being part of the Pacific Ring
of Fire, and are mostly mountainous. The
highest point in the country is the peak of
Mount Apo in Mindanao, which is 2,954 m
above sea level.
The Cordilleras and Caraballos, together with

the Sierra Madre Range, form the main
mountain system in Northern Luzon. The
Cordilleras consists of 2, sometimes 3,
mountain ranges that are found in
northwestern central Luzon.
Philippine Climate
The climate of the Philippines is warm-
humid characterized by relatively high
temperature, oppressive humidity and
plenty of rainfall. There are two seasons in
the country, the wet season and the dry
season, based upon the amount of
rainfall. This is dependent as well on your
location in the country as some areas
experience rain all throughout the year.
Based on temperature, the seven
warmest months of the year are from
April to September; the Amihan monsoon
brings cooler air from October. May is the
warmest month, and January, the
coolest.
Historical Reference for
Philippine Vernacular
Architecture:
Before the arrival of Spanish colonizers in the
Philippines in the 16th century, the Barangays
were well-organized independent villages -
and in some cases, cosmopolitan sovereign
principalities, which functioned much like a
city-state. The Barangay was the dominant
organizational pattern among indigenous
communities in the Philippine archipelago. The
name barangay originated from balangay, a
Malay word meaning "sailboat".
 immigrants of Malay origin, food gatherers
and hunters
 3000 BC, joined by advanced agricultural
race from Indonesia
 barangays as tribal system
 converted to Islam in 1300 AD
 trade center of the Orient
Historical Reference for
Philippine Vernacular
Architecture:
Theories, as well as local oral traditions, say that the
original “barangays” were coastal settlements
formed as a result of the migration of
these Malayo-Polynesian people (who came to the
archipelago) by boat from other places in Southeast
Asia. Most of the ancient barangays were coastal or
riverine in nature. This is because most of the
people were relying on fishing for supply of protein
and for their livelihood.
In the period between the 7th century to the

beginning of the 15th century, numerous
prosperous centers of trade had emerged, including
the Kingdom of Namayan which flourished
alongside Manila Bay, Cebu, Iloilo, Butuan, the
Kingdom of Sanfotsi situated in Pangasinan, the
Kingdoms of Zabag and Wak-Wak situated in
Pampanga and Aparri (which specialized in trade
with Japan and the Kingdom of Ryukyu in Okinawa).
Vernacular Architecture in the Cordillera Region or
the Mountain Houses
Isneg Binuron
Homes of the Isneg boatpeople are pyramidal
or hipped roof annex on one or both ends
removable sidings for special occasions. In the
rugged landscape of the Cordillera, Apayao is
the only region that has a navigable river, the
Apayao, after which the region is named. Thus,
among the Cordillera people, only the Isneg
are boatmen and boat builders.
Isneg Binuron
The Isneg boat, barana’y or bank’l, consists mainly of three planks; a bottom plank,
which tapers at both ends, and two side planks, which are curved to receive the
bottom plank. House design appears to have been influenced by boat design. The
roof of the Isneg house suggests an inverted hull, and the floor joists, which are
visible outside, suggest the profile of a boat. The Isneg house is about 7.5m – 8.00
m. long, 4.00 m. – 5.00m wide, and 5.50 m. high from ground level to the roof
ridge. The binuron house rests on a total of 15 posts, which are visible, the floor
being about 1.20 m. aove the ground. The slanting wooden walls on the sides are
about 1.50 m. high from floor to eaves. The main section of the house has a gable
roof and is about 6.50 m. long.
Isneg Binuron
Summary:
•“binuron” house :
•appears to have been influenced by boat design
•roof : resembles inverted hull ; gable type ; half-
section of bamboo laid on like shingles
•15 posts : 8 inner posts support the floor
6 posts support the roof
•1 post (“atobtobo”) support the end of the ridge
•“tarakip” : an annex attached to one or both
end of the ridge
•side walls’ vertical planks may be removed to
make windows
•floor : reed mat which can be rolled up for
washing
Kalinga Houses
The Kalinga house is not an equilateral
octagon, the four diagonal walls being
shorter than the front, back and side
walls. The floor is not a perfect octagon,
since the corners are not all floored
over. At one side of the entrance a large
portion of the floor is eliminated to
provide a working space that reaches
from ground level to roof height. As one
sits inside the
Kalinga binayon the walls and roof

seems to form a dome-like and even
spherical space, which suggests
expansion rather than enclosure.
Kalinga Houses
The walls from ground to floor level are of horizontally
laid bamboo poles, and from floor to eaves level are of
vertically set wooden boards. In front and at the back,
the wooden walls end at height of about 2.50 m., and
from there on to the roof ridge horizontally laid
bamboo slats cover the gables. Windows open at
opposite ends of the house diagonal to each other.
Kalinga Houses
Summary:
Variation 1: Kalinga Binayon (Lower Kalinga)
•octagonal house ( the house of the rich)
•supported by 12 post : 4 inner posts
•8 outer posts to form an octagon
roof : hipped, not high and steep, made of bamboo
floor : reed mat
•on one side, the floor is removed leaving a space that extends from the
ground level to the roof
Variation 2: Kalinga Finaryon (Upper Kalinga)
•floor area is divided into one wide middle section (“dattagon”) and slightly
narrow elevated side sections (“sipi”) each about 1.20 m. wide. It is basically
a bamboo mat woven with rattan strips and laid on laths. At the middle
section the bamboo strips of the mat run crosswise; at the side sections,
lengthwise, thus further defining the levels and spaces.
•“kinimpal” : roof system using several layers of bamboo
•“tinalob” : only 2 layers of bamboo (for poor)
•4 inner posts constitute the house’s core support; outer posts at each
corner of the house support the roof
Bontoc Houses
The houses at the Bontoc tribe are
known as Fayu. At the rear of the
ground floor a narrow door from
the cha-la-nan leads to the sleeping
compartment, ang-an, which forms
the inner side of the sleeping
compartment and storage holds. By
means of a ladder, the visitor enters
the granary, falig, where he discovers
a fireplace at the rear left corner. The
walls slant outward and are cut by a
shelf at a height of 0.60 m. which
extends to the roof. Above the falig is
a loft which, in larger houses, could
be as spacious as a room.
Bontoc Houses
Summary:
•“fayu” house
•basic form is like the ifugao house except that the
quarters are on ground level and the house cage serves
as the granary
•walls : up to waist level, leaving a continuous opening
protected by the eaves
•“falig” : granary for richer people adjacent to their
house
•has a lot of sections having specific names for its area
is quite bigger
Ifugao Houses
Ifugao villages are located amid rice terraces
and preferably near a spring or a grove, and
are accessible through foot paths on terrace
walls. Houses are in clusters, as in Banaue, or
are scattered singly on the pond fields, as in
Mayoyoao. Lone houses on the crests of hills
or in the pockets of mountain slopes are not
uncommon. Villages may have anywhere from
five to forty houses.
The Ifugao house may be visualized as a
three-level structure. The first level of
structure consists of a stone pavement,
whose perimeter coincides with the edge of
the eaves; four posts and girders. A wooden
disk; halipan, which serves as a rat guard, if
fitted on each post a few centimeters below
the girder.
Ifugao Houses
The second level is the house cage, that is, roof
frame, walls and floor. The third level comprises
the roof. Since the posts of the Ifugao house rise to
about shoulder height from ground to girders, they
do not frame the house cage nor directly support
the roof. Thus the house is a cage resting on stilts
and a roof resting on the cage. Although the
upper frame of the house cage is above head level,
the wall boards rise from the floor to chest or
waist height. In contrast, the roof slopes
downward beyond the upper frame of the cage to
floor level and the section from head to level to
waist height serves as the upper complement of
the wall boards. A shelf, patie, extends outwards
from the top of the wall boards to the underside of
the roof and forms a recess that circumscribes the
interior.
Ifugao Houses
Summary:
•“fale” house
• three-level structure : stone pavement, house cage
and roof
• posts : shoulder height, support only the girders
• 3-level space within the house : floor, shelf, loft (granary)
- walls : slaut outward
- ratguard : thin cylinders placed on the posts
- roof : thatched, pyramidal, extends up to floor level
- basket under second level
- detachable stairs
• slaughtered carabao and human heads displayed on front
of their house
- doors can be remain open
- “hagabi” : bench under their house for socialization
LOCAL VARIATIONS:
Kiangan house: roof is not as steep and does not extend up to
floor level, hipped: wall sidings – wood or sawali; no ratguards
Mayoyao house: roof is steeper and completely conceals the
house cage; not ratguards,eminent for its pure, classic outline
and fine craftsmanship.
Kankanai House
North of Ibaloi territory, the northern part of Benguet
and the southern part of Bontoc area, live the Kankanai
whose traditional houses, binangiyan, are distinctly
different from those of the Ibaloi and remarkably similar
to those of the Ifugao. The Kankanai house has a high,
steep, hipped roof with the ridge parallel to the front.
The roof drops, to about 1.50 m. above the ground,
thereby concealing the house cage.
The roof rests on the upper frame of the house cage,

and the house cage in turn rests on a three joists-on-
two girders-on-four posts structure. Under the house
cage, broad planks laid slightly above ground level form
a spacious platform that extends to the line of the
eaves. Around the lower floor is a rough stone
pavement. The house cage measures about 4.0 m by
4.50 m. The height of the house from ground level to
roof ridge is slightly over 6.00 m. The Kankanai house
is made of narra or pine.
Kankanai House
Summary:
•“binangiyan” house
•high, steep, hipped roof, conceals
the house cage
•4 posts support the house cage;
roof is supported by the upper
frame of the house
•walls : made of narra or pine
•living quarters consist of main
area where the fireplace is located
and a small room at the rear
•only one entrance, door is
decorated with fluting
•no rat guards
Vernacular Architecture in the Mindanao & Sulu
Region
Maranao Houses
There are 3 types of Houses in
Maranao which is both base on the
size of the structure and the status
of its occupants:
•Lawig – smaller houses
•Mala-a-walai – larger houses
•Torogan – royal houses
•In housebuilding, bunga is used for

posts, barimbingan for flooring,
and gisuk for walls,
Maranao Houses
The Torogan is the ancestral house and the royal
residence of the upper-class Maranao. It is commonly
found in Marawi City and other areas in Lanao del Sur
province. Within the sultanate, no one can have a
house bigger than the Torogan which is the dwelling
place of the datu along with his wives and children.
Living in a traditional Torogan house signifies rank,
prestige and wealth.
• Raised on pilings from 0.31 to 2.21 meters above the
ground
• Roof, walls, flooring, doors, and windows are made of
bamboo material lashed together with rattan.
• Usually has 9 to 12 posts, depending on the size of the
house
• The main room (without partitions) measures about
7.86 to 18.9 meters
• Maranao's principal okir designs are the sarimanok, the
naga and the pako rabong. These designs are not made
just for ornamentation, it has a meaning and history.
Maranao Houses
Summary:
•Torogan House built for sultans and
datus
•Arranged in a line along the river
•Elevated 2 to 3 meters above
ground
•Windows face front and right
•Diongal – decorations on the roof;
colored
•Panolong and okir carvings
•A lamin or tower built atop the
torogan hides the sultan’s daughter
•post are placed on top of rocks for
earthquake purposes
Badjao Houses
The boat-dwelling habit, which is a
practical adaptation to reef living and
fishing, must have evolved independently
among certain Samal groups such as the
Badjao of Sulu. There are many
houseboats in Tungkalang, among them
the lipa, djenging and dapang. Over both
the lipa and djenging, boats and houses
are built to shelter the Badjao from sun
and rain – their structures, however, are
different.
The lipa house structure is loose and

detachable: long poles are attached here
and there to frame the shape over which
a nipa roof is rolled.
Badjao Houses
Djenging the house structure is walled in
on all sides by wooden boards, nailed
permanently, with window openings and
doors and galvanized sheet for the roof.
The size of the djenging seems to depend
on family status: a poor family that can
afford only a smaller types, for the roof
and walling, nipa and matted coconut
leaves, patched up here and there with
thick sackcloth or cardboard, pieces of
wood, bamboo slats and rusty galvanized
sheets – a floating Sulu barong-barong.
The dapang is a boat of varied sizes and

lengths, with outriggers, and is used for
fishing or short trips. Other boats are
simple dugouts, used for transport between
house-boats and oftentimes in the care of
the young.
Badjao Houses
Summary:
•ladder serves as wash area
•mirrors symbolize the
number of children
•lipa, djenging, and dapang
houseboats
Samal House
The Samal, mix on various islands with
the Tausug, are the dominant group
and whose concentration is in the Jolo
island cluster. Generally the Tausug
outnumber other groups in the
northern half of Sulu and the Samal
increase in number in the southern
half, nearest Borneo. The Samal of
western Sulu, however, customarily
build their houses completely over
tidal mud flats or reefs. The Samal
cluster their houses together and
connect them by labyrinthine
catwalks of timber and split bamboo.
Samal House
Yakan House
What makes the Yakan, the Tausug and the
Maranao different from the Tagalog and the
Cebuano is simply Islam and the system of
sultans and datus.
For outside of their mosques which tower above
the rural landscape, there is nothing significantly
Islamic about the settlement patterns and
housing of Muslims in southern Philippines.
Traditional Yakan house is called lumah. It is a
rectangular structure with 50 to 100 square
meters area and 2 meters elevated above the
ground by timber posts. The Yakan houses were
usually clustered around the langgal or local
prayer house, which is the center of the
community, but they don't have compact
villages because the houses were scattered
among the fields and the houses were
surrounded by fruit trees and vegetables.
Yakan House
Yakan House
The Yakan house, also elevated on piles with the stilts two or three meters in
height, is one or more rooms connected to a kitchen by an open or covered
porch made of split bamboo poles. The roof is conical and steep, usually made
of thatch for protection against heavy rain. For walls, the Yakan use either
sawali or horizontally-placed wooden boards or bamboo poles bound
together with rattan, and for the floor, either split bamboo or rough wood
supported by heavy posts. The Yakan make very small – and very few –
windows in order to block bad spirits from entering the house so easily.
three main components: the main house, the kitchen and the porch.
The kitchen serves as the cooking and eating area

elevated 2 to 3 meters above ground
The pantan or the porch is the main entry to the house
There was a bridge connecting the kitchen and the main house.
The houses ofThere are no ceilings and only one window or tandiwan was
allowed for the main house . The tandiwan and ladder were allowed at the
kitchen house.
 the Yakan people face the east, and according to their beliefs the building
materials should be stockpiled also in the east
Door faces east
Vernacular Architecture in the Island of Panay
Bahay Kubo
Bahay Kubo - is the native house of the
Philippines and is also considered as its
national shelter. Made of indigenous
building materials like bamboo and nipa,
this pre-Hispanic architecture was
constructed to perfectly adapt to the tropical
climate of the Philippines and to be easily
repaired or rebuilt once damaged by
typhoon, flood or earthquake which
frequented the country.
Its name is said to have originated from the

Spanish word, cubo, which means “cube,”
because of the bahay kubo 's
rectangular/cubic shape.
Bahay Kubo
BAHAY KUBO
Kitchen Gilir
Toilet & Bath Batalan
Rice Storage Kamalig
Low Table Dulang
Closet Tampipi
Room Silid
Room for Bulwagan
Entertaining
Guest
Banggera - extended window sill used for

storing chinaware and kitchen utensils.
Bahay Kubo
A typical bahay kubo only has one, large, open,
multi-purpose room for dwelling, called
bulwagan. It has a cellar, called silong where most
household chores are done. This area serves as
the area for livestock pens, storage space,
workspace and granary. The walls are made of
nipa and cogon leaves or sawali or woven
bamboo, and there are large windows on all sides,
which keep the interior well-ventilated. The
windows have tukod or “legs” that hold the
swinging shades open during the day, and secure
it back in place at night. Another feature of the
the bahay kubo is ladder or hagdan which can
easily be removed at night or when the owners
are out. Likewise, some huts have an open back
porch or batalan where household chores are
done and where the jars of water are placed.
END of THEARCH1
Feng-Shui
& Old
Beliefs in
Construction
By Arch. Franz Allan M.
Rodriguez, uap
The best way to begin Feng Shui is to determine the four most
favorable corners of your home, office or an area of a room.
These corners will be your luckiest.
Feng – Shui
=
Feng Shui – is an
ancient Chinese system of
aesthetics believed to use
the laws of both Heaven
and Earth to help one
improve life by receiving
positive qi.
Foundation Theories of Feng-Shui
Qi (ch'i) – is a movable
positive or negative life force
which plays an essential role
in feng shui. It refers to
'energy', in the sense of 'life
force' or élan vital.
The literal translation of the

Chinese character meaning
“health” is “original qi.”
Yin Yang Theory – is used to

describe how polar opposites or
seemingly contrary forces are
interconnected and interdependent
in the natural world, and how they
give rise to each other in turn.
Opposites thus only exist in relation
to each other.
The 2 are the primordial feminine
and masculine energies whose
interplay gives birth to the manifest
world: to the Five Elements and Ten-
Thousand Things.
The Five Elements or
Forces (Wu Xing) – which,
according to the Chinese, are Metal,
Earth, Fire, Water, and Wood – are
first mentioned in Chinese literature
in a chapter of the classic Book of
History. They play a very important
part in Chinese thought: ‘elements’
mean generally not so much the
actual substances as the forces
essential to human, life. Earth is a
buffer, or an equilibrium achieved
when the polarities cancel each
other.
Wood or Tree (Chinese: 木; pinyin: mù), is
the growing of the matter, or the matter's growing
stage. Wood is yang in character. It stands for
springtime, the East, the planet Jupiter,
the color blue, green, wind, and the Azure
Dragon (Qing Long) in Four Symbols.
Production Cycle: Water engenders Wood,
"as rain or dew makes plant life flourish.” Wood
begets fire as "fire is generated by rubbing
together two pieces of wood" and it must be
fueled by burning wood.
Destructive Cycle: Wood overcomes earth

by binding it together with the roots of trees and
drawing sustenance from the soil; metal
overcomes Wood, as the metal axe can topple the
largest trees.
Fire (Chinese: 火; pinyin: huǒ), is the
prosper of the matter, or the matter's prosperity
stage. Fire is yang in character. Its motion is
upward and its energy is expansive. It is associated
with Summer, the South, the planet Mars,
the color red (associated with extreme luck), hot
weather, daylight, and the Vermilion Bird (Zhu
Que / Suzaku) in the Four Symbols (which is
associated with a red phoenix in Western culture).
Production Cycle: Wood engenders Fire as

"fire is generated by rubbing together two pieces
of wood" and it must be fueled by burning wood;
Fire begets earth as "fire reduces everything to
ashes, which become a part of the earth again".
Destructive Cycle: Water overcomes Fire as
"nothing will put out a fire as quickly as water";
Fire overcomes metal as it "can only be melted and
forged" by flame or heat.
Earth (Chinese: 土; pinyin: tǔ), is the changing
point of the matter. Earth is a balance of both
yin and yang, the feminine and masculine
together. Its motion is inward and centering, and
its energy is stabilizing and conserving. It is
associated with the color yellow and the planet
Saturn, and it lies at the center of the compass
in the Chinese cosmos. It is associated with the
turn of each of the four seasons and with damp. It
governs the Spleen, Stomach, mouth and muscles.
Its negative emotion is anxiety and its positive
emotion is empathy. Its Primal Spirit is
represented by the Yellow Dragon.
Production Cycle : Earth controls water and
is controlled by wood.
Destructive Cycle :Earth is produced by fire's
ashes, and in turn produces metal.
Metal (Chinese: 金; pinyin: jīn), is the
decline of the matter, or the matter's decline
stage. Metal is yin in character, its motion is
inwards and its energy is contracting. It is
associated with the Autumn, the West, old
age, the planet Venus, the color white, dry
weather, and the White Tiger (Bai Hu) in
Four Symbols.
Production Cycle : Earth engenders Metal
as "all metal has to be extracted from the
earth in which it resides"; Metal begets water
as metal traps falling water from a source.
Destructive Cycle: Fire overcomes metal as
it "can only be melted and forged" by flame
or heat; Metal overcomes wood as the metal
ax is able to topple the tallest tree.
Water (Chinese: 水; pinyin: shuǐ), is the low point
of the matter, or the matter's dying or hiding stage.
Water is the most yin in character of the Five
elements. Its motion is downward and inward and
its energy is stillness and conserving.
It is associated with the Winter, the North, the
planet Mercury, the color black, cold w eather,
night, and the Black Tortoise (Xuan Wu) in Four
Symbols.
Production Cycle: Metal engenders Water, as
metal traps falling water from a source; Water
begets Wood as "rain or dew makes plant life
flourish“
Destructive Cycle: Water overcomes Fire, as
"nothing will put out a fire as quickly as
water"; Earth overcomes water as earth-built canals
direct the flow, as well as soil absorbing water.
Feng-Shui Techniques:
Ba gua (Eight
Trigrams)
An ancient Chinese term
“bagua” means “eight areas”
(“ba”=eight, “gua”=area) and
Feng Shui bagua is a map or
chart that relates the various
areas of your life to the 8
sections of your living space.
 First, make sure the path to Main door is clear.
Trim or remove any large bushes, trees or
creeping plants that block the pathway. Any
blockage on the pathway can block the flow of
money, opportunities and good luck. A solid
front door without a window is best. Make sure
it opens freely and widely. Any door obstacle
impedes the flow of good things into your life.
 If you have bad neighbors, street or corner of the

building pointing at your house, feng shui front
door cure is to place a small Bagua mirror on
your door. It reflects negativity away and keeps
you well protected.
 Clear out the clutter; get rid of everything that
is no longer necessary in your house. Clutter
Clearing is a time-and energy-consuming
process that will feel like therapy, but it will
help “lighten up the load", thus attracting
positive qi.
 Have good quality air and good quality

light inside the house. These two elements are
essential for good feng shui energy (called Chi)
in your home. Open the windows often,
introduce feng shui air-purifying plants or use
an air-purifier. Allow as much natural light as
possible into your home, and consider using
full-spectrum lights.
 Bedroom: Avoid the overhead
beams, the low side of a slanted
ceiling, sharp angles from interior
corners, and an overhead fan in a
room with a low ceiling.
 In a Master’s bedroom - unless you

want to remain single or
unmarried - everything needs to
be arranged in pairs to symbolize
the union and equality. So
have two end tables (one on each
side of the bed) -two candles on
your dresser -2 paintings on the
wall above your bed (no single
person or one thing) -2 pictures of
you and your wife / husband.
Use beautiful curtains or wooden
shutters as great feng shui decorating
tool. Empty windows are considered
to be yang elements that need to be
balanced with yin elements that act
as a barrier. Curtains greatly enhance
design of your bedroom as well as
prevent chi energy from rushing out
of your windows too fast.
Wind chimes are most effective as

feng shui symbol if hung with a 9” or
9cm red ribbon and made of metal.
They act as powerful lightening rods
to bring money chi right into your
business. You can place wind chimes
in your entrance or feng shui
prosperity corner.
According to feng shui bedroom rules,
one should avoid cool colors such as blue,
gray, white or black in a bedroom. The
ideal feng shui bedroom color is based on
skin colors. Start from pale white to a rich
brown. Use these warm colors as the main
feng shui colors in the bedroom. You can
coordinate with brighter colors.
Mirrors on dresser should not be on the

bedroom but on walk-in-closets. Remove
or cover all mirrors in the bedroom.
According to bedroom feng shui, mirror
reflects back all the issues in life such as
depression, loneliness or relationship
problems. If mirrors can’t be removed,
cover the mirror completely at night.
Carefully choose images you place in your
bedroom. Any image in your home has powerful
subconscious impact on your thoughts and
emotions. Therefore, any image you hang in your
bedroom above your bed needs to connect with
your dreams.
“Waterfalls” painting in feng shui represent an

abundant flow of wealth and luck. It can be placed
beside the entryway or foyer, so it’s first thing that
can be seen as one leaves or enter the house. It
might also be placed in the feng shui wealth corner
of the house.
Don't hang images of aggressive or sneaky animals (tiger, monkey, fox…),

depressing pictures (sad, crying people), chaotic images or overpowering
images of nature (sea storm) anywhere within the house.
It is especially important to avoid a direct alignment of

the front door with the back door. The reason you want to avoid
this situation is because all good feng shui energy coming
through the main door will easily escape through the back door
without having a chance to circulate and nourish your house.
Avoid having POISON ARROWS; Energy wise, sha chi, or

feng shui poison arrows, are exactly what they sounds like
- arrows of strong, attacking energy pointing at your
personal energy field. It weakens your energy and is
certainly not promoting good health and well-being.
Bed; Good headboard. While you are drifting off to

sleep, your body is going into an extra busy energy repair
work on many levels. Subconsciously, your head needs
good backing, protection and support, just like your back
needs it when you are seating in a chair for extended
periods of time.
Avoid placing mirror in front of your bed. A
mirror facing the bed directly depletes your
personal energy when you need it the most: at
nighttime when your body is doing most of its
repair work. A mirror facing your bed is also said
to bring the energy of the third party into your
intimate relationship.
Bed under a window is considered bad feng

shui. At nighttime your body needs strong
support, as well as protection, in order to do its
best with the work of regenerating itself. This is
the reason a good solid headboard is highly
recommended in feng shui. In addition to a good
headboard, you always want to have a solid wall
behind your bed. When you sleep under the
window, your personal energy tends to get
weaker in time, as it has neither proper support,
not protection.
A bed close to the bedroom door is
considered bad feng shui because doors
usually have a strong flow, or rush of
incoming energy. This energy can be very
unsettling and too active as compared to
the energy you want close to your bed. In
order to create good feng shui energy
in your bedroom, you need to have the
most nourishing, relaxing and sensual
energy around your bed.
According to feng shui principles, water

in bedroom can create financial loss or
relationship problems – including loss of
passion as water cools down the fire.
Place water pictures or fountains in the
more active areas of your home. If you
can’t remove aquarium, cover it at night.
Plants and flowers, as beautiful as they are should be

avoided in the bedroom (live, dried or artificial). Plants
emit yang energy that can disturb good-night sleep (yin).
Feng shui fertility bedroom tip: Don't move the

bed of a pregnant woman. According to feng shui,
it can disturb the life energy present in the bed that
started the conception and new life.
Living Area: Create more Yin atmosphere if you
want to bring more comfort, reduce arguments
and tension at home. Use large cushy sofa, long
rich curtains, soft natural materials and
carpets…..in any combination of deep green,
lighter brown and golden colors. Try to buy only
furniture and sofa sets with nicely flowing round
corners.
Living Area: Create comfortable and friendly

atmosphere by properly placing your furniture.
Try to place seating furniture with its back to the
wall and with the clear view of the main door.
This layout makes everybody feel safe and
comfortable. Don’t block the view of your door
with piece of heavy furniture or other items.
T&B: Keep your toilet lid closed
all the time. Keep your sink,
shower and bathtub drains closed
all the time. It's also the most
fundamental of all feng shui
bathroom cures and need to be
applied as soon as possible. Closed
bathroom door will make a big
difference in the overall energy
and atmosphere in your home.
Fix any leaking pipes or faucets

immediately. As one leak equals a
loss in money.
Make your bathroom “green”. Plants are
very powerful feng shui cures. They will
bring beauty and health into your
bathroom. Additionally they will help to
get rid or humidity and stagnant chi.
Never keep your working desk or

computer in your bedroom. Logic behind
this feng shui tip tells us that sleeping is
passive and yin. Office working on the
other hand is yang or active. Home office
simply brings too much active energy into
what should be passive room. This can
disturb your good night sleep.
Red, green and gold are powerful
feng shui colors. Red adds
excitement and energy and green
signifies money, health and
abundance. Round gold stones
signify gold coins and treasures in
your gold pond - your new
abundance.
Koi(s) are lucky fishes that can be

kept as a pet. As paintings, large
painting or photo of koi fish brings
luck, success and money right into
your business. Place this powerful
feng shui symbol near the entrance
or in the feng shui money spots.
According to feng shui business success
rules, you need to make sure that your
office's front outside entrance looks
clean and inviting. You can place a pair of
protective guardians (Fu dogs or lions)
round your main door.
Both the entrance and feng shui wealth
spots can benefit from moving water. In
feng shui, water equals money. Water
Fountain is an excellent way to attract
flowing money energy right into your
business.
Metal of any kind is very helpful in feng

shui Career area as it “creates” or holds
water. Place copper fountain, bell or
other metal decoration to activate your
career luck in your entrance.
Avoid green color in your bedroom if
you have cancer. Green promotes
growth and cancer patients need to
prevent the growth of cancer cells. Also
avoid blue color in your bedroom if you
are prone to depression or have
problem to communicate with others.
Living Area Colors: Soft orange is ideal feng

shui color to use to bring all family members
together. Color green brings growth, peace and
harmony to your living room and family.
Another great feng shui living room color is
yellow, especially if this room is located in the
center of your home. It supports good health
and communication between family
members.
Kitchen Colors: White color promotes
creativity and can be a great help if you’re
crafting your own recipes. Orange is great to
use in the kitchen as well.
Business Colors: Light shade of green

is good feng shui office color. Green
symbolizes money, growth and
represents Skills and Wisdom life area.
To keep your attention and focus on
business add yellow or orange accents.
Yellow is another good feng shui office
color. It promotes clear thinking, focus
and communication. Avoid bright
yellow.
Philippine Old Construction Beliefs:
The Filipino daily way of life is encompassed by
countless sayings, proverbs, and beliefs. People
tend to work around the superstitions even if they
were told they may be committing a sin. Many
Filipinos believe in superstitions to avoid any
negative Notice the Filipinos residing in other
countries carry on the superstitions. "Pamahiin
lang iyan," and “Masyado kang mapamahiin” are
sometimes heard from the Filipinos who want to
deviate from superstitions.
Superstitions - is a belief in a non-physical (i.e.

supernatural) causality: that one event causes
another without any physical process linking the
two events.
Folk religion or Folk Beliefs – consist of ethnic or
regional religious customs under the umbrella of
an organized religion, but outside of official
doctrine and practices.
Don’t start the construction of a house at a
period when the moon is waning or entering its’
last quarter. Pick a time on or about a full moon.
Start a construction preferably on Monday and

never on Friday.
Avoid starting construction when the year is

about to end. A better time is when the year has
just begun, January to June.
Never have a house built when your wife is

pregnant, and is expected to give birth at that
very month.
Before giving the order to lay the
foundation or put up the posts of your
house, make peace with all your enemies-
especially those belonging to your family or
clan.
Padugo: In the North, they usually practice

the flowing of blood from some animals
such as goats or chickens at all foundations
or corners of the wall. All are splattered
with this blood in honor of the spirits /
lamang lupa or engkanto that might be
living within the premises. Also a few drops
of wine is offered with some prayer
dedication before any wine is partaken.
Before concrete is poured into the
foundation, one peso coins should be
dropped inside the forms to bring
good luck. Other place silver medals
of any patron or saints for protection.
Do not build a house directly

perpendicular to a street.
No part of your house should

cover/shade or overhang an anthill or
“punso”.
Never use any materials that once
belonged to a church.
As much as possible, avoid using

materials that came from the owner’s
old house. The bad luck coming from
the old house will be transferred to the
new house.
All nails and screws that become

bent in the process of building a house
should be kept in a box and not left
lying around. Leaving them scattered
will bring misfortune to these involved
in the construction.
The number of main posts- or columns
should always be even; not odd and never 13.
ORO PLATA MATA – the number of steps in

every flight of stairs must fall to the count of
either oro (gold) or plata (silver) and never
mata (death) since if the last counting is
mata, bad luck, death or poverty is to be
expected.
The principal stairs &, the master’s

bedroom should always face the East, so that
the rising sun may shine on them.
To the Muslims, the principal room and
stairway of their houses should face the
direction of the Mecca.
Doorways should not face each other

along a straight path, or a door to the
window. They should lie on a staggered
path. Good fortune flows quickly out of
the house if arranged in a straight path.
Main doorways should not face the

West or where the sun sets, it brings bad
luck.
Main doors should always swing inside to
bring good luck. Reverse opening to the
outside will bring out the good luck.
Do not occupy a new house until it is

completely built or blessed. Before you can
occupy the new house, bring in first the basic
necessities such as sugar, rice, salt and a statue
of Christ on a throne.
The arrangement of the bed should not

directly be parallel and vertical to the girt or
rafter as the old folks believe that it will cut
half the good fortune.
Architectural Criticism
Sources: https://study.com/academy/lesson/ruskins-the-seven-lamps-
of-architecture-summary-quotes.html
https://www.arch2o.com/principles-architectural-criticism/
Architecture criticism - is the

critique of architecture. Everyday
criticism relates to published or
broadcast critiques of buildings,
whether completed or not, both
in terms of news and other
criteria.
- It amounts to an assessment
of the architect's success in Auditorio de Tenerife in Santa Cruz
meeting his or her own aims de Tenerife bySantiago Calatrava,
and objectives and those of
others.
- The assessment may involve
planning, social or aesthetic
issues
The Seven Lamps of Architecture
The Seven Lamps of Architecture is an
extended essay, first published in May
1849 and written by the English art critic
and theorist John Ruskin.
The essay was published in book form in May

1849 and is structured with eight chapters; an
introduction and one chapter for each of the
seven 'Lamps', which represent the demands
that good architecture must meet, expressed
as directions in which the association of
ideas may take the observer.
7 chapters
1. Sacrifice – dedication of man's craft to God,

as visible proofs of man's love and obedience
2. Truth – handcrafted and honest display of
materials and structure. Truth to materials and
honest display of construction were bywords
since the serious Gothic Revival had distanced
itself from the whimsical “Gothick" of the 18th
century; it had been often elaborated by Pugin
and others.
3. Power – buildings should be thought of in
terms of their massing and reach towards the
sublimity of nature by the action of the human
mind upon them and the organization of
physical effort in constructing buildings.
7 chapters
4. Beauty – aspiration towards God expressed

in ornamentation drawn from nature, his
creation
5. Life – buildings should be made by human
hands, so that the joy of masons and
stonecarvers is associated with the expressive
freedom given them
6. Memory – buildings should respect the
culture from which they have developed
7. Obedience – no originality for its own sake,
but conforming to the finest among existing
English values, in particular expressed through
the "English Early Decorated" Gothic as the
safest choice of style.
The 7 Principles of Architectural Criticism
1. Fairness in Judgement
First, the critic should be a ‘man of principles’. Fairness and clarity are
essential when judging a design. The design should be assessed as per its
own requirements rather than taking another project as a basis for
comparison. A civilian’s house can never be judged along the lines of King’s
Palace.
2. Logical Reasoning
The critic should always have a logical reason behind the argument.
“Emotion doesn’t trump reason,” says Robert Ivy, CEO of the American
Institute of Architects. Of course, having an affinity towards a particular
designer or style isn’t wrong, unless it affects the way in which others are
criticized. The goal behind criticism should never be insulting the architects
or their designs, rather it should be pointing out the wrong in order to
improve the whole situation.
3. Building a Persuasive Case

“The critic has to build a persuasive case–brick by brick,” says Cathleen
McGuigan, Editor in Chief of Architectural Record. The art of convincing is
very significant to make criticism more constructive. The critic’s opinion is
not of any use if the receiver does not understand it and truly agrees with
it. Describing a real life experience as an example to prove a point might
help.
4. Adequate Delivery
Sometimes, it is the language that ruins a good critic. Poor delivery may
ruin the effectiveness of a critique, even though the critic is right and has
good intentions. Similarly, appropriate delivery may, even, promote an
egocentric criticism. The critic should deliver the message in a positive and
motivating manner, without hurting the target’s sentiments. The evaluative
language like “You are wrong” or “This is a stupid idea” may not be of any
help whereas “I feel like this may be a better solution” might just work
wonders.
5. Objective Commentary
Criticism should be more objective. It should be specific, relevant, and to
the point. Focusing on the problem at hand helps in understanding the
context. “Your design lacks this” is anytime better than “Something isn’t
right but I am unable to put it”.
6. General Knowledge of Architecture

Awareness of the past, present, and possible future issues and trends of
architecture is a genuine requirement for a critic to be capable of
commenting on an architectural design. Also, experience as a practicing
architect can be very advantageous.
7. Understanding the Architect’s Point of View

Lastly, it’s essential for critics to put themselves in the shoes of the
receiving architects in order to adjudicate the design properly. Doing this
will enable them to understand the problem from the architect’s point of
view and hence deliver more appropriate suggestions.

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7/4/2020

Architecture as the Highest form of Art

HOLY ANGEL UNIVERSITY

Target Program Outcomes (PO):

Week 2 Learning Output:

•typically in a visual form such as

Art is an expression of one’s personal

Art is imagination in motion. Taking

Art is an alternative world, one we create

Art reflects humanity and provides a

Major constituents of the

•Visual arts (including

"Architecture is the highest form of art by definition.

TECT = the ability to

and SCIENCE A style or method of building

and CONSTRUCTING The conscious act of forming

Marcus Vitruvius Pollio (born c. 80–70 BC, died

Excerpts from De architectura:

Alberti’s Ten Books consciously echoes

Reproduction – for the population to

SHELTER – something that covers,

a. Necessities – warm, dry house

b. Conveniences – rooms shall be

c. Comforts – must contain the

HOLY ANGEL UNIVERSITY

Target Program Outcomes (PO):

THE VISIBLE & INVISIBLE STRUCTURE

THE •Organizational pattern,

A.4. Architecture must be compatible to its

BASIC ELEMENTS OF DESIGN

BASIC ELEMENTS OF DESIGN

Point - The two ends of a line

BASIC ELEMENTS OF DESIGN

Line - A point extended becomes a

BASIC ELEMENTS OF DESIGN

Plane - A line extended becomes a

FORM – In an Architectural discussion, the

•General = massing ; Particular = roof, windows,

VISUAL PROPERTIES OF FORM

VISUAL PROPERTIES OF FORM

THE TRANSFORMATION OF FORM

THE TRANSFORMATION OF FORM

THE TRANSFORMATION OF FORM

FOUR BASIC GROUPING OF FORMS

FOUR BASIC GROUPING OF FORMS

FIVE DIAGRAMS OF FORMS

FIVE DIAGRAMS OF FORMS

FIVE DIAGRAMS OF FORMS

FIVE DIAGRAMS OF FORMS

FIVE DIAGRAMS OF FORMS

Principles of Design & Composition

HOLY ANGEL UNIVERSITY

Target Program Outcomes (PO):

GOOD TASTE – is a discerning judgment which one exercises in

0, 1, 1, 2, 3, 5, 8, 13, 21, 34, 55, 89, 144, 233,

Example: The longer

PROPORTION Classical Architecture’s

• Male: 163.5 cm (5'

It is a fixed proportion used in determining measurements &

Axis- line established by 2

Visual Acuity and Perception

HOLY ANGEL UNIVERSITY

Target Program Outcomes (PO):