THEORY OF ARCHITECTURE 2
MASTERS OF ARCHITECTURE
ARCHITECT DICTUMS/
(FOREIGN) PHILOSOPHY
HERE WE WILL BUILD A
MONUMENT DEDICATED TO
NATURE AND WE WILL MAKE
IT OUR LIVES’ PURPOSE.
– LE CORBUSIER, 1950
A RAMP PROVIDES GRADUAL
ASCENT FROM THE PILOTIS,
CREATING TOTALLY DIFFERENT
SENSATIONS THAN THOSE FELT
WHEN CLIMBING STAIRS. A
LE CORBUSIER STAIRCASE SEPERATES ONE
(CHARLES EDOUARD
FLOOR FROM ANOTHER: A RAMP
JEANNERET-GRIS, LINKS THEM TOGETHER.
1887 - 1965) – LE CORBUSIER
THE SAGRADA FAMILIA IS MADE
BY THE PEOPLE AND IS
MIRRORED IN THEM. IT IS A WORK
THAT IS IN THE HANDS OF GOD
AND THE WILL OF THE PEOPLE.
– ANTONI GAUDI
ANTONIO GAUDI
(BARCELONA-BASED
SPANISH ARCHITECT,
1852 - 1916)
WE REFUSE TO RECOGNIZE
PROBLEMS OF FORM, BUT ONLY
PROBLEMS OF BUILDING. FORM
IS NOT THE AIM OF OUR WORK,
BUT ONLY THE RESULT. FORM, BY
ITSELF, DOES NOT EXIST. FORM
AS AN AIM IS FORMALISM; AND
THAT WE REJECT.
– LUDWIG MIES VAN DER ROHE
WE SHOULD ATTEMPT TO BRING
NATURE, HOUSES, AND THE
LUDWIG MIES HUMAN BEING TO A HIGHER
VAN DER ROHE UNITY.
(GERMAN-BORN – MIES VAN DER ROHE
ARCHITECT,
1886 - 1969) LESS IS MORE.
– MIES VAN DER ROHE
FAMOUS FEATURES /
BUILDINGS CHARACTERISTICS STYLE
THE STRUCTURAL DESIGN OF THE ROOF WAS
NOTRE DAME DU INSPIRED BY THE ENGINEERING OF AIRFOILS. THE
HAUT, OR STRUCTURE IS MADE MOSTLY OF CONCRETE AND IS
RONCHAMP, COMPARATIVELY SMALL, ENCLOSED BY THICK EXPRESSIONIST
RONCHAMP, WALLS, WITH THE UPTURNED ROOF SUPPORTED ON MODERN STYLE
FRANCE COLUMNS EMBEDDED WITHIN THE WALLS, LIKE A
SAIL BILLOWING IN THE WINDY CURRENTS ON THE
HILL TOP.
IT IS CONSIDERED AS ONE OF THE 20TH CENTURY’S INTERNATIONAL
MOST IMPORTANT CONTRIBUTIONS TO THE FIELD STYLE
VILLA SAVOYE
(POISSY,
AND A PIONEERING EMBODIMENT OF LE
CORBUSIER’S “FIVE POINTS” OF ARCHITECTURAL REFERENCE:
FRANCE;1931) DESIGN: THE PILOTIS, FREE FACADE, OPEN FLOOR
ARCHEYES.COM
PLAN, HORIZONTAL WINDOWS, AND ROOF GARDEN.
THE CHURCH’S INTERIOR COLUMNS ARE NOT
STRAIGHT BUT HAVE A SLIGHT CURVE, GIVING THEM
GREATER STRENGTH AND STABILITY. GAUDÍ ALSO
USED NATURAL MATERIALS SUCH AS STONE, WOOD,
AND GLASS TO CREATE A HARMONIOUS
RELATIONSHIP BETWEEN THE CHURCH AND ITS GOTHIC AND
NATURAL SURROUNDINGS. SAGRADA FAMÍLIA IS ART NOUVEAU
SHORTER THAN ITS WIDTH. IT HAS MANY COMPLEX STYLES
PARTS, INCLUDING DOUBLE AISLES, AN AMBULATORY
WITH A CHEVET OF SEVEN APSIDAL CHAPELS,
NUMEROUS STEEPLES, AND THREE PORTALS, EACH
WITH A DIFFERENT STRUCTURE AND
ORNAMENTATION. ONE UNUSUAL FEATURE OF THE REFERENCE:
ARCHEYES.COM
SAGRADA FAMÍLIA’S PLAN IS THE COVERED PASSAGE
SAGRADA FAMILIA OR CLOISTER THAT FORMS A RECTANGLE AROUND
(BARCELONA, SPAIN; 1882 - THE CHURCH AND PASSES THROUGH THE NARTHEX
2026) OF EACH PORTAL.
THE BUILDING REPRESENTS A NEW ERA IN
SKYSCRAPER DESIGN CHARACTERIZED BY A
THE MINIMALIST AND CORPORATE AESTHETIC.
SEAGRAM THE BUILDING’S SLEEK GLASS AND METAL FAÇADE, IN
BUILDING CONTRAST TO THE ORNAMENTAL HEAVY STONE AND INTERNATIONAL
(NEW YORK BRICK FACADES OF PREVIOUS DECADES, MARKED A STYLE
CITY) TURNING POINT IN ARCHITECTURAL DESIGN,
FOCUSING ON FUNCTIONALITY AND FORM.
CRAFTED PRIMARILY FROM STEEL AND GLASS, THE
THE HOUSE, ELEVATED TO PREVENT FLOODING, BLURS INTERNATIONAL
THE BOUNDARY BETWEEN INSIDE AND OUTSIDE,
FARNSWROTH STYLE
HOUSE MIRRORING MIES VAN DER ROHE’S “LESS IS MORE”
DESIGN PHILOSOPHY. THE OPEN FLOOR PLAN
(14520 RIVER PROVIDES A TRANQUIL SPACE FOR DR.
RD, PLANO, FARNSWORTH TO INDULGE IN HER HOBBIES, SUCH REFERENCE:
ILLINOIS, USA) ARCHEYES.COM
AS PLAYING THE VIOLIN, TRANSLATING POETRY, AND
COMMUNING WITH NATURE.
 THEORY OF ARCHITECTURE 2
MASTERS OF ARCHITECTURE
ARCHITECT DICTUMS/ FAMOUS FEATURES /
(FOREIGN) PHILOSOPHY BUILDINGS CHARACTERISTICS STYLE

THE ARCHITECT MUST BE

A PROPHET … IF HE ITS DESIGN SEAMLESSLY
CAN’T SEE AT LEAST 10 INTEGRATES WITH THE
YEARS AHEAD, DON’T SURROUNDING LANDSCAPE,
INCORPORATING A WATERFALL TO ORGANIC
CALL HIM AN ARCHITECT. ENHANCE WRIGHT’S VISION OF ARCHITECTURE
– FRANK LLOYD WRIGHT ORGANIC ARCHITECTURE. THE
HOUSE SEEMS TO FLOAT ABOVE THE
FALLINGWATER CASCADING WATERS.
STUDY NATURE, LOVE ( KAUFMANN FAMILY
NATURE, STAY CLOSE HOUSE; BEAR RUN;
TO NATURE — IT WILL 1935)
NEVER FAIL YOU.
— FRANK LLOYD ESCHEWING THE TRADITIONAL
WRIGHT APPROACH OF COMPARTMENTALIZED,
RECTILINEAR EXHIBITION SPACES,
I CAN SEE THE WRIGHT OPTED FOR A CONTINUOUS,
FRANK LLOYD WRIGHT GUGGENHEIM BUILDING IN
SPIRALING RAMP AROUND A CENTRAL
(FRANK LINCOLN WRIGHT: ATRIUM. THIS DESIGN CHALLENGED
AMERICAN ARCHITECT. THE MIND’S EYE AS THE STATUS QUO, CREATING A MODERNISM
1857 - 1959) PLAINLY AS THOUGH IT MUSEUM THAT WAS ITSELF A WORK OF
WERE TO BE BUILT ART. THE EXTERIOR OF THE BUILDING
TOMORROW. THAT’S HOW THE GUGGENHEIM MIRRORED THIS SPIRALING FORM,
ALL BUILDINGS SHOULD MUSEUM WITH A CURVED, WHITE CONCRETE
BE DONE. IF NOT, THEY’RE ( NEW YORK CITY) FAÇADE PRESENTING A DRAMATIC REFERENCE:
BETTER NOT BUILT. CONTRAST TO THE SURROUNDING ARCHEYES.COM
– FRANK LLOYD WRIGHT CITYSCAPE.

THE DESIGN OF THE HEYDAR

ALIYEV CENTER ESTABLISHES A
CONTINUOUS, FLUID
RELATIONSHIP BETWEEN ITS
SURROUNDING PLAZA AND THE
THERE ARE 360 BUILDING’S INTERIOR. THE PLAZA,
DEGREES, SO WHY AS THE GROUND SURFACE; NEO-FUTURISM
STICK TO ONE? HEYDAR ALIYEV CULTURAL ACCESSIBLE TO ALL AS PART OF
– ZAHA HADID CENTER BAKU’S URBAN FABRIC, RISES TO
( BAKU, AZERBAIJAN, 2012) ENVELOP AN EQUALLY PUBLIC
INTERIOR SPACE AND DEFINE A
SEQUENCE OF EVENT SPACES
DEDICATED TO THE COLLECTIVE
CELEBRATION OF CONTEMPORARY REFERENCE:
ZAHA HADID AND TRADITIONAL AZERI CULTURE. ARCHEYES.COM
(BRITISH ARCHITECT,
1950 - 2016)
ARCHITECT DICTUMS/ FAMOUS FEATURES / STYLE
(LOCAL) PHILOSOPHY BUILDINGS CHARACTERISTICS
THE ARCHITECTURE OF MY A COLLECTION OF FIVE BUILDINGS THAT
COUNTRY IS A SYNTHESIS OF OUR DEMONSTRATE THE ARCHITECT’S DRIVE TO FIND A ADOPT CLIMATIC
LEANDRO SOCIETY. OUR ART OF BUILDING VERNACULAR FORM OF MODERNIST ARCHITECTURE. FEATURES OF
LOCSIN REFLECTS OUR PEOPLE AT A THE NATIONAL THEATRE BUILDING WITHIN THE SOUTHEAST ASIA
(1928-1994) SPECIFIC TIME, THEIR ASPIRATIONS, COMPLEX IS A GOOD EXAMPLE OF LOCSIN’S AND THE
ARTS AND TRADITIONS, CULTURE, ECONOMIC TRADEMARK STYLE. KNOWN AS “FLOATING VOLUME,” TRADITIONAL
CULTURE PRIZE RESOURCES, TECHNOLOGY, IT CONSISTS OF A TWO-FLOOR-HIGH BLOCK OF STYLE OF THE
1992 [3RD] ENVIRONMENT, CLIMATE, AND ALL TRAVERTINE MARBLE CANTILEVERED 12 FEET INTO PHILIPPINES
OTHER COMPONENTS OF THE CULTURAL CENTER OF THE THE AIR. THE THEATRE HARKS BACK TO TRADITIONAL REFERENCE:
PHILIPPINE SOCIETY. PHILIPPINES. FILIPINO DWELLING HUTS, BUT ON A MONUMENTALLY THECULTURETRIP.COM
- LEANDRO LOCSIN (METRO MANILA) MODERN SCALE.
A FORMER SPANISH CEMETERY AND JAPANESE
AMMUNITIONS STORE, THE PARK WAS INTEGRATION OF
TRANSFORMED INTO A NATIONAL PARK IN 1966. MODERNIST
BETWEEN 1967-1969 SANTOS REVIVED THE PARK’S PRINCIPLES WITH
ILDEFONSO GROUNDS AND INCORPORATED THE ORIGINAL PARK
STRUCTURES, INCLUDING MEMORIAL SITES AND FILIPINO CULTURAL
PAEZ A BEAUTIFUL ENVIRONMENT IS ELEMENTS
SANTOS NECESSARY IF ONLY TO BUOY FORTIFICATION WALLS, INTO A SPACE FOR URBAN
(FATHER OF SAGGING SPIRITS AND OFFER RECREATION. IT FEATURES ELEMENTS OF SPANISH
PHILIPPINE HOPE FOR THE FUTURE. COLONIAL ARCHITECTURE, AS IT WAS BUILT DURING
-ILDENFONSO SANTOS THE SPANISH COLONIAL PERIOD. THE PARK
LANDSCAPE INCLUDES A CIRCULAR WALL, THE REMNANTS OF REFERENCE:
ARCHITECTU PACO PARK
(METRO MANILA) THE OLD CEMETERY, AND A CHAPEL, ALL OF WHICH THECULTURETRIP.COM
RE ) REFLECT THE ARCHITECTURAL STYLE OF THE
SPANISH COLONIAL ERA.
STREAMLINED ART DECO STYLE: ANTONIO'S DESIGN
PABLO ANTONIO FOR OUR FATHER, EVERY LINE FOR FEU INCORPORATES ELEMENTS OF THE ART
(1901-1975) MUST HAVE A MEANING, A DECO STYLE, CHARACTERIZED BY STREAMLINED
1ST EXPONENTS PURPOSE. FOR HIM, FUNCTION FORMS, GEOMETRIC PATTERNS, AND DECORATIVE ART DECO STYLE
OF MODERNIST COMES FIRST BEFORE MOTIFS. THE CAMPUS BUILDINGS FEATURE CLEAN
ARCHITECTURE ELEGANCE AND FORM. LINES, SMOOTH SURFACES, AND SUBTLE
REFERENCE:
IN THE -PABLO ANTONIO ORNAMENTATION, REFLECTING THE ELEGANCE OF
ART DECO ARCHITECTURE. THECULTURETRIP.COM
PHILIPPINES
FAR EASTERN UNIVERSITY (MANILA)

A HEADY MIXTURE OF SEEMINGLY INCONGRUOUS

ELEMENTS. COCONUT LUMBER, RATTAN, SHELL,
FRANCISCO THATCH, AND EVEN INDIGENOUS TEXTILES ARE CONTEMPORARY
"BOBBY" JUXTAPOSED WITH HYPERMODERN MATERIALS: TROPICAL FILIPINO
MAÑOSA PHILIPPINE ARCHITECTURE METAL, GLASS, CONCRETE. THE COCONUT
MUST BE “TRUE TO ITSELF, ITS ARCHITECTURE
(NATIONAL LAND AND ITS PEOPLE, PALACE AT THE CULTURAL CENTER OF THE
ARTIST IN -FRANCISCO MAÑOSA PHILIPPINES COMPLEX TYPIFIES MANOSA’S
ARCHITECTURE, STYLE. ITS COCONUT GOURD ROOF, COCONUT
2006) SHELL CHANDELIER, AND PINEAPPLE FIBER REFERENCE:
THE COCONUT HOUSE BEDCOVERS ARE INFUSED WITH TECHNOLOGICAL THECULTURETRIP.COM
( MANILA) INNOVATION FOR THE MODERN ERA.

THE CENTRAL TEMPLE HE BUILT FOR THE IGLESIA MODERNIST

NI CRISTO SHOWS THESE REVIVALIST FLOURISHES ARCHITECTURAL
WORKING IN HARMONY WITH SANTOS-VIOLA’S PRINCIPLES WITH
CARLOS A. THE STRUCTURE MUST NOT PASSION FOR GEOMETRIC SHAPES AND, PERHAPS
SANTOS- ONLY LOOK GOOD BUT MUST MORE THAN ANYTHING ELSE, FUNCTIONALITY. THE ELEMENTS OF
VIOLA ALSO BE MADE WELL.” DESIRE FOR FUNCTIONALITY INFORMED ALMOST RELIGIOUS
-CARLOS VIOLA ALL OF SANTOS-VIOLA’S WORK, AND HE WAS FOND SYMBOLISM
THE IGLESIA NI CRISTO’S CENTRAL OF ASSERTING THAT “THE STRUCTURE MUST NOT REFERENCE:
COMPLEX ( QUEZON CITY ) ONLY LOOK GOOD BUT MUST ALSO BE MADE WELL.” THECULTURETRIP.COM