1.

THEORY OF ARCHITECTURE 1 ARCHITECTURAL SYSTEMS: Experience through

movement of space and time.
MODULE 1: INTRO TO THEORY
- Approach and entry
- Path configuration and access
- Sequence of spaces
1.1. DEFINITION OF THEORY AND
- Light, view, touch, hearing, and smell
ARCHITECTURE
ARCHITECTURAL SYSTEMS: Achieved by means
Theory - Abstract thought or speculation
of technology.
resulting in a system of assumption or principles
used in analyzing, explaining, or predicting - Structure and enclosure
phenomena, and proposed or followed as a basis - Environmental protection and comfort
of action. - Health, safety and welfare
- Durability
TYPES OF THEORY:
ARCHITECTURAL SYSTEMS: Accommodating a
Descriptive – simply explains event or
Program
phenomena.
- User requirements, needs, and
Prescriptive – prescribes guidelines.
aspirations
ARCHITECTURE – The art and science of - Socio-cultural factors
designing and constructing buildings. - Economic factors
- Legal restraints
Art - The conscious use of skill, craft, and
- Historical traditions and precedents
creative imagination in the production of
what is beautiful, appealing, or of more ARCHITECTURAL SYSTEMS: Compatible with its
than ordinary significance. context.
Science - A branch of knowledge dealing - Site and environment
with a body of facts or truths obtained by - Climate: Sun, wind, temperature and
direct observation, experimental precipitation
investigation, and methodical study, - Geography: Soil, topography, vegetation
systematically arranged and showing the and water
operation of general laws. - Sensory and Cultural characteristics of
the place
VILLA SAVOYE | LE CORBUSIER – located in
1.2. ARCHITECTURAL SYSTEMS AND
Paris, this graphic analysis will illustrate the way
ORDERS
architecture embodies the harmonious
ARCHITECTURAL SYSTEMS: The Architecture of integration of interacting and interrelated parts
Space, Structure, and Enclosure. into a complex and unified whole.
- Organizational Pattern, Relationships,
Hierarchy
- Qualities of Shape, Color, Texture, Scale,
Proportion.
- Qualities of Surfaces, Edges and
Openings.
SPATIAL SYSTEM - The three-dimensional CIRCULATION SYSTEM - The stair and ramp
integration of program elements and spaces penetrate and link the three levels and heighten
accommodates the multiple functions and the viewer’s perception of forms in space and
relationships of a house. light. The curved form of the entrance foyer
reflects the movement of the automobile.

STRUCTURAL SYSTEMS - A grid of columns

support horizontal beams and slabs. The
cantilever acknowledges the direction of
approach along the longitudinal axis.
ARCHITECTURAL ORDERS
Physical:
- Solids and Voids
- Interior and Exterior
- Space
- Structure
- Enclosure
- Machine
Perceptual: Sensory perception and recognition
of the physical elements by experiencing them
sequentially in time.
- Approach and Departure
- Entry and Egress
- Movement Through the Order of Spaces
ENCLOSURE SYSTEM - Four exterior wall planes - Functioning of and activities within spaces
define a rectangular volume that contains the - Qualities of Light, Color, Texture, View, and
program elements and spaces. Sound
Conceptual: Comprehension of the ordered and
disordered relationships among a building’s
elements and systems and responding to the
meanings they evoke.
- Images
- Patterns
- Signs
- Symbols
- Context
1.3. PROCESSES IN ARCHITECTURAL become form with characteristics of substance,
DESIGN shape, size, color, and texture.
DESIGN PROCESS - A purposeful activity aimed • Point
at devising a plan for changing an existing • Line
situation into a future preferred state. • Plane
DESIGN PHASES: • Volume

1. Initiation POINT - It marks a position in space.

2. Preparation Conceptually, it has no length, width, or depth,
3. Synthesis and is therefore static, centralized, and
4. Evaluation directionless.
5. Action As the prime element in the vocabulary of form, a
6. Reevaluation point can serve to mark:
Initiation - Identifying a problem and its social, - the two ends of a line;
economic, and physical context. - the intersection of two lines;
Preparation - Collecting and analyzing relevant - meeting of the lines at the corner of a
information and establishing goals and criteria for plane or volume;
an acceptable solution. - the center of a field.

Synthesis - Discovering constraints and POINT ELEMENTS: A point has no dimension. To

opportunities, and hypothesizing possible visibly mark a position in space or on the ground
alternative solutions. plane, a point must be projected vertically into a
linear form, as a column, obelisk, or tower.
Evaluation - Simulating, testing, and modifying
acceptable alternatives according to specified
goals and criteria.
Action - Selecting and implementing the most
suitable solution.
Reevaluation - Assessing how well an
implemented solution in use satisfies the
specified goals and criteria.

➢ Piazza del Campidoglio

Rome. Michelangelo Buonarroti:
2. THEORY OF ARCHITECTURE 2
The equestrian statue of Marcus Aurelius
MODULE 2: ELEMENTS OF marks the center of this urban space.
ARCHITECTURE AND PRINCIPLES OF
DESIGN
2.1. PRIMARY ELEMENTS OF DESIGN
Each element is first considered as a
conceptual element, then as a visual element in
the vocabulary of architectural design.
When made visible to the eye or paper or
in three dimensional space, these elements
TWO POINTS - describe a line that connects LINE - An extended point. Conceptually, a line has
them; further suggest an axis perpendicular to the length, but no width or depth. It is capable of
line they describe and about which they are visually expressing direction, movement, and
symmetrical. growth.
A line can serve to:
- join, support, surround, or intersect other
visual elements;
- describe the edges of and give shape to
planes;
- articulate the surfaces of planes.
LINEAR ELEMENTS - Vertical linear elements,
such as columns, obelisks, and towers, have
been used throughout history to commemorate
significant events and establish particular points
➢ TORII, Ise Shrine in space.
Mie Prefecture, Japan:
In plan, two points can denote a gateway
signifying passage from one place to
another. Extended vertically, the two
points define both a plane of entry and an
approach perpendicular to it.

Linear members that possess the necessary

material strength can perform structural
functions. In these examples, linear elements:
- express movement across space
- provide support for an overhead plane
- form a three-dimensional structural frame
for architectural space.
➢ The National Mall. Washington, D.C.:
This lies along the axis established by the
Lincoln Memorial, the Washington
Monument, and the United States Capitol
Building.
PLANE - an extended line in a direction other than FORM - is the primary identifying characteristic of
its intrinsic direction. Conceptually, a plane has a volume. It is established by shapes and
length and width, but no depth interrelationships of the planes that describe the
boundaries of the volume.

Volumetric Elements - building forms that stand

Shape is the preliminary identifying as objects in the landscape can be read as
characteristic of a plane. It is determined by the occupying volumes in space.
contour of the line forming the edges of a plane.

2.2. FORM ARTICULATION

PLANAR ELEMENTS In architectural design, we FORM - The formal structure of a work—the
manipulate three generic types of planes: manner of arranging and coordinating the
• Overhead Plane, which can be either the elements and parts of a composition so as to
roof or the ceiling plane; produce a coherent image.
• Wall Plane ARTICULATION - A method or manner of jointing
• Base Plane, which can be either the that makes the united parts clear, distinct, and
ground or floor plane. precise in relation to each other.
VISUAL PROPERTIES OF FORM:
• Shape
• Size
• Texture
• Color
VOLUME - A plane extended in a direction other SHAPE - The characteristic outline or surface
than its intrinsic direction. Volume has three configuration of a particular form.
dimensions: length, width, and depth.

In architecture, we are concerned with the

All volumes can be analyzed and understood to shapes of:
consist of: • floor, wall, and ceiling planes that enclose
- points or vertices space;
- lines or edges where two planes meet • door and window openings within a spatial
- planes or surfaces that define the limits or enclosure; and
boundaries of a volume. • silhouettes and contours of building
forms.
SIZE - The physical dimensions of length, width, Colors used to convey emotions:
and depth of a form. While these dimensions
determine the proportions of a form, its scale is ➢ Warm Colors: exhibit energy and joy (best
determined by its size relative to other forms in its for personal messages). They have a
context. tendency to appear larger.
➢ Cool colors: convey calmness and peace
(best for office use). They have a tendency
to appear smaller next to a warm color.
They often work well as a background
color.
TEXTURE - The visual and tactile quality given to a
surface by the size, shape, arrangement, and BASIC COLOR SCHEMES:
proportions of the parts. Texture also determines
the degree to which the surfaces of a form reflect
or absorb incident light.

COLOR - A phenomenon of light and visual

perception that may be described in terms of an
individual’s perception of hue, saturation, and
tonal value. Color is the attribute that most
clearly distinguishes a form from its environment.
It also affects the visual weight of a form.
PARTS OF THE COLOR: ➢ Complementary - Any two colors
➢ Hue – another word for color, a degree of opposite each other on the wheel.
lightness, darkness, strength, etc. ➢ Split complementary - Use three colors.
➢ Value - describes how light or dark the The scheme takes one color and matches
color is it with the two colors adjacent to its
➢ Temperature - relates to the feeling of complementary color.
warmth or coolness the color evokes
➢ Analogous - Any three colors next to each
➢ Intensity - measures the range of a color
from dull to vivid. Also called chroma and other on the wheel.
saturation. ➢ Triadic - Any three colors that are equally
apart on the color wheel.
COLOR WHEEL:
➢ Tetradic or Double Complimentary -
➢ Primary – red, blue, yellow Uses four colors together, in the form of
➢ Secondary – violet, green, and orange two sets of complementary colors.
➢ Tertiary - red-violet, blue-violet, yellow-
green, blue-green, red-orange, and yellow-
orange.
 ➢ Tints - come from adding white to hues Visual Inertia - The degree of concentration and
➢ Shades - come from adding black to hues stability of a form. The visual inertia of a form
➢ Tones - mixing the hue with grey depends on its geometry as well as its orientation
➢ Achromatic - use no color, just shades of relative to the ground plane, the pull of gravity,
grey, black and white. Also known as and our line of sight.
greyscale.

FORM ARTICULATION

A form can be articulated by:

- Change in material, color, texture, or

pattern;
RELATIONAL PROPERTIES OF FORM
- Developing corners as distinct linear
- Position elements;
- Orientation - Removing corners; and
- Visual Intertia - Lighting the form.
Position - The location of a form relative to its
environment or the visual field within which it is
2.3. CIRCULATION
seen.
CIRCULATION - The passage of persons or things
from one place to another or through an area.

Since we move in time through a sequence

of spaces, we experience a space in relation to
where we’ve been and where we anticipate going.
Orientation - The direction of a form relative to CIRCULATION ELEMENTS:
the ground plane, the compass points, other
forms, or to the person viewing the form ➢ Approach
➢ Entrance
➢ Configuration of the path
➢ Path-space relationships

Approach: The distant view.

Prior to actually passing into the interior of

a building, we approach its entrance along a path.
This is the first phase of the circulation system,
during which we are prepared to see, experience,
and use the spaces within a building.
Kinds of Approach: Entrances may be grouped formally into
the following categories:
➢ Frontal
➢ Oblique - Flush
➢ Spiral - Projected
- Recessed
Frontal - Leads directly to the entrance of a
building along a straight, axial path. The visual Flush - Maintains the continuity of the
goal that terminates the approach is clear. surface of a wall and can be deliberately
obscured.

Oblique - Enhances the effect of perspective on

Projected - Forms a transitional space,
the front facade and form of a building
announces its function to the approach,
and provides overhead shelter.

Spiral - Prolongs the sequence of the approach

and emphasizes the three-dimensional form of a Recessed - Also provides shelter and
building as we move around its perimeter. receives a portion of exterior space into
the realm of the building.

The notion of an entrance can be visually

reinforced by:
Entrance - From outside to inside. Entering a
building, a room within a building, or a defined - making the opening lower,
field of exterior space, involves the act of wider, or narrower than
penetrating a vertical plane that distinguishes anticipated
one space from another and separates “here” - making the entrance deep or
from “there.” circuitous; or
- articulating the opening with
ornamentation or decorative
embellishment.
CONFIGURATION OF PATH Grid - A grid configuration consists of two sets of
parallel paths that intersect at regular intervals
- The sequence of spaces.
and create square or rectangular fields of space.
- All paths of movement are linear in nature.
And all paths have a starting point, from
which we are taken through a sequence of
spaces to our destination.

KINDS OF CONFIGURATION

➢ Linear
➢ Radial
➢ Spiral
➢ Grid Network - A network configuration consists of
➢ Network paths that connect established points in space.
➢ Composite

Linear - All paths are linear. A straight path,

however, can be the primary organizing element
for a series of spaces.

Composite - Employing a combination of the

preceding patterns. To avoid the creation of a
disorienting maze, a hierarchical order among the
paths and nodes of a building should be
Radial - has linear paths extending from r established by differentiating their scale, form,
terminating at a central, common point. length, and placement.

Spiral - is a single, continuous path that

originates from a central point, revolves around it,
and becomes increasingly distant from it.
PATH-SPACE RELATIONSHIPS Enclosed - Forming a public galleria or private
corridor that relates to the spaces it links through
Edges, nodes, and terminations of the
entrances in a wall plane.
path. Paths may be related to the spaces they link
in the following ways:

➢ Pass by Spaces
➢ Pass through Spaces
➢ Terminate in a Space

Pass by Spaces - The integrity of each space is

maintained; ▪ The configuration of the path is
flexible; ▪ The mediating spaces can be used to
link the path with the spaces. Open on one side -Forming a balcony or gallery
that provides visual and spatial continuity with
the spaces it links.

Pass Through Spaces - The path may pass

through a space axially, obliquely, or along its
edge; ▪ In cutting through a space, the path
creates patterns of rest and movement within it.
Open on Both Sides - Forming a colonnaded
passageway that becomes a physical extension
of the space it passes through.

Terminate in a Space - ▪ The location of the

space establishes the path; ▪ This path-space
relationhip is used to approach and enter
functionally or symbolically important spaces.

2.4. PRINCIPLES OF DESIGN

FORM OF THE CIRCULATION SPACE
Design is the creation and organization of formal
(Corridors, halls, galleries, stairways, and rooms) elements in a work of art.
A circulation space may be: Design Principle - is a fundamental and
➢ Enclosed; comprehensive concept of visual perception for
structuring and aesthetic composition.
➢ Open on One Side;
➢ Open on Both Sides.
PRINCIPLES OF DESIGN

➢ Proportion and Scale

➢ Contrast
➢ Balance
➢ Hierarchy
➢ Rhythm Classical Orders - To the Greeks and Romans of
Proportion - The proper harmonious relation of classical antiquity, the Orders represented in
one part to another or to the whole. their proportioning of elements the perfect
expression of beauty and harmony. The basic unit
PROPORTIONG SYSTEM
of dimension was the diameter of the column.
➢ Golden Section
➢ Tuscan
➢ Regulating Lines
➢ Doric
➢ Classical Order
➢ Ionic
➢ Renaissance Theory
➢ Corinthian
➢ Ken
➢ Composite
➢ Anthropometry
Tuscan Doric
Golden Section - The Golden Section can be
defined as the ratio between two sections of a
line, or the two dimensions of a plane figure, in
which the lesser of the two is to the greater as the
greater is to the sum of both.

Ionic Corinthian

The Greeks recognized the dominating role

the Golden Section played in the proportions of
- Classification of Temples according to
the human body. Renaissance architects also
their intercolumniation.
explored the Golden Section in their work. In more
- Vitruvius’ rules for the diameter, height,
recent times, Le Corbusier based his Modulor
and spacing of columns.
system on the Golden Section.

Regulating Lines - If the diagonals of two

rectangles are either parallel or perpendicular to
each other, they indicate that the two rectangles
have similar proportions. These diagonals, as well
as lines that indicate the common alignment of
elements, are called regulating lines.
RENNEISSANCE THEORYS - The height of rooms with flat ceilings
would be equal to their width.
The architects of the Renaissance,
- The height of square rooms with vaulted
believing that their buildings had to belong to a
ceilings would be one-third greater than
higher order, returned to the Greek
their width.
mathematical system of proportions.
- For other rooms, Palladio used
Pythagoras’ theory of means to determine
their heights.

Modulor

- Le Corbusier developed this proportioning

system to order “the dimensions of that
Seven Ideal Plan Shapes for Rooms:
which contains and that which is
contained.”
- He based the Modulor on both
mathematics (the aesthetic dimensions of
the Golden Section and the Fibonacci
Series)
- the proportions of the human body
(functional dimensions).

- Andrea Palladio (1508–1580) was

probably the most influential architect of
the Italian Renaissance.
- In The Four Books on Architecture, first
published in Venice in 1570,
- he followed in the footsteps of his
predecessors, Alberti and Serlio,
- proposed these seven “most beautiful
and proportionable manners of rooms.” - The basic grid consists of three measures,
113, 70, and 43 centimeters,
Determining The Heights of The Room:
proportioned according to the Golden
- Palladio also proposed several methods Section.
for determining the height of a room so
that it would be in proper proportion to the
room’s width
and length.

-
 - Le Corbusier saw the Modulor as a system
of measurements that could govern
lengths, surfaces, and volumes, and
“maintain the human scale
everywhere.”

- The ken evolved into an aesthetic module

that ordered the structure, materials,
and space of Japanese architecture.
Ken
- The size of a room is designated by the
- The ken was introduced in the latter half of number of its floor mats.
Japan’s Middle Ages.
- Although it was originally used simply to
designate the interval between two
columns and varied in size, the ken was
soon standardized for residential
architecture.

- Because of their 1:2 modularity, the floor

mats can be arranged in a number of ways
- The ken evolved into an aesthetic module
for any given room size.
that ordered the structure, materials, and
- For each room size, a different ceiling
space of Japanese architecture.
height is established according to the
- The tokonoma is a shallow, slightly raised
following: height of the ceiling (shaku),
alcove for the display of a kakemono or
measured from the top of the frieze board
flower arrangement.
= number of mats x 0.3.
- As the spiritual center of a traditional
- In a typical Japanese residence, the ken
Japanese house, the tokonoma is located
grid orders the structure as well as the
in its most formal room.
additive, space-to-space sequence of
rooms.
 - The relatively small size of the module
allows the rectangular spaces to be freely
arranged in linear, staggered, or clustered
patterns.

-
- A special field that has developed from a
concern with human factors is
ergonomics—the applied science that
coordinates the design of devices,
systems, and environments with our
physiological and psychological
capacities and requirements.

Anthropometry

- Anthropometry refers to the measurement

of the size and proportions of the human
body.
- It is predicated on the theory that forms
and spaces in architecture are either
containers or extensions of the human
body and should therefore be determined
by its dimensions.

- The dimensions of the human body also

affect the volume of space we require for
movement, activity, and rest.
- The fit between the form and dimensions
of a space and our own body dimensions
can be:
▪ Static
▪ Dynamic
- Average dimensions must always be ▪ Based on social distances and
treated with caution since variations from personal space.
the norm will always exist due to the
difference between men and women.
Scale

- The size of something compared to a

reference standard or to the size of
something else.

- Human scale in architecture is based on

the dimensions and proportions of the
human body.
- Of a room’s three dimensions, its height
has a greater effect on its scale than either
its width or length.

- Scale refers to how we perceive or judge

the size of something in relation to
something else. In dealing with the issue
of scale, therefore, we are always
comparing one thing to another.
- Two Types: Visual Scale, Human Scale.
- Visual Scale refers to how small or large
something appears to be in relation to its - In addition to the vertical dimension of a
normal size or to the size of other things in space, other factors that affect its scale
its context. are:
- the shape, color, and pattern of its
bounding surfaces.
- the shape and disposition of its
openings.
- the nature and scale of the
elements placed within it.

Contrast

- Opposition or juxtaposition of dissimilar

- Human Scale in architecture is based on elements in a work of art to intensify
the dimensions and proportions of the each element’s properties and produce
human body. a more dynamic expressiveness.
 Symmetry

- The exact correspondence in size, form,

and arrangement of parts on opposite
sides of a dividing line or plane, or about a
center or axis.
- 2 Types of Symmetry: Bilateral, Radial
- Bilateral - Refers to the balanced
arrangement of similar or equivalent
elements on opposite sides of a median
axis so that only one plane can divide the
- A contrast in form, geometry, or
whole into essentially identical halves.
orientation can also visually reinforce the
identity and independence of the sunken
field from its larger spatial context.
- Contrast create visual variety,
excitement and interest to the building
and can be achieved by:
▪ using different sizes;
▪ different material, texture, and
colors; or
▪ manipulating the light, shade, and
shadow of masses.
- Radial - The balanced arrangement of
similar, radiating elements such that the
composition can be divided into similar
halves by passing a plane at any angle
around a center point or along a central
axis.

Balance

- A state of equilibrium between

contrasting, opposing, or interacting
elements. Also the pleasing or
harmonious arrangement or proportion of
parts or elements in a design or
composition.
Hierarchy By Placement - A form or space may be
strategically placed to call attention to itself as
- For a form or space to be articulated as
being the most important element in a
being important or significant to an
composition.
organization, it must be made uniquely
visible.
- This visual emphasis can be achieved by
endowing a form or shape with:
- exceptional size
- a unique shape
- a strategic location

Rhythm

- Movement characterized by a patterned

repetition or alternation of formal
elements or motifs in the same or a
modified form.

Repetition
By size - A form or space may dominate an
architectural composition by being - The act or process of repeating formal
significantly different in size from all the elements or motifs in a design.
other elements in the composition. - The simplest form of repetition is a linear
pattern of redundant elements. They may
be grouped according to:
- Size
- Shape
- Detail Characteristics

CLASSIFICATION OF TEMPLES

From VITRUVIUS “Ten Books of Architecture”

By shape - A form or space can be made
visually dominant and thus important by
clearly differentiating its shape from that
of the other elements in the composition.
 3. THEORY OF ARCHITECTURE 3 Centralized - a stable, concentrated composition
MODULE 3: DESIGN PERCEPTION that consists of a number of secondary spaces
grouped around a large, dominant, central space.
3.1. SPACE ARTICULATION
Linear - consists essentially of a series of spaces.
SPACE - is the three-dimensional field in which These spaces can either be directly related to one
objects and events occur and have relative another or be linked through a separate and
position and direction, especially a portion of distinct linear space.
that field set apart in a given instance or for a
Radial - combines elements of both centralized
particular purpose.
and linear organizations. It consists of a dominant
SPATIAL RELATIONSHIPS central space from which a number of linear
organizations extend in a radial manner.
Spaces may be related to each other in several
fundamental ways: Clustered - relies on physical proximity to relate
its spaces to one another. It often consists of
➢ Space within space
repetitive, cellular spaces that have similar
➢ Interlocking Space
functions and share a common visual trait such
➢ Adjacent Spaces
as shape or orientation.
➢ Spaces Linked by a Common Space
Grid - consists of forms and spaces whose
Space Within a Space - the larger, enveloping
positions in space and relationships with one
space serves as a three-dimensional field for the
another are regulated by a three-dimensional grid
smaller space contained within it.
pattern or field.
Interlocking Spaces - An interlocking spatial
relationship results from the overlapping of two
spatial fields and the emergence of a zone of 3.2. PROXEMICS
shared space.
PROXEMICS - is the study of the symbolic and
Adjacent Spaces - It allows each space to be communicative role of the spatial separation
clearly defined and to respond, each in its own individuals maintain in various social and
way, to specific functional or symbolic interpersonal situations, and how the nature and
requirements. degree of this spatial arrangement relates to
environmental and cultural factors.
Spaces Linked by a Common Space - Two
spaces that are separated by distance can be PERSONAL SPACE - The variable and subjective
linked or related to each other by a third, distance at which one person feels comfortable
intermediate, space. talking to another. Also called personal distance.

SPATIAL ORGANIZATIONS LEVELS OF DISTANCES:

➢ Centralized ➢ Intimate Distance

➢ Linear ➢ Personal Distance
➢ Radial ➢ Social Distance
➢ Clustered ➢ Public Distance
➢ Grid
 Public Distance (10 feet to infinity | 3 meters
and beyond) - This is the zone where we can no
longer pick up subtle nuances of meaning from
the face or tone of voice. The eye can take in the
whole body at a glance. It’s the distance of the
lecture hall, mass meetings, and interactions
Intimate Distance (0-18 Inches/0-450mm) - with powerful figures until such time as they bid
Voluntarily selected gap between people who are you to come closer.
drawn to each other. At this close range, vision is
distorted and any vocalization is a whisper, moan,
or grunt.

Personal Distance | 18 inches to 4 feet (450mm-

SEMI-FIXED FEATURE SPACE - Furniture
1.20m) - The sense of body heat is lost. Eyesight
arrangement in public places has a distinct
begins to focus, and vocalization comes into play.
relationship to the degree of conversation.
Although only ritualized touch is typical, the other
person is still at arm’ s length, available to be ➢ Sociopetal
grasped, held, or shoved away. ➢ Sociofugal

Sociopetal Space - Spaces which tend to bring

people together.

Social Distance (4 to 10 feet | 1.20m - 3.00m) -

This is the zone of impersonal transaction. We
now have to rely solely on what we can see and
hear. By the middle of the range, the eye can focus
on an entire face. When the distance is more than Sociofugal Space - Tend to keep people apart
eight feet, it’s OK to ignore another’s presence and discourage conversations.
and it’s easy to disengage from a conversation.
3.3. ARCHITECTURAL STYLES BAROUQUE

Style - A particular or distinctive form of artistic - more ornate than the Renaissance style
expression characteristic of a person, people, or - deliberate in its attempt to impress, and
period. was lavish of all styles, both in its use of
materials and in the effects it achieves.
MOORISH
ROCOCO
- prevalent in Spain and Morocco
- influences were Mesopotamian brick and - final phase of the Baroque;
stucco techniques - characterized by a profuse, semi-abstract
- frequent use of horseshoe arch, and ornamentation
Roman columns and capitals. - associated with lightness, swirling forms,
flowing lines, ornate stucco work, and
CLASSICAL
arabesque ornament.
- derived from the principles of Greek and
NEOCLASSISCISM
Roman architecture.
- characterized by monumentality, strict
ROMANESQUE
use of the orders, and sparing application
- emerged from Roman and Byzantine of ornament.
elements;
ESPRESSIONISM
- characterized by massive articulated wall
structures, arches and powerful vaults. - buildings were treated not only as
functional structures but also as
GOTHIC
sculptural objects
- revolutionary style of construction
ART NOUVEAU
- emerged from Romanesque and Byzantine
forms; - style of fine and applied art characterized
- characterized by a delicate balance of by fluid, undulating motifs, often derived
forces, with thrusts directed throughout a from natural forms.
rigid structural lattice.
ART DECO
- features were height and light, achieved
through a mixture of skeletal structures - Style Moderne
and ever increasing windows. - marked by geometric motifs, streamlined
and curvilinear forms, sharply defined
RENAISSANCE
outlines, often bold colors.
- developed during the rebirth of classical
INTERNATIONAL STYLE
art and learning in Europe
- characterized by the use of classical - functional architecture devoid of regional
orders, round arches, and symmetrical characteristics
proportions. - characterized by simple geometric forms,
large untextured, often white surfaces,
large areas of glass, and general use of
steel or reinforced concrete construction.
BAUHAUS CONCEPTUAL ARCHITECTURE

- The concepts and ideas were - “invisible” or “imaginary” architecture;

characterized chiefly by the synthesis of - represents plans and drawings for
technology, craft, and design aesthetics buildings and cities that have never been
- emphasizes on functional design. constructed;
- pure research or speculation.
BRUTALISM

- emphasizes the aesthetic use of basic

building processes, especially of cast-in- 4. THEORY OF ARCHITECTURE 4
place concrete, with no apparent concern
MODULE 4: TROPICAL ARCHITECTURE
for visual amenity.
4.1. ELEMENTS, FACTORS, AND CONCEPTS
POST-MODERNISM
OF CLIMATIC DESIGN
- reaction against International style and
CLIMATE - A measure of the average pattern of
Modernism.
variation in temperature, humidity, atmospheric
- encourages use of elements from
pressure, wind, precipitation, atmospheric
historical vernacular styles and often
particle count and other meteorological variables
playful illusion, decoration, and
in a given region over long periods of time.
complexity.
CLIMATE vs. WEATHER
ORGANIC ARCHITECTURE
- Climate is different from weather, in that
- expression of personal freedom
weather only describes the short-term
- harmony between structure and the
conditions of these variables in a given
environment
region.
- integration of individual parts to the whole
concept CLIMATIC ELEMENTS:
- all forms should express the natural use of
➢ Solar radiation or sunlight
materials
➢ Air temperature
DECONSTRUCTIVISM ➢ Atmospheric humidity
➢ Precipitation
- “Neo-modern” or “post-structuralism”
➢ Wind
- questions traditional assumptions and
takes modernist abstraction to an extreme THE KÖPPEN SYSTEM
and exaggerates already known motifs.
- One of the most widely-used climate
EVOLUTIONARY ARCHITECTURE classification systems.
- It was first published by Russian German
- Eugene Tsui, major proponent;
climatologist Wladimir Köppen in 1884,
- design that grows and develops based on
with several later modifications by Köppen
climatic and ecological elements, as well
himself, notably in 1918 and 1936.
as advances in technology;
- approached as a living organism as if
natural forces had shaped the structure.
 - The system is based on the concept that water is available), clear skies, and
native vegetation is the best expression intense solar radiation.
of climate. - Tropical and subtropical desert (BWh)
- Thus, climate zone boundaries have been - Mid-latitude steppe and desert climate
selected with vegetation distribution in (BSh)
mind. - Tropical and subtropical steppe climate
- The Köppen climate classification scheme (BSk)
divides climates into five main groups,
Temperate Climates
each having several types and subtypes:
- Type A: Tropical climates - These climates have an average monthly
- Type B: Dry (arid and semiarid) temperature above 10 °C (50 °F) in their
climates warmest months, and an average monthly
- Type C: Temperate climates temperature above −3 ° C (27 F) in their
- Type D: Continental climates coldest months.
- Type E: Polar and alpine climates
Continental Climates
Tropical Climate
- These climates have an average
- Found in a nearly unbroken belt around the temperature above 10 °C (50 °F) in their
Earth at low latitudes, mostly within 15° N warmest months, and a coldest month
and S. average below −3 °C
- Solar radiation is large and relatively - These usually occur in the interiors of
constant from month to month ensures continents and on their upper east coasts,
both high temperatures (generally in normally north of 40°N.
excess of 18 °C) and a virtual absence of
Polar Climates
thermal seasons.
- Wet and dry seasons. - These usually occur in the interiors of
- Tropical rainforest climate (Af) continents and on their upper east coasts,
- Tropical monsoon climate (Am) normally north of 40°N.
- Tropical wet-dry climate (Aw) - Tundra climate (ET)
- Snow and ice climate (EF)
Dry Climates
- Highland climate (H)
- Arid and semiarid climates cover about a
CLIMATE OF THE PHILIPPINES
quarter of Earth’s land surface, mostly
between 50° N and 50° S, but they are - The climate of the Philippines is tropical
mainly found in the 15– 30° latitude belt in and maritime.
both hemispheres - It is characterized by relatively high
- “Arid”, a land or a climate having little or temperature, high humidity and
no rain and is typically too dry or barren to abundant rainfall.
support lush vegetation. - It is similar in many respects to the climate
- They exhibit low precipitation, great of the countries of Central America.
variability in precipitation, low relative
humidity, high evaporation rates (when
 The most important elements of the country's Rainfall
weather and climate are the following:
- Rainfall is the most important climatic
➢ Temperature element in the Philippines.
➢ Humidity - Rainfall distribution throughout the
➢ Rainfall country varies from one region to another,
depending upon the direction of the
Temperature
moisture-bearing winds and the location
- Excluding Baguio, the mean annual of the mountain systems.
temperature in the Philippines is 26.6 °C.
Seasons
- The coolest months fall in January with a
mean temperature of 25.5 °C while the - Rainy and Dry
warmest month occurs in May with a - The rainy season, from June to November
mean temperature of 28.3 °C. - The dry season, from December to May,
- Latitude is an insignificant factor in the which may be subdivided further into:
variation of temperature - The cool dry season, from
- Altitude shows greater contrast in December to February
temperature. - The hot dry season, from March to
- Thus, the mean annual temperature of May
Baguio with an elevation of 1,500 meters
CLIMATE TYPES
is 18.3°C.
➢ Type I. Two pronounced seasons: dry from
Baguio City - comparable with those in the
November to April and wet during the rest
temperate climate and because of this, it is
of the year.
known as the summer capital of the
➢ Type II. No dry season with a pronounced
Philippines.
rainfall from November to January.
Humidity ➢ Type III. Seasons are not very pronounced,
relatively dry from November to April, and
- Humidity refers to the moisture content of
wet during the rest of the year.
the atmosphere
➢ Type IV. Rainfall is more or less evenly
- Due to high temperature and the
distributed throughout the year.
surrounding bodies of water, the
Philippines has a high relative humidity. Four recognized climate types in the Philippines,
- The combination of warm temperature based on the distribution of rainfall.
and high relative humidity gives rise to
Source: PAGASA
high perceived temperature throughout
the archipelago.
- It is especially uncomfortable during
March to May, when temperature and
humidity attain their maximum levels.
 4.2. THEORIES AND PRNCIPLES OF
TROPICAL DESIGN

GOALS FOR VARIOUS CLIMATES

➢ Cool Climates
o Maximum thermal retention
o Maximum heat gain
o Maximum wind resistance
➢ Temperate Climates
o Moderate thermal retention
o Moderate heat gain
o Slight wind exposure (humidity
control)
➢ Hot-humid Climates
o Maximum wind exposure
o Maximum internal airflow
PREVAILING WINDS o Minimum heat gain
➢ Hot-dry Climates
➢ Hanging amihan (northeast), November-
o Minimum heat gain
April
o Moderate wind resistance
➢ Hanging habagat (southwest), May-
o Moderate internal airflow
October
GERONIMO MANAHAN - “The passively cooled
Monsoon - a seasonal shift in the prevailing wind
urban house”, a prototype house designed by
direction, that usually brings with it a different
Geronimo Manahan in collaboration with the
kind of weather.
Ministry of Energy.
Typhoons

- Have a great influence on the climate and

weather conditions of the Philippines.
- A great portion of the rainfall, humidity
and cloudiness.
- They generally originate in the region of the
Marianas and Caroline Islands of the
Pacific Ocean which have the same
latitudinal location as Mindanao.
- Their movements follow a northwesterly
direction, sparing Mindanao from being
directly hit by majority of the typhoons that
cross the country.
- This makes the southern Philippines very
desirable for agriculture and industrial
development.
PASSIVE DESIGN - Design that works with the Passive Design Considerations
environment to exclude unwanted heat or cold
➢ Orientation
and take advantage of sun and breezes (inducing
➢ Ventilation
comfort conditions in the building interiors),
➢ Landscaping
therefore avoiding or minimizing the need for
➢ Thermal Mass
mechanical heating or cooling.
➢ Insulation
PASSIVE COOLING - The use of passive cooling ➢ Windows
principles in the tropics results in a building that ➢ Natural lighting
is comfortable, energy efficient and results in
substantial savings in running costs of both 1. Orientation - concerns the position of the
cooling and lighting building on the site as well as the
arrangement of the rooms within it.
Pros and Cons of Passive Cooling:
There are two main goals to consider when
- initial costs for passive cooling
considering the building orientation:
systems will be higher because
these systems are typically ➢ Orientation for minimal solar heat
integral to the building envelope gain.
- often offset by the minimal ➢ Orientation for maximum air flow.
operating costs required, as well
as the minimized impact on the
environment.

ACTIVE COOLING - A building design approach

that addresses the problem of inducing comfort
by means of equipment that consume energy.

Pros and Cons of Active Cooling:

- Low initial cost

Principles of Passive Design: - But this will soon be recouped by
the costs for equipment,
➢ Avoid heat gain
maintenance, and energy
➢ Encourage natural ventilation
consumption.
➢ Make use of natural light
➢ Create cool outdoor areas
 2. Ventilation - Ventilation, circulation of air
SUN PATH DIAGRAMS
or to replace stale air with fresh air.
➢ Azimuth Lines - Azimuth angles run
Stack Ventilation
around the edge of the diagram.
➢ Altitude Lines - are represented as
concentric circular dotted lines that run
from the center of the diagram out.
➢ Date Lines - start on the eastern side of
the graph and run to the western side and
represent the path of the sun on one
particular day of the year.
➢ Hour Lines/Analemma - are shown as
figure-eight-type lines that intersect the
date lines and represent the position of the
sun at a specific hour of the day. Passive Ventilation

- Designing a building in a way that

maximizes natural ventilation will
greatly reduce the need for air-
conditioning
- Air movement over the body, even if
the air not much cooler, creates a
feeling of cool due to the
evaporation of moisture from the
skin
3. Landscaping - Reducing the extent of
paving and other hard surfaces with
vegetation.
- The hard surfaces of pavement
around buildings absorb and re-
radiate heat, creating a hotter 4. Thermal Mass
microclimate - Thermal mass is the ability of
- Thus, it is smart to minimize the building materials to absorb, store,
extent of paving and replace them and release heat.
with vegetation

Urban Heat Island

A city or metropolitan area that

significantly warmer than its surrounding
rural areas due to human activities.

- In tropical climates, the use of

materials with low thermal mass
is preferable particularly on walls
that are directly exposed to the sun.
- This is because lightweight
construction such as timber
respond quickly to cooling breezes,
allowing the building to cool down
faster
TROMBE WALL - is a system for indirect solar - Louvers and casement style
heat gain. It consists of a dark colored wall of high windows allow building users to
thermal mass facing the sun, with glazing spaced control how much natural air
in front to leave a small air space. The glazing enters the building.
traps solar radiation like a small greenhouse. - Well-placed louvers or windows,
at floor level and at the highest
point of the room, create
convection air flow which draws
air into the building and creates
breezes to cool occupants.

5. Insulation - controls the rate at which a

building loses or gains heat, keeping
warmer air in during winter and excluding
external heat in summer.
- is one of the most effective ways to
reduce heat input to a building and
can be installed in the roof, ceiling - In a tropical climate, windows
and walls of the building. should ideally be shaded from
- There are generally two types of direct sunlight all year round and
insulation: bulk insulation and should open to allow air flow.
reflective insulation. - Where effective shading cannot be
Bulk insulation - acts as thermal mass achieved, insulating windows
and resists the transfer of heat. Bulk against heat transfer can reduce
insulation includes materials such as cooling costs.
mineral wool, cellulose fiber, polyester Solar Shading - Shading devices shield
and polystyrene. windows and other glazed areas from
Reflective Insulation - mainly resists heat direct sunlight in order to reduce glare and
flow due to its high reflectivity and low excessive solar heat gain in warm weather
ability to re-radiate heat and is more 7. Natural Lighting - maximizing the amount
effective when installed with an air layer of natural light that enters the building can
next to the shiny surface. lead to significant energy savings by
6. Windows - are an important way to reducing the need for artificial lighting.
encourage and direct air flow into a
building.
 Maximizing Natural Light

➢ Skylights
➢ Atria
➢ Light shelves
➢ Clerestory windows
➢ Light tubes

Air Movement - is vital in passively-cooled

environments in hot-humid localities

- critical for most urban areas and ➢ Principle 2: Air possesses inertia. Once
lowlands in the Philippines set in motion, it tends to continue to flow
- hits the human body promotes in its initial direction until some
evaporation of sweat and induces a intervening force is met.
cooling sensation.
- air flow into the interiors should be
directed to the occupancy zones
especially those far from windows

➢ Principle 3: Air flows through the path of

least resistance.

Although there is a need to induce

air movement during the hot-humid
periods of the year, there are also periods
of the year when the building should be
able to resist typhoon winds.

PRINCIPLES OF AIR FLOW

THERMAL COMFORT - is the condition of mind
Wind - The movement of air through a building is
that expresses satisfaction with the thermal
generated by differences in air pressure as well as
environment. Maintaining this standard of
temperature.
thermal comfort for occupants of buildings or
➢ Principle 1: Air flows from a high pressure other enclosures is one of the important goals of
area to a low pressure are HVAC design engineers.
SEA AND LAND BREEZE

Sea Breeze - wind from the sea (high

pressure) directed towards the land (low
pressure); due to daytime heating.

Land Breeze - wind from land (high

pressure) directed towards the sea (low
pressure); due to night time cooling.

➢ Malayan homes’ plentiful windows aim

to maximize cross-ventilation.

TROPICAL ARCHITECTURE - can be regarded as

a type of green building applicable specifically for
tropical climates, using design to optimally
reduce buildings’ energy consumption,
particularly the cooling load.
➢ Bahay Kubo - Living platform elevated on
Main Objectives:
stilts, adaptation to damp ground
➢ Maximize filtered air movement/speed up conditions. High-pitched roof, rain water
winds can be quickly drained, creates large air
➢ Minimize humidity and avoid mold growth space (insulation), heat is radiated at an
➢ Provide maximum shade, especially in late angle rather than directly on living space
morning and all afternoon below.
➢ Create a cool and dark microclimate
Large windows, cross ventilation
➢ Low building density for better air
with Operable windows, awning type,
movement
protection from rain at the same time
➢ Vegetation is desirable as a radiation
provides shade. Wide roof overhangs,
absorbent surface and for its evaporative
Bamboo flooring, slats allows air to breeze
and shade properties.
upward and Surrounding gardens.
PHILIPPINE TROPICAL ARCHITECTURE

➢ Samoans long ago did not install walls to

allow free-flow breezes.
 ➢ Bahay na Bato - Living platform is 5. THEORY OF ARCHITECTURE 5
elevated, heavy stone walled ground floor.
MODULE 5: MASTERS OF ARCHITECTURE
High-pitched roof, rain water can be
quickly drained, creates large air space ALVAR AALTO - Born in Finland in 1898. He
(insulation), heat is radiated at an angle graduated with honors from Helsinki Polytechnic
rather than directly on living space below in 1921 after which he opened his own practice.

Wide eaves, alero, underside was fitted He held the position of Professor of Architecture
with latticed vents. Large windows, capiz at MIT 1946 to 1948, and was president of the
panels allow daylight to penetrate Academy of Finland.
interiors. Ventanillas, operable windows
on barandillas. Volada, cantilevered
gallery along the perimeter of the second
floor, double layered façade.

Calado, latticed openings above interior

walls. Operable louvers or jalousies,
dynamic exterior louvers

Auditorium - University of Helsinki, Finland.

Alvar Aalto generated a style of

functionalism which avoided romantic excess
and neoclassical monotony. He utilized texture,
color, and structure in creative new ways.

Aalto's designs were particularly significant

because of their response to site, material and
form.

SUN ORIENTATION - preference for north KUNSTEN

orientations of the main facades of the building MUSEUM

WIND ORIENTATION - main walls and windows (Museum of

should face the prevailing wind direction Modern Art).
Aalborg,
Denmark.

ANTONI GAUDI - Born in Spain in 1852. He

studied at the Escola Superior d'Arquitectura
and designed his first major commission for the
Casa Vincens using a Gothic Revival style.
 Guggenheim Museum | Bilbao, Spain
La Sagrada Familia | Barcelona, Spain

Gaudi developed a sensuous, curving,

almost surreal design style which established Gehry moved away from a conventional
him as the leader of the Spanish Art Nouveau commercial practice to an artistically directed
movement. His characteristically warped form of atelier. His deconstructed architectural style
Gothic architecture drew admiration from other began to emerge in late 1970s when he created
avantgarde artists. collagelike compositions out of found materials.
He created pieces of functional sculpture.

Dancing House | Prague

Casa Batlló

Barcelona, Spain.

FRANK GEHRY - Born in Canada in 1929. He

Vitra Design Museum | Germany
studied at the Universities of Southern California
and Harvard before he established his first
practice.
FRANK LLOYD WRIGHT - Born in Richland Louvre Pyramid | Paris, France
Center, Wisconsin in 1867. He was educated at
Due to his reliance
Second Ward School, Madison and at the
on abstract form and
University of Wisconsin where he took some
materials such as stone,
mechanical drawing and basic mathematics
concrete, glass, and
courses.
steel, he has been
He then departed for Chicago where he spent considered a disciple of
several months in J. L. Silsbee's office before Gropius. Pei generally
seeking employment with Adler and Sullivan. designs sophisticated glass clad buildings
loosely related to the high-tech movement.

Bank of China Tower | Hong Kong

Guggenheim Museum | New York City

Wright believed
in designing structures
that were in harmony
with humanity and its Essensa Towers | Taguig City
environment, a
philosophy he called
organic architecture.

Falling Water | (Kaufman House) Pennsylvania

Through experimentation, Wright

developed the idea of
the prairie house - a
long, low building with
hovering planes and
horizontal emphasis. JØRN UTZON - Born in
Copenhagen in 1918. After
studying at the Academy
I.M. PEI - Ieoh Ming Pei, of Arts in Copenhagen, he
born in China in 1917. He travelled through Europe,
studied architecture at the United States and
MIT and Harvard. He Mexico. He established his
worked for several own practice in Copenhagen in 1950 when he
companies and as a professor at Harvard before returned from his travels.
he founded his own architectural firm in 1960.
Sydney Opera House Tange's early designs attempted to
New South Wales, Australia combine modernism with traditional Japanese
forms of architecture.
Utzon has
created a style which In the late 1960s he rejected this earlier
incorporates the regionalism in favor of an abstract international
sculptural quality of style.
Alvar Aalto, and the
organic structures of
Frank Lloyd Wright Peace Memorial
into his designs. Influenced by architectural Museum Hiroshima.
tradition, attempts to create architecture for living
that adheres to a strict structural and
constructive process
LE CORBUSIER - Charles-Édouard Jeanneret-
Gris. Born in Switzerland in 1887.

Trained as an artist, he
National Assembly
travelled extensively
Building | Kuwait
through Germany and
the East. In Paris, he
studied under Auguste
Perret and absorbed
the cultural and
artistic life of the city.
KENZO TANGE - Born in
Osaka, Japan in 1913. He Villa Savoye | Poissy, France
graduated from the
From 1922 Le Corbusier
University of Tokyo in 1938
worked with his cousin
and studied city planning
Pierre Jeanneret. During
at the graduate school at
this time, Le Corbusier's
the University of Tokyo.
ideas began to take
He received a degree in engineering in physical form, mainly as
1959. Two years later, he established his own houses which he created
firm. He also served as professor of urban as "a machine for living in" and which
engineering at the University of Tokyo from 1963 incorporated his trademark five points of
to 1974. architecture.

St. Mary’s Cathedral Unité d'Habitation

Tokyo, Japan Marseille, France
 LUDWIG MIES VAN
DER ROHE - Born in
Notre Dame
Aachen, Germany in
du Haut
1886. He worked in the
Ronchamp, family stonecarving
France business before he
joined the office of
Bruno Paul in Berlin. He entered the studio of
Peter Behrens in 1908 and remained until 1912.
LOUIS SULLIVAN - Born in Boston, Seagram Building In
Massachusetts in 1856. He studied architecture collaboration with Philip
at the Massachusetts Johnson | New York City.
Institute of Technology for
He developed a design
one year. He then worked
approach based on advanced
as a draughtsman for
structural techniques. He
Furness and Hewitt in
also developed a sympathy for the aesthetic
Philadelphia and for
credos of both Russian Constructivism and the
William Le Baron Jenney
Dutch De Stijl group. “Less is more”
in Chicago.

In 1874 he travelled to Europe where he

studied at the Ecole des Beaux Arts in Paris. He Farnsworth House
returned to Chicago a year later. Plano, Illinois.

Wainwright Building St. Louis, Missouri

His designs generally

involved a simple
geometric form decorated
with ornamentation based MICHAEL GRAVES -
on organic symbolism. Born in Indianapolis,
“Form follows function.” Indiana in 1934. He
studied at the University
of Cincinnati, Ohio and
The Sullivan Center at Harvard University.
(Formerly Carson, Pirie, After working as a
Scott and Company Fellow at the American Academy in Rome for two
Building) Chicago. years, he started his own practice in Princeton,
New Jersey. He became a professor at Princeton
University in 1972.
 Disney’s Hotel New
York City.

He generates an
Hearst Tower
ironic, vision of
New York City
Classicism in which
his buildings have become classical in their mass
and order. Graves also has become an an
opponent of modern works who uses humor as
an integral part of his architecture.
OSCAR NIEMEYER - Born
in Rio de Janeiro Brazil in
Humana Building
1907. He graduated from
Louisville, Kentucky.
the Escola Nacional de
Belas Artas in Rio de
Janeiro and later joined
the office of Lucio Costa.
In 1936 he joined the
team of Brazilian architects collaborating with Le
NORMAN FOSTER - Born
Corbusier on a new Ministry of Education and
in Manchester, England
Health in Rio de Janeiro.
in 1935. He received his
architectural training at Brasilia Cathedral,
Manchester University Brasilia
School of Architecture
In his early career, his
and Yale University. He
designs borrowed
worked with Richard Rogers and Sue Rogers and
extensively from the
his wife, Wendy Foster, as a member of "Team 4"
Brazilian Baroque
until Foster Associates was founded in London in
style of architecture.
1967.
In 1956, Niemeyer
30 St. Mary Axe (The was appointed architectural adviser to the
Gherkin) London, England. organization in charge of implementing Lucio
Costa's plans for Brazil's new capital.
The "High Tech" vocabulary
of Foster Associates shows an
uncompromising exploration
of technological innovations
and forms. Their designs emphasize the Penang State Mosque
repetition of industrialized "modular" units in Jelutong, Malaysia.
which prefabricated off-sitemanufactured
elements are frequently employed.
 PHILIP JOHNSON REM KOOLHAAS Born in
Netherlands in 1944.
Born in Cleveland, Ohio
Koolhaas studied at the
in 1906. He graduated
Architectural Association
from Harvard University
School of Architecture in
and received an A. B. in
London and at Cornell
architectural history, in
University in Ithaca, New York.
1930 and a B.Arch in
1943. He served as Director of Architecture at CCTV Headquarters
MOMA. He worked with Richard Foster and with Beijing, China.
John Burgee until his retirement. He became a
He has been considered a
trustee of MOMA in 1958, received the AIA Gold
noted Deconstructivist
Medal in 1978, and received the Pritzker
since the major MOMA
Architecture priz.
exhibition in New York.
Glass House Although Koolhaas tends toward the more
New Canaan, humanist, less absolute branch of the
Connecticut Deconstructivist school.

As an architect,
Johnson is
Seattle Central Library
most widely
Seattle, Washington
respected for
his work in the early 1950s. He altered his
architectural principles from Modernist to
Postmodernist to Anti-Postmodernist. He
showed a keen interest in style and is
remembered as a stimulator of ideas. RENZO PIANO - Born in Genoa,
Italy in 1937. From 1959 to 1964
he studied at the Milan
Sony Tower
Politecnico, where he taught
Formerly AT&T until 1968. In 1970, Piano
Building. New York established a partnership with
City. the English architect Richard Rogers.

Centre Georges
Pompidou

takes its form from a

metaphor of the
'cultural machine'
with all colorcoded
service elements and
structure emphasized on the building's exterior.
 The Shard worked with Eero Saarinen and Louis I. Kahn
before he founded his own practice in 1958. In
Also referred to as
1964 he formed a partnership with John Rausch.
the Shard of Glass,
Shard London Vanna Venturi House
Bridge and
In contrast to many
formerly London
modernists, Venturi
Bridge Tower.
uses a form of
London, England.
symbolically decorated
architecture based on
precedents. He believes that structure and
RICHARD MEIER Born in
decoration should remain separate entities and
Newark, New Jersey in
that decoration should reflect the culture in
1934. He graduated from
which it exists.
Cornell University in 1957
then worked with a series
of architects, including
Allen Art Museum
Skidmore, Owings, and Merrill and Marcel Breuer.
Oberlin, Ohio.
He established his own practice in 1963.

Jubilee Church Tre

Teste, Rome

Meier usually designs SANTIAGO CALATRAVA

white Neo-Corbusian
Born in Valencia, Spain
forms with enameled
in 1951. He graduated
panels and glass.
from the Institute of
Architecture in Valencia
and from the Federal
The Getty Center
Institute of Technology
Los Angeles.
in Zurich. Calatrava opened his own architecture
and engineering office in Zurich.

Turning Torso | Malmö

Municipality, Sweden

As both an architect and an

ROBERT VENTURI
engineer, Calatrava easily
Born in Philadelphia, identifies with both
Pennsylvania in 1925. He disciplines. He often creates
attended the Episcopal innovative works that depend on a firm grasp of
Academy in Philadelphia both the creative and structural aspects of
and graduated from design. His skills as an engineer allow him to
Princeton University. He create sculptural surfaces and unusual spaces.
 NOTABLE QUOTES BY NOTABLE ARCHITECTS:

Auditorio de ➢ “An idea is salvation by imagination.”

Tenerife Frank Lloyd Wright | Guggenheim Museum,
New York
Santa Cruz de
Tenerife, Spain. ➢ “God is in the details.”
Mies van der Rohe | Seagram Building.
➢ “But the building’s identity resides in the
ornament.”
WALTER GROPIUS
Louis Sullivan | Details of the Bayard Condict
Born in Berlin in 1883. He Building
studied at the Technical ➢ “Whoever said that pleasure wasn’t
Universities in Munich and functional?”
Berlin. He joined the office Charles Eames | Eames moulded plastic chair
of Peter Behrens in 1910 and three years later
➢ “Architecture is the art of how to waste
established a practice with Adolph Meyer.
space.”
Bauhaus School and
Philip Johnson | Seagram Building
Faculty Dessau,
Germany. ➢ “Architecture should speak of its time
and place, but should yearn for
Gropius created timelessness.”
innovative designs that Frank Gehry | Binoculars Buildinh
borrowed materials
➢ “To create architecture is to put in
and methods of
order.”
construction from modern technology. This
advocacy of industrialized building carried with Le Corbusier | Radiant City Proposal
it a belief in teamwork and an acceptance of ➢ “Form ever follows function.”
standardization and prefabrication.
Louis Sullivan | Wainwright Building
➢ “Architects today tend to depreciate
themselves, to regard themselves as no
more than just ordinary citizens without
Fagus Factory the power to reform the future.”
Alfeld, Germany. Kenzo Tange | Hiroshima Peace Memorial
Museum
➢ “Architecture is the will of an epoch
translated into space.”
Mies van der Rohe | S.R. Crown Hall in Illinois
Institute of Technology (Chicago)
 ➢ “A hundred times have I thought New PHILLIP JOHNSON:
York is a catastrophe and 50 times: it is a
➢ “Architecture is the art of how to waste
beautiful catastrophe.”
space.”
Le Corbusier
➢ “Architecture begins where engineering LOUIS SULLIVAN:
ends.”
➢ “Form follows function.”
Walter Gropius | Temple Oheb Shalom,
Baltimore
FRANK LLOYD WRIGHT:
➢ “Architecture is the learned game,
➢ “The mother art is architecture. Without an
correct and magnificent, of forms
architecture of our own we have no soul of
assembled in the light.
our own civilization.”
Le Corbusier | Palace of Assembly,
Chandigarh ➢ “An idea is salvation by imagination.”
➢ “Less is more.”
➢ “Space is the breath of art.”
Mies van der Rohe | Farnsworth House.
➢ “A great architect is not made by way of a
brain nearly so much as he is made by way
6. THE ARCHITECT SAYS of a cultivated, enriched heart.”
ARCHITECTURAL DICTUMS
➢ “Organic architecture seeks superior
VITRUVIUS: sense of use and a finer sense of comfort,
➢ “A harmonious design requires that expressed in organic simplicity.”
nothing be added or taken away”
WINSTON CHURCHILL
LE CORBUSIER: ➢ “We shape our buildings; thereafter they
➢ “Architecture is the learned game, correct shape us.”
and magnificent, of forms assembled in
the light.” GUSTAVE EIFELL

➢ “A house is a machine for living in.” ➢ “The first principle of architectural beauty
is that the essential lines of a construction
be determined by a perfect
MIES VAN DER ROHE: appropriateness to its use.”

➢ “Architecture is the will of an epoch

translated into space.” RICHARD MEIER
➢ “When I am asked what I believe in, I say
➢ “Less is more.”
that I believe in architecture. Architecture
is the mother of the arts. I like to believe
that architecture connects the present
ROBERT VENTURI:
with the past and the tangible with the
➢ “Less is more.” intangible.”
RENZO PIANO: ZAHA HADID:
➢ “A museum is a place where one should ➢ “Architecture is really about well-being. I
lose one’s head. think that people want to feel good in a
space… On the one hand it’s about shelter,
but it’s also about pleasure. “
NORMAN FOSTER:
➢ “As an architect you design for the present, CHARLES EAMES:
with an awareness of the past, for a future
➢ “Recognizing the need is the primary
which is essentially unknown.”
condition for design.
➢ “Architecture is an expression of values.”
LOUISS KAHN:

WALTER GROPIUS: ➢ “A great building must begin with the

immeasurable, must go through
➢ “Architecture begins where engineering measurable means when it is being
ends.” designed, and in the end must be
unmeasured.
FRANK GEHRY
➢ “Design is not making beauty, beauty
➢ “Architecture should speak of its time and emerges from selection, affinities,
place, but yearn for timelessness.” integration, and love.

➢ “98% of what gets built today is shit.”

ANTONI GAUDI:

OSCAR NIEMEYER ➢ “Ornamentation has been, is, and will be

polychrome. Nature does not present us
➢ “My work is not about 'form follows with an object in monochrome, totally
function’, but 'form follows beauty' or, even uniform with respect to colour – not in
better, 'form follows feminine. vegetation, not in geology, not in
topography, not in the animal kingdom.
ADOLF LAOS: Always the contrast of colour is more or
less lively, and for this reason we must
➢ “Architecture arouses sentiments in man. colour wholly or in part every architectural
The architect’s task therefore, is to make element.”
those sentiments more precise.”

➢ “Supply and demand regulate SANTIAGO CALATRAVA:

architectural form.”
➢ “I am always searching for more light and
space.”
KENZO TANGE:
➢ “Designs of purely arbitrary nature cannot
be expected to last long.” CHRISTOPHER WREN:
➢ “Architecture aims at eternity.”