pdfcoffee.com_imhotep-tables-2019-pdf-free.pdf

● IMHOTEP©2018 ●Page 1 ●
HISTORY OF ARCHITECTURE
HISTORY OF ARCHITECTURE (Timeline)
ARCHITECTURE DATES DESCRIPTION
PREHISTORIC
Before recorded history, humans constructed earthen mounds, stone circles, megaliths, and structures that often puzzle modern-day archaeologists.
Prehistoric architecture includes monumental structures such as Stonehenge, cliff dwellings in the Americas, and thatch and mud structures lost to time.
ANCIENT EGYPT 3,050 BC to 900 BC
In ancient Egypt, powerful rulers constructed monumental pyramids, temples, and shrines. Far from primitive, enormous structures such as the Pyramids of Giza
were feats of engineering capable of reaching great heights.
MESOPOTAMIA West Asiatic Architecture flourished & developed in the Twin Rivers “Tigris & Euphrates also known as “Mesopotamia” it refers to Persia, Assyria & Babylon.
CLASSICAL (Greek & Roman) 850 BC to 476 AD
From the rise of ancient Greece until the fall of the Roman empire, great buildings were constructed according to precise rules. The Classical Orders, which
defined column styles and entablature designs, continue to influence building design in modern times.
BYZANTINE 527 to 565 AD
After Constantine moved the capital of the Roman empire to Byzantium (now called Istanbul) in 330 AD, Roman architecture evolved into a graceful, classically-inspired style that
used brick instead of stone, domed roofs, elaborate mosaics, and classical forms.
ROMANESQUE 800 to 1200 AD
As Rome spread across Europe, heavier, stocky Romanesque architecture with rounded arches emerged. Churches and castles of the early Medieval period
were constructed with thick walls and heavy piers.
GOTHIC 1100 to 1450 AD
Pointed arches, ribbed vaulting, flying buttresses, and other innovations led to taller, more graceful architecture. Gothic ideas gave rise to magnificent
cathedrals like Chartres and Notre Dame.
RENAISSANCE 1400 to 1600 AD
A return to classical ideas ushered an "age of awakening" in Italy, France, and England. Andrea Palladio and other builders looked the classical orders of
ancient Greece and Rome. Long after the Renaissance era ended, architects in the Western world found inspiration in the beautifully proportioned architecture of the
period.
BAROQUE 1600 to 1830 AD
In Italy, the Baroque style is reflected in opulent and dramatic churches with irregular shapes and extravagant ornamentation. In France,
the highly ornamented Baroque style combines with Classical restraint. Russian aristocrats were impressed by Versailles in France, and incorporated Baroque ideas in
the building of St. Petersburg. Elements of the elaborate Baroque style are found throughout Europe.
ROCOCO 1650 to 1790 AD
During the last phase of the Baroque period, builders constructed graceful white buildings with sweeping curves. These Rococo buildings are elegantly
decorated with scrolls, vines, shell-shapes, and delicate geometric patterns.
NEOCLASSICISM 1730 to 1925 AD
A keen interest in ideas of Renaissance architect Andrea Palladio inspired a return of classical shapes in Europe, Great Britain and the United States. These buildings
were proportioned according to the classical orders with details borrowed from ancient Greece and Rome.
ART NOUVEAU 1890 to 1914 AD
Known as the New Style, Art Nouveau was first expressed in fabrics and graphic design. The style spread to architecture and furniture in the 1890s. Art Nouveau buildings
often have asymmetrical shapes, arches and decorative surfaces with curved, plant-like designs.
BEAUX ARTS 1895 to 1925 AD
Also known as Beaux Arts Classicism, Academic Classicism, or Classical Revival, Beaux Arts architecture is characterized by order,
symmetry, formal design, grandiosity, and elaborate ornamentation.
NEO-GOTHIC 1905 to 1930 AD
In the early twentieth century, Gothic ideas were applied to modern buildings. Gargoyles, arched windows, and other medieval details
ornamented soaring skyscrapers.
ART DECO 1925 to 1937 AD Zigzag patterns and vertical lines create dramatic effect on jazz-age, Art Deco buildings. Interestingly, many Art Deco motifs were inspired by the architecture of ancient Egypt.
MODERNIST STYLE 1900 to Present.
The 20th and 21st centuries have seen dramatic changes and astonishing diversity. Modern-day trends include Art Moderne and the Bauhaus School coined
by Walter Gropius, Deconstructivism, Formalism, Modernism, and Structuralism.
POSTMODERNISM 1972 to Present.
A reaction against the Modernist approaches gave rise to new buildings that re-invented historical details and familiar motifs. Look closely at these architectural movements and
you are likely to find ideas that date back to classical and ancient times.

MOVEMENTS IN ARCHITECTURE
MOVEMENT DESCRIPTION ARCHITECTS
Chicago School of
Architecture
(1880-1910)
The groundbreaking Chicago school of architecture was founded by William Le Baron Jenney (1832-
1907), along with a number of other innovative American architects. A centre of high-rise development rather than a
school per se, it had no unified set of principles, and buildings created by the members of the school employed many
different designs, construction techniques and materials. Some key characteristics of Chicago architecture during this
period included:
 new foundation techniques pioneered by Dankmar Adler; metal skeleton frames - first used in
Jenney's Home Insurance Building (1884);
 the use of steel and iron, first highlighted by the French architect Viollet-le-Duc, and usedby
Louis Sullivan and others.
Famous Chicago School Firms of Architects
• William Holabird (1854-1923) and Martin Roche (1853-1927)
Buildings designed by Holabird & Roche included:
- Marquette Building, Chicago (1895)
- Gage Group Buildings at S. Michigan Avenue, Chicago (1899)
- Chicago Building (Chicago Savings Bank Building) (1904-5)
- Brooks Building, Chicago (1909-10)
• Daniel Hudson Burnham (1846-1912) and John Wellborn Root (1850-91)
Buildings designed by Burnham & Root, or Burnham and Co, included:
- Fisher Building, Chicago (1895-6)
- Flatiron Building, New York (1901-3)
- Heyworth Building, Chicago (1904)
• Dankmar Adler (1844-1900) and Louis Sullivan (1856-1924)
Buildings designed by firm Adler and Sullivan, included:
- Chicago Stock Exchange Building (1893-94)
- Prudential Building (Guaranty Building) Buffalo (1894)
Art Nouveau
Architecture
(1890-1920)
A decorative style of architecture characterized by flowing lines, and abstract floral motifs, which was closely associated
with the Arts and Crafts movement championed by William Morris (1834-96). Known in Germany
as Jugendstil - it was applied to both the exterior and interior design of buildings. Interiors were often lavishly decorated
with various types of applied art - including stained glass and ceramics.
Famous Art Nouveau Architects
• Antoni Gaudi (1852-1926)
Designer of the Casa Mila (La Pedrera) (1906-10) in Barcelona.
• Victor Horta (1861-1947)
Designed Hotel Tassel (1892-3), and Maison du Peuple (1896-9) in Brussels.
• Hector Guimard (1867-1942)
Famous for his entrances to the Paris Metro.
• Joseph Maria Olbrich (1867-1908)
Founder of the Vienna Seccession, designer of its headquarters.
• Charles Rennie Mackintosh (1868-1928)
Designer of the Glasgow School of Art (1907).
• Giuseppe Brega (1877-1960)
Stile Liberty architect of Villa Ruggeri, Pesaro (1902).
Revivalist Architecture
(1900-2000)
Ever since Italian Renaissance architects revived the proportions and orders of Roman architecture, designers have
turned to the past for inspiration. Such revivalism reached its apogee in 19th century architecture, in numerous
Romanesque (1000-1150), Gothic (1150-1300) and Beaux-Arts structures in both Europe and the United States, but the
process continued into the 20th century.
Famous 20th Century Revivalist Buildings
• "Gothic" Sagrada Familia (1883-1926) by Antoni Guadi.
• "Classical" AEG Turbine Factory, Berlin (1909) by Peter Behrens.
• "Classical" Pennsylvania Railway Station (1910) by McKim, Meade & White.
• "Classical" Lincoln Memorial, Washington DC (1922) by Henry Bacon.
• "Medieval" Stockholm City Hall (1923) by Ragnar Ostberg.
• "Romanesque" Stuttgart Train Station (1928) by Paul Bonatz.
• "Ziggurat" 55 Broadway, London (1929) by Charles Holden.
• "Classical"/"Mughal" Viceroy's Palace, India (1930) by Edwin Lutyens.
• "Roman" Milan Train Station (1931) by Ulisse Stacchini.
• "Classical" City University, Rome (1935) by Marcello Piacentini.
• "Classical" German Pavilion, World Exhibition, Paris (1937) by AlbertSpeer.
• "Greek"/"Moorish" San Simeon Hearst Castle (1939) by Julia Morgan.
• "Egyptian" Louvre Pyramid (1998) by I.M.Pei.
• James Renwick (1818-95) - Neo-Gothic architect.
• Henry Hobson Richardson (1838-86) - Neo-Romanesque designer.

New York School of
Skyscraper Architecture
(1900-30)
Steel-frame high-rise architecture was pioneered in the 19th century by American architects in New York and Chicago:
two cities which were experiencing rapid development but whose available space was limited. With the fall in the price of
steel - a major construction material for high-rise structures - building upwards suddenly became much more
economically attractive. During the first three decades of the 20th century, New York took the lead with a number of
cutting-edge skyscrapers.
Famous New York Skyscrapers
- Park Row Building NYC, (1899–1901) by Robert Henderson Robertson.
- Flat-iron Building NYC, (1902) by Daniel H. Burnham &Company.
- Philadelphia City Hall (1908) by John McArthur, ThomasU.Walter.
- Singer Building NYC, (1908) by Ernest Flagg.
- Metropolitan Tower NYC, (1909) by Napoleon Le Brun & Sons.
- Woolworth Building NYC, (1913) by Cass Gilbert.
- Empire State Building NYC, (1929) by Shreve, Lamb & Harmon.
- Daily News Building NYC, (1929) by Howells & Hood.
- Chanin Building NYC, (1929) by Sloan & Robertson.
- Lincoln Building NYC, (1930) by J.E. Carpenter & Associates.
- Bank of Manhattan Trust Building NYC, (1930) by Craig Severance.
- Chrysler Building NYC, (1931) by William Van Alen.
- Rockefeller Center NYC, (1940) by Hofmeister, Hood, Godley, Fouilhoux.
Early Modernist
Architecture
(1900-30)
"Modernist architecture", the first real example of 20th century architecture, was designed for "modern man". It was
relatively, if not wholly, devoid of historical associations, and made full use of the latest building techniques and
materials, including iron, steel, glass and concrete. Functionality was a key aspect of the modernist style. The format
was later fully realized in the United States: see, for instance, Henry Ford's assembly plant at Rouge River, south of
Detroit - then the largest manufacturing plant in the world.
Famous Early Modernist Architects
• Frank Lloyd Wright (1867-1959)
Designed Robie House, Chicago (1910); Fallingwater, Bear Run, PA (1937).
• Peter Behrens (1868-1940)
Built the AEG Turbine Factory, Berlin (1909).
• Adolf Loos (1870-1933)
Designed Steiner House, Vienna (1910); Moller House, Vienna (1928).
• Eliel Saarinen (1873-1950)
Designed Helsinki Train Station (1904-14).
• Walter Gropius (1883-1969)
Designed Fagus Factory, Alfeld-an-der-Leine (1911).
• Le Corbusier (1887-1965) (Charles-Edouard Jeanneret)
Designed Villa Savoye (1931); Unite d'Habitation, Marseille(1952).
Expressionist
Architecture
(1910-25)
This architectural style emerged in Germany and the Low Countries. Expressionist architects rebelled against the
functionalist industrial-style structures of modernist architecture, preferring more sinuous or highly articulated forms.
These included curves, spirals and non-symmetrical elements, as well as structures in which the expressive values of
certain materials are emphasized. A contemporary example of expressionist architecture is the Sydney Opera House
(1973), designed by Jorn Utzon (1918-2008).
Famous Expressionist Architects
• Rudolf Steiner (1861-1925)
Famous for his Goetheanum, Dornach (1914).
• Hans Poelzig (1869-1936)
Designed Grosses Schauspielhaus, Berlin (1919).
• Max Berg (1870-1947)
Designer of the Centenary Hall, Beslau-Scheitnig (1913).
• Bruno Taut (1880-1938)
Designed the Glass Pavilion (1914) at the Cologne Deutsche Werkbund Exposition.
• Michel de Klerk (1884-1923)
Co-designed the Scheepvaarthuis, Amsterdam (1918).
• Johannes Friedrich (Fritz) Hoger (1887-1949)
Designed Chilehaus, Hamburg (1921-4).
• Erich Mendelsohn (1887-1953)
Designer of Einstein Tower, Potsdam (1924).
De Stijl Avant-Garde
Architecture
(1917-1930)
One of the European avant-garde art groups that had a significant influence on the development of modernist
architecture, was the Dutch-based group known as De Stijl, founded in Leiden in 1917 by Theo van Doesburg(1883-
1931), its active members included the abstract painter Piet Mondrian (1872-1944), as well as a number of architects,
designers, painters and sculptors. Influenced by Concrete art and Cubism, as well as radical left-wing politics, its main
objective was to establish a compositional methodology applicable to both fine and decorative art. De Stijl designs are
characterized by austere geometrical shapes, right-angles, and primary colors.
Famous De Stijl Architects
• Robert van’t Hoff (1887-1979)
Preoccupied during his De Stijl period with Communist politics and designs for prefabricated mass
housing, worked out in collaboration with the Utrecht architect P.J.C.Klaarhamer (1874-1954).
• Gerrit Rietveld (1888-1964)
His most famous designs included his Rietveld Schroder House, Utrecht (1924), now a UNESCO

World Heritage Site, and his Red and Blue Chair (1917).
• J.J.P. Oud (1890–1963)
Highly influential, the Municipal Housing Architect for Rotterdam, JJP Oud was a key participant in
the influential modernist Weissenhof Estate Exhibition (1927).
Social Housing
Architecture
(1918-30)
One response to the European post-war housing crisis in the 1920s was a series of minimal cost social housing projects
developed in several major urban centers. On the Continent, these took the form of large-scale apartment blocks.
Famous Examples of Social Housing
• Eigen Haard Estate, Amsterdam (1920) designed by Michel de Klerk (1884-1923).
• Works Housing Estate, Hoek van Holland (1924) designed by JPP Oud(1890–1963).
• Britz Horseshoe Estate, Berlin (1925-33) designed by Bruno Taut(1880-1938).
• Pessac Housing Estate, Bordeaux (1926) designed by Le Corbusier(1887-1965).
• Bruchfeldstrasse Estate, Frankfurt am Main (1927) designed by Ernst May(1886-1970).
• Weissenhofsiedlung, Stuttgart (1927) designed by Mies van der Rohe.
• Siemensstadt, Berlin (1929) designed by Hans Scharoun (1893-1972) andothers.
• Karl Marx Hof, Vienna (1930) designed by Karl Ehn (1884–1957).
Bauhaus Design School
(1919-1933)
The Bauhaus design school was a hugely influential centre of inter-war modernist architecture. Its design ethos was
propagated by several key members of its teaching staff who immigrated to the United States during the 1930s.
Combining ideas from Russian Constructivism movement, the Dutch De Stijl group, and the American architect Frank
Lloyd Wright (1867-1959), as well as an attitude to crafts modeled on the Arts & Crafts movement and the Deutscher
Werkbund, Bauhaus design - with its clean lines and deliberate absence of ornamentation - eventually developed into
the International Style of modern architecture, and later spread to the United States, where it was developed by Walter
Gropius, Mies van der Rohe, and other European emigrants like Richard Neutra.
Bauhaus Style Architects
• Walter Gropius (1883-1969)
Designed Bauhaus Complex, Desau (1925); MetLife Building, NYC (1963).
• Laszlo Moholy-Nagy
Taught the Bauhaus's vorkurs; director of New Bauhaus (1937-8), Chicago.
• Hannes Meyer (1889-1954)
Swiss Marxist Professor of architecture, later director, at the Bauhaus.
• Ludwig Mies van der Rohe (1886-1969)
Succeeded Meyer as director of the Bauhaus in1930.
Art Deco Architecture
(1925-1940)
Art Deco was influenced by a combination of sources, including the geometrics of Cubism, the "movement" of Futurism,
as well as elements of ancient art, such as Pre-Columbian and Egyptian art. Its architecture was also inspired by the
ziggurat designs of Mesopotamian art. Art Deco, like Art Nouveau, embraced all types of art, but unlike its predecessor,
it was purely decorative, with no theoretical or political agenda.
Art Deco Buildings
- Chanin Building, NYC (1927-9) by Sloan and Robertson.
- McGraw-Hill Building, NYC (1929-30) by Raymond Hood.
- Empire State Building, NYC (1929-31) by Shreve, Lamb and Harmon.
- Chrysler Building, NYC (1930) by William van Alen(1883-1954).
- Entrance Foyer, Strand Palace Hotel (1930) by OliverBernhard.
- El Dorado Apartment Building, NYC (1931) by Emery Roth (1871-1948).
- Entrance Plaza to Rockefeller Center, NYC (1932-9) by various.
Totalitarian
Architecture
(1933-60)
Architectural design under dictators like Adolf Hitler, Joseph Stalin and Chairman Mao was designed to awe their political
subjects and impress foreign vistors. Buildings therefore had to be conceived and built on a gargantuan scale, and often
incorporated elements of Greek architecture. Above all, Totalitarian architecture embodied the fantasies and
megalomania of the political leader.
Examples of Totalitarian Architectural Design
• City University, Rome (1935) by MarcelloPiacentini.
• Olympic Stadium, Berlin (1934-6) by Werner March.
• New Reich Chancellery, Berlin (1938-9) by Albert Speer.
• Moscow State University (1953) designed by Lev Vladimirovich Rudnev.
• Great Hall of the People, Beijing (1959) by Zhang Bo.
International Style of
Modern Architecture
(1940-70)
The International Style first appeared in Germany, Holland and France, during the 1920s, before being introduced
into American architecture in the 1930s, where it became the dominant fashion during the major post-war urban
development phase (1955-1970). Predominantly used for "corporate office blocks" - despite the efforts of Richard
Neutra, William Lescaze, Edward Durrell Stone and others, to apply it to residential buildings - it was ideal for skyscraper
architecture, because of its sleek "modern" look, and use of steel and glass. The International style was championed by
American designers like Philip Johnson (1906-2005) and, in particular, by the Second Chicago School of Architecture,
led by the dynamic emigrant ex-Bauhaus architect Ludwig Mies van der Rohe (1886-1969).
Famous International Style Buildings
- Lake Shore Drive Apartments, Chicago (1948-51) by Mies van der Rohe.
- The Graduate Center, Harvard University (1950) by Walter Gropius.
- Seagram Building, New York (1954-58) by Mies van der Rohe and PhilipJohnson.
- Inland Steel Building, Chicago (1957) by Skidmore, Owings & Merrill.

High-Tech Architecture
(1970 onwards)
Rooted in the avant-garde structures of the 19th century, like the Eiffel Tower and Cystal Palace, hi-tech architecture is
based on the expressive qualities of cutting-edge technologies and materials. As demonstrated by James Stirling (1926-
92) - see his glass structure of the Engineering Faculty, Leceister University (1959-63) - traditional construction methods
(like brickwork) are abandoned in favour of new materials and techniques, such as steel, light metal panels, glass, and
plastic derivatives. New building shapes are determined by the shape of the components used. An important exhibition
which affirmed this new approach was Expo 67, held in Montreal. Hi-tech architecture is symbolized by the Pompidou
Centre in Paris, designed by Renzo Piano and Richard Rogers in collaboration with engineers Ove Arup & Partners.
Famous High-Tech Buildings
• USA Pavilion (Expo 67, Montreal) by Buckminster Fuller.
• Olympiapark, Munich (1968-72) by Gunter Behnisch and Frei Otto.
• Pompidou Centre, Paris (1971-78) by Renzo Piano and Richard Rogers.
• Lloyds of London (1978-86) by Richard Rogers.
• Hong Kong and Shanghai Bank, Hong Kong (1979-86) by Foster &Partners.
• Channel Tunnel Waterloo Terminal, London (1993) by Nicholas Grimshaw
• Kansai Airport Terminal, Osaka (1994) by Renzo Piano.
• Allianz Arena, Munich (2005) by Herzog & de Meuron.
Deconstructivism
(1980-200)
An iconic style of three-dimensional postmodernist art, opposed to the ordered rationality of modern design,
Deconstructivism emerged in the 1980s, notably in Los Angeles California, but also in Europe. Characterized by non-
rectilinear shapes which distort the geometry of the structure, the finished appearance of deconstructivist buildings is
typically unpredictable and even shocking. These unusual shapes have been facilitated by the use of design software
developed from the aerospace industry. The exhibition which first introduced this new approach to the public was
the Deconstructivist Architecture exhibition, curated by Philip Johnson and Mark Wigley, and held at the Museum of
Modern Art, New York, in 1988. the most famous deconstructivist designer in America is probably Frank O.
Gehry (b.1929); in Europe the top architects are probably Daniel Libeskind (b.1946), and the firm Coop Himmelblau,
founded by Wolf Prix, Helmut Swiczinsky and Michael Holzer.
Famous Examples of Deconstructivism
- Walt Disney Concert Hall, Los Angeles (1988-2003) by Frank OGehry.
- Guggenheim Museum, Bilbao (1991-97) by Frank O Gehry.
- Multiplex Cinema, Dresden (1993-8) by Coop Himmelblau.
- Nationale Nederlanden Building, Prague (1992-97) by Frank O Gehry.
- UFA-Kristall Filmpalast, Dresden (1998) by Coop Himmelblau.
- Seattle Central Library, Seattle (2004) by "Rem" Koolhaas.
- Imperial War Museum North, Manchester (2002) by Daniel Libeskind.
- Royal Ontario Museum (extension), Toronto (2007) by Daniel Libeskind.
Blobitecture
(1990s)
A style of postmodernist architecture characterized by organic, rounded, bulging shapes, Blobitecture (aka blobism or
blobismus) was first christened by William Safire in the New York Times in 2002 (although architect Greg Lynn used the
term "blob architecture" in 1995) the style first appeared in the early 1990s. Developed by postmodernist artists on both
sides of the Atlantic, the construction of blobitecture's non-geometric structures is heavily dependent on the use of
CATID software (Computer Aided Three-dimensional Interactive Application).
Famous Examples of Blobitecture
• Water Pavilion (1993–1997) by Lars Spuybroek and Kas Oosterhuis.
• Experience Music Project, Seattle (1999-2000) by Frank O Gehry.
• Kunsthaus, Graz (2003) by Peter Cook and ColinFournier.
• Bus Station at Spaarne Hospital (2003) by NIOArchitecten.
• The Sage Gateshead (2004) by Norman Foster.
• Philological Library, Free University, Berlin (2005) by Norman Foster.
Late 20th-Century
Supertall Towers
Structural techniques developed by US architects like Fazlur Khan (1929-82) of Skidmore, Owings & Merrill, have led to
the construction of a new generation of supertall buildings or 'towers'. These new tubular designs, which have also
significantly reduced the amount of steel required in skyscrapers, have enabled architects to break free from the regular
"box-like" design. With modern towers now regularly exceeding 100 storeys, the biggest limitation on upward growth
remains safety and the lack of emergency evacuation procedures.
Tallest Towers Built in the 20th-Century
(1) Petronas Towers, Kuala Lumpur, Malaysia (1998) (452m/ 1,483 feet)
(2) Willis Tower, Chicago (1973) (442m/ 1,450 feet)
(3) Jin Mao Tower, Shanghai (1999) (421m/ 1,380 feet)
(4) One World Trade Center, NYC (1974) (destroyed) (417m/ 1,368 feet)
(5) CITIC Plaza, Guangzhou (1997) (391m/ 1,283 feet)
(6) Shun Hing Square, Shenzhen (1996) 384m/ 1,260 feet)
(7) Empire State Building, NYC (1931) (381m/ 1,250 feet)
(8) Tuntex Sky Tower, Kaohsiung, Taiwan (1997) (378m/ 1,240 feet)
(9) Central Plaza Hong Kong (1992) (374m/ 1,227 feet)
(10) Bank of China Tower, Hong Kong (1990) (367m/ 1,205 feet)
Trust in God with all your heart, and don't lean on your own understanding. In all your ways acknowledge Him, and He will make your paths straight.
-Proverbs 3:5-6

ARCHITECTURAL ISMS OF THE MID 19TH
CENTURY
ISMS DESCRIPTION
ART NOUVEAU
(1890 to1910)
An ornament of undulating waves, flowers and flower stalks developed in France and Belgium towards the end of the 19th century. In France (Style Nouville) was initiated by Guimmard; Belgium (Coup-
De-Joulet) – Van De Velde and Horta; Spain( Modernismo) – Gaudi: Austria(Sezzession); Scotland (Fin-De-Schism) – Mackintosh); Italy(Modern Isme Or Stile Liberte); and
Germany(Judgenstil) – Vande Velde,Olbrist and Endell, and America (Tiffany Style) – Louis Tiffany
 Exaggerated, flowing, undulating lines
 Rich ornamentation
 Emphasis on the decorative and structural properties of materials, especially glass andironwork
 Use of colour and gilding
Asymmetrical composition
BAUHAUS
(1919 to 1933)
Creative center of artistic experiment during the 1920’s. Gropius was its founder who would rather close shop than be dictated by the German ruler. The school existed in three German
cities: Weimar from 1919 to 1925, Dessau from 1925 to 1932 and Berlin from 1932 to 1933, 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-led government which had
claimed that it was a centre of communist intellectualism.
BRUTALISM
(1950s to the mid-1970s)
Refers to the works of Van Der Rohe which displayed the use of glass and steel; display of service systems of a building like air conditioning ducts, plumbing, pipes, etc.
Brutalism is a style with an emphasis on materials, textures and construction, producing highly expressive forms
Consider Brutalism as architecture in the raw, with an emphasis on materials, textures and construction, producing highly expressive forms. Seen in the work of Le Corbusier from the late 1940s with the
Unite d’Habitation in Marseilles, the term Brutalism was first used in England by the architectural historian Reyner Banham in 1954.It referred to the work of Alison and Peter Smithson’s school at
Hunstanton in Norfolk because of its uncompromising approach to the display of structure and services, albeit in a steel building rather than reinforced concrete.
Also called New Brutalism, it encouraged the use of beton brut (raw concrete), in which patterns created by wooden shuttering are replicated through board marking, as can be seen in the work of Denys
Lasdun, or where the aggregate is bush or pick-hammered, as at the Barbican Estate in London. Scale was important and the style is characterized by massive concrete shapes colliding abruptly, while
service ducts and ventilation towers are overtly displayed.
The best known early Brutalist architecture is the work of the Swiss architect Le Corbusier, in particular his 1952 Unité d' Habitation and the 1953 Secretariat Building
(Palace of Assembly) in Chandigarh, India.
Examples are typically massive in character (even when not large),fortress-like, with a predominance of exposed concrete construction, or in the case of the "brick brutalists," ruggedly combine detailed
brickwork and concrete.
In the Philippines, Leandro Locsin designed massive brutalist structures, including the Cultural Center of the Philippines and the Philippine International Convention Center.
 Rough, unfinished surfaces
 Unusual shapes
 Heavy-looking materials
 Massive forms
 Small windows in relation to the other parts
 Exposed Steel Beams
CIAM or INTERNATIONAL
MODERNISM
(1928 to1959)
The Congrès internationaux d'architecture moderne(CIAM), or International Congresses of Modern Architecture, was an organization founded in 1928 and disbanded in 1959, responsible for a
series of events and congresses arranged across Europe 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).
The International Congresses of Modern Architecture (CIAM) was founded in June 1928, at the Chateau de la Sarraz in Switzerland, by a group of 28 European architects organized by Le Corbusier,
Hélène de Mandrot (owner of the castle), and Sigfried Giedion (the first secretary-general). CIAM was one of many 20th centurymanifestos meant to advance the cause of "architecture as a social art".

CENTURY
ISMS DESCRIPTION
Russian architect Vladimir Tatlin launched the constructivist movement when he proposed the futuristic, glass-and-steel Tatlin's Tower.
CONSTRUCTIVISM
(1920 to 1930)
During the 1920s and early 1930s, a group of avant-garde architects in Russia launched a movement to design buildings for the new socialist regime. Calling themselvesconstructivists, they believed
that design began with construction. Their buildings emphasized abstract geometric shapes and functional machine parts.
Constructivist architecture combined engineering and technology with political ideology.
Constructivist architects tried to suggest the idea of humanity's collectivism through the harmonious arrangement of diverse structural elements.
ARCHITECTS
Vladimir Tatlin
Konstantin Melnikov
Nikolai Milyutin
Aleksandr Vesnin
Leonid Vesnin
Viktor Vesnin
El Lissitzky
Vladimir Krinsky
Iakov Chernikhov
The most famous work of constructivist architecture was never actually built. In 1920, Russian architect Vladimir Tatlin proposed a futuristic monument to the 3rd International in the city of St. Petersburg
(then known as Petergrado). The unbuilt project, called Tatlin's Tower, used spiral forms to symbolize revolution and human interaction. Inside the spirals, three glass-walled building units - a cube, a
pyramid, and a cylinder - would rotate at different speeds.
Soaring 400 meters (about 1,300 feet), Tatlin's Tower would have been taller than the Eiffel Tower in Paris. The cost to erect such a building would have been enormous. But, even though Tatlin's Tower
wasn't built, the plan helped launch the Constructivist movement. By the late 1920s, Constructivism had spread outside the USSR. Many European architects called themselves constructivists.
However, within a few years Constructivism faded from popularity and was eclipsed by the Bauhaus movement in Germany.
 Glass and steel
 Machine-made building parts
 Technological details such as antennae, signs, and projection screens
 Abstract geometric shapes
 A sense of movement
DECONSTRUCTIVISM
(1980)
Deconstructivism, or Deconstruction, is an approach to building design that attempts to view architecture in bits and pieces. The basic elements of architecture are dismantled. Deconstructivist buildings
may seem to have no visual logic. They may appear to be made up of unrelated, disharmonious abstract forms. Deconstructive ideas are borrowed from the French philosopher Jacques Derrida.
ARCHITECTS
Peter Eisenman
Daniel Libeskind
Zaha Hadid
Frank O. Gehry
Rem Koolhaas
In the summer of 1988, architect Philip Johnson was instrumental in organizing a Museum of Modern Art (MoMA) exhibit called "Deconstructivist Architecture." Johnson gathered works from seven
architects (Eisenman, Gehry, Hadid, Koolhaas, Libeskind, Bernard Tschumi, and Coop Himmelblau) who "intentionally violate the cubes and right angles of modernism."
Deconstructivist architects reject Postmodernist ways for an approach more akin to Russian Constructivism.
"The hallmark of deconstructivist architecture is its apparent instability. Though structurally sound, the projects seem to be in states of explosion or collapse....Deconstructivist architecture, however, is not
an architecture of decay or demolition. On the contrary, it gains all of its force by challenging the very values of harmony, unity, and stability, proposing instead that flaws are intrinsic to the structure."
FUNCTIONALISM
The principle that architects should design a building based on the purpose of that building. This statement is less self-evident than it first appears, and is a matter of confusion and controversy within the
profession, particularly in regard to modern architecture. Functionalism had the strongest influence in Germany, Czechoslovakia, the USSR and the Netherlands.
ARCHITECTS
Alvar Aalto
Erik Bryggman
P.E. (Paul Ernsti) Blomstedt
Hilding Ekelund
Erkki Huttunen
Uno Ullberg
Ragnar Ypya
In 1896, Chicago architect Louis Sullivan coined the phrase 'form ever follows function' to capture his belief that a building's size, massing, spatial grammar and other characteristics should be driven solely
by the function of the building. The implication is that if the functional aspects are satisfied, architectural beauty would naturally and necessarily follow.
Sullivan's credo is often viewed as being ironic in light of his extensive use of intricate ornament, since a common belief among functionalist architects is that ornament serves no function. The credo also
does not address whose function he means. The architect of an apartment building, for instance, can easily be at cross-purposes with the owners of the building regarding how the building should look and
feel, and they could both be at cross-purposes with the future tenants. Nevertheless 'form follows function' expresses a significant and enduring idea. Sullivan's protégé Frank Lloyd Wright is also cited as
an exemplar of functional design.
In the mid-1930s, functionalism began to be discussed as an aesthetic approach rather than a matter of design integrity. The idea of functionalism was conflated with lack of ornamentation, which is a
different matter. It became a pejorative term associated with the most bald and brutal ways to cover space, like cheap commercial buildings and sheds, then finally used, for example in academic criticism
of Buckminster Fuller's geodesic domes, simply as a synonym for 'gauche'.
DEFUNCTIONALISM A style ignoring the classic approach to design disregarding functionalisms that have failed in many instances

CENTURY
ISMS DESCRIPTION
ECLECTICISM
(19TH & 20TH CENTURY)
ARCHITECTS
Daniel Burnham
Alexander Jackson Davis
Antonio Gaudi
Richard Morris Hunt
Charles Follen McKim
William Mead
Richard Norman Shaw
Stanford White
A nineteenth and twentieth-century architectural style in which a single piece of work incorporates a mixture of elements from previous historical styles to create something that is new and original.
In architecture and interior design, these elements may include structural features, furniture, decorative motives, distinct historical ornament, traditional cultural motifs or styles from other countries, with the
mixture usually chosen based on its suitability to the project and overall aesthetic value.
The term eclecticism is used to describe the combination, in a single work, of elements from different historical styles, chiefly in architecture and, by implication, in the fine and decorative arts. The term is
sometimes also loosely applied to the general stylistic variety of 19th-century architecture after Neo-classicism (c. 1820), although the revivals of styles in that period have, since the 1970s, generally been
referred to as aspects of historicism.
The church of the Sagrada Familia in Barcelona designed by Antonio Gaudi is a notable example of eclecticism. Elements of the style were merged with oriental motifs and forms found in the natural
world, resulting in a structure that was distinctive and original.[2] Although it was designed during the peak of the eclectic period (1883–1926), it remains under construction today.
EXPRESSIONISM
(1910 to 1930)
ARCHITECTS
Adolf Behne
Hermann Finsterlin
Antoni Gaudí
Walter Gropius - early period
Hugo Häring
Fritz Höger
Michel de Klerk
Piet Kramer
Carl Krayl
Erich Mendelsohn
Hans Poelzig
Hans Scharoun
Rudolf Steiner
Bruno Taut
An architectural movement that developed in Europe during the first decades of the 20th century in parallel with the expressionist visual and performing arts, that especially developed and dominated
in Germany.
The term "Expressionist architecture" initially described the activity of the German, Dutch, Austrian, Czech and Danish avant garde from 1910 until 1930. Subsequent redefinitions extended the term
backwards to 1905 and also widened it to encompass the rest of Europe. Today the meaning has broadened even further to refer to architecture of any date or location that exhibits some of the qualities of
the original movement such as; distortion, fragmentation or the communication of violent or overstressed emotion.
The style was characterised 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.
 Distortion of form for an emotional effect.
 Subordination of realism to symbolic or stylistic expression of inner experience. An underlying effort at achieving the new, original, andvisionary.
 Profusion of works on paper, and models, with discovery and representations of concepts more important than pragmatic finishedproducts.
 Often hybrid solutions, irreducible to a single concept.
 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.
 Utilizes creative potential of artisan craftsmanship.
 Tendency more towards the gothic than the classical. Expressionist architecture also tends more towards the Romanesque and the rococo than the classical.
 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.
Conception of architecture as a work of art.
FUTURISM
ARCHITECTS
An early-20th century form of architecture born in Italy, characterized by strong chromaticism, long dynamic lines, suggesting speed, motion, urgency and lyricism: it was a part of Futurism, an artistic
movement founded by the poet Filippo Tommaso Marinetti, who produced its first manifesto, the Manifesto of Futurism in 1909. The movement attracted not only poets, musicians, and artists (such
as Umberto Boccioni, Giacomo Balla, Fortunato Depero, and Enrico Prampolini) but also a number of architects. A cult of the machine age and even a glorification of war and violence were among the
themes of the Futurists (several prominent futurists were killed after volunteering to fight in World War I). The latter group included the architect Antonio Sant'Elia, who, though building little, translated the
futurist vision into an urban form.
Tadao Ando Le Corbusier Denis Laming Oscar Niemeyer
Archigram Arthur Erickson John Lautner Cesar Pelli
Louis Armet Future Systems Anthony J. Lumsden William Pereira
Welton Becket Michael Graves Virgilio Marchi Patricio Pouchulu
Santiago Calatrava Zaha Hadid Wayne McAllister Eero Saarinen

CENTURY
ISMS DESCRIPTION
METABOLISM
ARCHITECTS
Kenzo Tange
Kisho Kurokawa
Moshe Safdie
Kiyonuri Kikotake
Walter Jonas
A post-war Japanese architectural movement that fused ideas about architectural megastructures with those of organic biological growth. It had its first international exposure during CIAM's 1959 meeting
and its ideas were tentatively tested by students from Kenzo Tange's MIT studio.
During the preparation for the 1960 Tōkyō World Design Conference a group of young architects and designers, including Kiyonori Kikutake, Kisho Kurokawa and Fumihiko Maki prepared the publication of
the Metabolism manifesto. They were influenced by a wide variety of sources including Marxist theories and biological processes. Their manifesto was a series of four essays entitled: Ocean City, Space
City, Towards Group Form, and Material and Man, and it also included designs for vast cities that floated on the oceans and plug-in capsule towers that could incorporate organic growth. Although the
World Design Conference gave the Metabolists exposure on the international stage their ideas remained largely theoretical.
Some smaller, individual buildings that employed the principles of Metabolism were built and these included Tange's Yamanashi Press and Broadcaster Centre and Kurokawa's Nakagin Capsule Tower.
The greatest concentration of their work was to be found at the 1970 World Exposition in Osaka where Tange was responsible for master planning the whole site whilst Kikutake and Kurokawa designed
pavilions. After the 1973 oil crisis, the Metabolists turned their attention away from Japan and toward Africa and the Middle East.
MONUMENTALISM
ARCHITECTS
Rf Schinklel, M. Van Der
T. Garnier,
P. Behrens, Rohe,
A. Perret.
H. Polezig, Le Corbusier,
Based on the notion that the form of the object should last and implicitly there are forms which have external validity.
Construction, especially of buildings, on a grand scale.
NATIONAL ROMANTICISM
National Romantic style was a Nordic architectural style that was part of the National Romantic movement during the late 19th and early 20th centuries. It is often considered to be a form of Art Nouveau.
The National Romantic style spread across Finland; the Scandinavian countries of Denmark, Norway, and Sweden; and Russia (mainly St. Petersburg). Unlike much nostalgic Gothic Revival
style architecture elsewhere, National Romantic architecture expressed progressive social and political ideals, through reformed domestic architecture.[1]
Designers turned to early Medieval architecture and even prehistoric precedents to construct a style appropriate to the perceived character of a people. The style can be seen as a reaction to
industrialism and an expression of the same "Dream of the North" nationalism that gave impetus to renewed interest in the eddas and sagas.
 Finnish National Theatre (Suomen Kansallisteatteri) (1902,  House With Owls (Дом с совами)(1907, Russia)
 Stockholm Court House (Stockholms Rådhus) (1915,
Finland)  Norwegian Institute of Technology(Norges tekniske
Sweden)
 Vålerenga Church (Vålerenga kirke) (1902, Norway) høgskole) (1910, Norway)
 Röhss Museum (Röhsska konstslöjdsmuseet) (1916, Sweden)
 Copenhagen City Hall (Rådhus) (1905, Denmark)  Tolstoy House (Толстовский дом)(1912, Russia)
 Stockholm City Hall (Stockholms stadshus) (1923,Sweden)
 National Museum of Finland (Suomen Kansallismuseo) (1905,  Tarvaspää, (1913, Finland) the house and studiobuilt for
Church of the Epiphany (Uppenbarelsekyrkan) (1913,
Finland) himself by Finnish painter Akseli Gallen-Kallela
Sweden)
 Frogner Church (Frogner kirke) (1907, Norway)  Bergen Station (Bergen stasjon) (1913,Norway)
NEO-PLASTICISM
ARCHITECTS
Cornelis van Eesteren (1897–1981)
Robert van 't Hoff (1887–1979)
Frederick John Kiesler (1890-1965)
J. J. P. Oud (1890–1963)
Gerrit Rietveld (1888–1964)
Jan Wils (1891–1972)
De Stijl (/dә ˈstaɪl/; Dutch pronunciation: [dә ˈstɛil]), Dutch for "The Style", also known as neoplasticism, was a Dutch artisticmovement founded in 1917 in Amsterdam. The De Stijl consisted of artists and
architects [1] In a narrower sense, the term De Stijl is used to refer to a body of work from 1917 to 1931 founded in the Netherlands.
De Stijl is also the name of a journal that was published by the Dutch painter, designer, writer, and critic Theo van Doesburg(1883–1931) that served to propagate the group's theories. Next to van
Doesburg, the group's principal members were the painters Piet Mondrian (1872–1944), Vilmos Huszár(1884–1960), and Bart van der Leck (1876–1958), and the architects Gerrit Rietveld (1888–
1964), Robert van 't Hoff(1887–1979), and J. J. P. Oud (1890–1963). The artistic philosophy that formed a basis for the group's work is known as neoplasticism—the new plastic art (or Nieuwe Beelding in
Dutch).
Proponents of De Stijl advocated pure abstraction and universality by a reduction to the essentials of form and colour; they simplified visual compositions to the vertical and horizontal directions, and used
only primary colors along with black and white. Indeed, according to the Tate Gallery's online article on neoplasticism, Mondrian himself sets forth these delimitations in his essay "Neo-Plasticism in
Pictorial Art". He writes, "this new plastic idea will ignore the particulars of appearance, that is to say, natural form and colour. On the contrary, it should find its expression in the abstraction of form and
colour, that is to say, in the straight line and the clearly defined primary colour". The Tate article further summarizes that this art allows "only primary colours and non-colours, only squares and rectangles,
only straight and horizontal or vertical line." TheGuggenheim Museum's online article on De Stijl summarizes these traits in similar terms: "It [De Stijl] was posited on the fundamental principle of the
geometry of the straight line, the square, and the rectangle, combined with a strong asymmetricality; the predominant use of pure primary colors with black and white; and the relationship between positive
and negative elements in an arrangement of non-objective forms and lines".

CENTURY
ISMS DESCRIPTION
ORGANISM
ARCHITECTS
Frank Lloyd Wright Kendrick Bangs Kellogg
Alvar Aalto Terunobu Fujimori
Arthur Dyson Gustav Stickley
Antoni Gaudi Rudolf Steiner
Hector Guimard Paul Laffoley
Hugo Häring Hundertwasser
Hans Scharoun Anton Alberts
John Lautner Laurie Baker
Bruce Goff Claude Bragdon
Eero Saarinen Douglas Cardinal
Louis Sullivan Neville Gruzman
Vittorio Giorgini Imre Makovecz
Eric Lloyd Wright (born Javier Senosiain
1929) Bruno Zevi
Eugene Pandala Toyo Ito
Nari Gandhi Chen Kuen Lee
Organic architecture is 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.
The term organic architecture was coined by Frank Lloyd Wright (1867–1959), though never well articulated by his cryptic style of writing:
"So here I stand before you preaching organic architecture: declaring organic architecture to be the modern ideal and the teaching so much needed if we are to see the whole of life, and to now serve the
whole of life, holding no traditions essential to the great TRADITION. Nor cherishing any preconceived form fixing upon us either past, present or future, but instead exalting the simple laws of common
sense or of super-sense if you prefer determining form by way of the nature of materials ..."[1]
Organic architecture is also translated into the all inclusive nature of Frank Lloyd Wright's design process. Materials, motifs, and basic ordering principles continue to repeat themselves throughout the
building as a whole. The idea of organic architecture refers not only to the buildings' literal relationship to the natural surroundings, but how the buildings' design is carefully thought about as if it were a
unified organism. Geometries throughout Wright's buildings build a central mood and theme. Essentially organic architecture is also the literal design of every element of a building: From the windows, to
the floors, to the individual chairs intended to fill the space. Everything relates to one another, reflecting the symbiotic ordering systems of nature.
A well-known example of organic architecture is Fallingwater, the residence Frank Lloyd Wright designed for the Kaufmann family in rural Pennsylvania. Wright had many choices to locate a home on this
large site, but chose to place the home directly over the waterfall and creek creating a close, yet noisy dialog with the rushing water and the steep site. The horizontal striations of stone masonry with
daring cantilevers of colored beige concrete blend with native rock outcroppings and the wooded environment.
Architect and planner David Pearson proposed a list of rules towards the design of organic architecture. These rules are known as the Gaia Charter for organic architecture and design. It reads:
"Let the design:
 Be inspired by nature and be sustainable, healthy, conserving, and diverse.
 Unfold, like an organism, from the seed within.
 Exist in the "continuous present" and "begin again and again".
 Follow the flows and be flexible and adaptable.
 Satisfy social, physical, and spiritual needs.
 "Grow out of the site" and be unique.
 Celebrate the spirit of youth, play and surprise.
 Express the rhythm of music and the power of dance."
POST-METABOLISM
Interest in explaining things as the nature of the house in the city and are concerned with intricate designs on small houses and potential schemes, has a larger context of the relationships between houses
with society.
RADICALISM A radical shift in emphasis from buildings of the past, to designs of those which met the demands of modern life. Van de Velde and Gropius are some of its proponents.
STRUCTURALISM
Structuralism as a movement in architecture and urban planning evolved around the middle of the 20th century. It was a reaction to CIAM-Functionalism (Rationalism) [1] which had led to a lifeless
expression of urban planning that ignored the identity of the inhabitants and urban forms.
Structuralism in a general sense is a mode of thought of the 20th century, which came about in different places, at different times and in different fields. It can also be found in linguistics, anthropology,
philosophy and art. At the beginning of the general article Structuralism the following explanations are noted:
"Structuralism is a theoretical paradigm emphasizing that elements of culture must be understood in terms of their relationship to a larger, overarching system or structure."
Alternately, as summarized by philosopher Simon Blackburn, "Structuralism is the belief that phenomena of human life are not intelligible except through their interrelations. These relations constitute a
structure, and behind local variations in the surface phenomena there are constant laws of abstract culture."
UTILITARIANISM Refers to low cost housing; this was set at a time when search for economic solutions for low value sites were considered. In England this refers to prefabricated units

CENTURY
ISMS DESCRIPTION
MODERNISM
Rejecting ornament and embracing minimalism, Modernism became the dominant global movement in 20th-century architecture and design.
Modernism is the single most important new style or philosophy of architecture and design of the 20th century, associated with an analytical approach to the function of buildings, a strictly rational use of
(often new) materials, an openness to structural innovation and the elimination of ornament. It has also been called International Modern or International Style, after an exhibition of modernist architecture
in America in 1932 by Philip Johnson. Modernism also encompasses Futurism, Constructivism, De Stijl and Bauhaus. The style is characterized by:
 asymmetrical compositions
 use of general cubic or cylindrical shapes
 flat roofs
 use of reinforced concrete
 metal and glass frameworks often resulting in large windows in horizontal bands
 an absence of ornament or mouldings
 a tendency for white or cream render, often emphasised by black and whitephotography
Plans would be loosely arranged, often with open-plan interiors. Walter Gropius (1883-1969) and Le Corbusier (1887-1965) were the leaders of the movement. The latter had a profound impact in Britain,
particularly after World War Two, with many public housing schemes. In Britain the term Modern Movement was used to describe the rigorous Modernist designs of the 1930s to the early 1960s.
WHAT TO LOOK FOR:
 Rectangular or cubist shapes
 Minimal or no ornamentation
 Steel and or reinforced concrete
 Large windows
 Open plan
POST MODERNISM
Postmodernism describes the colourful styles of architecture and the decorative arts that appeared in the late 20th century in reaction to Modernism.
Postmodernism describes a style or styles of architecture and the decorative arts that were a reaction to Modernism and the Modern Movement and the dogmas associated with it. By the 1970s Modernism
had begun to seem elitist and exclusive, despite its democratic intentions. The failure of building methods and materials (shown in the collapse of Ronan Point, a tower block in east London in 1968) and
alienating housing estates was a focus for architects and critics in the early 1970s. A book published in 1966 by the American architect Robert Venturi, Complexity and Contradiction in Architecture, was a
key influence on the development of Postmodernism. Venturi extolled the ambiguities, inconsistencies and idiosyncrasies of the Mannerist and Baroque architecture of Rome, but also celebrated popular
culture and the ordinary architecture of the American Main Street.
A later work, Learning from Las Vegas (1972), deconstructed the signs and symbols of the Las Vegas strip and divided buildings into ‘ducks’, the sculptural buildings that embodied their message within
the structure, and the ‘decorated shed’, which used signs to communicate its message. In practice, it meant the rediscovery of the various meanings contained within the mainly classical architecture of the
past and applying them to modern structures. The result was an architecture that embodied historical allusion and dashes of whimsy.
WHAT TO LOOK FOR:
 Classical motifs
 Literary allusions
 Bright colours
 Structural variety
 Variety of materials and shapes

FILIPINO ARCHITECTURE (Arkitekturang Pilipino)
PERIOD LOCATION DESCRIPTION
PRE-HISTORIC
Caves and Rock Shelter
 Tabon Cave Palawan Served as shelters for the early Filipinos
Lean-To
 First form of man-made dwelling made from indigenous materials
 Windshield or one-sided lean-t0 with or without flooring
 Single pitched roof supported by rafters
Banaue Rice Terraces
2000-year-old terraces that were carved into the mountains of Ifugao by the ancestors of indigenous
people. Commonly referred to as the “Eight Wonder of the World”
Located approximately 1500 meters (5000 ft) above sea level.
Fed by an ancient irrigation system from the rainforests above the terraces
CLASSICAL PERIOD
SKILLS IN FORTIFICATION
The architecture of the early Filipinos are also the skills that were used at the time of war and on the battlefield. Due to the creation of various thalassocratic states within the archipelago,
trade began to flourish. Neighboring tribes would often wage war for territory and trade rights in certain areas, thids ultimately led to the fortification of villages and towns. Another reason
for the development of these fortifications skills was that of prestige and intimidation, petty chiefs, Datus and Rajahs as they were called, often built forts and fortifications to intimidate
other chiefs in their area.
The Kota
With the arrival of Muslim scholars from nearby Indonesia, the native Filipinos were introduced to the concept of the Kota or fort. The Muslim Filipinos of the south built
strongfortresses called kota or moong to protect their communities. Usually, many of the occupants of these kotas are entire families rather than just warriors. Lords often had their
own kotas to assert their right to rule, it served not only as a military installation but as a palace for the local Lord. It is said that at the height of theMaguindanao Sultanate's power, they
blanketed the areas around Western Mindanao with Kotas and other fortifications to block the Spanish advance into the region. These kotas were usually made of stone and bamboo or
other light materials and surrounded by trench networks. As a result, some of these kotas were burned easily of destroyed. With further Spanish campaigns in the region, the
Sultanate was subdued and majority of Kotas dismantled or destroyed. Kotas were not only used by the Muslims as defense against Spaniards and other foreigners, renegades and
rebels also built fortifications in defiance of other chiefs in the area.[2] During the American occupation, rebels built strongholds and the Datus, Rajahs or Sultans often built and reinforced
their kotas in a desperate bid to maintain rule over their subjects and their land.[3] Many of these forts were also destroyed by American expeditions; as a result, very very few kotas still
stand to this day.
 Kota Selurong An outpost of the Bruneian Empire in Luzon and later became the City of Manila.
 Kuta Wato / Kota Bato Literally translates to "stone fort" the first known stone fortification in the country, its ruins exist as the "Kutawato Cave Complex"
 Kota Sug / Jolo The capital and seat of the Sultanate of Sulu. When it was occupied by the Spaniards in the 1870s they converted the kota into the world's smallest walled city
Batanes Castles
The Ivatan people of the northern islands of Batanes often built fortifications to protect themselves during times of war. They built their so-called idjangs on hills and elevated areas. These
fortifications were likened to European castles because of their purpose. Usually, the only entrance to the castles would be via a rope ladder that would only be lowered for the villagers
and could be kept away when invaders arrived.
Igorot Forts The Igorots built forts made of stone walls that averaged several meters in width and about two to three times the width in height around 2000 BC
THE CLASSICAL FILIPINO HOUSE
Lawig Small House
Mala-A-Walai
 The Large Houses / Big House of Datu Inuc
 Made of nipa, bamboo and wood
A prominent structure in the Moro Settlement, typically a one-room dwelling area without a ceiling and with no permanent partitions except for mats, chests or woven cloths. The house is
usually built on nine posts and has a porch linking the house proper to the kitchen. Maguindana houses have a steep roof and use the okir and other local artistic elements. Ventilation is
an important concern due to the hot climate on the Cotabato plane.
Torogan
Lanao del Norte and
Lanao del Sur
 The House of the Kings / Datu House / Royal House
 Elevated by 0.30m to 2.20m high above the ground with a single room structure withoutpartitions
 Ancestral house for Datu and his family used for social and politicalceremonies
An ornately decorated ancestral house for the datu and his extended family or the houses for the upper-class. It is the house of Maranao’s who speak the AustronesianLanguage.

ARCHITECTURAL CHARACTER
 The windows of torogan are slits and richly framed in wood panels with okir designs located in front of thehouse.
 The communal kitchen is half a meter lower than the main house is both used for cooking andeating.
 The distinct high gable roof of the torogan, thin at the apex and gracefully flaring out to the eaves, sits on a huge structures enclosed by slabs of timber and lifted more than two meters
above the ground by a huge trunk of a tree that was set on a rock.
 The house was built to sway during earthquakes. Twenty-five post of huge tree trunks were not buried but are freestanding. Sometimes, if needed, wooden pegs were used to secure the
wood members. These were all used to prevent the house from collapsing
DECORATIONS
 DIONGAL – apex of the roof
 TINAI-A-WALAI / RAMPATAN– intricate carvings, central beams that serves as intestines of thehouse
 MALONG – bright colored weaves hanging from the rafters to signify privacy
 PANOLONG – A wing-like beam located at the ends of the floor. Its usual motifs or designs ar Pako Rabong or Fern, Naga or Serpent. These are chiseled and painted with bright colors
Ifugao House
Mountains of
Cordillera
 Single room of 4.00m x 6.00m rectangular plan, elevated by 1.50m – 2.00m high on four tree trunks ascolumns
 Trunks are made from Amugawan Tree
 Roof is covered with reed and grass resting on a brace supported by akingpost
 Two doors on both sides of the house accessed by a ladder
Badjao House Coast of Tawi-
Tawi
 Houses on stilts above shallow water with flooring made of bamboo
 Each house in the community was made accessible to eachother by means of bamboo planks laid out asstreets
 Interior space was enclosed by wooden walls nailed permanently for protection
Nipa Hut / Bakay Kubo
Lowlands all over
the Philippines
 Originally a one-room dwelling and evolved into more sophisticated type ofdwelling
 Walls are made of nipa leaves or flattened split bamboo cut into fine strips and were
woven in herringbone pattern forming tha sawali silid
 Roof is covered with cogon grass, rice stalks, sugar cane leaves, split bamboo, anahaw
leaves or nipa shingles
PARTS OF BAHAY NA KUBO
Bulwagan Reserved for ntertaining guests
Silid Private room for sleeping
Gilir / Paglutuan Kitchen or cooking area
 Dapogan Table on top where the river stone shoe-shaped stove is located
 Bangahan /
Banggerahan
Place for drying and storing pots and pans, drinking glasses,
plates and other kitchen utensils
 Batalan Unroofed area where water jars were kept
Silong
Space underneath the house used as storage space for the
farming and fishing implements and where small animals were
also kept
Kamalig Separate structure used for the storage of rice
SPANISH COLONIAL ERA
Bahay Na Bato
 Influence from the Spaniards
 Stone at ground floor and wood at second floor
 Improved version of the Bahay Kubo
 Wooden posts of Molave and Ipil are used as supports for floors, beams and roofrafters
 Yakal is used as floor joists while narra is used for floor boards
 Overhanging eaves surround the house for protection of upper storey against the
heatand glare of the sun and heavy rains
PARTS OF BAHAY NA BATO
GROUND
FLOOR
Zaguan Carriages and Saint’s Floats are kept
Cuadra Horse stable
Bodega Storage room for keeping old furniture and palay bins
Entresuelo
Mezzanine elevated above a meter from the ground, can only be
accessed from the masters bedroom on the second floor
Patio Enclosed courtyard open to the sky and adjacent to the zaguan
Aljibe
Cistern used for storage of collected rainwater underneath the
azotea

SECOND
FLOOR
Caida Ante-Sala; immediate room from the ceremonial
Sala
Living room where balls and dances during fiestas and other
special occasions takes place
Comedor Dining room
Cocina Kitchen
Dispensa Room adjacent to the Cocina used as food storage
Comun / Latrina Toilet adjacent to the service area
Banyo / Paliguan Bathroom often built separately from the toilet
Azotea
Open terrace open to toilet, bath and kitchen; also used as
laundry and service area
Cuarto / Alcoba /
Dormitorio
Bedroom
Balcon Overhanging balcony fronting the main street
Intramuros
 Intramuros is the old walled city of Manila located along the southern bank of the Pasig River. The historic city was home to centuries-old churches, schools, convents, government
buildings and residences, the best collection of Spanish colonial architecture before much of it was destroyed by the bombs of World War II. Of all the buildings within the 67-acre city,
only one building, the San Agustin Church, survived the war.
Fort Santiago
 Fort Santiago (Fuerza de Santiago) is a defense fortress established by Spanish conquistador, Miguel López de Legazpi. The fort is the citadel of the walled city of Intramuros, in Manila.
The location of Fort Santiago was also once the site of the palace and kingdom of Rajah Suliman, king of Maynila of pre-Spanish era. It was destroyed by the conquistadorsupon arriving
in 1570, encountering several bloody battles with the Muslims and native Tagalogs. The Spaniards destroyed the native settlements and erected Fuerza de Santiago in 1571.
Paco Park
 Paco Park was planned as a municipal cemetery for the well-off and established aristocratic Spanish families who resided in the old Manila, or Intramuros. The cemetery is circular in
shape, with an inner circular fort that was the original cemetery with niches on the hollow walls. As the population continued to grow, a similar second outer wall was built with the thick
adobe hollow walls with niches, the top of the walls made into a walkway circumnavigating the park. A Roman Catholic chapel was built inside the inner walls, dedicated to St. Pancratius.
The landscape design was done by Ildefonso Santos from 1967 to 1969.
Lighthouses  During the Spanish and American era many lighthouses were constructed around the Philippine Islands. The most Northeastern Lighthouse can be found in Burgos, Ilocos Norte.
Churches
 ANTIPOLO CHURCH Antipolo, Rizal
 Began by Fr. Juan de Salazae in 1630
 Bishops declared the church as the National Shrine of the Our Lady of Peace and Good Voyage or Nuestra Señora de Paz y Buen Viaje
 Circular Plan covered by a huge dome with three main entrances
 Gothic influence in the facade
 BACLAYON CHURCH Bohol
 Built by Fr. Juan de Torres and Fr. Gabriel Sanchez in 1595
 Oldest church in Bohol
 Oldest church mad of stone in the Philippines
 Simple lines of Early Decorated Style
 BARASOAIN CHURCH Bulacan
 First built by Augustinian priests in 1859
 Combination of Romanesque and Renaissance
 Romanesque – recessed door jambs with orders and concentric arches
 Renaissance – fluted flat pilasters used for relieving walls
 Baroque – crowning pediment emphasized by the sweeping concave lines of the upper sidewalls
 BAMBOO CHURCH Las Piñas
 First constracted by Fr. Diego Cerra in 1972
 First stone church built in Las Piñas city and reconstructed by Architect FrancicoMañosa
 Church façade is Early Renaissance
 House of the famous Bamboo Organ

 LOBOC CHURCH Bohol
 Constructed by Fr. Juan de Torres
 Contains the biggest number of murals on religious subjects done on its ceiling andwalls
 Early Renaissance façade – circular windows filling the tympanum
 OUR LADY OF MANAOAG Pangasinan
 Firs built by the Dominicans
 In 1880, the belfry demolished the church due to some cracks caused by anearthquake
 Church was completed in 1932
 MANILA METROPOLITAN
CATHEDRAL – BASILICA
(Cathedral-Basilica of the Immaculate
Conception)
Manila
 First Church (1571) – When the church was raised to a cathedral in 1579, a new structure made from nipa, wood, and bamboo was constructed in 1581 by Domingo de Salazar, the first
bishop of Manila. The new structure was consecrated on December 21, 1581, formally becoming a cathedral. The structure was destroyed by fire in 1583
 Second Cathedral (1592) – The second cathedral, which was made of stone, was built in 1592. It was destroyed by an earthquake in 1600.
 Third Cathedral (1614) – The new structure, consisting of three naves and seven chapels, was blessed in 1614. It was toppled by another earthquake which shook Manila in 1645.
 Fourth Cathedral (1654) – The fourth cathedral was constructed from 1654 to 1671. In 1750, a media naranja ("half orange") dome was added to the crossing by the Florentine friar Juan
de Uguccioni, who also introduced a transept to the structure. It was severely damaged in 1863 by a very strong earthquake that also damaged the palace of the Governor General of the
Philippines. In 1880, another earthquake toppled its bell tower, rendering the cathedral towerless until1958.
 Seventh Cathedral (1870) – The seventh cathedral was constructed from 1870 to 1879.
 Present Cathedral (1954) – The present cathedral was constructed from 1954 to 1958 underCardinal Rufino Jiao Santos and under the supervision of the notable Filipino architect
Fernando H. Ocampo.
 MIAGAO CHURCH
(Santo Tomas de Villanueva Parish
Church)
Iloilo
 Declared as “National Landmark” in August 01, 1973
 It is included in the UNESCO’s World Heritage List
 Façade displays an example of Filipino Folk Art
 The church's over-all architectural style falls under the Baroque Romanesque architectural style. Its ochre color is due to the materials used in constructing the church, adobe,
egg, coral and limestone. The church's foundation is 6 meters deep and the massive stone walls at 1.5 meters thick are intensified through the use of 4 meter thick flying buttresses as
protection to the Moro invaders as stipulated under Royal Decree 111 of 1573 (Law of theIndies).
 Façade – the façade of Miagao church consists of an ornately decorated bas-relief in the middle of two huge watchtower belfries on each side. The bas-relief is a mixed influence of
Medieval Spanish, Chinese, Muslim and local traditions and elements, a unique characteristic of the church façade. A prominent part of the façade is a coconut tree depicted as the tree
of lifewhere St. Christopher holds on. St. Christopher is dressed in local and traditional clothing carrying the Child Jesus on his back. The rest of the façade features the daily life of the
people of Miagao during that time including native flora (like papaya, coconut and palm tree) and fauna. Above the wooden door entrance at the center of the façade just below the image
of St. Christopher is a carved image of the town's patron saint, St. Thomas of Villanueva. At each side of the door are the images of St. Henry of Bavaria on the left and Pope Pius VI.
Above the images of St. Henry and Pope Pius VI is their respectivecoat-of-arms.
 Belltower – The two huge unequal belltowers directly attached to the main church serve as watchtowers to defend the town against invasion of Moros. It has two different designs since
it was commissioned by two different priests. On the left side is the older belfry, the tallest was the west belfry with four levels. Originally, the east belfry was constructed with only two
levels. It was in 1830 when Father Francisco Perez decided to add another storey to the east belfry (3 levels) is one level shorter than the west be;fry (4 levels).
 PAOAY CHURCH
(San Agustin Church of Paoay)
Ilocos Norte
 Paoay church is the Philippines' primary example of a Spanish colonial earthquake baroque architecture dubbed by Alicia Coseteng,an interpretation of the
European Baroqueadapted to the seismic condition of the country through the use of enormous buttresses on the sides and back of the building. The adaptive reuse of baroque style
against earthquake is developed since many destructive earthquakesdestroyed earlier churches in the country. Javanesearchitecture reminiscent of Borobudur of Java can also be seen
on the church walls and facade.
 Buttresses – The most striking feature of Paoay Church is the 24 huge buttresses of about 1.67 metres (5.5 ft)thick at the sides and back of the church building. Extending
from the exterior walls, it was conceived to a solution to possible destruction of the building due to earthquakes. Its stair-like buttresses (known as step buttresses) at the sides of the
church is possibly for easy access of the roof.
 Walls – The walls are made of large coral stones on the lower part and bricks at the upper levels. The mortar used in the church includes sand and lime with sugarcane juice boiled
with mango leaves, leather and rice straw. Its walls suggest Javanesearchitecturalstyles.
 Façade – The stone facade appears as massive pediment rising from the ground and is built leaning towards the front. Square pilastersand stringed cornices divide the facade vertically
and horizontally respectively. Its bottom part is plain. Gothic features are also present through the use of finials while the triangular pediment shows Chinese elements and Oriental
strokes.Crenellations, niches, rosettes and the Augustinian coat of arms can also be seen. Facade is made of brick on the lower level and coral stones on the upper level.
 Belltower – Adjacent to the facade is a three-storey coral belltowerconstructed separately from the church building on the right side resembling a pagoda.[3][6] It was in 1793 when the
cornerstone of the belltower was laid.[4] It stands at some distance from the church as a protection against earthquake.[7]It served as observational post for Filipino revolutionariesagainst
the Spaniards in 1898 and by Filipino guerrillas against Japanese soldiers during World WarII.
 Declarations – By virtue of Presidential Decree No. 260, Paoay Church was declared as a National Cultural Treasure by the Philippine government in 1973.The church was designated

as aUNESCO World Heritage Site on December 11, 1993.
 QUIAPO CHURCH Quiapo
 Conferre the title “Basilica Minor de Nuestro Padre Jesus Nazareno” in 1988
 Baroque façade with twisted columns on both levels
 SAN AGUSTIN CHURCH Manila
 Designe after the High Renaissance
 Characterized by the super positioned columns of the Tuscan order on the first level and the Corinthian columns on the secondlevel
 Iglesi San Pablo de Manilaq
 SAN SEBASTIAN CHURCH Manila
 52 tons of steel were transported to Manila
 “The First All-Iron Church in the World”
 First pre-fabricated structure to be erected in the Philippines
 SANTO DOMINGO CHURCH Quezon City
 also known as National Shrine of Our Lady of the Holy Rosary of La Naval de Manila (Spanish: Santuario Nacional de Nuestra Señora del Santísimo Rosario de La Naval de
Manila; Filipino: Pambansang Dambana ng Mahál na Birhen ng Santísimo Rosario ng La Naval), is the largest church in Metro Manila and one of the biggest churches in Asia.
 Early Church (1587) – A small church was erected on August 6, 1587, made from light materials.In January 1, 1588, the chapel was inaugurated and it enshrined the Miraculous image
of Our Lady of the Rosary from Mexico
 Second Church (1592) – the church was partially destroyed by an earthquake. Because the roof has collapsed, the Dominican friars decided to build a larger church made from stronger
materials. Through the direction of Father Alonzo Jiménez, the second church was made from stone. The church was inaugurated on April 9, 1592.
 Third Church (Early 17TH Century) – a fire of April 30, 1603, which destroyed a third of a city, consumed both the church and the convent. Almost immediately built a third church was
built, bigger and more costly. It contained a stone vault as precaution against fire and earthquake. Though made of stone, it was destroyed by another earthquake on November 30, 1645.
Only the high altar remained.
 Fourth Church (1862) – A fourth church of stone and hardwood was built. There were wooden arches and three naves inside the church. This time, wooden posts supported the roof and
divided the church into a central nave with side aisles. The artistic interior designs were executed under the direction of Father Francisco Gainza. The church took two years to build. The
structural soundness of the church made it last for 250 years. Initiated by Father Castro, A new façade flanked by two towers and patterned after London’s St. Paul’s Cathedral designed
by Christopher Wren, was built for the church. The façade lasted almost a year. The church was inaugurated on June 15, 1862 with great festival. On June 3, 1863, the Philippines
experienced one of the strongest earthquakes in its history. The church was ruined by an earthquake of the same intensity as that which hit Manila in 1645.
 Fifth Church (1887) – A few months after the 1863 earthquake, Felix Roxas presented a plan for the church’s reconstruction, partly following the plan of the previous church and utilizing
some of its salvageable parts. On August 30, 1864, the cornerstone of the present church was laid. In it was placed a lead box, containing art objects, gold coins, medals of saints and
other things belonging to the “Orden de Predicadores” Construction occurred from 1864 to 1887 in the gotico fingido (neogothic) style, using Philippine building materials. The immense
columns resembling spreading tree branches, were of acle, molave and ipil. The vault was of zinc or galvanized iron. The colored glass windows were ordered from Europe. These gave a
beautiful light inside the church. The four retablos were made under the direction of Father Joaquín Sabater, a professor of drawing at the University of Santo Tomás. Alberoni directed
the painting of the main altar.
The church measured 70 by 31 by 22 metres (230 ft × 102 ft × 72 ft) at the central aisles, and 16.6 metres (54 ft) high at the lateral aisles. Its towers rose to 23.3 metres (76 ft).
Although Fr. Sixto and Fr. Ristoro would supervise construction of the church, the Dominicans contracted the services of the European-trained architect Félix Roxas Sr. Roxas,
adapting the seismic realities, designed a church with story of stone an upper story of wood. He worked closely with Isabelo Tampinco who decorated the interior with carving imitating
the fan vault reminiscent of the English gothic; the walls and ceiling of the sacristy were similarly treated. Even the furniture in the sacristy was treated in the gothic manner. The chapel
of the Nuestra Señora de Rosario had an altar with lancet arches and gothic-inspired ornamented pinnacles. Its floor was made of native molave and narra and the pulpit was of fine
carving, with the images representing the different saints of the Order. A dove was attached to the sounding board of the pulpit, above which, there was an angel. The choir-loft was
spacious and was protected by wrought from railing manufactured in the Philippines. Over the central doorway, on the roof was enclosed in a glass case original Virgin of the Rosary,
which had been there for many centuries. The cupola above had many colored glass windows. Inside, was a balcony surrounded by iron railing.
The church incurred damage over time and was repaired. In 1887, the vault and the rose windows of batikuling were restored. The main altar was almost totally renovated, and the
columns repaired. The roof of the bell towers was renovated to assume a crown-like form. In 1941, the Gothic church of Santo Domingo in Intramuros was destroyed at the advent of the
Second World War. On December 21, 1941 the church and the Dominican monastery beside it were hit by Japanese bombs. This was the first church to be ruined during the Pacific
War. The friars, archives, the image of Our Lady of the Holy Rosary of La Naval and other movable property like ivory statues, gala vestments of the Virgin; jewelry, and sacred vessels
were the only survivors of the war. The image was transferred to Santísimo Rosario Church at the University of Santo Tomás (UST) in España, Manila.
 Sixth Church – Current Building (1954) – After the Second World War, the Dominicans constructed the sixth church in a new location. They built it on a portion of land they had
purchased in Quezon City. The Dominicans commissioned José Ma. Zaragoza to design the building while he was still a student of architecture at UST.
The new Santo Domingo church was built in the Spanish Modern style, which was unlike the Baroque churches built during Spanish period. The church employed the latest technique

in reinforced-concrete building. The Mission-style architecture includes Romanesque and Gothic designs that accommodate more space. Measuring 85 by 40 metres (279 ft × 131 ft)
with a height of 25 metres (82 ft), there is a total floor area of 3,300 square metres (36,000 sq ft). It is the biggest church in Metro Manila and one of the biggest churches in Asia.The
Santo Domingo church complex was inaugurated on October 12, 1954.
The church façade has receding planes with leaves designed in corbel arches. Over the triple portals of the church is a high-relief frieze depicting the story of the La Naval. The giant
bas-relief of Santo Domingo was designed by the Italian sculptor and expatriate Francesco Monti.
In the nave of the church there are eight colorful murals by National Artist Carlos “Botong” Francisco depicting the life and times of Santo Domingo de Guzmán, the Spaniard who
founded the Order of Preachers. Francisco’s murals are just below the equally brilliant murals of the Four Evangelists in vivid brown tones by Vicente García Llamas.
Curved windows of the church frame masterful stained-glass designs by Galo Ocampo whose bases show different ecclesiastical seals. The windows depict the original 15 Stations of
the Holy Rosary as well as the Battle of Lepanto and La Naval de Manila; and the martyrdoms of San Vicente Liem de la Paz and San Francisco Capillas, Dominican protomartyrs of
Vietnam and China, respectively. Right behind Sto. Domingo Church’s facade are intricately carved panels and stained glass windows lie a treasure trove of the Philippines’ rich cultural
heritage and the object of centuries-old devotion, the image of Our Lady of the Rosary of La Naval, the oldest Marian icon in the country.
 SANTO NIÑO DE CEBU Cebu
 Basilica Minore is the tile conferred on this church
 Declared a National Landmark by President Marcos
 Built by Fray Juan de Albarran about 400 years ago, on the site where a soldier found an image of the Sto. Nino in a settlement that the Spanish soldiers have burned down
 the Convent was founded in 1565, making it the first to be built in thecountry
 constructed with stones from Panay and Capiz
 façade : blending of Moorish, Romanesque and NeoClassical elements; trefoils on the doorways; two levels divided into three segments and topped by pediment; retablo at the center
 belltower has four-sided balustraded dome
 interior : pierced screen with floral motifs, pineapple decors at the choirloft, corn cobs at thecapital
 BAGUIO CHURCH Baguio City
 Rising above the city skyline are the pinkish hues of the Baguio Cathedral. The cathedral is but one of religious landmarks which dot the city. There is the Bell Temple, north of the city the
Maryhurst Seminary with its brilliant gardens, and Lourdes Grotto with its 252 steps to heaven.
 TAMAUINI CHURCH Isabela
 begun 1783-1788 by Dominican Domingo Forto and town mayor Pablo Sason; 1803-1808 – circular belltower wascompleted
 pampango artisans carved the hardwood molds for the clay insets that decorate the church
 ultra-baroque : unique for its extensive use of baked clay both for wall finishes andornamentation
 ornamental details : serpentine reliefs, spiral curves, flowers, foliage, sunfaces, cherubs and saints
 circular belltower with white limestone finish, decorated with bright red clay rosettes and festoons
 ANGAT CHURCH Bulacan
 begun 1756-1773 by Augustinian Gregorio Giner; completed in 1802 by Fray JoaquinCalvo
 Baroque Style : coupled Corinthian and Doric columns divide façade into levels or segments, statues ringed with wreath-like ornaments flank niches, windows with bas-relief“curtains”
 plain three-storey belltower with balustered top
 TAAL CHURCH Batangas
 1858 : Fray Marcos Anton, with the help of the architect Don Luciano Oliver, started construction; the church was completed in1878
 built on top of a hill and may be reached through flagstone steps, unobstructed by otherbuildings
 façade : arched windows alternate with Ionic columns at first level, Corinthian at upper level; projected cornices and mouldings; threepediments
 interior is cavernous bur drab with stout piers and semi-circular apse : mathematical exactness rather thanornamentation
 DRAGA CHURCH Albay
 established by people who fled the eruption of Mt. Mayon form Cagsawa
 the Franciscan wanted a church with the best features of Romanesque and Gothic, but it was executed by the carvers inBaroque
 façade : a whole tablet without columns and cornices, only symmetrically positioned fenestrations, apertures and niches; whorls, twisted columns, foliage, medallions, statues and reliefs
 BACLARAN CHURCH
(National Shrine of Our Mother of
Perpetual Help Redemptorist Church)
Parañaque
 The present Modern Romanesque church is the third to be built on the same site. It was designed by architect César Concio.[1] It took six years to build because most of the money
came from small donations—the suggestion from the pulpit was 10 Philippine centavosper week—that often ran out requiring construction to stop.[1] The foundation stone was laid on
January 11, 1953 and on December 1, 1958 the new church was consecrated.[1] The church opened with a mass on December 5, 1958 and has been open 24 hours ever since, never
closing.
 The modern, Romanesque Revival building has a full seating capacity of 2,000, but as many as 11,000 people (including standing) can fit inside during Masses.

PRITZKER LAUREATES (1979 to 2000)
YEAR NAME NATION
1979 JOHNSON Philip USA
1980 BARRAGAN Luis Mexico
1981 STIRLING James UK
1982 ROCHE Kevin Ireland
1983 PEI Ieoh Ming China
1984 MEIER Richard USA
1985 HOLLIEN Hans Austria
1986 BÖHM Gottfried Germany
1987 TANGE Kenzo Japan
1988
NIEMEYER Oscar Brazil
BUNSHAFT Gordon USA
1989 GEHRY Frank Canada
1990 ROSSI Aldo Italy
1991 VENTURI Robert USA
1992 SIZA Alvaro Portugal
1993 MAKI Fumihiko Japan
1994 de PORTZAMPARC Christian Morocco
1995 ANDO Tadao Japan
1996 MONEO Rafael Spain
1997 FEHN Sverre Norway
1998 PIANO Renzo Italy
1999 FOSTER Norman UK
2000 KOOLHAAS Rem Netherlands
PRITZKER LAUREATES (2001 to 2018)
YEAR NAME NATION
2001
HERZOG Jacques Switzerland
DE MEURON Pierre Switzerland
2002 MURCUTT Glenn UK
2003 UTZON Jørn Denmark
2004 HADID Zaha Iraq
2005 MAYNE Thom USA
2006 Da ROCHA Paolo Mendes Brazil
2007 ROGERS Richard Italy
2008 NOUVEL Jean France
2009 ZUMTHOR Peter Switzerland
2010
SEJIMA Kazuyo Japan
NISHIZAWA Ryue Japan
2011 De MOURA Eduardo Souto Portugal
2012 SHU Wang China
2013 ITO Toyo Japan
2014 BAN Shigeru Japan
2015 OTTO Frei Germany
2016 ARAVENA Alejandro Chile
2017
ARANDA Rafael Spain
PIGEM Carme Spain
VILALTA Ramon Spain
2018 DOSHI Balkrishna India
2019 ISOZAKI Arata Japan
The Order Of NATIONAL ARTISTS
Orden ng Pambansang Alagad ng Sining
YEAR NAME
1973 NAKPIL Juan F.
1976 ANTONIO Pablo S.
1990 LOCSIN Leandro V.
2006 SANTOS Ildefonso Jr.
2014 ZARAGOZA Jose Maria V.
2018 MAÑOSA Francisco T. “Bobby”
LIKHA GOLD MEDAL AWARDEES
NO. YEAR NAME
1 1982 MENDOZA Felipe M.
2 1987 LOCSIN Leandro V.
3 1990 FORMOSO Gabriel P.
4 1995 CANCHELA Cesar V.
5 1996 MAÑOSA Manuel T.
6 2000 LAZARO JR. Angel
7 2003 MAÑOSA Francisco T.
8 2005 MANAHAN Geronimo V.
9 2006 FLORENTINO Edilberto F.
10 2009 NUKE Norberto M.
11 2013 HONG Froilan L.
12 2014 REYES Yolanda D.
13 2017 LUIS Prosperidad C.
MEDAL
The laureate receives $100,000 and also a bronze medallion. The bronze medallion
awarded to each Laureate of the Pritzker Architecture Prize is based on designs of
Louis Sullivan, famed Chicago architect generally acknowledged as the father of the
skyscraper. On one side is the name of the prize. On the reverse, three words are
inscribed, “firmness, commodity and delight,” recalling Roman architect Vitruvius'
fundamental principles of architecture of firmitas, utilitas, venustas.
PURPOSE
To honor a living architect or architects whose built work demonstrates a
combination of those qualities of talent, vision, and commitment, who has
produced consistent and significant contributions to humanity and the built
environment through the art of architecture.
The international prize, which is awarded each year to a living architect/s for
significant achievement, was established by the Pritzker family of Chicago
through their Hyatt Foundation in 1979. It is granted annually and is often
referred to as “architecture’s Nobel” and “the profession’s highest honor.”
LIKHA GOLD MEDAL AWARD
The highest distinction to be bestowed upon a fellow, who has
adhered to the highest standards of professional and ethical
conduct, practiced in excellence and prestige the architectural
profession, has rendered distinguished contribution and
service to the UAP, and has performed exceptional
achievements and active participation in the concern of the
community, government and country.

During the Spanish era there were no schools of Architecture in the Philippines.
The first Filipino recorded architect was Felix Roxas y Arroyo, born circa
1820 in Manila, studied in Spain and stayed for many years in England and
France. Previous to this, a Filipino could aspire to erect an architectural structure
through the help of a Maestro de Obras or master builder. The first formal school
for master builders was opened only during the last decade of the 19th century.
On 14 September 1902, many of the graduates of this school joined the civil
engineers and surveyors in the country and founded the first professional
organization of architects and allied professionals ~ the Academia de
Arquitectura y Aguimensura de Filipinos (AAAF). It maintained direct
consultation with the American Institute of Architects (AIA). A year after, its name
was changed to Academia de Inginieria, Arquitectura y Agrimensura de Filipinas
(AIAAF). In 1904 it founded the first school of Architecture in the Philippines, the
Escuela de Ingenieria y Arquitectura, which offered five-year courses in
Architecture and Civil Engineering.
In 1911, the AIAAF was dissolved when the civil engineers withdrew to form their
own professional organization, but not before it has struggled for the passage of
an Engineers and Architects Law. In 1921, the Philippine National Assembly Act
No. 2985 passed, the first enabling law for the practice of the professions of
engineering and architecture, defined the unique and separate identities of the
two professions.
The profession of Architecture in the Philippines was given its first separate
statute on 17 June 1950 with the enactment of Republic Act 545, "An Act to
Regulate the Practice of Architecture in the Philippines."
From the early 1930's to late 1950's, associations of architects were founded,
but only three survived until the early 1970's ~ the Association of Philippine
Government Architects (APGA), League of Philippine Architects (LPA), and the
Philippine Institute of Architects (PIA). In June 1973, President Ferdinand E.
Marcos issued Presidential Decree 223, creating the Professional Regulation
Commission (PRC) regulating all professions and accrediting only one
organization to represent each profession.
The newly integrated organization of architects was called the United Architects
of the Philippines (UAP). All 1300 members of the three organizations
automatically became members of the UAP and during its first year, 700
members officially registered for active membership.
On 26 March 1975, the UAP was registered with the Securities and
Exchange Commission (SEC) and on 12 May 1975, the PRC issued
Certificate No. 001 to the UAP as the duly accredited professional organization
of architects in the Philippines. The organization has been participating in the
activities of local government units, in civic and in related professional fields. The
UAP received many professional awards including the highly acclaimed
Excellence Award given by the Government of the Republic of the Philippines
and the Most Outstanding Professional Organization of the Year awarded by the
PRC in 2002.
The UAP has been instrumental in the passing of Republic Act 9266: The Architect's
Law of 2004, effective April 26, 2004. On 22 June 2004, the PRC, through its Board
of Architecture, accredited the UAP as the Integrated and Accredited Professional
Organization of Architects (IAPOA). The new law granted Filipino architects more
definitive rights, benefits and distinction as against other professionals in the
construction industry
The United Architects of the Philippines (UAP) was born on December 12, 1974
out of the noble vision of unifying the three (3) existing architectural associations at
that time - the Philippine Institute of Architects (PIA), the League of Philippine
Architects (LPA) and the Association of Philippine Government Architects (APGA).
Through the concerted efforts of the officers and members of the three
organizations, the vision officially materialized on March 26, 1975, where the UAP
was registered with the Philippines' Securities and Exchange Commission (SEC). On
May 12, 1975, the UAP was granted Certificate No. 001, the first professional
organization to be accredited by the Professional Regulation Commission (PRC).
The PRC is the central agency of the Philippine Government charged with the
licensing and regulation of professionals and the professions, as well as the
Accredited Professional Organizations (APOs).
Since its registration, UAP has received many awards, including the highly-
acclaimed PRC's Most Outstanding Accredited Professional Organization. To date, it
is still the first and only APO to win the award four times in the Award's eighteen-
year history. These were in years 2002, 2007 and 2008 and this year 2011. The
award is presented annually to recognize the achievements, services and
commitments of the APO to the profession. UAP bested forty two (42) other
professional organizations, through 12 stringent criteria set for the award.
For its volunteer works, UAP was chosen in addressing housing problems, urban
degradation, environmental conservation and promotion of volunteerism for socio-
economic development; the UAP was a Regional Nominee to the "Search for
Outstanding Volunteers" by the Philippine National Service Coordinating Agency
(PNVSCA) in its celebration of National Volunteer Month last December 2005.
PNVSCA takes the lead in advocating and recognizing the contributions of
volunteers to nation-building and international cooperation.
Last April 2009, in celebration of the Earth Day, the UAP, through its advocacy group
"Green Architecture Movement", was awarded the 2009 Father Neri Satur Award for
Environmental Heroism - the only accredited professional organization in the
Philippines to receive such a prestigious environmental award.
Last November 2010, UAP received its First International Award ~ in Adelaide,
Australia, the EAROPH 50th Golden Jubilee Award in recognition of the
organization's substantial contribution to the advancement of Planning, Development
and Management of Human Settlements in the Philippines.
As impressive as UAP record is, an even more important metric of our success is
the large number of awards and honors earned by our members through the years.
We feel privileged to have our members received these honors and recognition.
UAP PRESIDENTS (Past & Present)
NO. NAME YEAR
CH NUKE Norberto M. 1975
1 HERRERA Jose V. 1976
2 GAITE Ruperto C. 1977-1978
3 MENDOZA Felipe M. 1979-1980
4 ARELLANO Otillo A. 1981
5 LOCSIN Leandro V. 1981-1982
6 MAÑOSA Manuel T. 1983-1984
7 CANCHELA Cesar V. 1985-1986
8 HONG Froilan L. 1987-1988
9 LAZARO Angel R. Jr. 1989
10 ALCORDO Richeto C. 1990-1991
11 MARQUEZ Jaime C. 1992-1994
12 MANGIO Nestor S. 1994 -1996
13 CUNTAPAY Emmanuel P. 1996-1998
14 REYES Yolanda D. 1998-2000
15 LUIS Prosperidad C. 2000-2002
16 SAC Robert S. 2002-2004
17 OLONAN Enrique O. 2004-2005
18 FLORENTINO Edric Marco C. 2005-2007
19 ROLDAN Medeliano T. Jr. 2007-2009
20 LING Ana M. 2009-2010
21 MENDOZA Ramon S. 2011-2012
22 ROSAL Rozanno C. 2012-2014
23 REGALA Ma. Benita O. 2014-2016
24 HISANCHA Guillermo H. 2016-2018
25 PANGANIBAN Benjamin K. Jr. 2018-Present
HISTORY OF UAP

pdfcoffee.com_imhotep-tables-2019-pdf-free.pdf

pdfcoffee.com_imhotep-tables-2019-pdf-free.pdf

Recommended

Recommended

More Related Content

Similar to pdfcoffee.com_imhotep-tables-2019-pdf-free.pdf

Similar to pdfcoffee.com_imhotep-tables-2019-pdf-free.pdf (20)

More from josephiigo

More from josephiigo (20)

Recently uploaded

Recently uploaded (20)

pdfcoffee.com_imhotep-tables-2019-pdf-free.pdf