THEORY OF ARCHITECTURE 2

MASTERS OF ARCHITECTURE
ARCHITECT DICTUMS/ FAMOUS FEATURES /
(FOREIGN) PHILOSOPHY BUILDINGS CHARACTERISTICS STYLE

HERE WE WILL BUILD A THE STRUCTURAL DESIGN OF THE ROOF WAS

MONUMENT DEDICATED TO NOTRE DAME DU INSPIRED BY THE ENGINEERING OF AIRFOILS. THE
NATURE AND WE WILL MAKE HAUT, OR STRUCTURE IS MADE MOSTLY OF CONCRETE AND IS
IT OUR LIVES’ PURPOSE. RONCHAMP, COMPARATIVELY SMALL, ENCLOSED BY THICK EXPRESSIONIST
– LE CORBUSIER, 1950 RONCHAMP, WALLS, WITH THE UPTURNED ROOF SUPPORTED ON MODERN STYLE
FRANCE COLUMNS EMBEDDED WITHIN THE WALLS, LIKE A
SAIL BILLOWING IN THE WINDY CURRENTS ON THE
A RAMP PROVIDES GRADUAL HILL TOP.
ASCENT FROM THE PILOTIS,
CREATING TOTALLY DIFFERENT
SENSATIONS THAN THOSE FELT IT IS CONSIDERED AS ONE OF THE 20TH CENTURY’S INTERNATIONAL
WHEN CLIMBING STAIRS. A MOST IMPORTANT CONTRIBUTIONS TO THE FIELD STYLE
VILLA SAVOYE
LE CORBUSIER STAIRCASE SEPERATES ONE (POISSY,
AND A PIONEERING EMBODIMENT OF LE
(CHARLES EDOUARD CORBUSIER’S “FIVE POINTS” OF ARCHITECTURAL REFERENCE:
FLOOR FROM ANOTHER: A RAMP FRANCE;1931) DESIGN: THE PILOTIS, FREE FACADE, OPEN FLOOR
JEANNERET-GRIS, LINKS THEM TOGETHER. ARCHEYES.COM
PLAN, HORIZONTAL WINDOWS, AND ROOF GARDEN.
1887 - 1965) – LE CORBUSIER
THE CHURCH’S INTERIOR COLUMNS ARE NOT
STRAIGHT BUT HAVE A SLIGHT CURVE, GIVING THEM
GREATER STRENGTH AND STABILITY. GAUDÍ ALSO
USED NATURAL MATERIALS SUCH AS STONE, WOOD,
AND GLASS TO CREATE A HARMONIOUS
RELATIONSHIP BETWEEN THE CHURCH AND ITS GOTHIC AND
THE SAGRADA FAMILIA IS MADE NATURAL SURROUNDINGS. SAGRADA FAMÍLIA IS ART NOUVEAU
BY THE PEOPLE AND IS SHORTER THAN ITS WIDTH. IT HAS MANY COMPLEX STYLES
MIRRORED IN THEM. IT IS A WORK PARTS, INCLUDING DOUBLE AISLES, AN AMBULATORY
THAT IS IN THE HANDS OF GOD WITH A CHEVET OF SEVEN APSIDAL CHAPELS,
AND THE WILL OF THE PEOPLE. NUMEROUS STEEPLES, AND THREE PORTALS, EACH
– ANTONI GAUDI WITH A DIFFERENT STRUCTURE AND
ORNAMENTATION. ONE UNUSUAL FEATURE OF THE REFERENCE:
ANTONIO GAUDI ARCHEYES.COM
SAGRADA FAMÍLIA’S PLAN IS THE COVERED PASSAGE
(BARCELONA-BASED SAGRADA FAMILIA OR CLOISTER THAT FORMS A RECTANGLE AROUND
SPANISH ARCHITECT, (BARCELONA, SPAIN; 1882 - THE CHURCH AND PASSES THROUGH THE NARTHEX
1852 - 1916) 2026) OF EACH PORTAL.

WE REFUSE TO RECOGNIZE THE BUILDING REPRESENTS A NEW ERA IN

PROBLEMS OF FORM, BUT ONLY SKYSCRAPER DESIGN CHARACTERIZED BY A
PROBLEMS OF BUILDING. FORM THE MINIMALIST AND CORPORATE AESTHETIC.
IS NOT THE AIM OF OUR WORK, SEAGRAM THE BUILDING’S SLEEK GLASS AND METAL FAÇADE, IN
BUT ONLY THE RESULT. FORM, BY BUILDING CONTRAST TO THE ORNAMENTAL HEAVY STONE AND INTERNATIONAL
ITSELF, DOES NOT EXIST. FORM (NEW YORK BRICK FACADES OF PREVIOUS DECADES, MARKED A STYLE
AS AN AIM IS FORMALISM; AND CITY) TURNING POINT IN ARCHITECTURAL DESIGN,
FOCUSING ON FUNCTIONALITY AND FORM.
THAT WE REJECT.
– LUDWIG MIES VAN DER ROHE CRAFTED PRIMARILY FROM STEEL AND GLASS, THE
THE HOUSE, ELEVATED TO PREVENT FLOODING, BLURS INTERNATIONAL
WE SHOULD ATTEMPT TO BRING THE BOUNDARY BETWEEN INSIDE AND OUTSIDE,
NATURE, HOUSES, AND THE FARNSWROTH STYLE
HOUSE MIRRORING MIES VAN DER ROHE’S “LESS IS MORE”
LUDWIG MIES HUMAN BEING TO A HIGHER DESIGN PHILOSOPHY. THE OPEN FLOOR PLAN
VAN DER ROHE UNITY. (14520 RIVER PROVIDES A TRANQUIL SPACE FOR DR.
(GERMAN-BORN – MIES VAN DER ROHE RD, PLANO, FARNSWORTH TO INDULGE IN HER HOBBIES, SUCH REFERENCE:
ILLINOIS, USA) ARCHEYES.COM
ARCHITECT, AS PLAYING THE VIOLIN, TRANSLATING POETRY, AND
1886 - 1969) LESS IS MORE. COMMUNING WITH NATURE.
– MIES VAN DER ROHE
THEORY OF ARCHITECTURE 2
MASTERS OF ARCHITECTURE
ARCHITECT DICTUMS/ FAMOUS FEATURES /
(FOREIGN) PHILOSOPHY BUILDINGS CHARACTERISTICS STYLE

THE ARCHITECT MUST BE

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

THE DESIGN OF THE HEYDAR

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

A HEADY MIXTURE OF SEEMINGLY INCONGRUOUS

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

THE CENTRAL TEMPLE HE BUILT FOR THE IGLESIA MODERNIST

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