Masters of Architecture
Content
MASTERS OF ARCHITECTURE NOTABLE ARCHITECTS’ DICTUM AND WORKS
MAJOR EVENTS AND DEVELOPMENTS IN ARCHITECTURE: CLASSICAL ARCHITECTURE
Covers a period spanning from the rise of ancient Greece to the decline of the Roman Empire Classical Periods may be categorized into (1) Greek (700BC – 323BC) wherein the Doric column was first developed and used for great temples; (2) Hellenistic (323BC – 146BC; ended with the conquest by the Roman Empire) wherein Greece reached the height and the empire of its power built elaborate in Europetemples and Asia, and secular buildings with Ionic and Corinthian columns; colum ns; and (3) (3) Roman (44 (44 BC - 476 AD) wherein the Romans borrowed heavily from the earlier Greek and Hellenistic styles, but their buildings were more highly ornamented, and with the invention of concrete, the Romans were able to build arches, vaults, and domes.
MARCUS VITRUVIUS POLLIO Venustas” (Solid, Useful, Beautiful) “Firmitas, Utilitas, Venustas”
Little is known about his life and most inferences are extracted from his only onl y surviving work De Architectura Architectura libre decem (The Ten Books Books on Architecture Architecture), ), a treatise treatise on architecture architecture written in Latin and ancient Greek Vitruvius is famous for asserting in his book De architectura that a structure must exhibit the three qualities of firmitas, utilitas, venustas (sometimes termed as the Vitruvian virtues or the Vitruvian Triad) According to Vitruvius, architecture is an imitation of nature. As birds and bees built buil t their nests, sothe humans constructed housing from materials, gave them shelter against elements. While perfecting this natural art of building, thethat Greeks invented the architectural orders which gave them a sense of proportion, culminating in understanding the proportions of the greatest work of art: the human body The Vitruvian Man defined by Vitruvius was drawn later by Leonardo da Vinci Vitruvius is sometimes loosely referred to as the first architect, but it is more accurate to describe him as the first Roman architect to have written surviving records of his field
MAJOR EVENTS AND DEVELOPMENTS IN ARCHITECTURE: MODERNISM
1890 – 1940 Movement shaped by the industrialization western societiesand urbanization of The aesthetic of modernist architecture focused on the functionality of the design and featured little or no decorative adornment Expressing distaste for ornamentation, functionalists focused on developing plain and simple designs, reinforcing the idea that the shape of a structure should be formed by its functional requirements rather than aesthetics
MAJOR EVENTS AND DEVELOPMENTS IN ARCHITECTURE: INTERNATIONAL STYLE
1920s – 1940s
Term coined byPhilip Henry-Russell Hitchcock and Johnson while writing about the International Exhibition of Modern Architecture held in New York City in 1932
The exhibits characterized the expression of volume rather than mass, balance rather than preconceived symmetry, and the expulsion of applied ornament
LOUIS HENRY SULLIVAN
“Form (ever) follows function”
Born in Boston, Massachusetts on September 3, 1856
Studied 1 year and École Écofor le des Bea(each) Beaux-A ux-Arts rts at in the ParisMassachusetts Institute of Technology (MIT)
Considered as the “father of skyscrapers” and the “father of modernism
Instead of imitating historic styles, he created original form and details
ornamentation on organic symbolism Sullivan's designsbased generally involved a simple geometric form decorated with This Sullivanesque style was imitated by other architects, and his later later work formed the foundation for the ideas of his student, Frank Lloyd Wright. Louis Sullivan believed that the exterior of an office building should should reflect its interior structure its interior Ornament, where it was used, must be derived from and Nature, insteadfunctions. of from classical architecture of the past
LOUIS HENRY SULLIVAN Auditorium Building, Chicago
Designed together with Dankmar Dan kmar Ad Adler ler A large civic opera house wrapped with a hotel and office block The interior embellishment is wholly Sullivan's, and some of the details, because their continuous curvilinearoffoliate motifs, are among the nearest equivalents to European Art Nouveau architecture
LOUIS HENRY SULLIVAN Wainwright Building, St. Louis, Missouri
Designed together Designed together with Dankmar Dankmar Adler An early skyscraper constructed out of steel frames clad in masonry
The contained retail storesitthat required widebase glazed glazed openings. Above the semipublic nature of offices up a single flight fli ght of stairs are expressed as broad windows in i n the curtain wall A cornice cornice separ separates ates the second second floor from the grid of each identical windows thin ea screen wall, where window is "a of cellthe honeycomb, nothing more" The building's windows and horizontals were inset slightly behind columns and piers, as part of a “vertical aesthetic” to create what
Sullivan called “a proud and soaring thing.”
WALTER GROPIUS “Staatliches Bauhaus” “ Architecture begins where engineering engineering ends”
Born in Berlin on May 18, 1883
Studied architecture in 1903 at the polytechnic in to Munich then transferred to the polytechnic in Berlin-Charlottenburg Berlin-Charlottenburg in 1905, only only later leave college in 1907 190 7 without a degree Through a letter of recommendation from Karl-Ernst Osthaus, he was able to join Peter Behren’s atelier where he was employed as an assistant and building supervisor
All through his professional life, Gropius was dependent upon collaborators who could execute his ideas since he was not capable of drawing himself Established Bauhaus (house for building), an art and design school, in April 1919 and directed it for nearly a decade. Bauhaus is focused on producing design design based on firs principles rather than historic precedent Founded The Architects Collaborative (TAC) in December 1945, an office that later grew to become one of the largest architectural offices in the world
WALTER GROPIUS Fagus Factory Factory,, Lower Lower Saxony, Saxony, German Germanyy
Originally commissioned to Eduard Werner before Gropius convinced the owner that the building project planned as a comprehensive should be artistic project
Gropius called for “palaces of labour” where workers are
provided with light, fresh air and hygienic conditions with the idea that the satisfaction of the individual worker results to the overall motivation of the workforce and increased efficiency in the factory
WALTER GROPIUS Bauhaus Building, Gropiusallee, Dessau
With the end of the Bauhaus in Weimar looming, the council of masters began negotiating with cities which had expressed an interest in taking over the school, with the best offer coming from the industrial town of Dessau
The school became known as Bauhaus Dessau, School of Design Gropius outlined the strict rejection of symmetry and hierarchy as well as the equitable treatment of each façade, hence, there is no chance of finding a representative façade or entrance to the Bauhaus building
LUDWIG MIES VAN DER ROHE “God is in the details” “Less is more”
Born on March 27, 1886 in Aachen, Germany
More commonly known by his surname “ Mies”
Became the 3rd director of Bauhaus Dessau on 1930 After the rise of the Nazi party, he left Germany for the USA (1937) where his socialist international style became the accepted accepte d building model for many large American corporations His dictum “Less is More” defined minimalism – architecture that has eliminated everything by the absolute essentials – extreme simplicity and formal cleanliness
His dictum is famously countered by Robert Venturi with his own aphorism “Less is a Bore”
LUDWID MIES VAN DER ROHE Seagram Building, Park Avenue, New York
Flaunting its glass and metal, and foregoing the heavy stone and brick used in ornamental facades of previous decades, the Seagram Building helped usher in a new era of simple, straightforward skyscrapers – buildings that embraced and celebrated their structures and minimalist geometries, rather than camouflaging them with superfluous ornament and detail
While the building itself space stands in asfront an icon of modernism, the empty of the building was also innovative. An open, urban plaza set the building buildin g back from Park Avenue and created a gracious pedestrian space. Often emulated, such plazas have become becom e a cliché, but, but, at the time, Mies Mies was making a bold statement
LUDWID MIES VAN DER ROHE Farnsworth House, Plano, Illinois
One of the most significant of Mies van der Rohe’s work Histor His torian ian Mar Maritz itz Van Vanden denbur burg g has
written in hisHouse monograph the Farnsworth physical : “Every on element has been distilled to its irreducible essence. The interior is unprecedente unprec edentedly dly transp transparent arent to the surrounding site, and also unprecedente unprec uncluttered unclu tteredof in itself. Alledentedly of the dly paraphernalia traditional living – rooms, rooms, walls, doors, interior trim, loose furniture, pictures on walls, even personal possessions – have been virtually abolished in a puritanical vision of simplified, transcendental existence."
LE CORBUSIER “Five Points for New Architecture” “ A house is a machine machine for living in”
Born as Charles-Edouar Charles-Edouard d JeanneretJeanneret-Gris Gris on October October 6, 1887
Adopted the pseudonym “Le Corbusier” (an alteration of his grandfather’s
last name) to separate his works as a critical writer from that as a painter and architect; to reflect his belief that anyone can reinvent himself; and since adopting a single name to represent oneself was en vogue that time in Paris
Dedicated his life to finding housing solutions for crowded cities 5 Points of New New Architecture: (1) pilotis to lift the bulk of the structure off the ground; (2) open space plan achieved through th rough the separation of loadbearing columns from the walls; (3) free façade provided by the open-plan structure; (4) ribbon windows that allow unencumbered views of the surroundings; and (5) roof garden to restore the lost ground area covered cov ered by the house
LE CORBUSIER Villa Savoye, Poissy, France
Modern take on a French country house that celebrates and reacts to the new machine age
Considered Le realization Corbusier’sof the masterpieceas and
5 Points of Architecture Curved glass façade on the lower level (service level) is formed to match the turning radius of automobiles Ribbon windows play with the perception of interior and exterior spaces
Rampslevels allowtomovement from lower roof garden, all with open plans
LE CORBUSIER Chapelle Chapel le Notre Dame Dame du Haut, Haut, Ronchamp, Ronchamp, France France
The chapel owes its shape to its relationship to the landscape Each of the facades responds to different attitudes: welcome, celebration, service, symbolism The roof sculptural character dramatizes the power and malleability of the concrete to compose organic volumes All these elements come together to create a mystical and dramatic interior space in which light is the protagonist Le Corbusier's genius lies in providing the visitor of a different perception of the building from any angle he/she sees it, while maintaining harmony, dynamism and coherence. This feature forces the visitor to walk around chapel in order to fully understand adding a fourth dimension to theit,architectural composition: movement
LE CORBUSIER Unité d’habitation (Cité Radie Radieuse) use),, Marseille, Marseille, France
Brings together Le Corbusier's vision for communal living with the needs and realities of post-war France Up to 1600 people live in a single-slab 'vertical village', complete with an internal shopping street halfway up, a recreation ground and children's' nursery on the roof, and a generous surrounding area of park land Use of raw raw conc concrete rete - béto béton n bru brutt with its texture defined by the wooden planks shaping it when it was poured, an unwitting prototype for the New Brutalism In an ingenious use of space, twostory apartments interlock, so that an entrance corridor and elevator stop are required only at every third level
MAJOR EVENTS AND DEVELOPMENTS IN ARCHITECTURE: ARTS AND CRAFTS MOVEMENT
1860 – 1910
Style that evolved as reaction to the industrialization ofathe Victorian era
Believed that the Industrial Revolution distanced the humans
from their own creativity Place importance upon simple medieval styles and manual skills
MAJOR EVENTS AND DEVELOPMENTS IN ARCHITECTURE: ORGANIC ARCHITECTURE
The term was first used by Wright Style of architecture that seeks to harmoniously unify a building with the characteristics of the surrounding site and environment Decoration should result from the construction rather than be applied to the surface Building should be open to allow free movement within & around it Many geometries should be used rather just the right angle
Building shouldsituation be appropriate to the individual
Function should be clearly obvious
FRANK LLOYD WRIGHT “Organic Architecture Architecture” ” “Form and function are one”
Born in Richland Center, Wisconsin on June 8, 1867
He entered the University of Wisconsin School of Engineering n 1886 but left after a year for Chicago to pursue a life in architecture archite cture
After taking jobs at other architectural firms, he was encouraged to try tr y for a job with Louis Sullivan, where he eventually worked for nearly 7
years before putting up his own practice The combined effects of the time he was in (i.e. Industrial Revolution) and the childhood experiences that he had h ad (i.e. influence of literature, poetry, philosophy, music, and education gained from working in a farm) made him the architect the type of architect that he was
FRANK LLOYD WRIGHT “Organic Architecture Architecture” ” “Form and function are one”
Careful knowledge and diligent respect for natural properties of
materials and harmonious relationshipto between form, design function of thethe building, while attempting integrate spaces intoand a the coherent whole ORGANIC ARCHITECTURE: one in which all parts were related to the whole, as the whole was related to the parts pa rts (i.e. continuity and integrity) ORGANIC ARCHITECTURE: a building is a product of its place and time rather than an imposed style
FRANK LLOYD WRIGHT William H. Winslow House, River Forest, Illinois
Number of features in the house that are considered as a marked departure from standards at that time (e.g. amount of planting at base, roof slopes, chimney mass, and windows heights) Materials are treated in a manner consistent with the nature and color color of each each Spaces are clearly defined but flow from one to another “Prairie house”: more horizontal
than vertical
FRANK LLOYD WRIGHT Larkin Company Administration Building, Buffalo, New York
Various auxiliary systems were quartered in plan and placed outside the main building at the 4 outer corners so that the entire area may be free for working purposes Many innovative details marked it as first of its kind Open plan brought a sense of “family” to the corporation
FRANK LLOYD WRIGHT Taliesin, Spring Green, Wisconsin
Frank Lloyd Wright’s house,
studio, and farm
“Taliesin” is Welsh for “shining brow”
Name chosen because of his Welsh ancestry and the placement of the house on the brow of the hill Twice destroyed by fire Taliesin III, is a much larger, more expansive structure, which still preserves the harmonious relationship to the hillside, garden courts and hill
crown
FRANK LLOYD WRIGHT Edgar J. Kaufmann House (Fallingwater), Pennsylvania
Widely considered as Frank Lloyd Wright’s masterpiece
Mountain retreat of retail mogul All vertical elements are constructed out of native stone with slightly projected stones to give a more sculptural masses quality to the stone Incessant sound of water permeates the home Low ceiling directs attention outwards
FRANK LLOYD WRIGHT Guggenheim Museum, New York
Last major project designed and built by Frank Lloyd Wright
Huge atrium rising 92’ in height to
an expansive dome surrounded by a spiral ramp 6 storeys in height Visitors would first take the
elevator the top floor then walk down thetoramp while viewing the artworks along the wall Critics argue that the building competes with the artworks being displayed
MAJOR EVENTS AND DEVELOPMENTS IN ARCHITECTURE: ART NOUVEAU
1893 – 1914
Style thatof reacted to (i.e. the Victorian practice pastiche an artistic work in a style that imitates that of another work, artist, or period) and was deliberately modern Architectural style character characterized ized by the usewindows, of sinuous, natural to shape doors, andforms mouldings These natural or organic forms of architecture often incorporated floral and other plant-inspired motifs
ANTONI GAUDI
“Straight lines belong to man, curved lines belong to God”
Born in Reus, the Catalonia region of Spain on June 25, 1852
He studied in Barcelona, the city that would later become home to most of his great works
Gaudi initially worked in the artistic vein of his Victorian predecessors, but soon developed his own style, composing his works with juxtapositions juxt apositions of
geometric masses andtiles animating the patterned brick or stone, bright ceramic and floral orsurfaces reptilianwith metalwork Sagrad Sag rada a Fam Famili ilia a, Gaudi’s masterpiece, remains unfinished to date
ANTONI GAUDI Casa Josep Battló, Barcelo Barcelona, na, Spain
The stone façade is decorated with colored colored glass fragments fragments,, ceramic circles, and maskshaped balconies The undulating, scaled roof suggests a dragon's back Casas Batlló and Mila, Mila, designed by Gaudí within the designed space of a few years, are on the same street and share some typical typical Gaudí feature featuress such as wavy exterior walls and "scooped out" windows
ANTONI GAUDI Casa Cas a Milà Milà Barc Barcelo elona, na, Spain Spain
Widely but unofficially known as La Pedrera Pedrera (The Quarry Quarry)) An apartment building with a fanciful aura Wavy walls made of roughchipped stone suggest fossilized ocean waves while doors and windows look like they are dug out of sand A comical array of chimney stacks dances across the roof Similar with Casas Batlló, it has some typical typical Gaudí Gaudí featur features es such as wavy walls and "scooped out"exterior windows
ANTONI GAUDI La Sagrada Sagrad aSpain Famililia, Fam ia, Barcelona,
Showcases Gaudí's innova Showcases innovative tive "leaning columns" column s" previousl previouslyy seen in Parque Parque Güell. The correct angle each of the leaning columns is determined byfor use of string and a small hanging model of the church The church will have a total of 18 towers, each dedicated to a different religious figure, and each one hollow, allowing placement of various types of bells which will sound with the choir The rippling contours of the stone façade make it look as though though the chuch is melting in the sun, sun, while the towers are topped with brightlycolored colore d mosai mosaics cs which look like bowls bowls of fruit
Gaudí he would believed believ noted livethat to see color completion is life. life. Knowin Knowing of his g that that
masterpiece, he left colored drawings of his vision for future architects to follow.
MAJOR EVENTS AND DEVELOPMENTS IN ARCHITECTURE: POSTMODERNISM
1960 – present
Questions the notion that there reliable reality and attempts to is a deconstruct authority and the established order by engaging in the ideas of fragmentation, incoherence, and the plain ridiculous A reaction to modernism, postmodernism returned to earlier ideas of adornment and decoration, celebrating expression and personal intuition in favour of
formula and structure
MAJOR EVENTS AND DEVELOPMENTS IN ARCHITECTURE: DECONSTRUCTIVISM
1980 – present
Branch of postmodern architecture and theory that developed during the late 1980s
Characterized by ideas of fragmentation and non-linear design processes
Rejects such maxims as “form follows function”, preferring to
distort and give an appearance of controlled chaos
FRANK GEHRY (Frank Owen Goldberg) of its time and place, place, “ Architecture should speak of but yearn for timelessness”
Born in Toronto, Canada on February 28, 1929
Studied at the University of Southern California & Harvard University
After making a name in furniture design with his “Easy Edges”
(furniture line crafted from layers of corrugated cardboard), he caught the attention of the architectural architectur al world when he remodelled his own house in Santa Monica, California (1978) Renowned for the design of Guggenheim Museum in Bilbao, Spain (completed in 1997) Constructs models from torn and crumpled cardboard, which are assembled and reassembled many times and then translated into architectural drawings through the use of specially developed computer software
FRANK GEHRY (Frank Owen Goldberg) Gehry Resid Residence ence,, Santa Monica, Califor California nia
“It was just a dumb little house with charm, and I became interested in trying to make it more important. I became fascinated with creating a shell around it. ”
He boxed in the simple 2-storey pink bungalow with corrugated sheets of metal, lengths of chain-link fencing, and unfinished plywood, all cut into odd angular shapes
FRANK GEHRY (Frank Owen Goldberg) Guggenheim Museum, Bilbao, Spain
The curves on the exterior of the building were intended to appear random and are designed to catch the light The interior is designed around a large, light-filled atrium with views of Bilbao's estuary and the surrounding Basque country hills of the (nick (n icknam named ed by Gehry as “The Flower” because of its shape) serves as the organizing center of the museum
FRANK GEHRY (Frank Owen Goldberg) Walt Disney Concert Hall, Los Angeles, California
Project was initiated through the donation of Lillian Disney
Acoustics by of the concert hall is designed Yasuhisa Toyota Main auditorium is designed to look and feel like a ship’s hull
The stainless steel building caused some controversy after its grand opening due to heat reflection caused by its parabolic panels
FRANK GEHRY (Frank Owen Goldberg) Dancing House, Prague, Czech Republic
Designed together with Croatian-Czech architect Vlado Milunić Originally named as Fred and Ginger (after famous dancers Fred Astaire and Ginger Rogers) The “dancing” shape is supported by 99 concrete panels, each a different shape and dimension with a large twisted structure of metal on top (nicknamed Medusa)
DANIEL LIBESKIND
“To provide meaningful architecture is not to parody history but to articulate it”
Born in Poland on May 12, 1946, 19 46, immigrated to America and became an American citizen on 1964 He received his professional architectural degree in 1970 from the Cooper Union for the Advancement of Science and Art in New York City and a postgraduate degree in History and Theory of Architecture at the School of Comparative Studies at Essex University (England) in 1971 He was known for introducing complex ideas and emotions into his designs
DANIEL LIBESKIND Jewish Museum, Berlin
opened to the public in 2001 Exhibits the social, political and cultural history of the Jews in Germany from the 4th century to the present. The museum explicitly presents and integrates, for the first time in post-war Germany, the repercussions of the Holocaust The modern architectural elements comprise compr ise the zinc façade façade,, the Garden of Exile, the three Axes of the German-Jewish experience, and the Voids. Together these pieces form a visual and spatial language rich with history and symbolism. They not only house the museum withvisitors its exhibits, but they also provide with their own
unique experience as they walk through the spaces.
DANIEL LIBESKIND Ground Zero2003, Masterplan, New In February Studio Daniel Libeskind won York the
competition for a master plan of the site for the previous World Trade Center The WTC Masterplan Masterplan serves as both both the
conceptual and the technical foundation for the entirebasis complex re-development of ground zero. The Masterplan defines the spirit of the approach to re-building and creates a meaningful conceptual framework for the site. It also defines the spatial organization of all elements of the development within the site with an emphasis on the human experience and the public realm. Architects of the individual buildings: Michael Arad and Peter Walker (Memorial); Snøhetta (Museum’s entry pavilion), Skidmore, Owings &
Merrill (Tower 1), Foster and Partners (Tower 2), Richard Rogers Partnership (Tower 3) Maki and
Associates (Tower 4), and Santiago Calatrava (Transportation Hub)
DANIEL LIBESKIND Military History Museum, Dresden, Germany
Libeskind’s winning design boldly
interrupts the original building's
symmetry. story wedge The ofextension, concrete and a massive, steel, cuts fivethrough the 135-year-old former arsenal’s structural order. A 82 -foot high viewing platform provides breathtaking views of modern Dresden while pointing towards the area where the fire bombing Dresden began, creating a dramatic of space for reflection.
The new façade’s openness and
transparency contrasts with the opacity and rigidity of the existing building. The latter represents the severity of the authoritarian past while the former
reflects the openness of the democratic society in which it has been reimagined.
MAJOR EVENTS AND DEVELOPMENTS IN ARCHITECTURE: ASIAN ARCHITECTS
TADAO ANDO “I do not believe architecture should speak too much. It should remain silent and let nature in the guise of sunlight and wind ”
Born in Osaka, Japan on September 13, 1941 Self-educated architect who spent time in Kyoto and Nara, studying firsthand the great monuments of traditional Japanese architecture. Between 1962 and 1969 he travelled to the United States, Europe, and Africa, learning about Western architecture, history, and techniques. His studies of both traditional Japanese modernblend architecture profound influence on his work and resulted and in a unique of thesehad rich atraditions. He has a reputation for sensitive and interpretive architecture with special attention to light and ambiance. He relies on simple geometric forms to develop subtle and clear building with clean and atmospheric interiors. His interiors, with their clean and sparse
walls, are intended as a retreat from the chaos and mayhem of modern life
TADAO ANDO Azuma Row House, Sumiyoshi, Osaka
Replaced the middle unit of three row houses in a downtown district of Osaka with a unit made of exposed concrete Axially symmetrical composition with only two rectangular forms in elevation (i.e. the overall outline of the building and the doorway) Entire site has been divided longitudinally into three parts and the courtyard too has been divided into three equal parts The courtyard, a secluded space cut off from the commotion of the city and open only to the sky, is made of concrete, glass and slate, and reflects incident light and causes complex shadows.
The absence of ornament invites extraordinary empathy
TADAO ANDO Church ofderives theitsLight, Ibaraki, Osaka The church orientation from the direction
of the sun It consists of a rectangular volume sliced through at a fifteen-degree angle by a freestanding concrete wall that separates entrancebetween from thethe chapel. Thisand division createsthe a threshold ex terior exterior the sacred interior spaces. The floor and pews are made of rough scaffolding planks, which emphasize the humble character of the space. Intense light penetrates the profound darkness of this box through a cross that is cut out of the altar wall. As the only element of nature in this building, the light is rendered in exceedingly abstract form. The austere architecture appears to become purer in response to such an abstraction. Ando intended the linear pattern formed on the floor by the cross on the wall
to express the purity that exists in the relationship between individuals and nature.
TADAO ANDO Modern Art Museum, Fort Worth
Opened to the public on December 14, 2002 The building features five long, pavilions set into a reflecting pond Constructed as a row of five rectangular blocks They are quite low and the dominant horizontality connects with the character of the landscape The cantilevered cast concrete roof is supported by large Y-shaped columns which appear as human arms reaching upwards
LEANDRO “LINDY” LOCSIN “The true Philippine Architecture is the product of two great streams of culture, culture, the oriental oriental and the occidental…to occidental…to produce a new object of profound harmony”
Born on August 15, 1928 with themes of floating volume, the duality of light and heavy, buoyant and massive running in his major works From 1955 to 1994, Locsin has produced 75 residences and 88 buildings, including 11 andand chaan chapels, pels, 23 public buildings, 48 commercial buildings, six churches major hotels, airport terminal building The CCP Complex itself is is a virtual Locsin Compl Complex ex with all five buildings buildings designed by him -- the Cultural Center Center of the Philippines, Philippines, Folk Arts Arts Theater, Philippine International Convention Center, Philcite and The Westin Hotel
LEANDRO “LINDY” LOCSIN
The CCP Complex itself is a virtual Locsin Complex with all five buildings designed by him -- the Cultural Center Center of the Philippines, Folk Arts Theater, Philippine International Convention Center, Philcite and The Westin Hotel
LEANDRO “LINDY” LOCSIN
The CCP Complex itself is a virtual Locsin Locsin Comple Complexx with all five
buildings designed by him -- the Cultural Center of the Philippines,
Folk Arts Theater, Philippine International Convention Center, Philcite and The Westin Hotel
FRANCISCO “BOBBY” MAÑOSA “I design Filipino”
graduated with an Architecture degree from the University of Sto. Tomas in 1953, 1 953, and passed the board exams the following year his guiding light was the definition of an authentic Filipino design. To accomplish this, he has zeroed zeroe d in on the basics: cultu cultural ral design forms forms and materials materials that that identify country country baha hay y ku kubo bo is the most ideal architectural form in the Philippines. for him, the native ba The ba baha hay y ku kubo bo or nipa is elevated, has wide eaves, a tukod window and a pitched roof, and is made out of dried grass and bamboo. All A ll these contribute to making it watertight and well ventilated Arch. Mañosa’s most famous tribute to Philippine architecture is the Coconut Palace or Tahan Tahanang ang Filipi Filipino no (Filipino Home) located at the Cultural Center of the Philippines (CCP) (CCP) kubo building At this complex. and Conceived emphasizedinthe 1978, scope the Coconut of coconut Palace by-products’ reinterpreted thepossibilities. traditional bahay
three-level mansion, for instance, 122 coconut trunks were inverted to provide structural columns. Coco-wood shingles cover double roofs reminiscent of the’ salakot salakot or gourd hat, and add to the cooling effect of the coco-wood latticed awnings. At the entrance, carved doors inlaid with a mosaic of coconut shells showcase the range of Filipino artistry. Meanwhile, brown and beige tiles adorning the bathrooms are ingenuously made made out of compressed coconut shells.
demonstrated time and again that traditional forms and materials could be successfully adapted to suit modern building needs and changing lifestyles
FRANCISCO “BOBBY” MAÑOSA Coconutt Palace (Tahan Coconu (Tahanang ang Pilipino Pilipino), ), CCP Complex Complex
FRANCISCO “BOBBY” MAÑOSA Pearl Farm Resort, Davao
SOME OTHER NOTABLE ARCHITECTS ARCHITECTS AND THEIR DICTUMS
RICHARD MEIER
PIER LUIGI NERVI
“Placen Placeness ess is what it is that makes a space a place”
“Intuition should be used as much as mathematics in design, especially with thin-shelled structures ”
FUMIHIHO MAKI
“Architecture is a highly ambiguous field”
ADOLF MARIA LOOS
CHRISTIAN DE PORTZAMPARC
“Ornament is a crime”
“I came to realize that architecture might not be able to create utopia but as an architect I could help change things for the better”
