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LESSON 1
GENERAL INFLUENCES
Objectives:
By the end of the lesson the students will be able to:
1. Understand what the General Influences on Architecture are.
2. Know the relationship of the influences of Nature, Man, and Time to Architecture
and its development.
3. Know and understand how architecture affects Nature, Man, and Time during its
progress.
GENERAL INFLUENCES
Architects try to make their designs as precise as possible. To make those designs a
reality, architects and designers look upon the past and the history of the projects. Thus,
taking in the considerations that influenced the past. In general, there are six general
influences in architecture:

• Geographical – geographics: the study of the earth's surface; includes people's

responses to topography and climate and soil and vegetation. geography. earth
science - any of the sciences that deal with the earth’s surface.

• Geological – geology is the study of the Earth, the materials of which it is made, the
structure of those materials, and the processes acting upon them.

• Climatic – the composite or generally prevailing weather conditions of a region, as

temperature, air pressure, humidity, precipitation, sunshine, cloudiness, and winds,
throughout the year, averaged over a series of years. a region or area characterized
by a given climate or the prevailing trend of public opinion or of another aspect of
public life.

• Religious – relating to the manifestation of faithful devotion to an acknowledged

ultimate reality or deity.

• Social – characterized by friendly companionship or relations with others or in a

community, rather than in isolation. Thus, the companionship or relationship on any
immediate or adjacent person in an individual. Societal is the pedantic alternative to
social. Though both terms pertain to society, societal is the bigger image of social in
its own idea.

• Historical – the record of acts, ideas, or events that will or can shape the course of
the future, especially in connection with humanity. It is the continuous relation of
people, country, period, person, etc., usually written as a chronological account.

Architecture, represented by structures, reflects the civilization of people. Thus, it becomes

to be a record of the progress of man.

A. Influences of Man in Architecture

1. Social conditions – relations between the way in which nations lived & the
architecture they produced – Effects in architecture:
a. System of planning
b. Types of space requirements
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c. Type & Appearance of Building

d. Progressive or conservative styles
e. Protective features
2. Political conditions – the form of government & attitudes of the leaders towards
progress & nationalism.
3. Economic conditions – the nature of trade, commerce, industry & agriculture
4. Tradition & Custom – effects in architecture:
a. System of planning
b. Nature of exterior treatment
c. System of construction
d. Orientation
e. Exterior forms
5. Religion – played an important role in the mode of living & in the design of buildings
6. Historical – the landscape and urban built environment, beginning with ancient times
and progressing to contemporary life. Understanding such history is important in
fostering appreciation for how surrounding structures affect our lives in a broader
cultural context. It delves into the specifics of our man-made environmental heritage.

B. Influences of Time in Architecture

1. Cultural Changes & Development

2. Advances in Science & Technology

C. Influences of Nature in Architecture

1. Climatic conditions – deals with orientation, heat, rain, wind, etc.

2. Topographic conditions – contour, altitude, physical characteristics, etc.
3. Geologic conditions – land, water, availability of materials, etc.
4. Seismologic conditions – fault line, volcanoes, etc.
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LESSON 2
DESIGN PROCESSES AND METHODOLOGIES
Objectives:
By the end of the lesson the students will be able to:
4. Understand what the architectural design processes and methodologies are.
5. Know how to work with the use of architectural design processes and
methodologies.
6. Know and understand the processes, in particular Design Conceptualization,
Standard Space Requirements, Schematic diagram and Spatial Relationships,
Design Philosophy and Design Criteria Establishments.
DESIGN CONCEPT
A concept is an idea, thought or notion that forms the backbone and foundation of
a design project and one that drives it forward. It becomes the force and identity behind a
projects progress and is consistently consulted throughout every stage of its development.
Timeline of Architectural Design Concept/Styles:
• Neolithic architecture approximately 10,000 to 2,000 BCE
• Mesopotamian architecture also known as Sumerian architecture approximately
4,500 to 2,000 BCE
• Ancient Egyptian architecture approximately 3,000 BCE to 500 CE
• Assyrian architecture approximately 2,000 BCE to 500 BCE
• Greek architecture approximately 1,000 BCE to 400 CE
• Roman architecture approximately 1,000 BCE to 700 CE
• Byzantine architecture approximately 500 CE to 1500 CE
• Moorish architecture approximately 700 CE to 1500 CE
• Hoysala architecture approximately 10th and 14th centuries
• Kievan Rus' architecture approximately 10th and mid-12th centuries
• Romanesque architecture approximately 10th and mid-11th centuries
• Norman architecture approximately late 10th and mid-12th centuries
• Mudéjar architecture approximately 11th and late 16th centuries
• Gothic architecture (or pointed architecture) approximately 11th and mid-15th
centuries
• Russian architecture (or muscovite) approximately 12th and late 16th centuries
• Sondergotik (or Late Gothic architecture) approximately mid-13th and mid-15th
centuries
• Renaissance architecture approximately between the early 14th and early 16th
centuries
• Tudor architectural style during the Tudor period (1485–1603)
• The Manueline (occasionally known as Portuguese late Gothic) 1495–1521
• High Renaissance 1495 and 1520
• Mannerism, also known as Late Renaissance around 1520 up to the early 17th century
• Baroque architecture early 16th century to mid-17th century
• Rococo architecture, also known as Late Baroque around late 1730 up to late 18th
century
• Palladian architecture 16th century
• Petrine Baroque approximately late 16th and early 17th centuries
• Georgian architecture early 17th century and early 18th century
• Neoclassical architecture early 17th century and early 19th century
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• Gothic Revival (also referred to as Victorian Gothic, neo-Gothic, or Gothick) late

1740 up to third quarter of the 19th century
• Pombaline style 18th century
• Federal-style architecture between circa 1780 and 1830
• Russian Revival style (Pseudo-Russian style, Neo-Russian style, Russian
Byzantine style) second quarter of the 18th century up to early 19th century
• Victorian architecture mid-to-late 18th century
• Romanesque Revival (or Neo-Romanesque) early 19th and early 20th century
• British 19th-century Queen Anne style as early as 1858 up to 1920
• Prairie School late 19th- to early 20th-century
• Edwardian architecture 1901–1914
• National Romantic style 1900-1920
• Heliopolis style 1905-1910
• Futurist architecture early-20th century (late 1905 to early 1930)
• Nordic Classicism between 1910 and 1930
• Expressionist architecture first decades of the 20th century
• Amsterdam School from 1910 through about 1930
• Modern architecture, or modernist architecture first quarter up to third quarter of 19th
century
• Constructivist architecture 1920s and early 1930s
• Spanish Colonial Revival Style early 20th century (between 1915 and 1931)
• Staatliches Bauhaus commonly known as the Bauhaus (from 1919 until 1933)
• Mediterranean Revival 1920s and 1940s
• Egyptian Revival Egyptian Revival 1920s
• Fascist architecture 1925 and 1945
• Art Deco, sometimes referred to as Deco 1925 to late 1950
• International Style or internationalism early 1925 to late 1980
• Streamline Moderne 1930s – late 1935
• Stalinist architecture 1931 – 1959
• Nazi architecture 1933 until 945
• Usonia 1934 – 1950
• Mid-century modern (MCM) roughly 1945 to 1969
• Googie architecture roughly 1945 to the early 1970s
• Brutalist architecture, or New Brutalism 1950s to late 1970s
• Critical regionalism 1950s to 1960s
• Metabolism 1960s to 1970s
• Postmodern architecture 1960s to early second half of 2010
• Shed Style 1960s to late 1980s
• High-tech architecture, also known as Structural Expressionism early 1970s to
present
• Arcology 1969 – 1981
• Memphis Group, also known as Memphis Milano 1980 to 1988
• Deconstructivism 1980s to present
• Neo-futurism late-20th to early-21st-century
• Contemporary architecture 21st century
• Blobitecture 2002 – present
• Sustainable architecture 21st century
• New Classical architecture, New Classicism, or the New Classical movement 21st
century
*70 Architectural Styles on the list
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FORM CONCEPT
Form refers to the shape or configuration of a building. Form and its opposite –
space, constitute primary elements of architecture. Both form and space are given shape
and scale in the design process. Just as external space, internal space is created by voids in
building form, exterior space can be defined or poorly defined by the building form as well.
To analyze an architectural form, there are some aspects that are needed to be
considered, including shape, mass / size, scale, proportion, rhythm, articulation, texture,
color, and light.

Form Evolution
Form evolution is the transformation and articulation of forms. A process of
maintaining and adapting the design to meet certain parameters depending on the
requirements and its environment.
Form Transformation
All other forms can be understood to be transformations of the primary solids,
variations which are generated by the manipulation of one or more dimensions or by the
addition or subtraction of elements.

Form Articulation
Articulation refers to the manner in which the surfaces of a form come together to
define its shape & volume. An articulated form clearly reveals the precise nature of its
parts & their relationships to each other & to the whole. Its surfaces appear as discrete
planes with distinct shapes & their overall configuration is legible & easily perceived. In a
similar manner, an articulated group of forms accentuates the joints between the
constituent parts in order to visually express their individuality.
DESIGN PHILOSOPHY/DICTUM
A designer’s philosophy defines what they wish to accomplish in design, and
which principles of design they will use to do so. Identifying your design philosophy is an
important part of the design process, and directly impacts how users will respond to the
product.
The eloquence in the language of architecture is measured by how a building is put
together. The joining of different relationships during the design process in a manner that
retains the integrity of each part, while assigning a function compatible and advantageous to
its nature, has always been a measure of "seriousness" in architecture.
Example of Dictum
"God is in the details" – Ludwig Mies Van Der Rohe

It is a phrase attributed to Mies Van Der Rohe and revered by architects as we endeavor
again and again to do the right thing. Architecture is order, and this order carries throughout the
building down to the smallest corner.
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DESIGN CONSIDERATIONS/CRITERIAS

The design considerations and criteria are formulated to bring to the attention of the
designers in applying the universal accessibility design principles and requirements to
buildings and facilities. They can also be used to identify barriers in existing buildings. These
are explicit parameters and goals that a design or project must achieve in order come up
with a recommended and feasible design.

Common Design Considerations/Criteria:

• Accessibility
• Lighting &
Ventilation
• Circulation
• Acoustics
• Orientation
• Utility
• Signages
• Landscaping
• Efficiency
• Sustainability
• Health &
Safety
• Proximity
• Safety &
Security • Materials • Human • Character
• Visibility • Technology Behavior • Fire Exit
• Urban Density • Parking

PROXIMITY MATRIX DIAGRAM

Proximity Matrix guides the designer to which space should be adjacent to another
space and so on and so forth. It is a tool that allows the designer/s to identify the adjacency,
proximity, and considerations of relationships between two or more lists of items. It provides
a compact way of representing many-to-many relationships of varying criteria depending on
the project.
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FLOW DIAGRAM

It is a representation of a sequence of events, helping decision makers and

designers understand the relationship between their decisions and a given outcome. These
diagrams use simple geometric shapes to represent a process, decision, or output.

BUBBLE DIAGRAM

The bubble diagram is a freehand diagrammatic drawing made by architects and

interior designers to be used for space planning and organization at the preliminary phase of
the design process. The bubble diagram is important because later phases of the design
process are based on them. These are sketches that help architects identify the areas of
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the project that will be included in the drawings. It is used at the preliminary phase of
the design process and are used for space planning and organization.
Bubble diagrams are circles or ovals drawn on a sheet of paper. These diagrams
help the architect identify the location of the rooms to be included in the floorplan for a
home or commercial building. They start with the first floor and work their way up from
there. Each bubble in the diagram has the name of a room on it. The purpose for these
diagrams is to understand how rooms connect and how spaces flow from one to the
next. By using the bubble diagram, the architect will be able to figure out the best layout
option for the property, the home addition, remodel, etc., and its surrounding area.
They help the architect find the best layout for any architectural project. The
careful attention to detail will ensure that your project is being built safely, and according to
your city’s building codes. Basically, a bubble diagram conveys information. This information
tells you the spaces of the building, their functions, relationships, and the circulation
patterns.

Programs and Spaces

In architecture and interior design, you begin with the program. The program is a list
that itemizes the spaces that must take place in the building. The program serves as an
outline of the requirements of your building and describes spaces with assigned square
footage and description of function, use, or activities.
You might be thinking, why doesn’t the architect just draw up the floorplan instead
of going through the trouble of coming up with bubble diagrams? Bubble diagrams are an
important part of the design phase. Drawing the floorplan without figuring out the
orientation of the home may cause problems in the flow of the spaces and the placement
of floor levels. Bubble diagrams are important because every detail is being looked at and
analyzed to find the best option.
The main purpose of a bubble diagram is to help you to translate the program into a
strategy or form. Bubble diagrams simplify this step by graphically depicting the program and
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allowing for quick expressions, multiple layouts, and revisions. Like the seating chart does
with the wedding guest list, a bubble diagram illustrates the program.
Function
Bubble diagrams depict the program in the form of circles and ovals shown in a floor
plan format. Each circle, or bubble, represents the space needed to carry out a function,
such as dining, sleeping, and studying. Those circles get you involved in functional aspects
of design, such as privacy, circulation, noise, daylight.
Spatial Relationships
Bubble diagrams express not only the spaces within the building but also the
relationships between spaces. They indicate what functions/spaces (circles) should be near
each other for your building to offer functionality.
Adjacency defines the common needs, working spatial relationships, and their
relative importance, such as near or close to. In bubble diagrams, adjacency is expressed
graphically and written with keywords, such as primary, mandatory, secondary, desirable, or
undesirable.
Adjacency identifies the proximity requirements, too. Proximity is the closeness of
one space to another. A bubble diagram allows you to arrange proximity relationships
between spaces and communicate it with keywords, such as immediate proximity and
convenient proximity.

SITE ANALYSIS

It is a preliminary phase of architectural and urban design processes dedicated to the

study of the climatic, geographical, historical, legal, and infrastructural context of a specific
site.
Several graphical tools for site analysis have been developed to assist designers in
this task. The result of this analytic process is a summary, usually a graphical sketch, which
sets in relation the relevant environmental information with the morphology of the site in
terms of parcel, topography, and built environment. This result is then used as a starting
point for the development of environment-related strategies during the design process.
The typical site analysis includes but is not limited to the following categories: site
location and size, neighborhood context, zoning, legal aspects, geology, physiography
(natural and man-made features), hydrology, soils, vegetation, wildlife, climate, culture,
pedestrian and vehicular circulation, access, utilities, historic factors, density, sensory
stimuli, and any other factor deemed appropriate for the particular site.
Good site analysis allows the designer to improve the project, ensuring that the
building makes the best use of the resources, such as light, access, views, on the site as
possible. It should also allow the designer to anticipate any potential issues which may
cause problems to the project.
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Example of a site analysis

SCHEMATIC DIAGRAM

A schematic is a diagram used to illustrate the elements of a system at an abstract

level. This typically involves the use of graphic symbols and lines. A schematic will generally
not show details unless they are expressly relevant to what is being conveyed, unless they
assist comprehension.
A common example of a schematic is an electrical circuit diagram, which
uses symbols in a layout which may not resemble the actual circuit layout but are instead
arranged for ease of interpretation. Similarly, a transit map uses graphic symbols to
represent stations and the arrangement of the train lines will often not resemble the
geographic location of the stations in relation to one another.
The purpose of schematic design is to translate the project program into physical
drawings of space. In schematic design, the designer/s determines the areas, physical
requirements and relationships of all the required building spaces and components.
Schematic design includes a complete description that affects the building systems
(structural, mechanical, HVAC, plumbing and electrical), interior and exterior finishes and the
building site.
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Example of a schematic diagram

What is the difference between concept design and schematic design?

As part of the conceptualization process, during conceptual design, the owner is

convinced that the designer’s vision is worth pursuing. On the schematic design,
the designer/s makes the project feasible with the use of schematic diagrams.

SPACE COMPUTATION / ARCHITECTURAL PROGRAMMING

Architectural programming began when architecture began. Structures have always

been based on programs: decisions were made, something was designed, built, and
occupied. Space programming is an iterative process that evolves according to the client’s
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requirements. We define architectural programming as the research and decision-making

process that identifies the scope of work to be designed.

A critical challenge of space programming is the limitation in the link between the
client’s requirements and design tools. The rigorous process of analyzing, structuring, and
extracting meaningful information often leads to requirements being overlooked or important
requirements failing to be satisfied. Failure to meet the client’s space program requirements,
could possibly lead to decline in the performance of the building, cost increase, client
dissatisfaction and penalty fines charged by the client which are usually clearly stated in
design contracts.

Levels of Programming

Programming may happen for different purposes and may impact the level of detail of
investigation and deliverables. For instance, programming at the master planning level is
more strategic in nature—providing information to building owners to make decisions
regarding current and projected space needs and rough budgeting for implementation.
Programming at the individual project level provides specific, detailed information to guide
building design.

Architectural Programming Process

It is intended to provide a clear process for conducting the research and decision-
making that defines the scope of work for the design effort. It is imperative that the major
decision-maker—the client/owner—allows participation of all the stakeholders, or the client-
users, who are affected by the design. Experience has shown that client-users' involvement
in the programming process results in designs that can be optimized more efficiently.
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LESSON 3
CONCEPTUALIZATION TECHNIQUES
Objectives:
By the end of the lesson the students will be able to:
1. Understand what the architectural concept processes and methodologies are.
2. Know how to work with the use of architectural concept processes and
methodologies.
3. Know and understand the stages in designing.
ARCHITECTURAL CONCEPTS

Traditionally architectural concepts have been the designer's way of responding to

the design situation presented in the program. They have been the means for translating the
non-physical problem statement into the physical building product. The designer must
establish parameters for dealing with them architecturally.

Concepts may be process or product oriented, take place at any stage in the design
process occur at any scale, be generated from several sources, have a hierarchical nature,
possess intrinsic problems and be plural in number and concern within any single building.

As the designer, we are presented with project situations. They come to us from
programmers or clients and they require a building to satisfy the outlined needs. Often, we
think of a building design as consisting of one concept or overall idea.

Depending upon the designer's personality and individual design method he may
address conceptual issues in a rigid sequence or skip among them in some order or at
random until the mosaic of the building solution is finally complete. This sequence of
attention to the
respective problem issues and the assignment of emphasis to them by the designer will
have
a profound effect upon the nature of the solution. Those issues addressed first in design are
usually the most important in the designer's mind and tend to be solved first. Also, because
they are solved first, they tend to be formalized early and so become the context for solving
the other issues. The remaining issues must adapt themselves to the ones solved first.

Some general categories under which the concerns and issues of a building may be
listed and addressed in design are:

1. Functional zoning
2. Architectural space
3. Circulation and building form
4. Response to Context
5. Building Envelope

CONTEXTS FOR CONCEPT GETTING

1) General philosophy and life values of the Designer some psychological

categories
that combine to influence the formation of a design philosophy and which affect
the
making of design decisions.
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2) Design Philosophy is usually room for many design methods, processes and
building solutions, all of which, are consistent with the designer's context
of values.

3) View of the problem by the designer presented with a specific design project.

CREATIVITY

3 Essentials to Development of Creative Skills

1. Ideation — refers to the mental process itself. To ideate means "to think" and that is
of course, how to train one's self; think in new and unique ways.

2. Idea Quantity — means that the person who can produce the largest number of
ideas per unit of time has the greatest chance of producing the truly significant one.
In other words, the odds of your coming up with a creative idea are best if you have a
lot of ideas from which to select
.
3. Imagineering — letting your imagination soar and then engineering it back to reality.
Be careful to proceed in this order. In other words, do not confine yourself to reality
and all of it constrain before you begin thinking of ideas. Think outlandishly, originally,
and recklessly at first. The longer you spend thinking of ideas, the more apt you are
to produce a wild one.

STAGES IN DESIGNING
I. DESIGN ANALYSIS – Design involves problem solving and solving demands
idea production. Creativity need a “positive attitude". So do not dismiss your own
or another's ideas too quickly. Articulate them, listen to them fully, and if possible,
add other ideas to them. Talking through ideas with another person or a group
can help in their development.

II. TENTATIVE 'SOLUTIONS'

'BRAINSTORMING' — a group process in which several people, for a given
amount of time, gather and discuss a particular problem. During this time, they all
contribute positive thoughts to the discussion and try to produce a workable
solution. Also keep an open mind, "Patience" should be practiced. Do not be too
anxious to come up with the perfect solution.

III. CRITICISM – Above all have "faith and confidence" in yourself. Say what you
feel. Question what you do not understand. Speak out when you disagree with
something. Let your thoughts be known maybe someone else will hear them and
will help you to develop them into a successful venture. Do not be afraid to have
some criticism thrown at you. Constructive criticism can be very helpful, and you
should seek it. Do not be afraid to try something new.

If your design is criticized by others, we may find that they are applying further
objectives or different priorities from our own. The problem is changing, and the
information and objectives tend to increase. Thus, the spiral can be used to
illustrate the process to indicate that our knowledge of the problem increases as
we attempt solution after solution.
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Another important trait is "TENACITY". Put effort in what you think and do.
Stick with it. Force yourself to work at your ideas. Have goals and work toward
them with conviction. Take them seriously but do not take yourself too seriously.
You can always do better than you have done in the past, but work on yourself in
the present.

IV. OPERATIONAL PROCESS – It is therefore more reasonable to use the terms

'conceptual design' to describe the sketch, and 'operational design' instead of
working drawings. The conceptual arrangement is largely a statement of intent for
the guidance of structural and service engineering consultants and for use in
obtaining information from the many manufacturer and suppliers who will be
involved in the work.

V. GEOMETRIC – The detailed visual inter-relationships between all the parts of the
building as the operational stage develops. The visual objectives should be kept
in mind at all stages but, because of the inherent difficulties of design team
working, there is an increasing need to consider detailed engineering decisions in
geometric terms. A heating or a structural unit may be perfectly practical, in
accordance with the conceptual intentions and yet its visual relationship to other
elements of composition may be quite terrible. This will make the unity or
expressiveness of the design. Specialists and Engineers involved should inform
the architect therefore when the visual design is likely to be affected.

The greatest need is for a closer integration of all objectives in design. With
more people involved this means better communication. The design process is a
synthesis of many objectives and everyone involved contributes to the total
design. Each can damage the whole entity. Architecture is the complete design,
not a specialization among other specializations.

METHODOLOGY

Methodology or the systematic method of problem solving, builds upon the

concept by helping to make the best use of the design tools acquired in creativity.
"Methodology involves the systematic breakdown of a body of knowledge into its
workable parts,"
When faced with a complex, multifaceted problem, a methodical person will solve
that problem methodically, or in steps. He or she will dissect and attack the problem in a
logical order. This is like eating food one piece at a time and not swallowing the whole piece
at once.

A DESIGN PARADIGM

DESIGN TOOLS

1. Prestatement – This is a statement of the problem that you, the designer will
have to
resolve. It may take the form of your initial contact with the client, in which you
learn
what the designer thinks should be done. However, sometimes what the client
perceives as being the problem, in fact, may not really be the problem.
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2. Problem Statement
Although this is the second item on the list, you do not write the problem
statement until after you have determined the problem. First proceed to step 3
and gather "information" and then you can state the true problem.

3. Information
This is the exhaustible stage at which you uncover all the details that relate to
your
problem. This is the point at which you do the research: reading, observing, and
scrutinizing. At the stage you meet the people involved in the project, observe
them, talk to them, and sometimes, get to know them. Records of all the
information you will eventually use from are literature, experience person, and
observation.

4. Analysis
This is a 'Think Stage" and so do not conceptualize the total solution here. You
should be thinking about the situation in parts (Methodically), which you can later
arrange into the order that you determine to be best. This will become a "partial
solution", which is the solution to one part of your problem.

Next, on the partial solutions, look again for commodities and call them
"combined
solutions'’, which are actually verbal description of the final decision you have
made for a major aspect of that problem, if the problem entails more than one
part. If it does not, then the combined solution will be the final project solution but
only verbally.

5. Synthesis
The conceptualization of your project's solution in a graphic manner. Now you
can make your visual materials and show what the final product will be. This is
the point at which you layout spaces, select furnishings, finishing and
construction materials.

6. Evaluation
The evaluation of a project may take place at different times. You may do it after
the project has been finished and has been in use for a while. By visiting the
space then, you can very effectively judge your result and make whatever
changes are necessary. This technique is a good one, because it allows you to
change unsatisfactory aspects of the design.
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LESSON 4
MASTERS OF ARCHITECTURE
Objectives:
By the end of the lesson the students will be able to:
1. Know the famous local and international architects.
2. Know and understand the dictums and philosophies of the famous architects
3. Familiarized with the life and works of the famous architects.
FAMOUS FOREIGN / INTERNATIONAL ARCHITECTS
Renaissance Architects
European architecture between the early 14th century and 16th century in many
different regions. They demonstrated the revival and development of some elements of
ancient Roman and Greek thought and material culture.
1. Filippo Brunelleschi
Born in Florence, Italy in 1377. He is one of the pioneers of Renaissance architecture
in Italy. He was an architect and an engineer. He is known for his major work- the dome of
the Cathedral Santa Maria del Flore in Florence. He was the first ever modern engineer. An
innovative problem solver, he worked on the Cathedral of Santa Maria del Flore with the help
of machines that he particularly invented for this project.

2. Michelozzo di Bartolomeo
Born in 1396 in Florence. His father was a tailor. At the age of 14, Michelozzo
became an apprentice of Ghiberti. He became known as the second greatest among
sculptors in Europe. Most of his work has been done in collaboration with Donatello.
One of the most renowned projects that Michelozzo did with Ghiberti was the North
Doors of the Baptistery, depicting stories that were told in the New Testament. He also
assisted Donatello in building the sacristy of the Santa Trinita which is situated in Florence.
He also executed the tomb of Antipope John XXIII. Michelozzo was also an architect for
Cosimo de’ Medici for about 40 years. One of his greatest works was the Palazzo Medici
Ricarddi which took a good 40 years!
3. Leon Battista Alberti
Leon Battista Alberti was not just an architect but a writer, sculptor, and a painter. He
wrote several books due which his contributions to architecture, sculpture, and painting can
never be forgotten. These include De Statua (a book on sculpturing), Della Pittura (a book
on Painting), and De Re Aedificatoria (a book on Architecture).

His first architectural contribution was for Sigismondo Malatesta of Rimini who
wanted to covert the Gothic church of San Francesco in Rimini into a mausoleum for himself.
Though it was never completed, it stands as a strong reminder of Roman Antiquity.

More prominent works in architecture include the Church of Santa Maria Novella in
Florence and Palazzo Rucellai. The last two churches that Alberti worked on were Santa
Sebastiano and Santa Andrea. Santa Sebastiano was never really completed while Santa
Andrea was completed after Alberti’s death.

4. Donato Bramante
One of the most popular architects during the High Renaissance. Donato Bramante’s
First major work in architecture was the church in Milan, Santa Maria presso San Satiro. He
transformed a simple rectangular building into a marvel that still stands proudly today.
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Tempietto di San Pietro in Montorio is a well-known Christian structure that was built by
Donato Bramante in Rome. Tempietto di San Pietro is the perfect embodiment of the
philosophies that prevailed during the Renaissance. It was the first time when Doric order
was fully used.

He died in April 1514, after working in numerous other commissions.

5. Michelangelo
Michelangelo was an architect, painter, sculptor, and a poet. He was called ‘il divino’
which means the divine one in English. A lot of his creations appear to be super-human. He
created primary pieces like David, the sculpture that looked really like living flesh and blood,
the painted ceiling of the Sistine Chapel in Rome, and numerous examples in the field of
architecture.

He built several structures that one cannot stop staring at. The marvelous
contributions in architecture include the facade on the Papel Chapel in Castel Sant’Angelo in
Rome, the Laurentian Library in Saint Lorenzo in Florence, Palazzo Farnese in Rome, the
dome of St Peter’s Basilica Vatican, and Porta Pia in Rome.

We can see great works by Michelangelo even today in Rome and understand the
life of that era in a better way, all thanks to the genius Michelangelo Buonarroti.

6. Raphael
Raphael was a painter and an architect in the Italian Renaissance. He was best
known for Madonnas that were a series of paintings. Raphael contributions were
not limited to paintings. He contributed a great deal to architecture as well.

In 1508, Raphael moved from Italy to Rome, where he started painting in the
Vatican Stanze under the patronage of Pope Julius II. By 1514, he had become
famous because of his work at the Vatican. He hired a crew which allowed him to
focus more on other projects. In 1517, he began his work in architecture. He was
hired by the Pope as the chief architect after Donato Bramante died. He designed
the chapel in Sant’ Eligo degil Oredici. He also worked on Santa Maria del Popolo
chapel in Rome, and on an area in Saint Peter’s new Basilica. He also designed
palaces.

Even centuries after his death, Raphael is still considered as one of the leading
artistic figures of Italian High Renaissance classicism.

7. Giacomo Barozzi Vignola

Giacomo Barozzi Vignola was an Italian architect who lived when the Renaissance
era was at its peak and through the period when Renaissance architecture was transitioning
into Baroque style. He was appointed by Pope Julius III as a papal architect in Rome. He
succeeded Michelangelo after his death as an architect for work on St. Peter’s. Villa
Caprarola, situated near Viterbo is one of his ¦nest productions. He did this work for Cardinal
Alessandro Farbese.

He also worked on the Villa Giulia for the Pope Julius III in Rome. He was the interior
designer of the Church of the Gesu in Rome.

Vignola has credits for many architectural primary pieces that still overwhelm the
cities today. He is not just known for his architectural contributions, but he has also written a
treatise, ‘Five Orders of Architecture’ which was translated in many languages.
 19

8. Andrea Palladio
Andrea Palladio is one of the most prominent figures in architecture. His legacy was
carried forward far beyond his lifetime. He was one of the most influential figures in the entire
history of Western architecture. His designs were based on Greek architecture.

He is best known for his contributions to architecture, including the villas in Veneto,
palaces in Vicenza, and churches in Venice, that are all located within the Venetian
Republic. His greatest works include Villa Cornaro, the Church of San Giorgio Maggiore,
Villa Capra, and the Church of II Redentore. Many of the buildings by Palladio in Veneto and
Vicenza have been protected by UNESCO as World Heritage Sites.

9. Giacomo Della Porta

Giacomo Della Porta was an Italian architect and sculptor who was born in a family of
sculptors in Geneva. He was greatly influenced by and collaborated with Michelangelo and
Giacomo Barozzi da Vignola. Having two of the greatest architects as primarys, he became
a very important architect in the history of the Roman Renaissance.

He worked on a number of important buildings like St.Peter’s Basilica. He continued

the plans of Michelangelo to rebuild the Capitoline Hill or Campidoglio’s open spaces where
he was involved in the completion of the façade and steps of Palazzo Senatorio, and the
Cordonata up to the Piazza del Campidoglio. After Vignola died, he continued the
construction of II Gesu which was the mother church of Jesuit. He also constructed the
Palazzo Albertoni Spinola, creating the entrance gallery and the entrance hall of the Palace.
He was the in-charge of construction that was going on in St. Peter’s Basilica. He also
completed the dome of Michelangelo with Domenico Fontana.

Baroque Architects
The Baroque era (late 16th century). They used the Roman Renaissance architecture
to form a new theatrical and rhetorical fashion, quite often used to express the triumph of the
Catholic Church. The architectural commissions that were the most popular during this era
were churches and palaces.
10. Carlo Maderno
Carlo Maderno was a Swiss-Italian architect who is remembered as the father of
Baroque architecture. He went to Rome in 1588 to work for his uncle Domenico Fontana
who was an architect for Pope Sixtus V. It was not until 1596 that he got to work on the first
important commission- the church of Santa Susanna. It was completed in 1603 and was
called the first Baroque facade.

Maderno’s work on Santa Susanna caught the attention of Pope Paul V and he
appointed Maderno as the chief architect for the completion of St. Peter’s. He forced to
modify the original plan of Michelangelo and was made to provide designs for an extended
nave having a palatial façade.

Most of his work was usually the remodeling of already developed structures. One of
his primary pieces was the Santa Maria Della Vittoria which took 12 years to get completed.

11. Inigo Jones

Inigo Jones was born in London. He caught the attention of the royals by designed
exquisite masques which were a kind of a ball that was enjoyed by the royalty. He provided
the settings and costumes for these fancy dances.

In 1598, a patron paid for Inigo’s trip to Italy. He visited Florence, Rome, and Venice
where all emerging architects went. It was a time when Italy was in the last stages of the
 20

Renaissance. Inigo Jones discovered the great works of Andrea Palladio. He bought his
drawings, visited his buildings, and studied the ruins of Roman
temples. When he returned to London 5 years later, he brought with him the Palladian
architecture to England.

He continued designing masques upon his return to England. He also used it to

indulge with the nobility. He completed his first architectural commission in 1608 for the Earl
of Salisbury. Later in 1611, he was appointed the surveyor to Prince Henry’s works, and later
to King James I after the death of Prince Henry. During his career, he designed mansions,
churches, and gardens. Two of the most prominent architectural works of Inigo Jones are
The Queen’s House in Greenwich and the Banqueting House, Whitehall. During the brief
career that he had, he became a great Welsh architect and introduced a revival of classical
architecture in London singlehandedly.

12. Bernini
Bernini was the son of popular sculptor Pietro Bernini. He was a great sculptor from
an age as early as 8 years. Bernini moved to Rome in 1606 when his father was invited by
Pope to work on the construction of Basilica Santa Maria Maggiore.

Cardinal Maffeo Barberini was impressed by Bernini’s skill and he reported about it to
his uncle, Pope Paul V and this led to Bernini’s appointment on a role that was earlier held
by Michelangelo. Most of Bernini’s career was dedicated to sculpting. However, he tried to
transform Rome through an urban planning project which was quite costly. He recreated the
‘glory of Rome’ that began in the 15th century. He focused greatly on architecture that
included the piazza that lead to St. Peter’s.

13. Francesco Borromini

Francesco Borromini is one of the most important contributors to the Roman baroque
art in the 17th century. Most of his work combined geometric rationalism and an imaginative
sense of drama.

The most famous architectural designs that he worked on include the following:
• Cappella del St Sacramento
• Palazzo Spada
• Oratory of St Phillip Neri
• Church of St Carlo alle Quattro Fontane
• Church of St Ivo alla Sapienza (1640-60) Dome and Façade
• Maria dei Sette Dolori
• Palazzo Pamphili
• St Giovani in Laterano
• Villa Falconieri, Frascati
• Church of St Agnese in Agone
• Church of St Giovanni dei Fiorentini

His life was a rather difficult one. Due to this reserved personality, he had to struggle
for commissions. He committed suicide in 1667.

14. Alonso Cano

Alonso Cano was taught fundamentals of architecture by his father from a very early
age. He has credits to numerous primary pieces in painting and sculpting. Most of his
paintings and sculptures from early times did not survive. However, Saint John the
Evangelist’s Vision of Jerusalem, one of his paintings are displayed in the Wallace
Collection, London.
 21

His greatest contribution to architecture is Granada Cathedral. He was appointed as

Canon at Granada Cathedral. He was the chief architect for the cathedral. A position that he
secured till his death. He designed many decorations and features of the western façade of
Granada Cathedral which is the basis of his reputation as the greatest architects of Spain, to
date.

15. Andre Le Notre

Andre Le Notre is known as the king of gardeners. He was the gardener to the King.
He is credited to have given the “French garden” its noble reputation.

He started his career as a gardener to the uncle of Louis XIV, Gastin – the duke if
Orleans. He was born in a family who had been a gardener to the king ever since the 16th
century. He took his training in the garden at Les Tuileries where he was made the head
gardener. He also worked for the Fouquet at Vaux-le-Vicomte. He became the Controller of
General Buildings in 1657, to the King. After 5 years, he was working for Grande Conde, on
the gardens of Chantilly. He was then summoned by King Louis XIV, for the garden of
Palace of Versailles, where he was the chief gardener.

16. Sir Christopher Wren

Sir Christopher Wren was not inclined to architecture until the age of 30. He was
trained in mathematics and science and had the ability to solve scientific problems. This
provided him with the technical training that was needed to undertake complex projects in
the field of architecture.

The first venture in architecture was Sheldonian Theatre at Oxford. He visited France
once, during which he studied baroque architecture and French Renaissance. The influence
of his learning can be seen in his work.

He was appointed by King Charles after the Great Fire in 1666 to reconstruct the city.
His plan, which was a typical 17th-century city plan, was not accepted. He was then made
responsible to replace 87 parish churches that were demolished in the Great Fire. From
1670 to 1686, 51 new churches were designed, which came to be known as City Churches.

Some of his most renowned projects include the Trinity College Library at
Cambridge, design of St. Paul’s Cathedral, the Royal Hospital at Chelsea, Hampton Court
Palace (designed for King William III and Queen Mary), and last but definitely not the least
important, the Royal Naval Hospital at Greenwich.

Neoclassical Architects
Neoclassical architecture was a reaction against Baroque and Rococo architecture’s
excessive ornamentation. It recreated the order and style of Ancient Rome and Greece. It
originated in France.
17. Claude Nicolas Ledoux
Claude Nicolas Ledoux was a French neoclassical architect. He was
knowledgeable in architectural theory which he used to not only design domestic structures
but for town planning as well. He became known as the utopian because of his visionary
plan to make the City of Chaux an ideal city.

He learned the craft from Jacques François Blondel who was a neoclassical
architect. He spent four years in Maroon and Champagne provinces where he built bridges,
village churches, and schools. He designed many palaces in Paris, such as Hotel d’Halwyll.
He also built the Royal Saltworks of Arc-et-Senans.
 22

Other major works that he did are:

• Cathedral of Saint-Germaine, Auxerre
• Chateau de Benouville

18. Thomas Jefferson

Thomas Jefferson was an American statesman, a lawyer, diplomat, and an architect.
He was the third U.S President, the author of The Declaration of American Independence
and Virginia Statute for Religious Freedom, and Father of the University of Virginia.

Jeffersonian architecture is a form of Neo-Palladianism and/ or Neo-classicism

embodied in architecture designs that Thomas Jefferson incorporated in his properties,
including the Monticello House- the home where he lived, Poplar Forest – his retreat, and
the University of Virginia- a college that he founded. He also designed homes for his
political allies and friends, like Barboursville.

Thomas Jefferson built the Monticello House in Virginia which he had wished to from
his childhood. He wished to spend his life with his beloved wife in a house that was his
childhood dream but unfortunately, his wife died in the 10 year of marriage and could not
see the completion of Monticello House. It was this place that he remained mostly during
the last seventeen years of his life.

19. John Nash

John Nash was born in London. He trained as an architect under Sir Robert Taylor.
He started off as an architect at an early age, with his own architecture firm. However, at
the age of 25, he was declared bankrupt. He then moved from London to Wales, to be near
his mother.

He worked on many prisons, country homes, and church renovations in Wales and
moved back to London in 1797. In around 1806, his work caught the attention of Prince
Regent, who late became King George IV.

He is best known for his works which are:

• Royal Mews
• Cumberland Terrace
• East Cowes Castle
• Ravensworth Castle
All Souls Church in Langham
• Mary’s Church Haggerston
• Royal Pavilion in Brighton
• Trafalgar Square
• Buckingham Palace

20. William Thornton

William Thornton is one of the earliest architects of America. He achieved fame
during his early years with the US Capitol Building that was designed in the neoclassical
architectural style.

He had studied medicine and was a practicing physician in Philadelphia. However,

he found the nature of work laborious and disgusting. He had interest in painting and
drawing and he ended up submitting his designs to competition for Library Hall for Library
Company of Philadelphia. His entry for the competition was selected and he went to
Tortola.
 23

He learned about the competition for public buildings in Washington. He proposed a

design for the U.S Capitol Building. His drawings were awarded a premium of $500 after
recommendations from Thomas Jefferson, the Secretary of State and George Washington,
the President.

William Thornton was appointed as the superintendent of the Patent Office by

President Jefferson. He held this position for 26 years, till his death. He designed two
Washington DC residences including the Octagon (John Tayloe III townhouse) and Tudor
Palace (Thomas Peter’s villa). Other major architectural works include the Woodlawn
Plantation in Virginia.

21. Benjamin Latrobe

Benjamin Latrobe was born in Leeds, England. He studied engineering under John
Smeaton and architecture under Pepys Cockerell. He immigrated to Virginia before he
settled in Philadelphia. he designed Bank of Pennsylvania which was the first neoclassical
building in the U.S. that displayed Grecian order. He designed the St. John’s Church in
Washington D.C.

Benjamin Latrobe was hired by President Jefferson on the position of Surveyor of

Public Buildings. He constructed the south wing of the U.S Capitol. He also worked on the
President House and the Navy Yard. He reconstructed the interior of the north wing of U.S.
Capitol. He was rehired for the restoration work after two wings were damaged from fires by
British troops.

He is well-known for the Baltimore Basilica which is a neoclassical primary piece.

Other works include the Fairmount Waterworks, Nassau Hall in Princeton University, the
Baltimore Exchange, and Louisiana State Bank.

He died in New Orleans, where he was working on the city’s municipal water system.
19th Century Architects
Influenced by the earlier architectural movements and exotic, foreign styles, along with the
new technologies that emerged in the early modern age. The revival of Gothic, Greek, and
Renaissance designs were fused with new engineering methods and materials.
22. Fredrick Law Olmsted
Frederick Law Olmsted was a landscape architect. He has designed most of the
picturesque green spaces in Chicago. He studied farming and chemistry and then settled
on becoming a landscape architect.

In 1858, he won a competition to design the Central Park in New York, in which he
participated with Calvert Vaux. The planners of Riverside were so impressed by their work
that the duo was appointed for designing a suburban community that was located 9 miles
from Chicago. Olmsted was asked to submit plans for South Park Commission by the
Chicago Sanitary Commission. Olmsted and Vaux put forward a proposal which was put on
hold as the city recovered from the devastating Great Chicago fire in 1871.

Olmsted worked on many projects such as the University of Chicago, U.S. Capitol’s
landscape design, and the Baltimore Estate in North Carolina. He also worked in the
conservation movement and contributed to the preservation of the Niagara Falls.

World’s Columbian Exposition in Chicago was the shining moment for Olmsted. He,
along with Daniel Burnham, designed the South Pak Commission which is Jackson Park
today.
 24

23. Charles Garnier

Charles Garnier was born in Paris. He attended atelier of Louis Hippolyte Lebas to
study drawing. In 1841, he attended the École des Beaux-Arts. After winning Grand Prix de
Rome in 1848, he spent 5 years in Italy.

He participated in a competition for the Opera in Paris in 1861. It was a two-phase

competition. Charles Garnier secured the fifth place in the first phase and won the
commission in the same year. It took 14 years for the Opera to complete. Charles Garnier
also designed the Monte Carlo Casino.

He worked on numerous other projects which include libraries, churches, houses,

hotels, and tombs. He designed and constructed the tombs of Bizet and Offenbach.

Charles Garnier did not fit very well into the emerging movements of functionalism.
His work was based on theory, as he says in his book. He died in 1898.

24. Gustave Eiffel

Gustave Eiffel was born in France. He was interested in construction from a very
early age. he went to École Polytechnique and then to College of Art and
Manufacturing 9 École Centrale des Arts et Manufactures) in Paris. He specialized in metal
constructions, specifically in bridges.

The first project that Gustave Eiffel worked on was an iron bridge in Bordeaux. In just
6 years from then, he had set up his own company. He designed the arched Gallery of
Machines for an exhibition that was to be held in Paris, which further solidified his
reputation. He designed the Ponte Maria Pia Bridge which was a 525-foot arched bridge
over the Douro River in Portugal. He also has the credit to have built the Garabit viaduct
Truyère in France.

Other projects that he worked on include the dome of Nice, an astronomical

observatory in France, and the magnificent Statue of Liberty. Eiffel was hired after the initial
engineer, Eugene Viollet-le-Duc died.

What marked Eiffel’s name to history forever was the Eiffel Tower in Paris. It is a
magnificent structure of that Gustave Eiffel built only in two years!

25. William Le Baron Jenney

William Le Baron Jenney was not just an architect, but also an engineer, a park and
town planner, and an innovator in the building technology. The founder of the Chicago
School of Skyscraper Architecture, William Le Barron Jenney pioneered the concept of
high-rise skyscraper architecture.

One of the first commissions he worked on in Chicago was West Parks. However, he
is known best for the Home Insurance Building in Chicago which is 10 floors high. It was the
first building in America which had a metal frame instead of a stone and brick one to
support the upper levels. Ludington Building in Chicago is another example of such a high-
rise building. Other works include First Leiter Building and the Second Leiter Building, the
latter being an exemplary 19thcentury architectural primary piece.

26. George Brown Post

George Brown Post was born in New York City, in a very well-off family. He got his
education from New York University. He graduated from the university’s engineering
department, with a major in civil engineering and architecture.
 25

He turned down the offer of being a mathematics professor at New York University to
join the apprenticeship of a great architect, Richard Morris Hunt. After spending some time
in the military, he returned to his apprenticeship. He worked on many projects with his co-
apprentice but then went on his own.

Although he had lost the competition for the design of Equitable Life Insurance
Society Building that was to be built in Manhattan, the panel was so impressed that hey
appointed him the consulting engineer and the project architect for the project. He brought a
lot of structural changes to the winning design by Gilman & Kendall. It was the first 8-floors
building that had an elevator installed. Post also worked when the building was being
expanded.

George Brown Post also designed the three buildings for College of New Jersey
which were the Bonner-Marquand Gymnasium, Dickenson Hall (a classroom), and Reunion
Hall (a dorm). None of these buildings are standing today.

It was George Brown Post who built the New York Stock Exchange, the
Williamsburgh Savings Bank, and the Long Island Historical Society Building.

27. Otto Wagner

Otto Wagner defined the concept of modernity. He was the one who helped in
building a modern world. he was an Austrian architect who is considered as one of the most
important contributors to the early modernist architecture.

Architecture in the era when Otto Wagner lived was detailed, ornate, and decorative.
He used to speak openly against the revivalist movements.

Some of his major works include the Majolika Hous. It was made from weatherproof
tiles and had floral designs on the façade. Although its shape is straight and flat, it is still
considered Art Nouveau. He was also commissioned for building the Karlsplatz Stadtbahn
Station in Vienna. Austrian Postal Savings Bank, Banking Hall, Inside the Austrian Postal
Savings Bank, and the Church of St. Leopold are all bagged by Otto Wagner. Two of his
residences, Villa I and Villa II for each of his wives respectively amazing examples of his
incredible work too!

28. Antonio Gaudi

Antonio Gaudi was a Spanish architect, born in Spain. He developed an interest in
architecture at an early age. he graduated from Provincial School of Architecture. Antonio
Gaudi put up an impressive showcase at the Paris World’s Affair in 1878 hich impressed
one patron so much that Antoni Gaudi ended up working on Güell Estate and Güell Palace.
He also worked on the construction of Basilica and Expiatory Church of the Holy Family.

Some other impressive works he did include Episcopal Palace (and the Casa de Los
Botines, both Gothic and the Casa Calvet. Antonio Gaudi used his equilibrated system to
construct apartment buildings in Barcelona which were the Casa Milà and the Casa Batlló.

The last project Antonio Gaudi worked on was the Sagrada Familia which was not
completed by the time he died. It is still not complete today.

29. Victor Horta

Victor Horta was a Belgian architect who was born in Ghent. He studied architecture
at Académie des Beaux-Arts. His work is the most important of examples of the Art
Nouveau. Although most of the work by Victor Horta can be seen in Beaux Arts style it is
Art Nouveau work that makes him beloved. Most of his Art Nouveau work includes
townhouses that he built for the Belgian elite.
 26

He designed my private houses and public buildings in Brussels. He used cast iron
for decorative and structural reasons. He built the Hotel Tassel, Maison Autrique, Maison
Winssinge, Hôtel Eetvelde, and Maison du Peuple. His works also include “À l’Innovation”
which was a department store. In subsequent years, he distanced himself from Art nouveau
and designed buildings in a more neo-classical style which is exemplified by the Palais des
Beaux-Arts in Brussels.

30. Hector Guimard

Hector Guimard was a designer and an engineer. His work is an outstanding
example of Art Nouveau. He was a key ¦gure in the 19th-century architecture and is
considered as a pioneer of modern design. He applied modern construction techniques and
innovative materials in his work. He made use of steel, iron, and glass in many of his works.

Example of his modern art includes the Castle Beranger in Paris which is an
apartment complex. Other of his works that are popular include Humbert de Romans
auditorium, Coilliot house, La Bluette, Castel Henriette, Nozal Hotel, and Castel d’Orgeval.
He is most famous for the revolutionary entrances to the Paris Metro, having perfectly
interwoven plant and animal shapes.

31. Frank Lloyd Wright

Frank Lloyd Wright was a modern architect whose work depicted modern style. He
has the credits for designing numerous iconic buildings. After he finished college, he
became the chief assistant to Louis Sullivan, an architect. He developed his own
architectural firm later which focused on organic architecture in commercial buildings and
homes.

He designed more than 1100 buildings during his lifetime. The first architectural
primary piece that Frank Lloyd Wright was his own home in Chicago which is now called
the Frank Lloyd Wright home and studio. He started private practice under the name Prairie
School in this residential studio after he left Adler and Sullivan in 1893.

He designed the Winslow House in River Forest. Over the next years, he worked on
many public buildings and residences including the Unity Temple in Oak Park and Robie
House in Chicago.

After 20 years of his marriage, he abandoned his family and moved to Germany with
the wife of a client, where he put two portfolios together. This established an international
profile for Frank Lloyd Wright.

Upon his return to the United States, he designed what became one of his most
acclaimed works – Taliesin, Welsh which was a home he built for himself and Mamah
Borthwick Cheney, the woman he had moved to Germany earlier.

He was commissioned by a Japanese emperor to build the Imperial Hotel in Tokyo.

He claimed that the structure he spent 7 years on was earthquake-proof and in the Great
Kanto Earthquake, the Imperial Hotel was the only large structure that survived the massive
impact!

In 1932, he founded Taliesin Fellowship which was an architectural school that he

started from his Taliesin residence. Taliesin Fellowship was housed in Taliesin West during
winter months, which his he built 5 years later with his apprentices.

At about 70 years of age, he made a dramatic entrance to the profession by his

greatest building, the Fallingwater, which was a residence for the acclaimed Kaufmann
 27

family of Pittsburgh. He designed the SC Johnson Wax Administration Building in

Wisconsin. He also designed the stunning Monona Terrace (which could not be constructed
due to lack of funds), and Guggenheim Museum in New York City.

32. Peter Behrens

Peter Behrens is considered the pioneer of corporate design and modernist
architecture. He was born in Hamburg. He joined utopian Darmstadt artist colony that was
set up by the Grand duke of Hesse, Ernst Ludwig. While he was there, he designed his own
home which gave him the encouragement to start working as an architect.

His famous works include AEG Turbine Factory, German Embassy in St Petersburg,
and Hoechst Dye Factory, Admin Building in Frankfurt.

33. Adolf Loos

Adolf Loos was an Austrian architect who grew up in Germany. He was against the
use of ornamentals and design in architecture because he found it immature and childish.

Adolf Loos did not design many buildings himself. One of his earliest primary pieces
includes the Café Museum. Other works of Adolf Loos include the Loos House, Hais
Steiner, Haus Scheu, and Haus Rufer. He designed the Chicago Tribune Tower and the
house in Paris for Tristan Tzara.

34. Burnham (Daniel Hudson Burnham) and Root (John Willborn Root)
Burnham and Root are one of the top architectural firms that were set up by Daniel
Hudson Burnham who planned the cities of Manila and Baguio in the Philippines and John
Wellborn Root. It was a key influence on the Chicago School of Architecture. Burnham and
Root met each other during the apprenticeship at an architectural firm of Carter, Drake, and
Wight in Chicago.

The early buildings that they worked on were homes for wealthy people but hey
started designing tall buildings soon. The popular architectural works that the duo pulled
together include Rookery Building, Rand McNally Building, and Monadnock
Building, all in Chicago.

35. Adler (Dankmar Adler) and Sullivan (Louis Sullivan)

The two architects during the late 19th century, Dankmar Adler and Louis Sullivan
teamed up to create waves in the architecture. They produced American architecture that
was simple and featured steel fame walls and modern forms. Their partnership was the
most influential and famous in American architecture. They were considered the fathers of
the modern skyscrapers.

The most significant works by the duo include the Auditorium Building, the
Schiller/Garrick, the Chicago Stock Exchange Building, the Wainwright Building in St. Louis,
and the Guaranty Building in New York.

Some of the primary pieces that Louis Sullivan worked alone include the
Schlesinger & Mayer store which was later known as Carson Pirie Scott and the Bayard
Building in New York.

36. Eliel Saarinen

The finnish born Eliel Saarinen (1873-1950) studied architecture and painting in
Helsinki and received his architect's diploma in 1897. Together with to friends of student's
days, Gesellius and Lindgren, he established an architect's office already in 1896. The
three soon gained recognition in Finland and abroad with works as the Finnish Pavillion at
The World Fair 1900 in Paris, Hvitträsk House near Helsinki, where they had their office
 28

and private houses, the Finnish National Museum in Helsinki and the Railway Stations of
Helsinki and Viipuri. Saarinen took also Part in the international city planning competitions
for Canberra, Budapest and Tallinn.

According to the philosophy of architecture at the beginning century Saarinen

designed also the furniture for his projects. Early examples are Hannes Chair (1908) and
White Chair (1910) for his Hvitträsk winter-garden. Although formally similarities to works of
Baillie-Scott and Charles Rennie Mackintosh the Saarinen designs carry their own finnish
character in line with Hvitträsk's total design concept.

After success in the competition for the Chicago Tribune Tower (1922) Saarinen
moved to the United States (1923). Besides other major objects he developed the concept
and designed the complete area of the Cranbrook Academy and School near Detroit. Here
he lived until his dead in 1950. For the dining room of the academy's president (which in
fact was himself!) he designed the famous Side Chair, one of his masterpieces, and for his
wife's studio the Blue Chair (both 1929).

37. Walter Gropius

Walter Gropius is one of the pioneers of modern architecture and the founder of
Bauhaus, which is an architecture school in Germany. This German architect designed and
developed several architectural primary pieces that are still standing today.

The major works that Walter Gropius did include The Fagus Factory, Sommerfeld
House, and Monument to the March Dead. Bauhaus Complex in Dessau, Gropius House in
Massachusetts, the Graduate Center at Harvard University, the Pan American Building in
New York City, and the John F. Kennedy Federal Office Building in Boston are all Walter
Gropius’s contributions to American architecture.
20th Century
Architecture observed modernism. With rapid economic development and urbanization, the
architecture saw new forms, having little or no ornamentation. The structures were made
more practical and functional and made-made materials like steel were used excessively.
The architects who adapted to the modernization in the 20th century were successful in
pulling off primary pieces that formed the basis of modern architecture.
38. Erich Mendelsohn
Erich Mendelsohn was a German architect and the pioneer of modern
architecture. He incorporated functionalism in his projects. He was born in Prussia and
received training in architecture in Berlin and Munich.

The first major commission that Erich Mendelsohn bagged was the Einstein Tower
in Potsdam. The structure was a perfect expression of abstract architecture and sculptural
expressionism. When he started turning away from free-flowing designs, he created the
Steinberg Hat Factory in Luckenwalde, Germany which is an example of the new direction
he took in architecture.

The most important British design that Erich Mendelsohn worked on was the De La
Warr Pavilion at Bexhill-On-Sea. He executed many important buildings in Palestine which
include University Medical Center in Jerusalem and a hospital at Haifa.
His American works include Maimonides Hospital -San Francisco. His works in
Midwest include St. Louis Mo in Ohio, Grand Rapids in Mich, and St. Paul in Minn.

39. Charles-Edouard Jeanneret

Charles Edouard Jeanneret was a Swiss-born architect. He joined his father in
trade at the age of 13 and went to Europe on a trip upon the advice of Charles
 29

L’Eplattenier, who decided that Charles Edouard should become an architect. After working
in many architectural offices in Paris, Vienna, and Berlin, under renowned architects,
returned to hometown and continued his architectural studies.

One of his earliest designs includes the one for the Domino House, the design of
which became the template for the next decade. After setting up his own studio in Paris in
1922, Le Corbusier designed many houses and villas which include Citrohan House, and
the villas built for Ozenfant, Raoul La Roche, Michael Stein and the Villa Lipchitz, Maison
Planeix, Maison Cook, and his primarywork Savoye House. He also produced large-scale
housing projects like Immeubles Villas.

Other popular works include:

• Army Hostel
• Swiss Dormitory at the City University
• Unite d’Habitation, Marseilles
• Villa Savoye, Poissy-sur-Seine, France
• La Tourette Monastery, Evreux-sur-l’Arbesle
• Notre Dame du Haut, Ronchamp

40. Ludwig Mies van der Rohe

Ludwig Mies van der Rohe was born in Germany. He was one of the most
influential architects who lived in the 20th century. He developed the most enduring style of
architecture which was modernism. The minimalist style of Mies van der Rohe was very
popular for almost a century. He started his career at Peter Behrens’s studio.

His fame was cemented in 1921 when he proposed the design of the
Friedrichstraße skyscraper which was an all-glass tower and in 1929 by the German
Pavilion at Barcelona Exposition. It remains one of the most popular and well-known of his
works even today.

After the influence of Nazis continued to grow, finding work in Germany became
difficult. Mies went to the United States. He settled in Chicago where was made the head of
Illinois Institute of Technology. He worked on exemplary projects such as the Seagram
Building and the 860-880 Lakeshore Drive. He also designed the Farnsworth House and
the Chicago Federal Center.

41. Louis Kahn

An American architect, based in Philadelphia. After working in various capacities
for several firms in Philadelphia, he founded his own atelier in 1935. While continuing his
private practice, he served as a design critic and professor of architecture at Yale School of
Architecture from 1947 to 1957. From 1957 until his death, he was a professor of
architecture at the School of Design at the University of Pennsylvania.

Kahn created a style that was monumental and monolithic; his heavy buildings for
the most part do not hide their weight, their materials, or the way they are assembled. Louis
Kahn's works are considered as monumental beyond modernism. Famous for his
meticulously built works, his provocative proposals that remained unbuilt, and his teaching,
Kahn was one of the most influential architects of the twentieth century. He was awarded
the AIA Gold Medal and the RIBA Gold Medal. At the time of his death he was considered
by some as "America's foremost living architect."
 30

42. Alvar Aalto

Alvar Aalto was born in Finland. He designed buildings for many public institutions
and worked on private homes and standardized housing. He was a popular furniture
designer. Artek was established so that sales of Aalto furniture could be promoted.

One of the major milestones for Alvar Aalto was the Paimio Sanatorium. He
designed many public buildings including Säynätsalo Town Hall, the Jyväskylä Institute of
Pedagogics, and the House of Culture in Helsinki. The most notable urban designs include
Seinäjoki city center, Rovaniemi city center and the Jyväskylä administrative and cultural
center which was only partly built.

Alvar Aalto also worked on many projects, both public and private, outside Finland
as well. Most prominent works by Alvar Aalto include:
• City Library, Vyborg, Russia
• Villa Mairea, Noormarkku, Finland
• Finnish Church of the Holy Ghost, Wolfsburg, Germany

43. Michael Graves

One of the most celebrated architects and designers of the 20th century. A
member of the influential group of architects known as the New York Five, Graves was
also a member of the Memphis Group and a leader of the postmodern movement.
He founded his own firm in 1964 and, in 1982, completed one of his best-known
projects, the highly controversial Portland Building. His subsequent projects include the
Denver Public Library, the Humana Building in Louisville, Kentucky, and several
buildings for the Walt Disney Company.
Graves, a professor at Princeton University for 39 years, was also well known for
his product designs for Alessi, Target, and JCPenney. Look back at the architect’s
celebrated work and view his residential projects that have been featured i n the pages
of Architectural Digest.

44. Jacque Fresco

Jacque Fresco (born 13 March 1916) is a structural designer, social engineer,

architectural designer, philosopher of science, concept artist, educator, and futurist. His
central approach is to use “science as a method applied to social concern,” which is also
one of the key tenets of the Technocracy Inc. movement, of which Jacque was a member
for a while. Fresco has designed, invented, and patented many things, including a version
of 3D cinema without the use of glasses, a technique for three-dimensional x-ray units, and
the first airbag.

Fresco was the founder of Sociocyberneering, Inc., now known as The Venus
Project. The Venus Project reflects the culmination of Fresco's life work: the integration of
the best of science and technology into a comprehensive plan for a new society based on
human and environmental concern. He has lectured extensively across the world. In 2010
he began a World Lecture Tour in which he presented over 26 lectures in 20 countries. He
has been featured in numerous magazines, journals, newspapers, films, on TV and the
radio.

45. Skidmore (Louis Skidmore), Owings (Nathaniel Owings), and Merrill (John O.
Merrill)
The westerners, Skidmore, Owings, and Merrill establish SOM in the 1930s in
Chicago. The firm was established when the city was trying to establish itself taller and
bigger than New York. Skidmore, Owings & Merrill worked on numerous projects, not only
 31

in Chicago but throughout the world that are all primary pieces of modern architecture. The
most prominent works by the firm include the following:
• Manhattan House, New York
• Lever House, New York
• One Chase Manhattan Plaza, New York
• Cadet Chapel, Colorado
• John Hancock Center, Chicago
• The Willis Tower in Chicago
• Chase Tower, Dallas
• Jin Mao Tower, Shanghai
• Time Warner Center, New York
• Jianianhua Centre, China
• Burj Khalifa, Dubai
• One World Trade Center, New York
• Denver Union Station, Denver

46. Louis Kahn

Louis Kahn was one of the greatest architects of the 20th century who fused
modernism with the dignity and weigh of ancient monuments. He was born in Parnu which
is now Estonia. His family moved to Philadelphia where he lived for the rest of his life. Most
of his architectural works are also found there.

His initial interest was in medieval architecture. It was not until he turned 50 that his
interest in modern architecture developed. He delivered many successful, well-known
projects in different parts of the world. Some of them are the following:
• Salk Institute, Jolla, California
• National Assembly Building, Dhaka, Bangladesh
• Kimbell Art Museum, Fort Worth, Texas
• Four Freedoms Park, New York (design discovered after his death)

47. Philip Johnson

Philip Johnson was born in Ohio. He was a critic, author, museum director,
historian, but not an architect before he designed his first building. With time, he became
one of the most potent forces in modern architecture.

As a part of his primary degree thesis, he designed his residence in New Canaan
which is now the world famous, Glass House. he was the one to organize the first visits of
Mies van der Rohe and Le Corbusier’s first visits to the country. He commissioned Mies van
der Rohe to design his apartment in New York. Later, he collaborated with Mies for the
designing and construction of the Seagram Building in New York, which is the finest high-
rise building of the continent. The most controversial project of his career was the AT&T
headquarters in New York with the “Chippendale” top.
The list of his projects that are known to the world today include:
• International Place, Boston
• Tycon Towers, Vienna
• Momentum Place, Dallas
• 53rd at Third, New York
• NCNB Center, Houston
• Crystal Cathedral, California
• Water Garden, Fort Worth
 32

48. Oscar Niemeyer

Oscar Niemeyer was born in Rio de Janeiro, Brazil and studied architecture. He
became the most famous Brazilian architects during the 20th century. Oscar Niemeyer
designed the Brazilian Pavilion for the World’s Fair in New York in collaboration with Lucio
Costa. He was involved in the design and construction of the Ministry of Education and
Health, after which his architectural career blossomed.

He collaborated with Le Corbusier to design the United Nations Headquarters in

New York. His residence in Rio de Janeiro became a landmark itself. He also designed the
Aeronautical Research Center. He worked on an office building in Europe for Renault and
the Communist Party Headquarters in Paris.

Other works include Le Havre’s cultural center, the Mondadori Editorial office in
Milan and FATA office Building in Turin. He was also involved in the design of Zoological
Gardens, the Foreign office, and the University of Constantine. Metropolitan Cathedral,
Brasilia and Palacio do Itamaraty, Brasilia are also his works.

49. Eero Saarinen

Eero Saarinen was a Finnish architect, born to Eliel Saarinen who was a well
establish Finnish architect. His family moved to the United States when he was only 12
years old.

Being overweight and dyslexic, Eero Saarinen could not receive proper schooling.
He was sent to Paris for one year at Académie de la Grande Chaumière after which he
received his degree of Bachelor of Arts from Yale.

Initially, he worked with his father but after his father died, he opened his own firm.
He focused on utilizing a newer technique for construction and creating architecture that
had some sort of visual effect.

Other than this Saarinen Collection in furniture, he produced a few architectural

primary pieces like TWA Terminal at New York’s J.F Kennedy Airport & Dulles International
Airport in Washington D.C. He also designed the Jefferson National Expansion Memorial in
St. Louis, Missouri and the Kresge Auditorium at MIT, Cambridge.

50. Kenzo Tange

Kenzo Tange was a Japanese architect who was one of the very important
architects of the 20th century. He fused the Japanese styles with modernism and designed
many prominent and important buildings in five continents.

Kenzo Tange participated in a competition in 1942 for the design of the Greater
East Asian Co-Prosperity Sphere Memorial Hall. He was awarded the first prize, for the
design that would be situated at the base of Mount Fuji. However, what he conceived was a
fusion of plaza on Capitoline Hill in Rome and Shinto shrine architecture. Hence, the design
was not realized.
The highlights of his architectural career include the following buildings:
• Hiroshima Peace Centre, Hiroshima, Japan
• Yamanashi Press and Radio Centre, Kofu, Japan
• Tokyo Olympic Stadium, Japan

51. Ieoh Ming Pei

Ieoh Ming Pei is a Chinese-American architect is said to be the greatest modernist
architect. He won the Pritzker Price in 1963. The jury stated that he had given some of the
 33

most beautiful exterior forms and interior spaces to the century. He was born in China but
grew up in Hong Kong.

He had his own practice with the name I.M. Pei & Associates. The most well-known
work of his firm is the crystalline extension of the world-famous Louvre in Paris. Other
works that are quite influential include Bank of China Tower in Hong Kong, JFK Presidential
Library in Boston, – John Hancock Building, Boston, and the East Building of National Art
Gallery Of Art in Washington D.C.

52. Jorn Oberg Utzon

John Oberg Utzon took education from Sweden, Denmark, and Finland. He worked
beside Alvar Aalto, who was his primary. He is considered as one of the most important
architects that lived in the second half of the 20th century.

He settled in Copenhagen where he had his own studio. He won the Pritzker prize
for the most important project of his career- Sydney Opera House.

Other works that he well known for include:

• The Kingo Houses, Helsingor
• Bagsvaerd Church, Copenhagen

53. Venturi (Robert Venturi), Rauch (John Rauch), & Scott-Brown (Denise Scott Brown)
Venturi, Rauch, and Scott-Brown is an architectural firm based in Philadelphia
which was established by postmodernist architects- Robert Venturi, Denise Scott Brown,
and John Rauch.

These architects established their firm with a philosophy of social planning,

environmental responsibility, and contextual design. The firm is involved in urban planning,
residences, museums, decorative arts, and academic planning.

The major works that the trio of architects has successfully pulled off include:
• Freedom Plaza in Washington, D.C.
• Washington Avenue district in Miami Beach, Florida
• The Strand in Galveston, Texas
• Vanna Venturi House, Pennsylvania
• Guild House Retirement Home, Philadelphia
• Allen Memorial Art Museum, Oberlin College
• Museum of Contemporary Art, San Diego
21st Century
Architecture observed contemporary. No single style is dominant; contemporary architects
are working in several different styles, from postmodernism and high-tech architecture to
highly conceptual and expressive forms and designs, resembling sculpture on an enormous
scale. The different styles and approaches have in common the use of very advanced
technology and modern building materials, such as tube structures which allow construction
of buildings that are taller, lighter and stronger than those in the 20th century, and the use of
new techniques of computer-aided design, which allow buildings to be designed and
modeled on computers in three dimensions, and constructed with more precision and speed.
54. Cesar Pelli

César Pelli was born in Argentina where he earned a Diploma in Architecture from
the University of Tucuman. He first worked in the offices of Eero Saarinen serving as Project
Designer for several buildings including the TWA Terminal at JFK Airport in New York. In
 34

1977, Pelli became Dean of the Yale University School of Architecture and also founded
Cesar Pelli & Associates (now known as Pelli Clarke Pelli Architects).

His designs have avoided formalistic preconceptions. He believes that buildings

should be responsible citizens and that the aesthetic qualities of a building should grow from
the specific characteristics of each project such as its location, its construction technology,
and its purpose. In search of the most appropriate response to each project, his designs
have covered a wide range of solutions and materials.

In 1995, the American Institute of Architects awarded Pelli the Gold Medal, in
recognition of a lifetime of distinguished achievement in architecture. And in 2004, he was
awarded the Aga Khan Award for Architecture for the design of the Petronas Towers, Kuala
Lumpur, Malaysia.

55. Frank O. Gehry

Frank O. Gehry was born in Canada. He took his education from the University of
Southern California and the Harvard Graduate School of Design.

He started off with his career by working for Victor Gruen Associates and for
Pereira and Luckman. He had a brief stint in Paris after which he returned to California and
established his own firm. He won the Pritzker Prize in 1989.

The most prominent of works by Frank Gehry include the following:

• California Aerospace Museum, Los Angeles
• Walt Disney Concert Hall, Los Angeles
• Weisman Museum, Minneapolis
• Guggenheim Museum, Bilbao
• Nationale Nederlanden Building, Prague
• Experience Music Project, Seattle

56. Richard Rogers

Richard Rogers is among the most innovative and distinctive architects of the 20th
century. He is one of the leading architects during the British High-Tech movement. He was
born in Florence. He attended the Architectural Association in London and then went to Yale
University. He met Brit Norman Foster at Yale and after graduating, the two joined hands
with Su Brumwell and Wendy Cheeseman and established Team 4 in 1963. Their
collaboration as Team 4 just lasted for 4 years but during this time, they contributed greatly
to British architecture. After Team 4 got disbanded, he collaborated with Renzo Piano which
was very fruitful.

The most important of Richard Roger’s works include:

• Georges Pompidou Centre, Paris (with Renzo Piano)
• Lloyds of London

57. Zaha Hadid

Dame Zaha Mohammad Hadid, DBE (born 31 October 1950), founder of Zaha
Hadid Architects, was awarded the Pritzker Architecture Prize (considered to be the Nobel
Prize of architecture) in 2004 and the Stirling Prize in 2010 and 2011. Hadid studied
mathematics at the American University of Beirut before moving to London in 1972 to attend
the Architectural Association (AA) School where she was awarded the Diploma Prize in
1977. She went on to become partner of the Office for Metropolitan Architecture (OMA) and
taught at the AA alongside OMA collaborators Rem Koolhaas and Elia Zenghelis.
 35

Each of her dynamic and innovative projects builds on over thirty years of
revolutionary exploration and research in the interrelated fields of urbanism, architecture and
design. Hadid’s interest lies in the rigorous interface between architecture, landscape and
geology as her practice integrates natural topography and human-made systems, leading to
experimentation with cutting edge technologies. Her outstanding contribution to the
architectural profession continues to be acknowledged by the world’s most respected
institutions including Forbes List of the ‘World’s Most Powerful Women’; TIME’s ‘100 Most
Influential People in the World’ in 2012; and the Japan Art Association presenting her with
the ‘Praemium Imperiale’ further cementing her presence as one of the most famous
architects of our time.

58. Richard Meier

Richard Meier is an American architect who focused on open space, pure
geometry, and light. After working with Skidmore, Owings & Merrill and Marcel Breuer during
the beginning of his career, he formed in own firm.

One of his early works on the Smith House received a lot of criticism since it was
his first white building that he built upon Le Corbusier’s modernism. He received greater
attention for the Douglas House.

After the success of the series of private residences, he received numerous public
commissions. These commissions included:
• Atheneum New Harmony, Indiana
• Museum of Decorative Arts Germany
• High Museum of Art in Atlanta, Georgia
• City Hall and Library in The Hague, Netherlands
• Museum of Contemporary Art in Barcelona, Spain.
• Getty Center in Los Angeles
• Eli and Edythe Broad Art, north campus of the University of California, Los
Angeles

59. Sir Norman Foster

Sir Norman Foster was born in Manchester. He is a British designer and an
architect who is active in London. He has a diverse experience and his contribution to
modern architecture is massive. He has designed offices, skyscrapers, stadiums, airports,
galleries, parliament buildings, city primary plans, and a spaceport.

He won a Pritzker Price in 1999. He is truly devoted to architectural technology and

this devotion has helped him earn a place in the High-Tech movement. He has designed
incredible buildings such as the headquarters of Willis Faber & Dumas and the Sainsbury
Centre for Visual Arts.

Other major architectural works that Sir Norman Foster has worked on include:
• Hong Kong and Shanghai Bank Headquarters in Hong Kong
• Reichstag Dome in Berlin
• 30 St Mary Axe, London (the Gherkin)

60. Rem Koolhaas

Remment Lucas “Rem” Koolhaas ( born 17 November 1944) is a Dutch architect,
architectural theorist, urbanist and Professor in Practice of Architecture and Urban Design at
the Graduate School of Design at Harvard University. Koolhaas studied at the Architectural
Association School of Architecture in London and at Cornell University in Ithaca, New York.
He is the founding partner of OMA, and of its research-oriented counterpart AMO based in
Rotterdam, the Netherlands. He first came to public and critical attention with OMA (The
 36

Office for Metropolitan Architecture), the office he founded in 1975 together with architects
Elia Zenghelis, Zoe Zenghelis and Madelon Vriesendorp (Koolhaas’s wife) in London.

In 2000, Rem Koolhaas won the Pritzker Prize. And in 2008, Time put him in their
top 100 of The World’s Most Influential People. Koolhaas’ firm is now known almost
exclusively for large-scale works, such as the CCTV Headquarters (named the “Best Tall
Building in the World” in 2013) and the Seattle Library (which is widely regarded as one of
the most important buildings of the 21st century). But OMA’s influence does not end with its
diverse portfolio. Perhaps most importantly, the firm is a hotbed for architectural talent and
innovation and boasts to have groomed some of the world’s front row designers including:
Zaha Hadid, Joshua Prince Ramus, Bjarke Ingels, and Jeanne Gang (all who have made it
to this list of 40 Famous Architects of the 21st Century).

61. Renzo Piano

Renzo Piano is an Italian architect. He was born in Genoa. He belongs to a family
of builders, but he chose design instead. He studied architecture in Milan. He worked for
Louis Kahn and Richard Rogers, leading to Piano getting success quite early in his career.
He participated in the competition for the design of Centre Pompidou and won. After
completing work at the Centre Pompidou, he founded his own firm, Renzo Piano Building
Workshop after spending 4 years with Peter Rice, an engineer.

With Centre Pompidou, he received commissions for many museums. Some of his
most prominent works include the Menil Collection and Whitney Museum of American Art.
He has also designed and constructed Louis Kahn’s Kimbell Art Museum and the Carpenter
Center at Harvard.

He received the Pritzker Prize in 1998. He was praised by the jury for his projects
including Kansai Airport Terminal in Osaka and Shard in London

62. Alvaro Siza

Álvaro Joaquim de Melo Siza Vieira (born 25 June 1933) is a Portuguese architect
and architectural educator, internationally known as Álvaro Siza. He graduated in
architecture in 1955, at the former School of Fine Arts of the University of Porto. He
completed his first built work (four houses in Matosinhos) even before ending his studies in
1954, the same year that he started his private practice in Porto. In 1992, he was awarded
the Pritzker Prize for the renovation project that he coordinated in the Chiado area of Lisbon,
a historic commercial sector that was all but destroyed by fire in August 1988. Siza believes
that architects don’t invent anything, that they just transform reality – a philosophy that saw
the jury citation for his 1992 Pritzker Prize state that, “Like the early Modernists, his shapes,
molded by light, have a deceptive simplicity about them; they are honest.”

63. Bjarke Ingels

Bjarke Ingels is a Danish architect who heads the architectural practice Bjarke
Ingels Group (BIG). Known for his innovative and ambitious design approach, many of his
buildings defy traditional architectural stereotypes. He often incorporates sustainable
development ideas and sociological concepts into his designs, but often tries to achieve a
balance between the playful and practical approaches to architecture.

At the bedrock of Bjarke’s philosophy is his belief that to deal with today’s
challenges, architecture can profitably move into a field that has been largely unexplored. A
pragmatic utopian architecture that steers clear of the petrifying pragmatism of boring boxes
and the naïve utopian ideas of digital formalism. Like a form of programmatic alchemy he
seeks to create architecture by mixing conventional ingredients such as living, leisure,
working, parking and shopping; making him one of the most famous architects today.
 37

64. Daniel Libeskind

An international figure in architecture and urban design, Daniel Libeskind is
renowned for his ability to evoke cultural memory in buildings. Informed by a deep
commitment to music, philosophy, literature, and poetry, Mr. Libeskind aims to create
architecture that is resonant, unique, and sustainable.

In 1989, Mr. Libeskind won the international competition to build the Jewish
Museum in Berlin. A series of influential museum commissions making him a famous
architects entry followed, including the Felix Nussbaum Haus, Osnabrück; Imperial War
Museum North, Manchester; Denver Art Museum; Contemporary Jewish Museum, San
Francisco; Danish Jewish Museum; Royal Ontario Museum; and the Military History
Museum, Dresden.

In 2003, Studio Libeskind won another historic competition—to create a master plan
for the rebuilding of the World Trade Centre in Lower Manhattan. In addition to a towering
spire of 1,776 feet, the Libeskind design study proposed a complex program encompassing
a memorial, underground museum, the integration of the slurry wall, special transit hub and
four office towers. This plan is being realized today.

65. Herzog (Jacques Herzog) and de Meuron (Pierre de Meuron)

Jacques Herzog studied architecture at the Swiss Federal Institute of Technology
Zurich (ETHZ) from 1970 to 1975. He was a visiting tutor at Cornell University, USA in 1983.
He was also a visiting professor at Harvard University, USA (1989 and since 1994) and a
professor at ETH Zürich since 1999, and co-founder of ETH Studio Basel – Contemporary
City Institute since 2002.

Pierre de Meuron studied architecture at the Swiss Federal Institute of Technology

Zurich (ETHZ) from 1970 to 1975. With Jacques Herzog, he was a visiting professor at
Harvard University, USA (1989 and since 1994), and professor at ETH Studio Basel, ETHZ
(since 1999).

Jacques Herzog established Herzog & de Meuron with Pierre de Meuron in Basel in
1978. Together they have won the Pritzker Prize (2001), the Stirling Prize (2003) and the
RIBA Royal Gold Medal (2007). Their practice has designed a wide range of projects from
the small scale of a private home to the large scale of urban design. While many of their
projects are highly recognized public facilities, such as their stadiums and museums which
have put them in book of famous architects, they have also completed several distinguished
private projects including apartment buildings, offices, and factories.

66. Jean Nouvel

Jean Nouvel is a French architect who studied at the École des Beaux-Arts in Paris
and was a founding member of Mars 1976 and Syndicat de l’Architecture. He has obtained
several prestigious distinctions over the course of his career, including the Aga Khan Award
for Architecture; the Wolf Prize in Arts in 2005 and the Pritzker Prize in 2008.

In 1981, Nouvel won the design competition for the Institut du Monde Arabe (Arab
World Institute) building in Paris, whose construction was completed in 1987 and brought
Nouvel the international scene. Mechanical lenses reminiscent of Arabic latticework in its
south wall open and shut automatically, controlling interior lighting as the lenses’
photoelectric cells respond to exterior light levels.

Ateliers Jean Nouvel, his present practice, was formed in 1994 with Michel Pélissié
and is one of the largest in France, with 140 people in the main office in Paris. The practice
also has site offices are Rome, Geneva, Madrid, and Barcelona.
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67. Jeanne Gang

Jeanne Gang (born in 1964) is Founder and Principal of Studio Gang Architects, an
award-winning architecture and urban design practice based in Chicago and New York.
Internationally recognized for her innovative use of materials and environmentally sensitive
approach, Jeanne explores the role of design in revitalizing cities. Through projects ranging
in scale from community anchors and cultural institutions to tall mixed-use buildings and
urban planning, she engages pressing contemporary issues and their impact on the human
experience. Jeanne has produced what some critics consider as today’s most compelling
architecture to make her one of the most famous architects today, including the Arcus
Center for Social Justice Leadership, the WMS Boathouse at Clark Park, the Nature
Boardwalk at Lincoln Park Zoo, and Aqua Tower.

Jeanne’s work has been exhibited at the International Venice Biennale, the Museum
of Modern Art, and the Art Institute of Chicago. A distinguished graduate of the Harvard
Graduate School of Design, she has taught at Harvard, Yale, Princeton, Rice, and Illinois
Institute of Technology; where her studios have focused on cities, ecologies, and materials.

68. Ken Yeang

Ken Yeang (born in 1948) is a Malaysian architect, ecologist and author known for
his signature eco-architecture and eco-master plans. Yeang is an early pioneer of ecology-
based green design and master planning, carrying out design and research in this field since
1971. He is named by the Guardian as “one of the 50 people who could save the
planet”. Yeang’s operating headquarters Hamzah and Yeang is in Kuala Lumpur, Malaysia,
with other offices in London and Beijing, China.

Born in Penang, Malaysia, Yeang grew up in a tropical Modernist house designed

by Iversen van Sitteren and attended Penang Free School. He obtained his qualifications in
architecture from the Architectural Association School in London (AA). In 1969, he did an
internship at the Singapore architect practice S.T. S. Leong, before returning to the AA to
complete his diploma under Peter Cook (1972). His did his postgraduate at Cambridge
University Department of Architecture.

Yeang has completed over 12 bioclimatic eco high-rise buildings, several thousand
dwellings (terraced houses), over two million sq. ft. of interior design space, numerous eco-
master plans and eco-city designs, and has overall completed over a hundred building
projects of all types worldwide bringing him into focus in the famous architects list. Yeang
lectures extensively in over 30 countries at conferences and schools of architecture on his
ideas and work on ecological design and master planning.

His key built works include the Roof-Roof House (Malaysia), Menara Mesiniaga (an
IBM franchise) (Malaysia), National Library Singapore (Singapore), Solaris (Singapore with
CPG Consult), Spire Edge Tower (India with Abraxas Architects), DiGi Data Centre
(Malaysia), Ganendra Art House (Malaysia), Great Ormond Street Children’s Hospital
Extension (under Llewelyn Davies Yeang, UK), the Genome Research Building (Hong Kong
with Andrew Lee King Fun & Associates).

69. Kengo Kuma

Kuma was born in Yokohama, Japan in 1954. After graduating in Architecture from
the University of Tokyo in 1979, he worked for a time at Nihon Sekkei and TODA
Corporation. He then moved to New York for further studies at Columbia University as a
visiting researcher from 1985 to 1986. In 1987, he founded the “Spatial Design Studio”, and
in 1990, he established his own office “Kengo Kuma & Associates“. He has taught at
Columbia University, University of Illinois at Urbana-Champaign, and Keio University, where
in 2008, Kuma was awarded his Ph.D. in Architecture. Kuma is currently Professor at the
 39

Graduate School of Architecture at the University of Tokyo, running diverse research

projects concerning architecture, urbanity and design within his own Laboratory, Kuma Lab.

Kuma’s stated goal is to recover the tradition of Japanese buildings and to

reinterpret these traditions for the 21st century. In 1997, he won the Architectural Institute of
Japan Award and in 2009 was made an Officier de L’Ordre des Arts et des Lettres in France.
His seminal text Anti-Object: The Dissolution and Disintegration of Architecture from 2008,
calls for an architecture of relations, respecting its surroundings instead of dominating them.
Kuma’s projects maintain a keen interest in the manipulation of light with nature through
materiality.

Some of his key projects include the Suntory Museum of Art in Tokyo, Bamboo Wall
House in China, LVMH (Louis Vuitton Moet Hennessy) Group’s Japan headquarters,
Besançon Art Center in France, and one of the largest spas in the Caribbean for Mandarin
Oriental Dellis Cay.

70. Moshie Safdie

Moshe Safdie is an architect, urban planner, educator, theorist, and author.
Embracing a comprehensive and humane design philosophy, Safdie has shown commitment
to architectural typologies that support and enhance a project’s program; that is informed by
the geographic, social, and cultural elements that define a place; and that responds to
human needs and aspirations.

Born in Haifa, Israel, in 1938, Safdie moved to Canada with his family at a young
age. He graduated from McGill University in 1961 with a degree in architecture. After
apprenticing with Louis I. Kahn in Philadelphia, Safdie returned to Montreal to oversee the
master plan for the 1967 World Exhibition. In 1964 he established his own firm to realize
Habitat ‘67, an adaptation of his thesis at McGill, which was the central feature of the World’s
Fair and a groundbreaking design in the history of architecture.

In 1978, Safdie relocated his residence and principal office to Boston. He served as
Director of the Urban Design Program at Harvard University Graduate School of Design from
1978 to 1984, and Ian Woodner Professor of Architecture and Urban Design from 1984 to
1989. In the following decade, he was responsible for the design of six of Canada’s principal
public institutions, including the Quebec Museum of Civilization, the National Gallery of
Canada, and Vancouver Library Square. Some of his most notable projects include: the
acclaimed Habitat ‘67 in Montreal; the Artscience Museum and Marina Bay Sands, a
museum and mixed-use integrated resort in Singapore; and the Yad Vashem
Holocaust Museum in Jerusalem.

71. Peter Zumthor

Zumthor was born in Basel on 26 April 1943, the son of a cabinet-maker. He
apprenticed to a carpenter in 1958 and studied at the Kunstgewerbeschule in his native city
starting in 1963. In 1966, Zumthor studied industrial design and architecture as an exchange
student at Pratt Institute in New York. And in 1968, he became conservationist architect for
the Department for the Preservation of Monuments of the canton of Graubünden. This work
on historic restoration projects gave him a further understanding of construction and the
qualities of different rustic building materials.

Zumthor founded his own firm in 1979. He has taught at Southern California Institute
of Architecture in Los Angeles, the Technical University of Munich, Tulane University and the
Harvard Graduate School of Design. As his practice developed, Zumthor was able to
incorporate his knowledge of materials into modernist construction and detailing. His
buildings explore the tactile and sensory qualities of spaces and materials while retaining a
minimalist feel.
 40

His best known projects are the Kunsthaus Bregenz, a shimmering glass and
concrete cube that overlooks Lake Constance in Austria; the cave-like thermal baths in Vals,
Switzerland; the Swiss Pavilion for Expo 2000 in Hannover, an all-timber structure intended
to be recycled after the event; the Kolumba Diocesan Museum (2007), in Cologne; and the
Bruder Klaus Field Chapel, on a farm near Wachendorf. Currently, Zumthor works out of his
small studio with around 30 employees, in Haldenstein, near the city of Chur, in Switzerland.
His dedication has seen him declared the laureate of both the 2009 Pritzker Prize and 2013
RIBA Royal Gold Medal.

72. Santiago Calatrava

Santiago Calatrava is a Spanish neo-futuristic architect who was born in Valencia on
28 July 1951. He studied architecture at Polytechnic University of Valencia and later civil
engineering at Swiss Federal Institute of Technology. He went on to establish an
architectural and engineering practice in Zurich in 1981.

Calatrava’s early career was largely dedicated to bridges and railway stations, with
designs that elevated the status of civil engineering projects to new heights. His entry into
high-rise design began with an innovative 54-story-high twisting tower called Turning Torso
(2005), located in Malmö, Sweden. Since then, he has defined his style as bridging the
division between structural engineering and architecture – with a very personal style derived
from numerous studies of the human body and the natural world.

73. Shigeru Ban

Shigeru Ban is a Japanese architect, known for his innovative work with paper,
particularly recycled cardboard tubes used to quickly and efficiently house disaster victims.
He was profiled by Time magazine in their projection of 21st century innovators in the field of
architecture and design.

For Ban, one of the most important themes in his work is the “invisible structure”.
That is, he does not overtly express his structural elements, but rather chooses to
incorporate them into the design. Ban is not interested in the newest materials and
techniques, but rather the expression of the concept behind his building.

In 2014, Ban was named the 37th recipient of the Pritzker Architecture Prize, the
most prestigious prize in modern architecture. The Pritzker jury cited Ban for his innovative
use of materials and his dedication to humanitarian efforts around the world – calling him “a
committed teacher who is not only a role model for the younger generation, but also an
inspiration…”

74. Tadao Ando

Tadao Ando, is one of the most renowned contemporary Japanese architects.
Characteristics of his work include large expanses of unadorned architectural concrete walls
combined with wooden or stone floors and large windows. Active natural elements, like sun,
rain, and wind are a distinctive inclusion to his style. He has designed many notable
buildings, including Row House in Sumiyoshi, Osaka, 1976, which gave him the Annual
Prize of Architectural Institute of Japan in 1979, Church of the Light, Osaka, 1989, Pulitzer
Foundation for the Arts, St. Louis, 2001, Armani Teatro, Milan, 2001, Modern Art Museum of
Fort Worth, 2002 and 21_21 DESIGN SIGHT in Tokyo, 2007.

Among many awards he has received are; Gold Medal of Architecture, Academie
d’Architecture (French Academy of Architecture) in 1989, The Pritzker Architecture Prize in
1995, Gold Medal of the American Institute of Architects in 2002, and Gold Medal of Union
Internationale des Architectes in 2005. Ando is an honorary member of the American
Institute of Architects, the American Academy of Arts and Letters, as well as the Royal
 41

Academy of Arts in London. He has been a visiting professor at Yale, Columbia, UC

Berkeley and Harvard.

75. Toyo Ito

Toyo Ito is a Japanese architect known for creating conceptual architecture, in
which he seeks to simultaneously express the physical and virtual worlds. He is a leading
exponent of architecture that addresses the contemporary notion of a “simulated” city, and
has been called “one of the world’s most innovative and influential architects.” In 2013, Ito
was awarded the Pritzker Prize. Born Seoul, Korea; Ito studied architecture at the University
of Tokyo.

After working for Kiyonori Kikutake Architect and Associates from 1965 to 1969, Ito
started his own studio in Tokyo, named Urbot (“Urban Robot”). And in 1979, the studio name
was changed to Toyo Ito & Associates. Throughout his early career Ito constructed
numerous private house projects that expressed aspects of urban life in Japan. His most
remarkable early conceptual contributions were made through projects of this scale, such as
White U (1976) and Silver Hut (1984). Other notable works include: Tower of Winds (1986)
and Egg of Winds (1991) which are interactive landmarks in public spaces, resulting from a
creative interpretation of contemporary technical possibilities.
*75 out of 910 Famous International Architects

FAMOUS LOCAL / FILIPINO ARCHITECTS

First Ten Registered and Licensed Architects of the Philippines

PRC # 00001 Tomas Mapua

PRC # 00002 Carlos Baretto
PRC # 00003 Antonio Toledo
PRC # 00004 Cheri Mendelbaum
PRC # 00005 Arthur Chumbert
PRC # 00006 Joan Villegas
PRC # 00007 Sidney Rowlands
PRC # 00008 Juan Altiveros
PRC # 00009 Tomas Arguelles
PRC # 00010 Isidro Del Valle

Pablo Sebrero Antonio

Born at the turn of the century, National Artist for Architecture Pablo Sebero
Antonio pioneered modern Philippine architecture. His basic design is grounded on
simplicity, no clutter. The lines are clean and smooth, and where there are curves, these are
made integral to the structure. Pablo Jr. points out, “For our father, every line must have a
meaning, a purpose. For him, function comes first before elegance or form“. The other thing
that characterizes an Antonio structure is the maximum use of natural light and cross
ventilation. Antonio believes that buildings “should be planned with austerity in mind and its
stability forever as the aim of true architecture, that buildings must be progressive, simple in
design but dignified, true to a purpose without resorting to an applied set of aesthetics and
should eternally recreate truth.”

Antonio’s major works include the following:

• Far Eastern University Administration and Science buildings
• Manila Polo Club
• Ideal Theater
• Lyric Theater
• Galaxy Theater;
 42

• Capitan Luis Gonzaga Building

• Boulevard-Alhambra (now Bel-Air) apartments
• Ramon Roces Publications Building (now Guzman Institute of Electronics)

Arcadio De Guzman Arellano

He was born at Tondo from the union of Bartola de Guzman and Luis Arellano. He is
the older brother of another esteemed Filipino architect Juan M. Arellano. He is a Maestro
de Obra during the Spanish Period, even helping build the Franciscan Church in
Pinaglabanan, San Juan. He was a consultant to the Spanish City Engineer at that time, Don
Juan Huervas.

When the Philippine Revolution exploded, he became the captain of the Corps
of Engineers ofthe Revolutionary Army. By the American period, he became a member of
the City Council of Manila and helped codify the city’s Building Code. He funded his
brother ’s education in Ateneo and collaborated with him in some works,
particularly the Casino Espanol and the Gota de Leche. He was also commissioned by the
government to design the mausoleum for the Revolutionary Veterans. He practiced until
his death.

His son, Otilio Arellano also became an architect in the post-war years. His
earliest works give a hint of his Spanish exposure but his mausoleum for the
Revolutionary Veterans gives us the hint that Neoclassical Architecture is already starting to
define the style of architecture in Manila at that time.

Juan De Guzman Arellano

A Filipino architect and painter, best known as architect of Manila's Metropolitan
Theater, was born in Tondo, Manila.

Arellano finished his bachelor’s degree in Architecture in the United States being
sent as one of the first pensionados in architecture and subsequently went to work for
George B. Post & Sons in New York City.
He was also the architect of the Executive House (1926) (now houses the
National Museum of the Philippines), the Manila Post Office Building (1926), the Cebu
Provincial Capitol (1937), and the Jones Bridge.

In 1930, he returned to Manila and designed the Manila Metropolitan Theater,

which was then considered controversially modern. He also continued to act as a
consulting architect for the Bureau of Public Works where he oversaw the production of
Manila's first zoning plan.

In 1940, he was the one who created a design for Quezon City, which was to
become the new capital of the Philippines. It was during that time that he also designed
the building that would house the United States High Commission to the Philippines, later
the Embassy of the United States in Manila.

He retired in 1956 and went back to painting until his death in 1960.

Tomas Fernandez Arguelles

Arguelles’ career spanned the Spanish, American and post-war periods. He
received academic training in surveying at San Juan de Letran, and in architecture at
the Escuela de Artes y Oficios (School of Arts and Trade). Tomas is the father of Carlos
Arguelles, himself a pillar of Philippine modern architecture.
 43

Arguelles started work as an inspector for the Streetcar and Manila Railroad
companies from 1884 to 1896, agrimensor (land surveyor and assessor) for the Recollects in
1897, and maestro de obras in 1898 to 1924. He served in the Revolutionary Army against
Spain, with the rank of captain; the advisory council of the City of Manila; was one of the
founders of the Camara de Comercia Filipina (Philippine Chamber of Commerce); and
founding member of the Philippine Architects Society (the precursor to the PIA).

In the book, his son and granddaughter write: “Arguelles was automatically
licensed to practice architecture under the Engineers and Architects Law of 1921. He is
holder of Registration No. 9, granted to him in 1922 when he was already in his senior years.
The license was merely a formality as Arguelles had been actively practicing in this
profession decades earlier.”

Among the structures he designed before he received his license were the
Municipio de Manila or Manila City Hall when it moved out of Intramuros; the train stations of
San Fernando, Pampanga; San Miguel, Tarlac; and Hondagua, Bicol; President Manuel L.
Quezon’s mansion in Pasay; and the Botica Boie and Burke buildings on Calle Escolta, to
name but a few.

Lor Calma
Lor Calma is recognized in two fields — architecture and interior design. He is a
pioneer modernist when people did not understand the meaning of the word. He absorbed
the tenets of modernism’s minimalist form and maximized function and translated them into
a Filipino context in the heady days of the late ’50s and throughout the ’60s and ’70s.

He settled down and concentrated on furniture design and interiors from that point
onwards and continues to create marvelous, distinctive pieces. I used to have an office
across from his and always admired the look of his showroom, the Zen garden in front and
the furniture inside (which I never could afford).
Lor Calma studied architecture at the Mapua Institute of Technology School of
Architecture and Planning in the ’50s. He was a working student (as were many of his
generation) and got drawn into furniture design, eventually working for the few firms that
manufactured pieces in Manila. Because dollars were scarce, imports were not allowed, so
Lor cut his teeth by reverse engineering the few western furniture pieces that managed to be
brought in. This training was good for Lor as it gave him on-the-job training in industrial
design, which became the basis for the robust constructions of his future work.

This training was enhanced by Lor’s innate creativity. He is also an artist and multi-
awarded sculptor. There is no line between his art and his furniture or architecture. His is a
design ideology that has been little articulated (since there were few periodicals or books
published then) but evident in his extensive body of work.

One of the most important attributes of Lor’s work is its consistent quality, which it
owes to a solid foundation built from the bottom up and in an era when designers had to
make do with the resources at hand, creating designs that would last. Why, this is the very
essence of today’s supposedly radical and new “green” design. Lor was sustainable
decades before the term became fashionable.

Cesar Homero Concio, Sr.

Cesar H. Concio Sr. was one of the most prominent architects of his time. This
University of the Philippine alumni designed several buildings in the UP Diliman campus
(Church of the Risen Lord, Melchor Hall, Palma Hall), the Insular Life Building, the Children’s
Hospital, and the Baclaran Church. He served as the President of the Philippine Institute of
Architect and the Dean of the UP College of Architecture.
 44

Gabriel Papa Formoso

Formoso finished high school at the Ateneo de Manila in 1933. Then he enrolled at
the University of Santo Tomas School of Architecture which he graduated in 1937 and
received his Bachelor of Science in Architect.

Formoso became a registered architect in 1939. He worked for Andres Luna de

San Pedro and later for Pablo Antonio. Gabriel formed a partnership with Luis Araneta, then
established his own office. From 1952 to 1988 he made 11 tours of the United States, South
America, and Europe to observe trends in architecture, particularly in bank, hotel, and
condominium design.

In more than 40 years of practice Gabriel Formoso designed about 80 buildings

and more than 150 residences.

Gabriel`s Formoso outstanding works include: the Pacific Star Building on Makati
Avenue, 1990; the Bank of America-Lepanto Building on Paseo de Roxas, 1978; the Nikko
Manila Garden Hotel on Epifanio de los Santos Avenue, 1974; the Peninsula Manila Hotel
on Ayala Avenue, 1974; the Asian Institute of Management (AIM) on Paseo de Roxas, 1970;
and the Doña Narcisa de Leon Building on Paseo de Roxas, 1967.

Andres Luna De San Pedro

Luna was born in Paris, and grew up in the company of the ilustrado and
inteligentia community of Filipinos in Europe, including National Hero Jose Rizal. In 1894, he
returned to the country, took private art lessons under Manila’s best, but eventually went for
architecture studies at the International Correspondents School in Manila. He went back to
Paris to study architecture at the Ecole de Beaux Arts, and earned valuable experience by
working under known Parisian architects Gilardi, Paulin, and Bertoner.

Upon his return to Manila, he was appointed City Architect, a position he held from
1920 to 1924. Like Rojas and Arcadio Arellano, Andres Luna became high society’s favored
architect, sought after both for his pedigree and his unique style of Filipino-French
architecture. The ritzy pre-war Dewey Boulevard (now Roxas Boulevard) was once lined by
bayside palatial residences, a significant number of which were designed by Andres.

Alfredo J. Dimayuga Luz

Alfredo J. Luz was born in Lipa, Batangas. He studied at Mapua Institute of
Technology, but his studies were interrupted by World War II. He completed his architectural
degree at the University of California at Berkeley in 1949. While at Cal Berkeley, he won a
student competition to design a building on campus. He was awarded a medal and the
design plans were used in the actual construction of the building.

Luz came from an artistic family. His mother, Rosario, became an interior designer
though she had no formal training in the discipline. His brother, Arturo Luz, is a National
Artist.

Alfredo J. Luz was the Principal and Founder of A.J. Luz and Associates (AJLA).
He worked briefly at Erickson Massey in Vancouver, Canada and later at Townley Matheson
Partners, also in Vancouver. He later returned to Manila to re-open a new private practice as
AJLA had been transferred to his partners and associates, Francis Arcenas and Ruben
Payumo, both of whom became successful architects along with the other partners and
associates from AJLA. Luz died in 1989.
 45

Mañosa Brothers
Francisco “Bobby”, Jose, and Manuel, Jr. are Filipino architects considered as the
most influential Filipino architects of the 20th century for having pioneered the art of
Philippine neo-vernacular architecture. Their contributions to the development of Philippine
architecture led to their brother, Francisco “Bobby” recognition as a National Artist of the
Philippines for Architecture in 2018.

Although Bobby was popularly known as the architect of the Coconut Palace, his
other notable works include the EDSA Shrine, the Davao Pearl Farm, and Amanpulo resorts.

Mañosas devoted their life's work to creating a Filipino identity in architecture,

advocating design philosophies that harken "back to the bahay kubo and the bahay na bato,”
and other traditional vernacular forms. Mañosas became known for combining these
traditional forms and indigenous materials with modern building technology to create
structures which he felt were those best suited to the Philippines' tropical climate.

By the 2010s, Mañosa was a retired but decorated architect. Francisco’s three
children all work for the family company, Mañosa & Company. Isabel ("Bambi"), the eldest
and only daughter, is the head of the interior design department, as well as a director of
Tukod Foundation, a foundation of the Mañosa Group which advocates the advancement of
Filipino design, art and aesthetics. Francisco Jr. ("Dino") acts as CEO of the entire Mañosa
Group and is the founder and CEO of Mañosa Properties. Francisco's youngest son, Angelo
("Gelo"), carries on his father's architectural legacy as the CEO of Mañosa & Company.
While not working on his projects for the company, Mañosa was also part of the
jazz band The Executive Band. He played piano for the band.

In 2012, Bobby fell and cracked two vertebrae which had to be fused to heal. He
also needed heart bypass surgery to repair a life-threatening ventricular blockage.

Antonio Manalac Toledo

Along with Carlos Baretto, Juan Arellano, and Tomas Mapua, Antonio Toledo was
one of the first Pensionados for Architecture. Antonio Toledo stood out as the youngest
pensionado when he was sent to the United States to study architecture at the age of
sixteen.

He graduated with the Degree of Architecture at Ohio State in 1911.

Being educated in the US East Coast, he was influenced in the Neoclassical and
Beaux Arts styles and his outputs leaned towards these architectural designs, which are
evident in all of his major works for the Bureau of Public Works.He started working for the
Bureau of Public Works to work as a draftsman for William Parsons in 1911.He was
promoted to supervising Architect in 1915 and became the Consulting Architect in 1938 until
his retirement in 1954.

As the consulting Architect of the Bureau of Public Works that time, he was sent by
the government under President Roxas in a study mission to study the current trends in
Architecture and Engineering for the planning of the new Capital City. He was one of the
pioneer professors of Mapua Institute of Technology founded by his fellow pensionado
Tomas Mapua and taught there until 1967. He made buildings for the Burnham Plan that
evokes the Manifest Destiny maxim of America in its colony in the Orient.

Jose Maria Zaragosa

José María V. Zaragoza’s place in Philippine architecture history is defined by a
significant body of modern edifices that address spiritual and secular requirements.
Zaragoza’s name is synonymous to modern ecclesiastical architecture. Notwithstanding his
affinity to liturgical structures, he greatly excelled in secular works: 36 office buildings, 4
 46

hotels, 2, hospitals, 5 low-cost and middle-income housing projects; and more than 270
residences – all demonstrating his typological versatility and his mastery of modernist
architectural vocabulary.

Zaragoza graduated from the University of Santo Tomas in Manila in 1936, passing
the licensure examinations in 1938 to become the 82nd architect of the Philippines. With
growing interest in specializing in religious architecture, Zaragoza also studied at
International Institute of Liturgical Art (IILA) in Rome in the late 1950s, where he obtained a
diploma in liturgical art and architecture. His training in Rome resulted in innovative
approaches, setting new standards for the design of mid-century Catholic churches in the
Philippines. His prolificacy in designing religious edifices was reflected in his body of work
that was predominated by about 45 churches and religious centers, including the Santo
Domingo Church, Our Lady of Rosary in Tala, Don Bosco Church, the Convent of the Pink
Sisters, the San Beda Convent, Villa San Miguel, Pius XII Center, the Union Church, and the
controversial restoration of the Quiapo Church, among others.

Zaragoza is a pillar of modern architecture in Philippines buttressed by a half-

century career that produced ecclesiastical edifices and structures of modernity in the
service of God and humanity.

National Artists of the Philippines for Architecture

1. Juan Felipe de Jesus Nakpil (conferred 1973

2. Pablo Sebero Antonio, Sr. (conferred 1976)
3. Leandro Valencia Locsin (conferred 1990)
4. Ildefonso Paez Santos Jr. (conferred 2006)
5. Francisco "Bobby" Mañosa (conferred 2018)
6. José María V. Zaragoza (conferred 2014)

Here are some of the famous dictums and philosophies of famous architects:

1. A harmonious design requires that nothing be added or taken away. - Marcus Vitruvius
Pollio
2. God is in the details - Ludwig Mies van der Rohe
3. Less is more. - Ludwig Mies van der Rohe
4. The thing always happens that you really believe in; and the belief in a thing makes it
happen. - Frank Lloyd Wright
5. Form follows function – that has been misunderstood. Form and function should be one,
joined in a spiritual union. - Frank Lloyd Wright
6. It is very atmospheric. It is not a building that is a severe statement in the skyline. We
need the height; otherwise, the building almost disappears because it is so slender. -
Santiago Calatrava
7. Architecture is the work of nations. - John Ruskin
8. There are three forms of visual art: Painting is art to look at, sculpture is art you can walk
around, and architecture is art you can walk through - Dan Rice
9. Architecture, of all the arts, is the one which acts the most slowly, but the most surely, on
the soul. - Ernest Dimnet
10. A modern, harmonic and lively architecture is the visible sign of an authentic democracy.
- Walter Gropius
11. Architecture is the art of how to waste space. - Philip Johnson
12. All architecture is shelter, all great architecture is the design of space that contains,
cuddles, exalts, or stimulates the persons in that space. - Philip Johnson
13. Architecture begins where engineering ends. - Walter Gropius
14. A modern, harmonic and lively architecture is the visible sign of an authentic democracy.
- Walter Gropius
 47

15. Our architecture reflects truly as a mirror. - Louis Henri Sullivan

16. To provide meaningful architecture is not to parody history but to articulate it. - Daniel
Libeskind
17. Architecture should speak of its time and place but yearn for timelessness. - Frank
Gehry
18. To create architecture is to put in order. Put what in order? Function and objects. - Le
Corbusier
19. Architecture is the reaching out for the truth. - Louis Kahn
20. In any architecture, there is an equity between the pragmatic function and the symbolic
function. - Michael Graves
21. Architecture has to be greater than just architecture. It has to address social values, as
well as technical and aesthetic values. On top of that, the one true gift that an architect
has is his or her imagination. We take something ordinary and elevate it to something
extraordinary. - Samuel Mockbee
22. A doctor can bury his mistakes, but an architect can only advise his client to plant vines.
- Frank Lloyd Wright
23. An architect’s most useful tools are an eraser at the drafting board, and a wrecking bar at
the site. - Frank Lloyd Wright
24. Architects are pretty much high-class whores. We can turn down projects the way they
can turn down some clients, but we’ve both got to say yes to someone if we want to stay
in business. - Philip Johnson
25. The dialogue between client and architect is about as intimate as any conversation you
can have, because when you’re talking about building a house, you’re talking about
dreams. - Robert A. M. Stern
26. We are called to be architects of the future, not its victims. - Richard Buckminster
Fuller
27. All architects want to live beyond their deaths. - Philip Johnson
28. It is insufficient for architecture today to directly implement an existing building typology;
it instead requires architects to carefully examine the whole area with new interventions
and programmatic typologies. - Zaha Hadid
29. Architects today tend to depreciate themselves, to regard themselves as no more than
just ordinary citizens without the power to reform the future. - Kenzo Tange
30. I hope that America as a whole, and especially its architects, will become more seriously
involved in producing a new architectural culture that would bring the nation to the apex
– where it has stood before – and lead the world. - Tadao Ando
31. My passion and great enjoyment for architecture, and the reason the older I get the more
I enjoy it, is because I believe we – architects – can affect the quality of life of the people.
- Richard Rogers
32. Not many architects have the luxury to reject significant things. - Rem Koolhaas
33. Always design a thing by considering it in its next larger context – a chair in a room, a
room in a house, a house in an environment, an environment in a city plan. - Eliel
Saarinen
34. All fine architectural values are human values, else not valuable. - Frank Lloyd Wright
35. Architecture is the art of how to waste space. - Philip Johnson
36. Form ever follows function. - Louis Henry Sullivan
37. Those who look for the laws of Nature as a support for their new works collaborate with
the creator. - Antonio Gaudi
38. I think my best skill as an architect is the achievement of hand-to-eye coordination. I am
able to transfer a sketch into a model into the building. - Frank Gehry
39. I know the price of success: dedication, hard work and an unremitting devotion to the
things you want to see happen. - Frank Lloyd Wright
40. An important work of architecture will create polemics. - Richard Meier
41. And when an architect has designed a house with large windows, which is a necessity
today in order to pull the daylight into these very deep houses, then curtains come to
play a big role in architecture. - Arne Jacobsen
 48

42. Any architectural project we do takes at least four or five years, so increasingly there is a
discrepancy between the acceleration of culture and the continuing slowness of
architecture. - Rem Koolhaas

43. Architecture arouses sentiments in man. The architect’s task therefore, is to make those
sentiments more precise. - Adolf Loos
44. Architecture doesn’t come from theory. You don’t think your way through a building. -
Arthur Erickson
45. Architecture is an art when one consciously or unconsciously creates aesthetic emotion
in the atmosphere and when this environment produces well-being. - Luis Barragan
46. Architecture is a science arising out of many other sciences and adorned with much and
varied learning; by the help of which a judgment is formed of those works which are the
result of other arts. - Marcus Vitruvius Pollio
47. Architecture is not an inspirational business; it’s a rational procedure to do sensible and
hopefully beautiful things; that’s all. - Harry Seidler
48. Architecture is the learned game, correct and magnificent, of forms assembled in the
light. - Le Corbusier
49. Architecture starts when you carefully put two bricks together. There it begins. - Ludwig
Mies van der Rohe
50. Architecture tends to consume everything else; it has become one’s entire life. - Arne
Jacobsen
51. Art is very tricky because it’s what you do for yourself. It’s much harder for me to make
those works than the monuments or the architecture. - Maya Lin
52. Does it follow that the house has nothing in common with art and is architecture not to be
included in the arts? Only a very small part of architecture belongs to art: the tomb and
the monument. Everything else that fulfils a function is to be excluded from the domain of
art. - Adolf Loos
53. Each new situation requires a new architecture. - Jean Nouvel
54. Escape from the architecture ghetto is one of the major drivers and has been from the
very beginning. - Rem Koolhaas
55. I believe that the way people live can be directed a little by architecture. - Tadao Ando
56. If a building becomes architecture, then it is art. - Arne Jacobsen
57. I would like my architecture to inspire people to use their own resources, to move into the
future. - Tadao Ando
58. The good building is not one that hurts the landscape, but one which makes the
landscape more beautiful than it was before the building was built. - Frank Lloyd Wright
59. It is essential to an architect to know how to see: I mean, to see in such a way that the
vision is not overpowered by rational analysis. - Luis Barragan
60. More is more. - Robert Venturi
61. Doing more with less. - Richard Buckminster Fuller
62. Nothing is as dangerous in architecture as dealing with separated problems. If we split
life into separated problems, we split the possibilities to make good building art. - Alvar
Aalto
63. People can inhabit anything. And they can be miserable in anything and ecstatic in
anything. More and more I think that architecture has nothing to do with it. Of course,
that’s both liberating and alarming. - Rem Koolhaas
 49

LESSON 5
FUNCTIONAL CONCEPTS AND THE INTERIOR ENVIRONMENT

Objectives:
By the end of the lesson the students will be able to:
1. Understand what the functional concepts and its effects in the interior
environment in designing.
2. Know functional zoning, the concept of space and its articulation.
3. Know and understand how the concept of interior environment works.
FUNCTIONAL CONCEPTS

HORIZONTAL DISPOSITION

Solving problems in Architectural Design begins with the familiar study of plan
elements,
which develops into consideration of interior and exterior areas and details.

The various units of plan are first arranged in a horizontal manner to secure a
workable relationship between the different areas. This pattern is dictated by the function of
the
building and the desirable size and shape of the units themselves. The rooms of a house,
the
galleries of a museum, or the units of a factory must be laid out to facilitate movement
through the building, quickly and easily. There should thus be economy and directness of
circulation.

This is called Planning for Potential Circulation. Structures are built to be used,
and the purpose is defeated unless people can go easily and directly from one area to
another, and
unless the related areas are adjacent to each other. Architecture thus, begins with a two-
dimensional plan which is translated into foundations for vertical development.

Principles Related to Function

1. Need for Adjacency
 50

2. Similarity in General Rule

3. Relatedness

4. Sequence in Time
 51

5. Required Environments
a. Furniture Types
b. Need for View

c. Need for ceiling height or shape

d. Access to ground or roof
e. Need for vents or exhausts

f. Relative Security
 52

g. Need for visual and sound privacy

h. Need for acoustic control

i. Need for noise control
j. Relative Maintenance

k. Plumbing involvement

l. Relative visual access

 53

6. Types of Effects Produced

a. Radiation Produced
b. Chemicals
c. Smoke & Fumes
d. Relative heat produced (kiln, welding, kitchen)
e. Observation intensity

f. Potential for contamination

g. Asset for public image

h. Revenue produced
i. Relative Weight
j. Noise produced – by gymnasiums, music, mechanical rooms.
k. Vibration – machinery
l. Wet dry
1. Wet – laboratories, toilets, kitchen
2. Dry – offices
m. Trash production (Food preparation, Dishwashing)
n. Relative visual clutter
o. Odor Production
 54

7. Relative Proximity to Building

8. Relatedness to Core Activities

 55

9. Characteristics of People Involved

10. Volume of People Involved

11. Extent of Man or Machine Involvement

 56

FUNCTIONAL DESIGN

This deals with the development of a plan arrangement to serve in a purely

mechanical way the functions of the building. It discovers the proper sizes of rooms and their
relations to
each other. It furnishes the elements of comfort: Light, heat, and ventilation.

It determines the correct size and location of the structural members which give the
building strength. However, even when all these requirements are satisfied, architecture
does not necessarily exist. The building may remain only an engineering structure without
the spirit of architecture which is called logical beauty.
 57

ENVIRONMENTAL CONCEPTS AND THE INTERIOR

Building-Interior
a. Mechanical-structural Integration
As the complexity and size of the mechanical distribution systems was increasing with
technological development {typically, more air is required to cool a space than would be
required for simply heating it} increased strength of materials was reducing the size of the
structural system. The "uncluttered" Floor areas between the more widely spaced columns
became desirable for flexibility in spatial layout. Keeping the mechanical systems at or within
those columns allowed these floor areas to remain clear, so mechanical-structural
integration was given further impetus.

With the new expectations for cooling, the refrigeration cycle's cooling tower often
moved to the roof, taking the air-handling machinery with it. This further encouraged the
merging of systems, for one system was growing wider as the other diminished.

Yet the functions of these systems are very different; compared to the on-off air,
water and electrical distribution systems, the structural system is static-gravity never ceases.
The moving parts in mechanical systems need maintenance for more frequently than the
connections of structural components. Changes in occupancy can mean enormous changes
in mechanical systems, requiring entirely different equipment. Structural changes of such
magnitude usually occur only at demolition.

Mechanical systems can invite user adjustment; structural systems rarely do. Thus,
while it is possible to wrap the mechanical systems in a structural envelope, it is of
questionable long-term value, given the differing life spans and characteristics of these
systems. The probability of future change suggests that the mechanical system be the
exposed one, despite the appeal to many designers of the structural system's cleaner lines.

b. Concealment and Exposure

The pipes, ducts, and conduits that take the necessary resources to and from the
interior are often carried within a network of spaces unseen by anyone but builders and
repair people. The advantages of concealment include: less water and air noise, fewer
surfaces requiring cleaning, less care necessary in construction (leaks, not looks are
important), and more control over the appearance of the interior ceiling and wall surfaces.
 58

Although maintenance access to such hidden supply line is more difficult, a variety of readily
removable covers is available, particularly in suspended ceilings.
On the other hand, the exposure of these supply network provides an honest and
direct source of visual (and occasionally acoustical) interest. Exposure in corridors
and service areas, and concealment in offices is an approach used in many office
buildings.

Flexibility is usually encouraged by exposure; changes can be easily made when not
accompanied by a need of neatly cut holes in concealing surfaces. However, flexibility from
movable partitions requires constant ceiling heights, which is a feature of the suspended
ceiling approach.

When users are invited to play an active role in adjusting conditions inside, exposure
of the switches they manipulate is helpful. Not only are users reminded of their opportunities
by seeing these mechanisms, but user interaction is encouraged; adjustments are
sometimes discovered that the designer had not anticipated.

c. Uniformity and Diversity

The flexibility in office arrangements that are accompanied by uniform ceiling heights,
light placement, grille, locations, and so on, can extend a building's usable life span.
However, uniformity is not always attractive to users, and diversity is often encouraged at a
more personal level, with office furnishings, for example. A more thorough approach to
diversity can provide stimulus to the user who spends many hours away from the variability
of the exterior climate.

If offices must be uniform in ceiling lighting, air handling and size, the corridor, that
connect them and the lounges, or other supporting service spaces, can be deliberately
different as shown in the ceiling illustration above. Diversity requires that the designer be
complete and detailed about creating places, it gives the builder a more complex and
interesting task, and it can provide orientation and interest to the users. The attractiveness of
diversity is evident in most collections of retail shops where light and sound, and sometimes
heat and aroma, are used to distinguish one shop
from the next.
 59

LESSON 6
VALUE, ASPIRATIONS, AND CULTURE

Objectives:
By the end of the lesson the students will be able to:
1. Know and understand how values, aspirations, and the cultural aspects affects
architecture and the design process.
2. Know what the Filipino values, aspirations, and its culture affected the Filipino
architecture.
VALUES
At times, people act according to seemingly instinctive patterns; they do things
intuitively for reasons that they cannot readily explain. Everyone has basic and personal
values feelings, be they conscious or subconscious, that act as lifelong guiding forces. Often
these forces, called VALUES, keep you on a familiar course, which may be beneficial or
detrimental, when you are involved in decision making.

Basically, VALUES are of affective feelings that you, as an individual, have. Values
can be uniquely yours or they can be feelings characteristics of the society to which you
belong. They consist of attitudes that you have developed personally or inherited. Values are
your own thoughts and responses. You may not even know that you have them.

Webster defines value as "that which is desirable or worthy of esteem for its own
sake; thing or quality having intrinsic worth". In the sociological context "acts, customs,
institution, etc. regarded in a particular especially favorable way by a people, ethnic group,
etc."

Values affect all our Decisions, including:

• How we think, and how we do not think.
• How we believe, and how we do not believe.
• How we act, and how we react.
• How we do, and how we do not do.

We develop general:
• MORAL values (example good vs. evil, right vs wrong) and more specific
ones (example it is wrong to kill, to steal, to tell a lie, to cheat, etc.)
• RELIGIOUS values (ex: the teachings of our religion)
• SOCIAL and CULTURAL values (Ex: respect for parents, charity toward the
poor)
• AESTHETIC values (Ex: what is beautiful, artistic, pleasing to us)
• PRACTICAL values (Ex: thrift, cleanliness}.

Historical Examples:

1. Roman Empire
With story values of order, organization, and discipline; a small city state was able to
conquer most of then known Western world. When these values were overshadowed or
supplemented by hedonism, intemperance, the empire simply disintegrated, as much from within
itself as from external factors.
 60

2. American Society
Materialism is their value; such a value has contributed to a very high level of material
prosperity for the citizens of the United States. Looking at the high standard of living enjoyed by
Americans from a broader viewpoint, we can identify other values which have probably
contributed just as significantly to such material abundance. A commitment to freedom and free
enterprise.

3. Filipinos ---Value of hard work---

In the Philippines, our society is highly paternalistic, where there is papa, mama, uncle,
and aunties, ninong and ninangs, assorted relatives and friends to rely on, we pull ourselves
together in glorious self-reliance and make it. And so, while here in our country, Filipinos tend to
be lazy, corrupt, and inefficient. Yet When he is transplanted, he becomes highly productive,
competitive, hardworking, and law-abiding. In other countries, he believes that hard work and
study are the only ways to go up the economic ladder and be successful.

VALUES PREACHED VS VALUES PRACTICED

Values as practiced, affect many aspects of our life, both as individuals and
as a community. Values and the actions that flow from them have moral, social,
political, and economic consequences.

FOUR (4) BASIC VALUES:

1. Integrity - synonymous to honesty. It is "the quality or state of being complete
or undivided." A person with integrity is one whose actions conform to his principles and
beliefs. He is not divided by internal disharmony on conflict. Honesty, which is fairness or
straight towardness of conduct is a form of integrity.

2. Discipline - As a value, discipline touches many aspects of everyday life, and

is closely related to other desirable values. For example, the values of COURTESY and
FAIRNESS are involved when we are called upon to practice discipline in situations when
we must line up in public. Also. how many times has a traffic jam been caused by vehicles
that are on the wrong side of the road because their drivers cannot wait in line?

For instance, the strong discipline of the Japanese people has played a key role in
making their country an economic world power. To the Japanese the good of the group
evidently comes foremost, and the good of the individual follows naturally In this regard, the
Filipino value or attitude which would be counterproductive to economic progress would be
"kanya-kanya" (everyone for himself). This affects society in many ways.

On the economic level, one glaring example is the widespread abuse of our natural
resources, such as the indiscriminate destruction of our forests, whether by cutting down
trees to clear land, and the pollution of our seas and rivers. This lack of discipline in our
use of these resources will tell on our economy in the long run. (In fact, we are already
suffering the consequences)-in terms of environmental imbalance which leads to soil
erosion, droughts, floods and the accompanying destruction of crops, useful wildlife and
aquatic life, public, infrastructures and private property.

3. Hard work - it is a fact that many Filipinos are hardworking. They are willing
to labor diligently and consistently to earn a living and to improve their lot in life. However,
the
traditional "WORK ETHIC" suffers from lapses as a value in our culture. We still find great
dependence on "SUWERTE" or luck in our daily pursuits and as a major determinant of our
success of failure. We still harbor hopes of "HITTING THE JACKPOT" with one big deal
which will not entail to much work on our part.
The economic implications if the lack of commitment to hard work as a value are
many:
 61

lower productivity; lost business opportunities; lower quality of products and services;
lack of market competitiveness; waste of available resources; lower general standard of
living; more uneven distribution of wealth; delayed economic development; a heavier
welfare burden on the state; and many more.

4. Justice - synonyms are "fairness, objectivity, impartiality; is a value which is

universally upheld. Nobody wants to be called unjust.

But how much stock do we put in such terms as "nakaisa", "nakalamang",

"nakalusot". (made one over somebody, and went set-free even a fault), of actions or
practices which lack the element of fairness?

What underserved benefits to the "malakas" or (influenced ones) get that are not
available to the ordinary citizen? Of the more privileges enjoyed by "Haves" over the "have
nots"?

Suffice it to say that the less justice in a society, the more discontent, agitation and
unrest in the various economic sectors, farmers, businessmen, laborers. And it can take
many forms-unwillingness of business to invest; labor strikes; lower agricultural productivity.
Lower construction activities, instability of the Financial system; and at the extreme and,
subversion, rebellion, succession.
 62

LESSON 7
DESIGN AS A PUBLIC POLICY

Objectives:
By the end of the lesson the students will be able to:
1. Have a brief knowledge and understanding about the laws that governs
architectural design .
2. Distinguish the value of public policy of professionals when applied to designing
as to non-professionals.
THE PHILIPPINE ARCHITECTURE ACT OF 2004
REPUBLIC ACT NO. 9266 or “The Architecture Act of 2004” – Section 1
An act providing for a more responsive and comprehensive regulation for the
registration, licensing, and practice of architecture, repealing for the purpose republic act no.
545, as amended, otherwise known as "an act to regulate the practice of architecture in
the Philippines,” and for other purposes

The State recognizes the importance of architects in nation building and

development. Hence, it shall develop and nurture competent, virtuous, productive, and well-
rounded professional architects whose standards of practice and service shall be excellent,
qualitative, world-class, and globally competitive through inviolable, honest, effective, and
credible licensure examinations and through regulatory measures, programs and activities
that foster their professional growth and development. – Section 2

Definition of terms – Section 3

Architecture – the art, science, or profession of planning, designing, and constructing
buildings in their totality taking into account their environment, in accordance with the
principles of utility, strength and beauty.

Architect – a person professionally and academically qualified, registered and

licensed under this Act with a Certificate of Registration and Professional Identification Card
issued by the Professional Regulatory Board of Architecture and the Professional Regulation
Commission, and who is responsible for advocating the fair and sustainable development,
welfare, and cultural expression of society’s habitat in terms of space, forms, and historical
context.

Scope of the Practice of Architecture – encompasses the provision of professional

services in connection with site, physical and planning and the design, construction,
enlargement, conservation, renovation, remodeling, restoration or alteration of a building or
group of buildings. Services may
include, but are not limited to:
(a) planning, architectural designing and structural conceptualization.
(b) consultation, consultancy, giving oral or written advice and directions,
conferences, evaluations, investigations, quality surveys, appraisals and adjustments,
architectural and operational planning, site analysis and other pre-design services.
(c) schematic design, design development, contract documents and
construction phases including professional consultancies.
(d) preparation of preliminary, technical, economic, and financial
feasibility studies of plans, models, and project promotional services.
(e) preparation of architectural plans, specifications, bill of materials, cost
estimates, general conditions, and bidding documents.
(f) construction and project management, giving general management,
administration, supervision, coordination and responsible direction or the planning,
 63

architectural designing, construction, reconstruction, erection, enlargement or demolition,

renovation, repair, orderly removal, remodeling, alteration, preservation or restoration of
buildings or structures or complex buildings, including all their components, sites, and
environs, intended for
private or public use.
(g) the planning, architectural lay-outing and utilization of spaces within and
surrounding such buildings or structures, housing design and community architecture,
architectural interiors and space planning, architectural detailing, architectural lighting,
acoustics, architectural lay-outing of mechanical, electrical, electronic, sanitary, plumbing,
communications and other utility systems, equipment and fixtures.
(h) building programming, building administration, construction
arbitration and architectural conservation and restoration.
(i) all works which relate to the scientific, aesthetic, and orderly coordination of all
works and branches of the work, systems, and processes necessary for the production of a
complete building or structure, whether for public or private use, in order to enhance and
safeguard life, health and property and the promotion and enrichment of the quality of life,
the architectural design of engineering structures or any part thereof.
(j) all other works, projects and activities which require the professional
competence of an architect, including teaching of architectural subjects and
architectural computer-aided design.

Structural Conceptualization – act of conceiving, choosing, and developing the type,

disposition, arrangement and proportioning of the structural elements of an architectural
work giving due consideration to safety, cost-effectiveness, functionality, and aesthetics.

Non-Registered Person Shall Not Claim Equivalent Service. – Section 34

Persons not registered as an architect shall not claim nor represent either
services or work as equivalent to those of a duly qualified registered architect,
or that they are qualified for any branch or function of architectural practice,
even though no form of the title "Architect" is used.

THE NATIONAL BUILDING CODE

PRESIDENTIAL DECREE 1096 or “The National Building Code of the
Philippines” – Section 101

It is hereby declared to be the policy of the State to safeguard life, health, property,
and public welfare, consistent with the principles of sound environmental management and
control; and to this end, make it the purpose of this Code to provide for all buildings and
structures, a framework of minimum standards and requirements to regulate and control
their location, site, design, quality of materials, construction, use, occupancy, and
maintenance. – Section 102

Scope and Application – Section 103

(a) The provisions of this Code shall apply to the design, location, siting, construction,
alteration, repair, conversion, use, occupancy, maintenance, moving, demolition of, and
addition to public and private buildings and structures, except traditional indigenous family
dwellings as defined herein.
(b) Buildings and/or structures constructed before the approval of this Code shall not
be affected thereby except when alterations, additions, conversions, or repairs are to be
made therein in which case, this Code shall apply only to portions to be altered, added,
converted, or repaired.

Sizes and Dimensions of Courts – Section 804

a) Minimum sizes of courts and yards and their least dimensions shall be
governed by the use, type of construction, and height of the building as provided hereunder,
 64

provided that the minimum horizontal dimension of said courts and yards shall be not less
than 2.00 meters.
b) All inner courts shall be connected to a street or yard, either by a passageway
with a minimum width of 1.20 meters or by a
door through a room or rooms.

EASEMENT - A kind of public open space defined under the Water Code and other
laws that must be absolutely free of all forms of physical obstructions that can negatively
affect natural light and ventilation within such space or that can impede access to or the full
recreational use of such space by the general public. It is the area that may lie between the
legally usable portions of a public or private property and natural or man-built bodies of water
such as seas, rivers, lakes, esteros, canals, waterways, floodways, spillways, and the like.

INCREMENTAL SETBACK - The horizontal distance between the outermost

building/structure line of a lower floor and that of a higher floor, wherein the outermost
building line of a higher floor is farther from the property line.

SETBACK - The horizontal distance measured 90º from the outermost face of the
building/structure to the property lines.

YARD – the required open space left between the outermost face of the
building/structure and the property lines, e.g., front, rear, right and left side yards. The width
of the yard is the setback.

Table VIII.2. Minimum Setbacks for Residential Buildings/Structures – Section

804
Type of Residential Use/Occupancy
R-2 R-3 R-4
YARD R-1 (individual R-5****
Basic Maximum Basic Maximum
(meters) lot/unit) (meters)
(meters) (meters) (meters) (meters)
(meters)
Front 4.50 3.00 8.00* 3.00 8.00* 4.50 6.00
2.00 2.00
Side 2.00 2.00** 2.00** *** 3.00
(optional) (optional)
Rear 2.00 2.00 2.00 *** 2.00 2.00 3.00
Notes: – Section 804
a) The setback requirements in Table VIII.2. above are for newly-developed subdivisions.
b) * Total setback only at grade (or natural ground) level, i.e., 3.00 meters + 5.00 meters = 8.00
meters (to accommodate part of the minimum parking requirement outside the designated area
for the front yard). The second and upper floors and mezzanine level shall thereafter comply with
the minimum 3.00 meters setback unless otherwise provided under the Code.
c) ** Setback required for only one (1) side. Setbacks on two sides shall be optional.
d) *** Abutments on two sides and rear property lines may be allowed with conditions as enumerated
under Section 804, Subsection 10 of this Rule.
e) **** Mixed-Use Buildings/Structures in R-5 lots shall be considered a commercial use or occupancy
if a substantial percentage, i.e., 55% of the Gross Floor Area (GFA) is commercial.
f) In cases where yards/setbacks are impossible to attain or where frontage and depth of lots are
similar to that of Open Market or Medium Cost Housing Projects, abutments on the sides and rear
property lines may be allowed, and 1.50 meters front yard is left open as transition area.

Ceiling Heights – Section 805

1. Habitable rooms provided with artificial ventilation shall have ceiling heights not
less than 2.40 meters measured from the floor to the ceiling; provided that for
buildings of more than one (1) storey, the minimum ceiling height of the first storey
 65

shall be 2.70 meters and that for the second story 2.40 meters and the succeeding
stories shall have an unobstructed typical head-room clearance of not less than
2.10 meters above the finished floor. Above-stated rooms with natural ventilation
shall have ceiling heights of not less than 2.70 meters.
2. Mezzanine floors shall have a clear ceiling height not less than 1.80 meters above
and below it.

Sizes and Dimensions of Rooms – Section 806

Minimum sizes of rooms and their least horizontal dimensions shall be as follows:
1. Rooms for Human Habitations – 6.00 square meters with a least dimension of 2.00
meters.
2. Kitchens – 3.0 square meters with a least dimension of 1.50 meters.
3. Bath and toilet – 1.20 square meters with a least dimension of 0.90 meter.

Air Space Requirements in Determining Size of Rooms – Section 807

Minimum air space shall be provided as follows:
1. School Rooms – 3.00 cubic meters with 1.00 square meter of floor area per
person.
2. Workshops, Factories, and Offices – 12.00 cubic meters of air space per person.
3. Habitable rooms – 14.00 cubic meters of air space per person.
 66

LESSON 8
ACTIVITY ANALYSIS AND LINKAGES FOR EFFICIENCY IN SHELTER

Objectives:
By the end of the lesson the students will be able to:
1. Have a brief knowledge and understanding about how housing problems are
linked to design. .
2. Understand the housing requirements and synthesize solutions for housing
problems.

DESIGN FROM LINKED REQUIREMENTS IN A HOUSING PROBLEM

We can only grasp design problems fragmentedly. That is, there are practical limits to
the number of notions that can be thought of simultaneously when trying to solve complex
problems. The way that we overcome this inherent difficulty is to break a complex situation
down into smaller parts, dealing with these parts separately, and then bringing this new
ideas together to understand the situation.

When the problems of the physical environment are broken down into concepts like
"services", "heating", "community", ‘’structure". "safety", etc. and ideas about how these
needs or properties are best dealt with are formed. It is highly probable that any particular
way in which they function together will be forgotten. This breakdown of usefully interrelated
thought, (not encountered in small problems) suggests that some other way of finding the
component parts of the environment may be useful, and preferably parts that are dependent
on as many of the physical properties of the environment as are necessary.

A requirement is a situation that must be present otherwise an observable human or

social need would go unsatisfied. Most requirements are dependent in their solutions on
other requirements. Any two requirements that would either help or hinder one another in
solution therefore interact and need to be thought of together if a satisfactory solution is to
be found for both.

Requirements are thought of as points and links as lines between them. Once these
groups of heavily interlink requirements have been found we have the necessary size of
problem, without it being limited to a single recognizable conceptual classification. It should
be possible therefore to design a schematic solution to this group of requirements. A
diagram is the most useful description of the solution and memory aid at this stage.

When all groups of requirements have been solved conceptually, they can then be
combined together, according to the groups that are most interlinked and a new higher, set
of schematic diagrams formed, involving the principles of the groups that have already been
resolved. And so on until either one final organizational diagram is produced or a small set of
 67

completely disjoint diagrams. This diagram or these diagrams are then used as the basic
organization of a concrete scheme.

The method involves finding a set of requirements and their natural links, which
together define an abstract structure, analyzing the set, that is finding the abstract structure,
and synthesizing diagrams, which is to build on the abstract structure.