MASTERS

ARCHITECTS
THEORY OF ARCHITECTURE II

By: CYRIL CERNITCHEZ , BSA -1C

 MASTER ARCHITECTS
 Zaha Hadid(1950-2016) an Iraqi British architect whose works are a combination of the culture,
identity of Iraq and the new thoughts, architectural and artistic schools like Suprematism,
Deconstructivism, and Fluidity of Arabic Calligraphy.. And she is known as the Queen of modern
and deconstructed architecture. Her sustainable yet stylish and futuristic designs were once called
fantastical and impossible to construct.
 Frank Lloyd Wright (1867-1959) was an American architect, designer, writer, and educator. Frank
Lloyd Wright was a pioneer for modern architecture. He looked to nature for inspiration as he
designed some of the most original, striking, and widely recognized buildings in the world.
 Francisco "Bobby" Tronqued Mañosa (1931 – 2019) was a Filipino architect considered one of
the most influential Filipino architects of the 20th century for having pioneered the art of Philippine
neovernacular architecture. Architect Francisco Manosa strived to determine and showcase the
Filipino architectural archetype—the architectural design representing true Filipino culturally and
environmentally–in his works. He pioneered the art of Philippine neo vernacular architecture.

INTRODUCTION..
AR. ZAHA HADID
“I don't think that architecture is
only about shelter, is only about a
very simple enclosure. It should be
able to excite you, to calm you, to
make you think.”
- Zaha Hadid

 - Ang mga isinaad ni Ar. Zaha Hadid ay nangangahulugan

na ang Arkitektura para sakanya ay hindi lamang tungkol
sa istruktura na sinisilungan o hindi lamang ito patungkol
sa simpleng tahanan, kundi para sa kaniya ang Arkitektura
ay tumutukoy sa isang istruktura na kaya kang bigyan ng
excitement, kaya kang pakalmahin, at paisipin ng malalim.
Ibigsabihin lamang ng kanyang diktum na dapat ang
Arkitektura ay kayang makapagbigay ng epekto sa ating
emosyon o nararamdaman.
 design methodologies and strategies
 Zaha Hadid(1950-2016) an Iraqi British architect whose early projects reflected Deconstructivism – Non-Derridean
philosophy. Her projects reflect complexity, emotionality, creativity, technological advancement, innovation, etc. She studied
Architecture in AA school of Architecture, London under Rem Koolhass and Elia Zenghelis and was influenced by Russian
Constructivism,a utilitarian philosophy where beauty is more important than function.

 Zaha Hadid approach to design was unique where her process was started by a complete research of the site and functions of
the project followed by form notions, Design techniques, circulation, function, natural lighting, embedding form with the
context and finally the Interior Design.

 Zaha Hadid impelledthe boundaries of design, defied architectural rules and conventions and builds what used to be
unbuildable. She created her own radical rules of design from her own experience and rationalism. She searches for aesthetics
in art, nature and architecture and applies them in design.This eager of searching helps her to obtain some primary skills
diligently which became her own techniques.
1. Abstraction and Fragmentation
2. Idea of the Ground and Gravity
3. Landscaping the surrounding
4. Layering
5. Play of light
6. Seamlessness and Fluidity
 CONCEPTUALIZATION
 The main Design Technique used in her projects were the Play of Light by manipulating building masses, avoided
claddingand usage of exposed concrete. The other common technique was Flight technique or Defying Gravity.
Circulation and Function were ensued next. She studied circulation as if she moved through every nook and corner of the
building. The circulation system was unique as it allows the visitor to move automatically and smoothly through fluid spaces.
 Most of her projects break free from the ground, defying gravity or floating ground floor. She said that the static idea of the
ground restricted the modernist architects to produce same architecture for a period. She learned this technique from
Suprematism.
 She tried perceiving things in a novel way, where the forms were portrayed in volumes and shapes and their organization was
manipulated by overlapping or aggregation.
Sometimes she fragmented the blocks to create new geometries or patterns and distorted them to multiple perspective masses.
 Landscaping is a complementary part of the urban zone image enhancing the quality of each other. Zaha Hadid imbedded and
melted he project within the context. Landscaping the project with the environment is likea tree whose roots embed with the
surrounding by taking the same shape of the pavement around. It is no longer a neutralbackground to highlight architectural
elements but is dissolved with the architecture.

Zaha Hadid buildings nowadays are considered one of the most attractive architectural styles in the world such as Heydar
Aliyev Culture Centre in Azerbaijan and Guangzhou Opera House and Galaxy Soho in China. Her architecture attracts people
and media and it is considered as an indicator for the strength of the country‘s economy. Full of rebel, mysterious thoughts,
rejection of what is norm, and strong will of gaining success, Zaha Mohammad Hadid now is considered as a new architectural
school in the 21st century followed by eager generation for scientific innovation and artistic creation. Hadid architecture is the
one which defies the rules, pushes the limitations, and builds what used to be unbuildable. Rem Koolhaas, rightly said she was
“a planet in her own unique orbit”.
 SAMPLE WORKS

I really admire her works that convey a sense

of energy, with dynamic lines, sometimes
related to aerospace design. The sculptural
shapes, the sensual curves. both stylish and
vigorous.

Abu Dhabi Performing Arts Center (2009)

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I could just say about Zaha

hadid works. She indeed a
“Queen of curve
architecture” And She
making the building walls to
meet the ground and form
part of its landscape.

Beko Complex, Serbia (2009)

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I like the vanishing technique of Zaha Hadid.

Fading idea was used in many of her project
and one of these is the Heydar Aliyev Culture
Center. This technique draws our eyesight
gradually from the site of the building making a
strong connection. Also it is fascinanting that
Zaha Hadid uses only one color through all her
projects. However, there is one con I observe in
her projects, it is the design beauty over
function.

Heydar Aliyev Culture Centre, Azerbaijan (2012)

 AR. FRANK LLOYD WRIGHT

“Form follows function - that has been misunderstood.

Form and function should be one, joined in a spiritual
union.”
-Frank Wright

Ang isinasaad ng kanyang diktum ay dapat kaakibat lagi

ng “form” ang “function” nito, ibig sabihin ay sa bawat
istructura at desinyo nito ay dapat may isinasaad na
tungkulin o layunin. Ito ang minsan nakaklimutan at
naisasantabi ng mga arkitekto, lalo na sa modern
architecture, minsan mas pinapahalagahan ang disenyo
kesa sa layunin nito.
 Deemed the ‘greatest American architect of all time’ in a 1991 survey by
the American Institute of Architects, Frank Lloyd Wright was a true
design methodologies visionary. He believed in the power of connecting architecture with its
inhabitants, stating once that ‘the mother art is architecture. Without an
architecture of our own we have no soul of our own civilisation’.
and strategies
Frank Lloyd Wright helped to pioneer the concept of organic architecture,
with interiors and exteriors in balanced harmony. In this philosophy, a
house could be compared to a living organism with all parts relating to
the whole, making form and function wholly intertwined.

Wright believed in creating environments that were both functional and

humane, focused not only on a building’s appearance but how it would
connect with and enrich the lives of those inside it. Moreover, at its core,
his organic design philosophy states that architecture holds a relationship
with its time and place.
CONCEPTUALIZATION
 Frank Lloyd Wright believed that there was a right way to design in the world, a natural architecture that
served both beauty and functionality without sacrificing anything. He saw in houses, temples, and offices
the potential not just for art, but for artistry—the ability to build dignified structures with an awareness
and respect for their environments.
 His design philosophy of “organic architecture” proposed that built environments should accommodate
the natural world in service of a greater whole. Wright drew inspiration from Japanese art and architecture
—particularly its emphasis on harmony, spirituality, and geometric simplicity—praising the Japanese
understanding of structure as “miraculous.” This influence is evident in varying degrees across his
oeuvre. In 1957, he described the goal of an architect in almost missionary terms: “to help people
understand how to make life more beautiful, the world a better one for living in, and to give reason,
rhyme, and meaning to life”—in other words, a perfect unity of philosophy, materiality, and the natural
world.
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Fallingwater is the perfect marriage of building
structure to site. Spectacularly built over a waterfall,
there are layered ledges that reflect the strata of the
site’s sandstone. With interiors open to the natural
setting, the spaces in and around the house cast a
magical spell.
Indeed, the most remarkable aspect of the house is
the way so artificial a construction appears to fit so
closely into the natural environment.
Wright's philosophy of organic architecture sought to
integrate buildings within the landscape, and indeed
Fallingwater accomplishes this masterfully, with a
central vertical core of local stone that anchors the
house on the outcropping above Bear Run, whose
waterfall cascades below Edgar Kaufmann House, Fallingwater, 1937
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Imperial Hotel, Tokyo, appeals to travelers looking for tradition
and history in a convenient location.
The hotel is one of the earliest examples of Mayan Revival, a
modern architectural style that took cues from the architecture
and iconography of pre-Columbian Mesoamerican cultures.
Wright chose a mix of materials, including reinforced concrete
and brickwork. Ōya stone, a Japanese volcanic tuff rock
featuring hues of grey and green, also featured and was carved
into decorative patterns by local craftsman to reference
traditional Mayan designs. However, the building's
ornamentation and interlocking planes were also suggestive of
historic Japanese architecture.

Imerial Hotel, Tokyo Japan

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Solomon R. Guggenheim Museum
The Guggenheim Museum provides a significant
contrast with its surrounding buildings due to its spiral
form, emphasised by the fusion between triangles,
ovals, arches, circles and squares which correspond to
the concept of organic architecture used by Frank
Lloyd Wright in his designs.
It is design of a main gallery that consists of a spiral
ramp encircling a skylit atrium was a radical departure
from all previous museums, and allowed Wright to
finally explore a form - the spiral - which he been
musing about for years but never realized. The spiral
shape of the main display space tapers outward as one
ascends through it, meaning the interior walls are
slanted and making them difficult to use for hanging
artworks.
AR. FRANCISCO MAÑOSA

“Architecture must be true to itself, its

land, and its people,”

Ang ibig sabihin ni Ar. Francisco Mañosa sa kanyang

diktum ay dapat kung ika’y Filipinong arkitekto ay dapat
mag disenyo ka ng kaangkop sa kulturang Filipino. At
dinagdag pa nya dito na dapat matuto tayong gumawa ng
walang pangongopya ng desinyo sa ibang bansa. Ibig
sabihin lamang ng kanyang mga sinabi ay dapat
pahalagahan natin at tangkilikin ang saring atin.
 design methodologies and strategies
Architecture is not just design or beautification of structures. In reality, these are cultural artifacts produced by
nationalism and, at the same time, an agent to propagate the sense of nationalism. To make Philippine
architecture distinct or free from foreign influences, determining the “vernacular” architecture of the country is
essential. Neo vernacular architecture is a way of asserting the distinctiveness of Filipino architecture by
dominating an architectural design with Filipino architectural features.

Architect Francisco Manosa strived to determine and showcase the Filipino architectural archetype—the
architectural design representing true Filipino culturally and environmentally–in his works. He pioneered the art
of Philippine neo vernacular architecture. For him, Philippine vernacular architecture is best reflected in the
primitive and primordial traditions of the Philippines, hence his fondness for getting inspiration from the bahay
kubo and the bahay na bato when creating structures to be branded as “Bobby Mañosa’s works.”

“Architecture must be true to itself, its land, and its people,” exalted the architect. He emphasized the need for
the Philippines to develop its own architecture—to stop copying other cultures and build from and for home. It
is no wonder that Francisco Mañosa’s works are built for the Philippines’ tropical and monsoon seasons. He also
promoted the use of indigenous materials such as coconut, bamboo, rattan, and capiz.
 CONCEPTUALIZATION
Mañosa 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.

His endless fascination with the humble bahay kubo and the bahay na bato and his championing of indigenous
materials from the beginning have evolved into the hallmarks of the Maosa style: sensitivity to climate, a sense of
spaciousness and openness, structures harmonizing with the landscape, and a sense of playfulness expressed in such
things as a salakot-shaped roof or a beam sculpted like the prow of a Moro vinta.

It is phenomenal that Architect Bobby Maosa has modernized the humble nipa hut by infusing todays design
materials and technology and yet retaining its distinctive design elements. To preserve the unique characters of our
indigenous arts and crafts, he integrates into his high-tech structures such native materials as bamboo, coconut
lumber, thatch, rattan, capiz shell, sawali, banig, ethnic textiles, combined with marble, metal, hardwood, concrete,
glass.He turns down clients who wont take his proposal to use designs inspired by Philippine culture.

His approach to traditional design is based on the ability of the architect to identify the essential building elements
and to translate them into a contemporary image. His architecture is not a mere mechanical mimicry of vernacular
architecture, which many would think to be locked in time. He initiated a contemporary mode that uses and
revitalizes the knowledge from previous generations, recovering age-old constructive methods and finishing
materials, emphasizing their optical and thermal qualities.
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By using coconuts, Mañosa wanted to show that indigenous

materials in the country can be transformed into materials
suitable for luxurious purposes.

Coconut Palace, a grand reinterpretation of the bahay kubo,

is also Architect Bobby Mañosa’s work that reflects the
warm hospitality of the Filipinos. If you look at the structure
from the top, its hexagonal domes resemble the shape of a
salakot or a farmer’s hat.

Coconut Palace (Tahanang Pilipino)

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The home incorporated elements and details of the

bahay kubo, like the high, pitched roof, expansive
windows, and door openings that invite in natural
light and air.

Architect Bobby Mañosa’s house may not resemble

the scale of the Coconut Palace, but its interiors are
simply phenomenal. Philippine jade, black stones,
mother of pearls, capiz, triangles of coconut shells,
and weaved bamboo rafters, are used in decorating
the interiors of his contemporary house, giving each
space depth, shade, and color.
The property’s section with a fish pond stocked with
edible fish and a vegetable and fruit garden is very
Filipino and gives off provincial feels. It also reflects
the late architect’s belief that “a Filipino landscape is
an edible one. Wherever you look, the Mañosa’s
home is a reflection of the Philippines and its The Mañosa Family Home
culture.
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The Pearl Farm Beach Resort on Samal Island is one of

the most distinctly unique resorts in the country, primarily
due to its architectural design. Architect Bobby Mañosa
was inspired by the traditional houses on stilts above the
water of the Samal and Badjao people when planning the
resort.

The roofs of the pavilions in the Pearl Farm Resort are

made out of overlapping split bamboo nodes resembling
houses of Isneg people. All of the stilt houses in the resort
were made using native materials such as bamboo,
coconut, and yakal.

Since its construction, the Pearl Farm Beach Resort has

showcased the rich and colorful crafts and culture of
Mindanao’s tribes. The interiors of the resort’s
accommodations are decked with Muslim-inspired walls
that feature clothing and other crafts in Mindanao.
 I called this “ Curve Vernacular Furniture” Its
ART PIECE main material is rattan. Rattan is one of those
indigenous material here in the Philippines. It
is a very good material, mainly because it is
lightweight, durable, suitable for outdoor use,
and, to a certain extent, flexible.

The concept behind this art piece is the design style of Ar.
Zaha Hadid which is the curve and the neo-vernacular
material used by ar. Francisco Mañosa. Just like Ar. Mañosa
I also wanted to show that indigenous materials in the
country can be transformed into materials suitable for
luxurious purposes. And just like Ar. Hadid, I want to let my
creativity to show off.
 REFERENCES

I. Reid, L. E. (2009). Zaha Hadid: The female modernist of the twenty-first century. Dallas, TX: Southern Methodist
University.
II. Hiesinger, K. B., Hadid, Z., & Schumacher, P. (2011). Zaha Hadid: Form in motion. New Haven: London.
III. Schumacher, P. (2004). Digital Hadid: Landscapes in motion. Basel: Birkhäuser.
IV. Hadid, Z., Noever, P., Ruby, A., & Schumacher, P. (2004). Zaha Hadid: Architektur. Ostfildern-Ruit: HatjeCantz.
V. Fazio, M. W., Moffett, M., Wodehouse, L., & Fazio, M. W. (2013). A world history of architecture. London: Laurence King.
VI. Zaha Hadid: Profile of a Legendary Architect. (2018, May 03). Retrieved from https://archmarketing.org/zaha-hadid-
women_x0002_in-architecture/
VII. Garcia, M. (2010). MAXXI, Rome: Zaha Hadid Architects. Architectural Design,80(3), 132-135. doi:10.1002/ad.1092
VIII. Panou, A. (1996). The rediscovery of Russian constructivism in the architecture of deconstruction: The work of Rem
Koolhaas and Zaha Hadid (Doctoral dissertation, Thesis (M.Sc. - History of Modern Architecture) - University College
London) [Abstract]
https://www.lamudi.com.ph/journal/architect-francisco-manosa-defining-philippine-architecture-through-the-lens-of-a-national-
artist/
https://dokumen.tips/documents/francisco-bobby-manosa.html?page=1
https://www.theartstory.org/artist/wright-frank-lloyd/
THANKYOU!