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MASTERS OF
ARCHITECTURENOTABLE ARCHITECTS’ DICTUM AND WORKS
MAJOR EVENTS AND DEVELOPMENTS
IN ARCHITECTURE:
CLASSICAL ARCHITECTURE Covers a period spanning from the rise of
ancient Greece to the decline of the Roman Empire
Classical Periods may be categorized into (1) Greek (700BC – 323BC) wherein the Doric column was first developed and used for great temples; (2) Hellenistic (323BC –146BC; ended with the conquest by the Roman Empire) wherein Greece reached the height of its power in Europe and Asia, and the empire built elaborate temples and secular buildings with Ionic and Corinthian columns; and (3) Roman (44 BC - 476 AD) wherein the Romans borrowed heavily from the earlier Greek and Hellenistic styles, but their buildings were more highly ornamented, and with the invention of concrete, the Romans were able to build arches, vaults, and domes.
MARCUS VITRUVIUS POLLIO
“Firmitas, Utilitas, Venustas” (Solid, Useful, Beautiful)
Little is known about his life and most inferences are extracted from his only surviving work De Architectura libre decem (The Ten Books on Architecture), a treatise on architecture written in Latin and ancient Greek
Vitruvius is famous for asserting in his book De architectura that a structure must exhibit the three qualities of firmitas, utilitas, venustas (sometimes termed as the Vitruvian virtues or the Vitruvian Triad)
According to Vitruvius, architecture is an imitation of nature. As birds and bees built their nests, so humans constructed housing from natural materials, that gave them shelter against the elements. While perfecting this art of building, the Greeks invented the architectural orders which gave them a sense of proportion, culminating in understanding the proportions of the greatest work of art: the human body
The Vitruvian Man defined by Vitruvius was drawn later by Leonardo da Vinci
Vitruvius is sometimes loosely referred to as the first architect, but it is more accurate to describe him as the first Roman architect to have written surviving records of his field
MAJOR EVENTS AND DEVELOPMENTS
IN ARCHITECTURE:
MODERNISM 1890 – 1940
Movement shaped by the industrialization and urbanization of western societies
The aesthetic of modernist architecture focused on the functionality of the design and featured little or no decorative adornment
Expressing distaste for ornamentation, functionalists focused on developing plain and simple designs, reinforcing the idea that the shape of a structure should be formed by its functional requirements rather than aesthetics
MAJOR EVENTS AND DEVELOPMENTS
IN ARCHITECTURE:
INTERNATIONAL STYLE
1920s – 1940s
Term coined by Henry-Russell
Hitchcock and Philip Johnson
while writing about the
International Exhibition of Modern
Architecture held in New York City
in 1932
The exhibits characterized the
expression of volume rather than
mass, balance rather than
preconceived symmetry, and the
expulsion of applied ornament
LOUIS HENRY SULLIVAN
“Form (ever) follows function”
Born in Boston, Massachusetts on September 3, 1856
Studied for 1 year (each) at the Massachusetts Institute of Technology (MIT) and École des Beaux-Arts in Paris
Considered as the “father of skyscrapers” and the “father of modernism
Instead of imitating historic styles, he created original form and details
Sullivan's designs generally involved a simple geometric form decorated with ornamentation based on organic symbolism
This Sullivanesque style was imitated by other architects, and his later work formed the foundation for the ideas of his student, Frank Lloyd Wright.
Louis Sullivan believed that the exterior of an office building should reflect its interior structure and its interior functions. Ornament, where it was used, must be derived from Nature, instead of from classical architecture of the past
LOUIS HENRY SULLIVANAuditorium Building, Chicago
Designed together with
Dankmar Adler
A large civic opera house
wrapped with a hotel and
office block
The interior embellishment is
wholly Sullivan's, and some of
the details, because of their
continuous curvilinear foliate
motifs, are among the nearest equivalents to European Art
Nouveau architecture
LOUIS HENRY SULLIVANWainwright Building, St. Louis, Missouri
Designed together with Dankmar Adler
An early skyscraper constructed out of steel frames clad in masonry
The base contained retail stores that required wide glazed openings. Above it the semi-public nature of offices up a single flight of stairs are expressed as broad windows in the curtain wall
A cornice separates the second floor from the grid of identical windows of the screen wall, where each window is "a cell in a honeycomb, nothing more"
The building's windows and horizontals were inset slightly behind columns and piers, as part of a “vertical aesthetic” to create what Sullivan called “a proud and soaring thing.”
WALTER GROPIUS“Staatliches Bauhaus”
“Architecture begins where engineering ends”
Born in Berlin on May 18, 1883
Studied architecture in 1903 at the polytechnic in Munich then transferred to the polytechnic in Berlin-Charlottenburg in 1905, only to later leave college in 1907 without a degree
Through a letter of recommendation from Karl-Ernst Osthaus, he was able to join Peter Behren’s atelier where he was employed as an assistant and building supervisor
All through his professional life, Gropius was dependent upon collaborators who could execute his ideas since he was not capable of drawing himself
Established Bauhaus (house for building), an art and design school, in April 1919 and directed it for nearly a decade. Bauhaus is focused on producing design based on firs principles rather than historic precedent
Founded The Architects Collaborative (TAC) in December 1945, an office that later grew to become one of the largest architectural offices in the world
WALTER GROPIUSFagus Factory, Lower Saxony, Germany
Originally commissioned to Eduard Werner before Gropius convinced the owner that the building project should be planned as a comprehensive artistic project
Gropius called for “palaces of labour” where workers are provided with light, fresh air and hygienic conditions with the idea that the satisfaction of the individual worker results to the overall motivation of the workforce and increased efficiency in the factory
WALTER GROPIUSBauhaus Building, Gropiusallee, Dessau
With the end of the Bauhaus in
Weimar looming, the council of
masters began negotiating with
cities which had expressed an
interest in taking over the school,
with the best offer coming from the
industrial town of Dessau
The school became known as
Bauhaus Dessau, School of Design
Gropius outlined the strict rejection
of symmetry and hierarchy as well
as the equitable treatment of each
façade, hence, there is no chance
of finding a representative façade
or entrance to the Bauhaus building
LUDWIG MIES VAN DER ROHE“God is in the details”
“Less is more”
Born on March 27, 1886 in Aachen, Germany
More commonly known by his surname “Mies”
Became the 3rd director of Bauhaus Dessau on 1930
After the rise of the Nazi party, he left Germany for the USA (1937) where his
socialist international style became the accepted building model for many
large American corporations
His dictum “Less is More” defined minimalism – architecture that has
eliminated everything by the absolute essentials – extreme simplicity and
formal cleanliness
His dictum is famously countered by Robert Venturi with his own aphorism
“Less is a Bore”
LUDWID MIES VAN DER ROHESeagram Building, Park Avenue, New York
Flaunting its glass and metal, and foregoing the heavy stone and brick used in ornamental facades of previous decades, the Seagram Building helped usher in a new era of simple, straightforward skyscrapers –buildings that embraced and celebrated their structures and minimalist geometries, rather than camouflaging them with superfluous ornament and detail
While the building itself stands as an icon of modernism, the empty space in front of the building was also innovative. An open, urban plaza set the building back from Park Avenue and created a gracious pedestrian space. Often emulated, such plazas have become a cliché, but, at the time, Mies was making a bold statement
LUDWID MIES VAN DER ROHEFarnsworth House, Plano, Illinois
One of the most significant of Miesvan der Rohe’s work
Historian Maritz Vandenburg has written in his monograph on the Farnsworth House: “Every physical element has been distilled to its irreducible essence. The interior is unprecedentedly transparent to the surrounding site, and also unprecedentedly uncluttered in itself. All of the paraphernalia of traditional living –rooms, walls, doors, interior trim, loose furniture, pictures on walls, even personal possessions –have been virtually abolished in a puritanical vision of simplified, transcendental existence."
LE CORBUSIER“Five Points for New Architecture”
“A house is a machine for living in”
Born as Charles-Edouard Jeanneret-Gris on October 6, 1887
Adopted the pseudonym “Le Corbusier” (an alteration of his grandfather’s
last name) to separate his works as a critical writer from that as a painter and
architect; to reflect his belief that anyone can reinvent himself; and since
adopting a single name to represent oneself was en vogue that time in Paris
Dedicated his life to finding housing solutions for crowded cities
5 Points of New Architecture: (1) pilotis to lift the bulk of the structure off the
ground; (2) open space plan achieved through the separation of load-
bearing columns from the walls; (3) free façade provided by the open-plan
structure; (4) ribbon windows that allow unencumbered views of the
surroundings; and (5) roof garden to restore the lost ground area covered by
the house
LE CORBUSIERVilla Savoye, Poissy, France
Modern take on a French country house that celebrates and reacts to the new machine age
Considered as Le Corbusier’s masterpiece and realization of the 5 Points of Architecture
Curved glass façade on the lower level (service level) is formed to match the turning radius of automobiles
Ribbon windows play with the perception of interior and exterior spaces
Ramps allow movement from lower levels to roof garden, all with open plans
LE CORBUSIERChapelle Notre Dame du Haut, Ronchamp, France
The chapel owes its shape to its relationship to the landscape
Each of the facades responds to different attitudes: welcome, celebration, service, symbolism
The roof sculptural character dramatizes the power and malleability of the concrete to compose organic volumes
All these elements come together to create a mystical and dramatic interior space in which light is the protagonist
Le Corbusier's genius lies in providing the visitor of a different perception of the building from any angle he/she sees it, while maintaining harmony, dynamism and coherence. This feature forces the visitor to walk around chapel in order to fully understand it, adding a fourth dimension to the architectural composition: movement
LE CORBUSIERUnité d’habitation (Cité Radieuse), Marseille, France
Brings together Le Corbusier's vision for communal living with the needs and realities of post-war France
Up to 1600 people live in a single-slab 'vertical village', complete with an internal shopping street halfway up, a recreation ground and children's' nursery on the roof, and a generous surrounding area of park land
Use of raw concrete - béton brut -with its texture defined by the wooden planks shaping it when it was poured, an unwitting prototype for the New Brutalism
In an ingenious use of space, two-story apartments interlock, so that an entrance corridor and elevator stop are required only at every third level
MAJOR EVENTS AND DEVELOPMENTS IN
ARCHITECTURE:
ARTS AND CRAFTS MOVEMENT
1860 – 1910
Style that evolved as a reaction to
the industrialization of the
Victorian era
Believed that the Industrial
Revolution distanced the humans
from their own creativity
Place importance upon simple
medieval styles and manual skills
MAJOR EVENTS AND DEVELOPMENTS IN
ARCHITECTURE:
ORGANIC ARCHITECTURE
The term was first used by Wright
Style of architecture that seeks to harmoniously unify a building with the characteristics of the surrounding site and environment
Decoration should result from the construction rather than be applied to the surface
Building should be open to allow free movement within & around it
Many geometries should be used rather just the right angle
Building should be appropriate to the individual situation
Function should be clearly obvious
FRANK LLOYD WRIGHT“Organic Architecture”
“Form and function are one”
Born in Richland Center, Wisconsin on June 8, 1867
He entered the University of Wisconsin School of Engineering n 1886 but
left after a year for Chicago to pursue a life in architecture
After taking jobs at other architectural firms, he was encouraged to try
for a job with Louis Sullivan, where he eventually worked for nearly 7
years before putting up his own practice
The combined effects of the time he was in (i.e. Industrial Revolution)
and the childhood experiences that he had (i.e. influence of literature,
poetry, philosophy, music, and education gained from working in a
farm) made him the architect the type of architect that he was
FRANK LLOYD WRIGHT“Organic Architecture”
“Form and function are one”
Careful knowledge and diligent respect for natural properties of
materials and the harmonious relationship between form, design and the
function of the building, while attempting to integrate spaces into a
coherent whole
ORGANIC ARCHITECTURE: one in which all parts were related to the
whole, as the whole was related to the parts (i.e. continuity and integrity)
ORGANIC ARCHITECTURE: a building is a product of its place and time
rather than an imposed style
FRANK LLOYD WRIGHTWilliam H. Winslow House, River Forest, Illinois
Number of features in the
house that are considered as a
marked departure from standards at that time (e.g.
amount of planting at base,
roof slopes, chimney mass, and
windows heights)
Materials are treated in a
manner consistent with the
nature and color of each
Spaces are clearly defined but
flow from one to another
“Prairie house”: more horizontal
than vertical
FRANK LLOYD WRIGHTLarkin Company Administration Building, Buffalo, New York
Various auxiliary systems were
quartered in plan and placed
outside the main building at the 4 outer corners so that the
entire area may be free for
working purposes
Many innovative details
marked it as first of its kind
Open plan brought a sense of
“family” to the corporation
FRANK LLOYD WRIGHTTaliesin, Spring Green, Wisconsin
Frank Lloyd Wright’s house, studio, and farm
“Taliesin” is Welsh for “shining brow”
Name chosen because of his Welsh ancestry and the placement of the house on the brow of the hill
Twice destroyed by fire
Taliesin III, is a much larger, more expansive structure, which still preserves the harmonious relationship to the hillside, garden courts and hill crown
FRANK LLOYD WRIGHTEdgar J. Kaufmann House (Fallingwater), Pennsylvania
Widely considered as Frank Lloyd Wright’s masterpiece
Mountain retreat of retail mogul
All vertical elements are constructed out of native stone with slightly projected stones to give a more sculptural quality to the stone masses
Incessant sound of water permeates the home
Low ceiling directs attention outwards
FRANK LLOYD WRIGHTGuggenheim Museum, New York
Last major project designed and
built by Frank Lloyd Wright
Huge atrium rising 92’ in height to
an expansive dome surrounded
by a spiral ramp 6 storeys in
height
Visitors would first take the
elevator to the top floor then walk
down the ramp while viewing the
artworks along the wall
Critics argue that the building
competes with the artworks being
displayed
MAJOR EVENTS AND DEVELOPMENTS
IN ARCHITECTURE:
ART NOUVEAU
1893 – 1914
Style that reacted to the Victorian practice of pastiche (i.e. an artistic work in a style that imitates that of another work, artist, or period) and was deliberately modern
Architectural style characterized by the use of sinuous, natural forms to shape windows, doors, and mouldings
These natural or organic forms of architecture often incorporated floral and other plant-inspired motifs
ANTONI GAUDI
“Straight lines belong to man,
curved lines belong to God”
Born in Reus, the Catalonia region of Spain on June 25, 1852
He studied in Barcelona, the city that would later become home to most
of his great works
Gaudi initially worked in the artistic vein of his Victorian predecessors, but
soon developed his own style, composing his works with juxtapositions of
geometric masses and animating the surfaces with patterned brick or stone, bright ceramic tiles and floral or reptilian metalwork
Sagrada Familia, Gaudi’s masterpiece, remains unfinished to date
ANTONI GAUDICasa Josep Battló, Barcelona, Spain
The stone façade is decorated
with colored glass fragments,
ceramic circles, and mask-shaped balconies
The undulating, scaled roof
suggests a dragon's back
Casas Batlló and Mila,
designed by Gaudí within the
space of a few years, are on
the same street and share some typical Gaudí features
such as wavy exterior walls
and "scooped out" windows
ANTONI GAUDICasa Milà Barcelona, Spain
Widely but unofficially known as La Pedrera (The Quarry)
An apartment building with a fanciful aura
Wavy walls made of rough-chipped stone suggest fossilized ocean waves while doors and windows look like they are dug out of sand
A comical array of chimney stacks dances across the roof
Similar with Casas Batlló, it has some typical Gaudí features such as wavy exterior walls and "scooped out" windows
ANTONI GAUDILa Sagrada Familia,
Barcelona, Spain
Showcases Gaudí's innovative "leaning columns" previously seen in Parque Güell. The correct angle for each of the leaning columns is determined by use of string and a small hanging model of the church
The church will have a total of 18 towers, each dedicated to a different religious figure, and each one hollow, allowing placement of various types of bells which will sound with the choir
The rippling contours of the stone façade make it look as though the chuch is melting in the sun, while the towers are topped with brightly-colored mosaics which look like bowls of fruit
Gaudí believed that color is life. Knowing that he would not live to see completion of his masterpiece, he left colored drawings of his vision for future architects to follow.
MAJOR EVENTS AND DEVELOPMENTS
IN ARCHITECTURE:
POSTMODERNISM
1960 – present
Questions the notion that there is a
reliable reality and attempts to
deconstruct authority and the
established order by engaging in
the ideas of fragmentation,
incoherence, and the plain
ridiculous
A reaction to modernism,
postmodernism returned to earlier
ideas of adornment and
decoration, celebrating expression
and personal intuition in favour of
formula and structure
MAJOR EVENTS AND DEVELOPMENTS
IN ARCHITECTURE:
DECONSTRUCTIVISM
1980 – present
Branch of postmodern
architecture and theory that
developed during the late 1980s
Characterized by ideas of
fragmentation and non-linear
design processes
Rejects such maxims as “form
follows function”, preferring to
distort and give an appearance of
controlled chaos
FRANK GEHRY (Frank Owen Goldberg)
“Architecture should speak of its time and place,
but yearn for timelessness”
Born in Toronto, Canada on February 28, 1929
Studied at the University of Southern California & Harvard University
After making a name in furniture design with his “Easy Edges” (furniture line crafted from layers of corrugated cardboard), he caught the attention of the architectural world when he remodelled his own house in Santa Monica, California (1978)
Renowned for the design of Guggenheim Museum in Bilbao, Spain (completed in 1997)
Constructs models from torn and crumpled cardboard, which are assembled and reassembled many times and then translated into architectural drawings through the use of specially developed computer software
FRANK GEHRY (Frank Owen Goldberg)Gehry Residence, Santa Monica, California
“It was just a dumb little house with charm, and I became interested in trying to
make it more important. I became fascinated with creating a shell around it.”
He boxed in the simple 2-storey pink bungalow with corrugated sheets of metal, lengths of chain-link fencing, and unfinished plywood, all cut into odd angular shapes
FRANK GEHRY (Frank Owen Goldberg)Guggenheim Museum, Bilbao, Spain
The curves on the exterior of
the building were intended to
appear random and are designed to catch the light
The interior is designed around
a large, light-filled atrium with
views of Bilbao's estuary and
the surrounding hills of the
Basque country
(nicknamed by Gehry as “The
Flower” because of its shape)
serves as the organizing center
of the museum
FRANK GEHRY (Frank Owen Goldberg)Walt Disney Concert Hall, Los Angeles, California
Project was initiated through
the donation of Lillian Disney
Acoustics of the concert hall is
designed by Yasuhisa Toyota
Main auditorium is designed to
look and feel like a ship’s hull
The stainless steel building
caused some controversy after
its grand opening due to heat
reflection caused by its parabolic panels
FRANK GEHRY (Frank Owen Goldberg)Dancing House, Prague, Czech Republic
Designed together with
Croatian-Czech architect
Vlado Milunić
Originally named as Fred and
Ginger (after famous dancers
Fred Astaire and Ginger
Rogers)
The “dancing” shape is
supported by 99 concrete
panels, each a different shape and dimension with a large
twisted structure of metal on
top (nicknamed Medusa)
DANIEL LIBESKIND
“To provide meaningful architecture is not to
parody history but to articulate it”
Born in Poland on May 12, 1946, immigrated to America and
became an American citizen on 1964
He received his professional architectural degree in 1970 from the
Cooper Union for the Advancement of Science and Art in New York
City and a postgraduate degree in History and Theory of
Architecture at the School of Comparative Studies at Essex University (England) in 1971
He was known for introducing complex ideas and emotions into his
designs
DANIEL LIBESKINDJewish Museum, Berlin
opened to the public in 2001
Exhibits the social, political and cultural history of the Jews in Germany from the 4th century to the present. The museum explicitly presents and integrates, for the first time in post-war Germany, the repercussions of the Holocaust
The modern architectural elements comprise the zinc façade, the Garden of Exile, the three Axes of the German-Jewish experience, and the Voids. Together these pieces form a visual and spatial language rich with history and symbolism. They not only house the museum with its exhibits, but they also provide visitors with their own unique experience as they walk through the spaces.
In February 2003, Studio Daniel Libeskind won the competition for a master plan of the site for the previous World Trade Center
The WTC Masterplan serves as both the conceptual basis and the technical foundation for the entire complex re-development of ground zero. The Masterplan defines the spirit of the approach to re-building and creates a meaningful conceptual framework for the site. It also defines the spatial organization of all elements of the development within the site with an emphasis on the human experience and the public realm.
Architects of the individual buildings: Michael Arad and Peter Walker (Memorial); Snøhetta(Museum’s entry pavilion), Skidmore, Owings & Merrill (Tower 1), Foster and Partners (Tower 2), Richard Rogers Partnership (Tower 3) Maki and Associates (Tower 4), and Santiago Calatrava(Transportation Hub)
DANIEL LIBESKINDGround Zero Masterplan, New York
DANIEL LIBESKINDMilitary History Museum,
Dresden, Germany Libeskind’s winning design boldly
interrupts the original building's symmetry. The extension, a massive, five-story wedge of concrete and steel, cuts through the 135-year-old former arsenal’s structural order. A 82-foot high viewing platform provides breathtakingviews of modern Dresden while pointing towards the area where the fire bombing of Dresden began, creating a dramatic space for reflection.
The new façade’s openness and transparency contrasts with the opacity and rigidity of the existing building. The latter represents the severity of the authoritarian past while the former reflects the openness of the democratic society in which it has been reimagined.
MAJOR EVENTS AND DEVELOPMENTS
IN ARCHITECTURE:
ASIAN ARCHITECTS
TADAO ANDO“I do not believe architecture should speak too much.
It should remain silent and let nature in the guise
of sunlight and wind ”
Born in Osaka, Japan on September 13, 1941
Self-educated architect who spent time in Kyoto and Nara, studying first-hand the great monuments of traditional Japanese architecture. Between 1962 and 1969 he travelled to the United States, Europe, and Africa, learning about Western architecture, history, and techniques. His studies of both traditional Japanese and modern architecture had a profound influence on his work and resulted in a unique blend of these rich traditions.
He has a reputation for sensitive and interpretive architecture with special attention to light and ambiance.
He relies on simple geometric forms to develop subtle and clear building with clean and atmospheric interiors. His interiors, with their clean and sparse walls, are intended as a retreat from the chaos and mayhem of modern life
TADAO ANDOAzuma Row House, Sumiyoshi, Osaka
Replaced the middle unit of three row houses in a downtown district of Osaka with a unit made of exposed concrete
Axially symmetrical composition with only two rectangular forms in elevation (i.e. the overall outline of the building and the doorway)
Entire site has been divided longitudinally into three parts and the courtyard too has been divided into three equal parts
The courtyard, a secluded space cut off from the commotion of the city and open only to the sky, is made of concrete, glass and slate, and reflects incident light and causes complex shadows.
The absence of ornament invites extraordinary empathy
TADAO ANDOChurch of the Light, Ibaraki, Osaka The church derives its orientation from the direction
of the sun
It consists of a rectangular volume sliced through at a fifteen-degree angle by a freestanding concrete wall that separates the entrance from the chapel. This division creates a threshold between the exterior and the sacred interior spaces.
The floor and pews are made of rough scaffolding planks, which emphasize the humble character of the space.
Intense light penetrates the profound darkness of this box through a cross that is cut out of the altar wall. As the only element of nature in this building, the light is rendered in exceedingly abstract form. The austere architecture appears to become purer in response to such an abstraction. Ando intended the linear pattern formed on the floor by the cross on the wall to express the purity that exists in the relationship between individuals and nature.
TADAO ANDOModern Art Museum, Fort Worth
Opened to the public on December 14, 2002
The building features five long, pavilions set into a reflecting pond
Constructed as a row of five rectangular blocks
They are quite low and the dominant horizontality connects with the character of the landscape
The cantilevered cast concrete roof is supported by large Y-shaped columns which appear as human arms reaching upwards
LEANDRO “LINDY” LOCSIN“The true Philippine Architecture is the product of two great
streams of culture, the oriental and the occidental…to
produce a new object of profound harmony”
Born on August 15, 1928
with themes of floating volume, the duality of light and heavy, buoyant and
massive running in his major works
From 1955 to 1994, Locsin has produced 75 residences and 88 buildings, including 11 churches and chapels, 23 public buildings, 48 commercial
buildings, six major hotels, and an airport terminal building
The CCP Complex itself is a virtual Locsin Complex with all five buildings designed by him -- the Cultural Center of the Philippines, Folk Arts Theater,
Philippine International Convention Center, Philcite and The Westin Hotel
LEANDRO “LINDY” LOCSIN
The CCP Complex itself is a virtual Locsin Complex with all five buildings designed by him -- the Cultural Center of the Philippines, Folk Arts Theater, Philippine International Convention Center, Philcite and The Westin Hotel
LEANDRO “LINDY” LOCSIN
The CCP Complex itself is a virtual Locsin Complex with all five buildings designed by him -- the Cultural Center of the Philippines, Folk Arts Theater, Philippine International Convention Center, Philcite and The Westin Hotel
FRANCISCO “BOBBY” MAÑOSA“I design Filipino”
graduated with an Architecture degree from the University of Sto. Tomas in 1953, and passed the board exams the following year
his guiding light was the definition of an authentic Filipino design. To accomplish this, he has zeroed in on the basics: cultural design forms and materials that identify country
for him, the native bahay kubo is the most ideal architectural form in the Philippines. The bahay kubo or nipa is elevated, has wide eaves, a tukod window and a pitched roof, and is made out of dried grass and bamboo. All these contribute to making it watertight and well ventilated
Arch. Mañosa’s most famous tribute to Philippine architecture is the Coconut Palace or Tahanang Filipino (Filipino Home) located at the Cultural Center of the Philippines (CCP) complex. Conceived in 1978, the Coconut Palace reinterpreted the traditional bahaykubo and emphasized the scope of coconut by-products’ building possibilities. At this three-level mansion, for instance, 122 coconut trunks were inverted to provide structural columns. Coco-wood shingles cover double roofs reminiscent of the’salakot or gourd hat, and add to the cooling effect of the coco-wood latticed awnings. At the entrance, carved doors inlaid with a mosaic of coconut shells showcase the range of Filipino artistry. Meanwhile, brown and beige tiles adorning the bathrooms are ingenuously made out of compressed coconut shells.
demonstrated time and again that traditional forms and materials could be successfully adapted to suit modern building needs and changing lifestyles
FRANCISCO “BOBBY” MAÑOSACoconut Palace (Tahanang Pilipino), CCP Complex
FRANCISCO “BOBBY” MAÑOSAPearl Farm Resort, Davao
SOME OTHER NOTABLE ARCHITECTS
AND THEIR DICTUMS
RICHARD MEIER
“Placeness is what it is that makes a space a place”
PIER LUIGI NERVI
“Intuition should be used as much as mathematics in design, especially with thin-shelled structures”
FUMIHIHO MAKI
“Architecture is a highly ambiguous field”
ADOLF MARIA LOOS
“Ornament is a crime”
CHRISTIAN DE PORTZAMPARC
“I came to realize that architecture might not be able to create utopia but as an architect I could help change things for the better”
KENZO TANGE
“Tradition can, to be sure, participate in a creation, but it can no longer be creative itself”