el6laaffi

Obiectives: ai the end of the lesson the

studonts are expected to:
1. Discuss clearly the definition, concepts,
nature of architecture.
2. Appreciate the beauty of architecture as a

work of art;
3. Aoknowledge the different Philippine
architects and their contribution to the country.

Architecture
Architecture (Latin architecruro, from the
quxttlKtov utxflLvxLutt
Greek opxuexrrr.rv
utgeE
arkhi tektan "architect",
dtLItLeL! ,
fromapxr- "chief'and rixttov "builder''i is both ihe
proces:: and the product of planning, designing,
and constructing buildinqs and cther physical

structurBs. Architectural works, in the material

form of buitdings, are often perceived as cuttural
symbols and as works of art. (Wikifedia)

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process

product
of ptanning
designing
eonstructing buildings and other physical
structures.

Architectural works, in the material form

of buitdings, are often perceived as cuttura[
symbots and as works of art. (Mkipedial

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A general

term to describe buitdings and other

physicaI structures.
The art and science of designing buildings and
(some) non-buileting structures.
The styte of design and method of construction
of bu'itdings and other physical structures.
Knowtedge of art, science, technotogy and

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The practice of the architect, where

architecture means offering or rendering
professiona[ services in connection with the
design and construction of buitdings, or buitt

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technicat, sociat, environmental

and aesthetic considerations.

environments.

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> lt requires the creative manipulation

and
coordination of materials and technology, and of
and shado*,. Often, conflicting requirements must be
resotved.

The design activity of the architect, from the

macro-level {urban design, landscape

architecture) to the micro,teve[ (construction
details and fum'iture).

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Ar.hitecture has to do with ptannjne and dgg$liG

form, space and ambience to reftect functiGil-

The practice of architecture also encompasses

praqmatic aspects of reatizing buitdings and

The earliest surviving written work on the subject

architecture is De architectura, by the Rffitan
architect Vitruyius in the earty 1 st century AD.

structures, including scheduling, cGt estimatioo a

constructior administration.

According to Vitruvius, a good building should satisfy the

three princip{es of firmitas, utiiitas, venustas, comnronly
knolvn by flre original translatron - firmness, commoditv a

)> Documentation produced by architects, typicatty

drawings, plans and technicat specifications, dehnes
the structure and/or behavior of a buitding or other
kind of svstem that is to be or has been consiructed.

delioht.

An equivalent in modern English would be:

Q Durability - a building should stand up robusfly and
in good condilon.
O Ut,l'ty - it should be suitable for the purposes for

used
Beauty

it should be aesthetically pleasing

According to Vitruvius, the architect shoutd

strive to futfitl each of these three attributes .
weil as possibte.
> Leon Battista Alberti, who etaborates on the
ideas of Yitruvius in his treatlse,
treatlse. De R.e
R-e
Aedificatoria, saw beauty primarity as a matter
of proportion, atthough ornament atso pl.ayed a
part.
i For Alberti, the rutes of proportion were those
that governed the ideatised human figuie, the

Gotden mean.

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The most important aspect of beauty was

therefore an inherent part of an object,

than something apptied superficiail.y; and was

based on universal, recognisabte truths. The
notion of styte in the arts was not devetoped
until the 15th century with the writing of
Vasari: by the 18th century his Lives of the Most
Excetlent Painters, Scutptors, and Architects
been translated into ltatian, French, Spanish

ln the earty 19th entury Augustus Wetby

Northmore Pugin wrate Contrastc (1935) that,
the titl.ed suggesGd, contrasted the modern,
industrial wortd, which he disparaged, with an
ideatized image of neo-medieval wortd. Gothic
architecture, Pugin betieved, was the onty.,true
Christian form of architecture."

Engtish.

The 19th-century Engtish art critic, John

in his Seven Lamps of Architecture, pubi.ished
1849, was much narrower in his view of what
constituted a!"chitecture. A!.chitecture was the
"art which so disposes andldornirhEldifiies
raised bv men ... that the sight of them"
contributes "to his mental heatth, power, and

For Ruskin, the aesthetic was of overriding

significance. His work goes on to state that a
buitding is not truly a work of architecture
untess it is in some way "adorned", For Ruskin, a

wett-constructed, wett-proportioned, functionai

buitding needed string courses or rustication, at

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BuiLding

first evolved out of the dynamics

between needs (shelter; security, worship, etc.)

and means (availabie buil.ding materials and
attendant skitts), As human cultures deveLoped
and knowtedge began to be formatized through
oral traditions and practices, buitding became a
craft, and "architecture" is the name given to
the most highty formal.ized and respected
versions of that

craft.

Due to a surplus in production the economy

began to expand resutting in urbanization tl
creating urban areas which grew and evotved
very rapidty'in some cases, such as that of Catr
Hiiyiik in Anatolia and Mohenjo Daro of the
Vattey Civitization in modern-day Pakistan.

those of Egypt and Mesopotam

architecfure and urbanism !.efle
divine and the supernatural, and
many ancient cultures resoiled

power of the ruler, the ruling

the state itself.

lt is widety assumed that architecturat success

the product of a process of triat and error; with
progressivety less trial and more repLication as tl
resutts of the process proved increasingty
satisfactory- What is termed vernacular
architecture continues to be produced in many
parts of the world. lndeed, vernacutar buitdings
make up most of the buitt wortd that peopl,e
experience every day. Earty human setttements
were mostly rural,

Due io a surptus in production the economy

began to expand resutting in urbanization
creating urban areas which grew and evotved
very rapidty in some cases, such as that of Cati
Hiiyiik in Anatolia and Mohenjo Daro of the lndr
Vattey Civil.ization in modern-day Pakistan.

The architecture and urbanisfn of the Classical

ciyilizations such as the Oreek and the Roman from civic
ideals rather than retigioGliimpiricat i1ii3Z-nd new
building types emerged. Archrtectural ,,style" developed in
form ofthe Clessical orders.

Texts on architecture have been written since ancient time.

These texts provided both general advice and specific
prescriptions or canons. Some examples ofcanons are
found in the vr'ritings of the 1st-century BCE Roman
Archkect \iiiruyiuq. Some of the most important early
examples of canonic architecfure are reliqious.

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Asian arciitecfure

Asian architecfure

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Early Asian writinge on architecture include the Kao

Ji of China from the 7th-5th centuries BCE; the Shilpa
Shastras of ancient lndia and Manjusri Vasthu Vdya
Sastra of Sri Lanka.

The architecfure of different parts of Asia developed along

difierent lines from that of Europe; Buddhist, Hindu and Sikh
archrtecture each having difierent characteristics. Buddhist
architecture, in particular, showed great regional ciiversity.
Hindu temple architecture, which developed around the 3rd
BCE. is governed by concepts laid down in the
and is concemed with expressing the
the microcosm. ln many Asian countries.

The architecture ofdifferent partsofAsia developed

different lines from that of Europe; Buddhist, Hindu and
Sikh architecture each having different characteristics.
Buddhist architecture, in particular, showed great regtonal
diversity. Hindu temple architecture. whlch developed
around the 3rd century BCE, is governed by ccncepts laid
down in the Shastras, and is concerned with expressing
the macrocosm and the microcosm. ln many Asian
countries, pantheistic religion ied to architecturai forms
that were designed speciflcally to enhance the natural
landscape.

lstamic architecture

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lstamic architecture began in the 7th century

CE, incorporating architectural forms from the
ancient Middte East and Byzantium, but atso
developing features to suit the retigious and
social needs of the society. Examptes can be
found throughout the t*iddteEast,.Nllth Africa,
Spain and the lndian Sub-continent. The
widespread appticatlon of the pointed arch u"as
to influence European architecture of the
Medievat period.

MiddteAges
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Notre Dame, Paris, is a grand Gothic cathedrat with Towere at

end and a smatl spire rising from the centre of the rrcf.
Notre Dame de Paris, France
ln Europe during the Medievat period, guitds were formed by

offi
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suruived, particutarly in relation to ecctesiasticat buildings. The

rote of architect was usuatty one with that of master mason, or
i^agister tathomorum as ihey are sometimes described in
cofltemp0rary dtruments.

The major architstural undertakings were the buildingt ol abbeys

and cathedrats. From about 9@ CE onwards, the movements of
both clerics and tradesmen carried architectural knowtedge
Europe, iesulting in ihe pan"Ei.iropean stytes Roiilanesque and

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Renaissance

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ard the architect

ln Renaissence Europe, from about 1400 onwar*,

was a reyival of Classical leaming accornpanied by the
development of Renaissance Humanism which ptaced
greater emphasis on the rote of the individuat in society
than had been the case during the Medievat period.
Euiidings were ascribed to specific architects Brunetteschi, Atberti, Michetangeto, Patladio, and the
cutt of the individual had begun. There was stilt no
dividing tine between artist, architect and engineeL or
any of the retated vocations, and the appeltation was
often one of regionat preference.

A revival

of the Ctassical styte in

architecture was accompanied by

,f; fi[*{fi,#il.',H{}j

burgeoning of science and engineering

which affected the proportions and

Rotonda, Vitla Capra and Vilta

The name "Capra" derives from the

structure of buitdings. At this stage, it was

stitt possibte for an artist to design a
bridge as the levet of structural
catcutations invotved was within t}le scope

after it w6 ceded to them in 159?

with other work by Pattadio, the
is conseryed as part of the Wortd
Site "City of Vicenza and the Pattadia
Viltas of the Venero".

iL^,
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of
the generatist.

Earty modern and the

industriat age

The lilaughan Uhrary, the

university library of l{ing!
Coltege london, was rebuitt in
1 85i -1 890s but roots traceabte
to 1 232. It features wor{< of

vittu Lu Rotonda is a Renaissi

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vyith the emerging knovvtedge in scientific fietds and

new materials and technology, architecture and
began to separate, and the architect began to
aesthetics and the humanist aspects, often at the expense
technicat aspects of building design. There was atso the
the "gentteman architect" who usualty deatt with weatthy
and concentrated predominantty on visuat quatities derived
usualty from historicaI prototypes, typified by the many
houses cf 6reet Britain that were created in th Neo Gothic
Scottish Baroniat stytes. Format architecturat training in the
19th century for example at fcote des Beaux-Arts in France,
gave much emphasis to the production of beautiful draw'ings an
littte to context and feasibility. Effective architects generatty
received their training in the offices of other architects,
graduating to the role from draughtsmen or clerk.

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Meanwhile, the lndustrial Revolution taid open the

door for mass production and comumption,
Aesthetics became a criterion for the middle ctass
ornamented products, once within the province of
expensive craftsmanship, became cheaper under
machine production.
Vernacutar architecture became increasingly
ornamentat. House buitders coutd use current
architectural design in their work by combining
features found in pattern books and architecturat

The Bauhaus Dessau architecture department from 1925 by

Walter Gropius
Around the beginning of the 2fth century a generai
dissatisfaction with the emphasis on fetvaljst archittrture and
etaborate dEoratiotr gaye rise to many nw tinc of thought
that seryed as preuEors to Modero Architture. Notable
among these js the Deutscher Werkbund, formed in '1907 to
prodrce btter quality machlne made objtrts. The rise of the
profe:sion of industrial design is usuatty ptaced here. Foltowiog
this
rnrs reao,
tead, rne
the baunaus
Bauhaus scnoor,
in Weimar,
wetmar, Germany
school, Iouooeo
founded rn
bermany rn
in
prior sea
1919,
tY tr, Iseitfl@
redefined LIle
the alcnltstutaL
architturai bounds
throughout
reurcs pnor
set Inrougnoul
history viewing the creation of a buitding as the ultimate
synthesis-the apex-of art, craft, and technology.

first practiced, it was

ayant-garde movement with moral, phitcophicat, and
aesthetic underpinnings. lmmediatety after World War l,
pioneering modemist architects sought to develop a
completety new style appropriate for a new poot-war
and econornic order, focused on meetfng the needs of the
middte and working classes. They rejected the
practice of.the academic refinement of historicaI styles
which served the rapidty declining aristocmtic order. The
approach of the Modemist architects was to reduce building
to pure forms, removing h'istoricat references and omament
in favor of funcUonalist details, Buitdings disptayed their
functiona[ and structural etements, exposing steel beann
concrete surfaces instead of hiding them behind
V/hen modem architecture was

and purpose, with an aim

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architects resisted modemism, finding it devoid

the decorative richness of historicat styles. As the first
generation of modemists began to die after W\ryI|, a
generation of architects inctuding Paut Rudotph, Marcet
Breuer, and Eero Saarinen tried to expand the aesthetics
modemism wi& Brutalism, buiidings with expressive
sculpturat fagades made of unfinished concrete. But an
even new younger po6t\ lar generation critiqued
and Brutatism for being too austere, standardized,
monotone, and not takinB into account the richness of
human experience offered in historical buildings
time and in different places and cuttures.

,vlany

Beginningin the late 1950s and 1960s, architectural

emerged I an important movementin the earty reaction
modernism, with architects like Charts l,4oore in the Unil
Christian Norberg"Schulz in Notray, and Ernesto Nathan Rogers and
Viitorio Grcgotti in ltaty who cottectiyely popularized an interest in
a new contemporary architecture aimed at expanding human
experience using historical buitdings as modets and precedents.
Pstmodernism produced a style that combined contemtrrcrary
building technotogy and cheap materia[s, with the asthetics of
otder pre-modern and non-modem styls, from high ctasicat
architeture to popular or vernacular regionat building styles.
Venturi famousty defined postmodern architecture as a
shed" (an trdinary buitding which is iunctionatly designed insicie
emH.tished on the outside), and upheld it again:t modernist
tlrutatist "ducks' {buitdings with unnecessarily expressive

Since the 1980s, as the complexih./ of

buitdings began to increase (in terms of
structura[ systems, services, energy and
technotogies), the fieLd of architecture

became mutti-disciptinary with

specializations for each project type,
technotogical expertise or project detivery
methods.

forilr |.

P ln addition, there has been an increased separation of the

fNotes 1] from the 'proiect' archit(t who ensures
the project mets the required standards a8d deals with matters
of tiabitity.

architftt

> The preparatory procsses fcr lhe

design of any targe building have

become incresingly complicated, and require pretiminary studia
oi such matters as durability, sustainabitity qmtity, mmey and
compliance with [oca[ [aws. A targe strxcture can no tonger b the
daign of one person but musi be ihe work of many.

)Modernism and Postmodernism have been

criticised by some members of the architectural
profession who feet that successfut architecture i
not a personat, phitosophicat, or aesthetic pursuit
by individuaLists; rather it has to consider
everyday needs of people and use technotogy to
create liveable environments, with the design
process being informed by studies of behavioral,
environmentat, and sociat sciences.

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