BASILIO, JENESIS JOY G.

MARKETING - 1B
JAPANESE ARCHITECTURE

Japanese Architecture (日本建築 Nihon kenchiku) has traditionally been typified by wooden structures,
elevated slightly off the ground, with tiled or thatched roofs. Sliding doors (fusuma) were used in place of walls,
allowing the internal configuration of a space to be customized for different occasions. People usually sat on
cushions or otherwise on the floor, traditionally; chairs and high tables were not widely used until the 20th century.
Since the 19th century, however, Japan has incorporated much of Western, modern, and post-modern architecture
into construction and design, and is today a leader in cutting-edge architectural design and technology. The earliest
Japanese architecture was seen in prehistoric times in simple pit-houses and stores adapted to the needs of a
hunter-gatherer population. Influence from Han Dynasty China via Korea saw the introduction of more complex grain
stores and ceremonial burial chambers. The introduction of Buddhism in Japan during the sixth century was a
catalyst for large-scale temple building using complicated techniques in wood. Influence from the Chinese Tang and
Sui Dynasties led to the foundation of the first permanent capital in Nara. Its checkerboard street layout used the
Chinese capital of Chang'an as a template for its design.
A gradual increase in the size of buildings led to standard units of measurement as well as refinements in
layout and garden design. The introduction of the tea ceremony emphasized simplicity and modest design as a
counterpoint to the excesses of the aristocracy. During the Meiji Restoration of 1868 the history of Japanese
architecture was radically changed by two important events. The first was the Kami and Buddha’s Separation Act of
1868, which formally separated Buddhism from Shinto and Buddhist temples from Shinto shrines, breaking an
association between the two which had lasted well over a thousand years. Second, it was then that Japan underwent
a period of intense Westernization in order to compete with other developed countries. Initially architects and styles
from abroad were imported to Japan but gradually the country taught its own architects and began to express its own
style. Architects returning from study with western architects introduced the International Style of modernism into
Japan. However, it was not until after the Second World War that Japanese architects made an impression on the
international scene, firstly with the work of architects like Kenzo Tange and then with theoretical movements like
Metabolism.
HISTORY OF PHILIPPINE ARCHITECTURE
The history and culture of the Philippines are reflected in its architectural heritage, in the dwellings of its
various peoples, in churches and mosques, and in the buildings that have risen in response to the demands of
progress and the aspirations of the people. Architecture in the Philippines today is the result of a natural growth
enriched with the absorption of varied influences. It developed from the pre-colonial influences of our neighboring
Malay brothers, continuing on to the Spanish colonial period, the American Commonwealth period, and the modern
contemporary times. As a result, the Philippines has become an architectural melting pot– uniquely Filipino with a
tinge of the occidental. The late national hero for architecture, Leandro Locsin once said, that Philippine Architecture
is an elusive thing, because while it makes full use of modern technology, it is a residue of the different overlays of
foreign influences left in the Philippines over the centuries: the early Malay culture and vestiges of earlier Hindu
influences, the more than 300 years of Spanish domination, the almost 50 years of American rule, the Arab and
Chinese influences through commerce and trade over the centuries. What resulted may have been a hybrid, a totally
new configuration which may include a remembrance of the past, but transformed or framed in terms of its
significance today.
The Philippine’s architectural landscape is a contrast among small traditional huts built of wood, bamboo,
nipa, grass, and other native materials; the massive Spanish colonial churches, convents and fortifications, with their
heavy “earthquake baroque” style; the American mission style architecture as well as the buildings of commerce with
their modern 20th century styles; and today’s contemporary, albeit “modern mundane” concrete structures of the
cities. Construction of rural native huts has changed little in the centuries. Design vary by region, but common
features include steep roof over a one-or-two room living area raised on posts or stilts one to two meters above the
ground or over shallow water. Some huts have balconies. Floors may be of split bamboo to allow dirt and food scraps
to fall through to pigs and poultry. The space beneath the hut may be used for storage or as a workshop; it also
allows air to circulate and safeguards against flooding, snakes, and insects. As families become more affluent, they
frequently replace the thatch roof with galvanized iron which lasts longer but makes the house hotter and
aesthetically more mundane.
The bahay-kubo (nipa hut) is a typical traditional house found in most lowlands all over the Philippines.
Originally built as a one-room dwelling, the nipa hut changed as family needs become more diverse. Modern urban
dwellings, on the other hand, are typically two-story structures with a concrete ground floor, sides of brick, concrete
blocks, or wooden slats, and an iron roof. During the 19th century, wealthy Filipinos built some fine houses, usually
with solid stone foundations or brick lower walls, and overhanging, wooden upper story with balustrades and kapis
shell sliding windows, and a tiled roof. The Rizal house in Calamba, Laguna and the Luna house in Badoc, Ilocos
Norte are good examples. Vigan, Ilocos Sur as well as Taal in Batangas have the best surviving Spanish quarters.
The city of Manila, Ilo-ilo and Cebu also have some notable old houses. Other areas of the country present different
forms of tribal architecture as compared to the low-land bahay kubo which is influenced greatly by culture, and in
some cases, climate and the environment. In the upland regions of the Cordillera Mountains, the houses, though still
using native materials, is a bit more secured. Where the low-land bahay kubo is ventilated on all sides, the mountain
huts, Bontoc, fayu; Ifugao, bale; Kalinga, binayon; Kankanay, binangiyan, and others typify a more insulated dwelling.
The Maranao torogan, on the other hand, is designed for royalty and thus built with much ornamentation and
elaborate details. Being an isolated and wind-frequented area, the Batanes Islands, exhibit the most different of all
traditional architecture in the Philippines. The Ivatan`s rakuh is built solidly on all sides, made of a meter thick rubble
work covered by thick thatch roofing to withstand gales which frequent the area. The arrival of the Spaniards in 1571
brought in Antillian architecture.
Though not specifically suited for the hot tropics, European architecture was transposed via Acapulco,
Mexico into a uniquely Filipino style. The style traces its roots from the Antilles, in Central America rather than from
mother Spain. The Christianization of the islands created the need to establish religious structures to support the
growing number of religious organizations. Though they don’t compare with those seen in Europe or in Latin
America, Philippine colonial churches are unique in their own sense. Some of the best preserved colonial churches in
the country are found in the Ilocos Regions, as well as those in the provinces of Laguna and Batangas, as well as the
Visayan islands of Panay, Cebu and Bohol. These colonial churches were typically designed by anonymous friar-
architects and built between 1600 and 1750. Most were initially constructed with bamboo and nipa, but the friars
realized that to instill a sense of awe, as well as to caution against the terrible menace of fire and earthquake, more
grandiose buildings had to be erected. In spite of technical and material limitations, they managed to erect massive
structures that often took years, even decades to complete, that have survived to the present.
PHILIPPINE ARCHITECTURE
Philippine architecture responds to the climate. Although there are many variations, generally the roof of the
first Philippine houses, nipa huts, or bahay kubo, were high pitched and usually open gabled to allow for ventilation.
The steeply sloping pitch also protected from the wind and rain in the typhoon season. The roof also provided wide
overhang eaves, to provide shade from the hot sun. These houses were elevated three to four meters of the ground,
supported by wood or bamboo. There were usually four or more of these support posts. This aids in air circulation
beneath the house. This space underneath the house, called the silong, can also serve as a workspace, a storage
space, a granary, a pen for livestock, and one source says it once served as a place to bury relatives (?). In addition,
the raised structure sits out of the flooded ground if located next to coastal or riverine areas, and also keeps small
rodents and other creatures from entering the main structure. A ladder, hagdan, is used to enter the main structure. It
could be drawn up at night or when the owners went out. The structure was usually four-walled with tukod windows.
These windows had swinging shades, which could be propped open during the day. There was usually one simple
multi-use space on the interior. This open interior again provided ventilation, but also gave the simple dwelling a
spacious feel. This space could be used for cooking, eating, and sleeping. Sometimes the cooking was done over an
open fire built on the heap of earth in one corner or partitioned off in a space in front of the ladder.
 Sometimes, there was an open front porch, pantaw or batalan, where jars of water would be kept to wash
dishes. This gallery also served as an anteroom or lounging area. The structure could easily be added to, should the
need arise. The materials used in the Filipino house are found near the site. Depending on the ecology of the area,
the materials may differ around the Philippines. The major building materials are: bamboo (kawayan), rattan (yantok),
various native woods, native palms like palma brava (anahaw), and nipa palms, cane, and cogon, a long grass, for
thatching. Stone and clay are sometimes used as well. With a bolo and the knowledge of house construction, the
early Filipino could construct a hut in just a few hours. These Pre-Hispanic Filipino lowland houses had a light
structure on top, and heavier materials on the bottom. This helps in resisting the earthquakes that occur in the
Philippines. The light structure is also beneficial if the house was toppled by earthquakes or typhoons, leaving the
occupants with little injuries.
The early Filipino house was constructed without the use of nails or pegs, which were not available. The
frame was tied together with rattan or other materials. The walls were made of bamboo and nipa, dried grass, wood,
or siding made from spitted and pounded green bamboo halves. The materials were lashed or woven to keep the
interior water tight. The floor was composed of bamboo slats (tinilad, tilad), usually placed convex sides up, that were
spaced apart to increase ventilation and allow dirt to fall through. The roof was made of nipa shingles or cogon
thatch. The houses are usually constructed by the head of the family, the whole family, or the family and their friends.
Most early Filipinos are capable of building their own houses and could complete them in a couple of days.
MODERN ARCHITECTURE
Modernism or Modern Architecture is an architectural style that emerged in the early years of the 20th
Century. Modernism would become the dominant architectural form in the aftermath and devastation of the Second
World War across Europe. It is characterized by its heavy use of new technologies with particular emphasis on the
use of glass, steel and, of course, reinforced concrete. Many also define it as being the rejection of the old traditional
neoclassical style and Beaux-Arts that were popularized during the previous century. Modern Architecture would
remain the dominant architectural form throughout most the 20th Century until it was deposed in the 1980's by, the
appropriately termed, postmodernist style.
Famous Modernist Architects
There have been many prominent Modernist architects throughout the years but the most notable include:-
 Frank Lloyd Wright
 Le Corbusier
 Leoh Ming Pei
 Erich Mendelsohn
 Ludwig Mies van der Rohe.
In general, modernism up to and including the 1960's was dominated by rectangular building forms with an
emphasis placed on bold, straight lines. After the 1960's, more free-flowing and organic designs began to replace the
more ordered post-war style.
19th CENTURY ARCHITECTURE
19th Century Architecture was greatly influenced by earlier architectural movements and foreign, exotic
styles, which were adapted to the new technologies of the early modern age. The revivals of Greek, Gothic, and
Renaissance designs were fused with contemporary engineering methods and materials. In the Western world,
Historicism idealized past empires and cultures, and used motifs inspired by them to stimulate national nostalgia The
main types of nineteenth century architectural styles included: Greek Revival (1800-1900); Gothic Revival (1810-
1900) - see English Gothic architecture - Neo-Renaissance and Richardson Romanesque (1840-1880); Second
Empire (1850-1880); Exoticism (1800-1900); Industrial architecture (1850-1900); Skyscraper design (1885-1900).
See: Design (1850-1970). Staircase in Emile Tassel House, Brussels. (1893-7) Designed by Victor Horta, one of the
greatest architects in the Art Nouveau style. Glossary for a brief guide to design and architectural jargon. Two
principal characteristics distinguish 19th-century architecture; the use of a variety of historical styles and the
development of new materials and structural methods.
The first arose from the 19th century architect's perception that he had to continue in the traditional styles of
their predecessors. Elements of these earlier styles were put together to give an air of authority to town halls
(Birmingham), railway stations (Euston, London), opera houses (Paris Opera) and legislatures (Houses of
Parliament, London). Restraints of taste and careful application of Classical standards, which had characterized the
18th century, gave way to a variety of styles which could be either quaint, bombastic or severe and generally, to
modern eyes, of great curiosity. The second characteristic emerged from the development of new materials as a
result of the new industrial needs. In building, new forms - factories, warehouses, railway terminals, administrative
centers, hospitals - were demanded. In the mid years of the century, cast iron was used structurally in large buildings
such as warehouses and libraries. The Crystal Palace, designed by Joseph Paxton for the 1851 International
Exhibition in London, provided a spectacular example of the possibilities of cast iron and glass that had worldwide
publicity. The new ferrous building materials were made to conform to the taste for Classical, medieval or other exotic
styles (Brighton Pavilion); for example the glass and iron vault for Paddington Station by Brunel and Wyatt was
supported on 'Gothic' columns.
In 1889 Gustav Eiffel designed the exhibition tower for Paris which bears his name and provided the same
form of publicity for the new material - steel. In America, late 18th century architecture and early 19th century building
designs were typically based on Roman or Greek architecture - known as 'Federal style' or 'Greek Revival'.
Exponents included Thomas Jefferson (1743-1826), William Thornton (1759-1828), James Hoban (1762-1831),
Charles Bulfinch (1763-1844) and Benjamin Latrobe (1764-1820). Later came a revival of Gothic architecture, led by
designers such as Richard Upjohn (1802-78), Andrew Jackson Downing (1815-52) and James Renwick (1818-95).
Romanesque was represented by Henry Hobson Richardson (1838-86), and Renaissance by Richard Morris Hunt
(1827-95), while the versatile Charles Follen McKim (1847-1909) produced a range of different designs.
EARLY CHRISTIAN ARCHITECTURE
The invention of the Christian church was one of the brilliant--perhaps the most brilliant--solutions in architectural
history. This was achieved by a process of assimilating and rejecting various precedents, such as the Greek temple,
the Roman public building, the private Roman house, and the synagogue. The Early Christian period saw the growth
of Christianity, effectively an underground Eastern mystery cult during the first three centuries AD. It was established
as the state religion of the Empire under the successors of Constantine. Ecclesiastical administration set up within
the framework of the Roman Empire. Little change in social and economic order. Gradual split between Eastern and
Western Empire in state and church. Political and economic breakdown of the West, ending in barbarian invasions.
Early Christian Architecture: Basilica church developed from Roman secular basilica; centralized type from Roman
tombs. Basilical plan modified for liturgical requirements; congregation and clergy segregated in nave and aisles vs.
transept and apse. Different variants in East and West. In Rome, classical marble wall mamboing and vocabulary,
and emphasis on massive wall, gradually replaced by broad, flat surfaces, evenly lighted; plain brick exteriors;
mosaic bands of interiors. Long planes with little articulation, either horizontal or vertical.
Representative Buildings
1. King Herod's temple, Jerusalem, Israel: successor to King Solomon's temple: reconstruction before
destruction in 70 AD; same site with the Dome of the Rock (fig. 334) on same terrace; Jews continue to
worship at the Western Wall of the temple terrace today.
2. Synagogue, Dura Europos, Syria, about 230 AD: plan; west wall with Torah (Bible) niche and frescoes,
today in National Museum, Damascus.
3. Christian house-church, Dura Europos, Syria, 230 AD: cutaway reconstruction; the baptistery: compare this
house with the House of the Vettii at Pompeii, ca. 70 AD, on the lines of fig. 207.
4. [Old] St. Peter's basilica, Rome, c. 324--possibly 319--to 335: exterior reconstruction; reconstructed
cutaway of basilica and atrium; interior reconstruction; reconstructed plans; reconstructed interior view,
painted while some of St. Peter's was still standing; figs. 225 - 226.
 5. Church of the Holy Sepulcher, Jerusalem, Israel, ca. 335: reconstructed plan in fourth century;
reconstructed interior perspective of the basilica; reconstructed plan of Basilica and Anastasi’s rotunda in
fourth century; exterior today, much rebuilt; figs. 228 - 230
RENAISSANCE ARCHITECTURE
Style of architecture, reflecting the rebirth of Classical culture, that originated in Florence in the early 15th
century and spread throughout Europe, replacing the medieval Gothic style. There was a revival of ancient Roman
forms, including the column and round arch, the tunnel vault, and the dome. The basic design element was the order.
Knowledge of Classical architecture came from the ruins of ancient buildings and the writings of Vitruvius. As in the
Classical period, proportion was the most important factor of beauty; Renaissance architects found a harmony
between human proportions and buildings. This concern for proportion resulted in clear, easily comprehended space
and mass, which distinguishes the Renaissance style from the more complex Gothic. Filippo Brunelleschi is
considered the first Renaissance architect. Leon Battista Alberti’s Ten Books on Architecture, inspired by Vitruvius,
became a bible of Renaissance architecture. From Florence the early Renaissance style spread through Italy.
Donato Bramante’s move to Rome ushered in the High Renaissance (c. 1500–20). Mannerism, the style of the Late
Renaissance (1520–1600), was characterized by sophistication, complexity, and novelty rather than the harmony,
clarity, and repose of the High Renaissance. The Late Renaissance also saw much architectural theorizing, with
Sebastiano Serlio (1475–1554), Giacomo da Vignola (1507–73), and Andrea Palladio publishing influential books.