ARTHEO REVIEWER the bipolar characteristics that best exemplified his work

and how their manifestations in his designs have evolved

A. Filipino Architects and their Design Process, over time. Each manifestation of bipolarity was noted,
Methodologies, Conceptualization Techniques: classified, and analyzed. From this analysis, the evolution
of the concept of bipolarity in Locsin's design, as well as
 ANDRES T. LUNA DE SAN PEDRO the development of his architectural style was
ascertained.
- CRYSTAL ARCADE, REGINA BUILDING, NATALIO ENRIQUEZ
ANCESTRAL HOUSE, LEGARDA ELEMENTARY SCHOOL, FIRST (PRESIDENT, PHILIPPINE INSTITUTE OF ARCHITECTS, 1964),
UNITED BUILDING, ALFONSO ZOBEL MANSION, MANILA (PRESIDENT, UNITED ARCHITECTS OF THE PHILIPPINES, 1981),
HOTEL, ST. CECILIA‟S HALL OF ST. SCHO COLLEGE, LIZARES (CHANCELLOR, UAP COLLEGE OF FELLOWS, 1986),
MANSION (GOLD MEDAL OF MERIT AWARD, 1978), (LIKHA AWARD,
1987)
HIS DESIGNS WERE MODERNIST. SOME OF THEM WERE LOST
 ROGELIO G. VILLAROSA
DURING WORLD WAR 2
-TEKTITE TOWERS, GRAMECY, NATIONAL LIBRARY OF THE
(FOUNDER, PHILIPPINE ARCHITECTS SOCIETY, 1993),
PHILIPPINES, PUERTO AZUL RESORT, PALMS COUNTRY CLUB,
(PRESIDENT, PHILIPPINE INSTITUTE OF ARCHITECTS, 1950),
BSA TWIN TOWERS, SM RADISSON HOTEL, BANKO CENTRAL
(FIRST GOLD MEDAL OF MERIT AWARDEE, 1950)
NG PILIPINAS, EDSA SHANGRI LA
 FERNANDO H. OCAMPO, SR.
(ONE OF BCI ASIA’S TOP 10 ARCHITECTS OF THE
PHILIPPINES, 2005-2009, 2011-2013, 2016-2017)
- MANILA CATHEDRAL, ASSUMPTION ACADEMY OF
PAMPANGA , SAN FERNANDO METROPOLITAN
 JUAN FELIPE NAKPIL
CATHEDRAL, UST CENTRAL SEMINARY, REGINA BUILDING,
CALVO BUILDING, ARGUELLES BUILDING, PATERNO - QUEZON HALL OF UP DILIMAN, THE UP CARILLON, SAN
BUILDING (FAR EASTERN AIR TRANSPORT INC), AYALA, CU CARLOS SEMINARY, GALA-RODRIGUEZ ANCESTRAL HOUSE,
UNJIENG AND FERNANDEZ BUILDING ALONSO HALL OF UP COLLEGE OF HOME ECONOMICS, UP
CONSERVATORY OF MUSIC AND AUDITORIUM, CAPIROL
FATHER OF PHILIPPINE MODERN ARCHITECTURE
THEATER
(FOUNDER, PHILIPPINE ARCHITCETS SOCIETY, 1933),
(FOUNDER/PRESIDENT, PHILIPPINE ARCHITECTS SOCIETY,
(PRESIDENT, PHILIPPINE INSTITUTE OF ARCHITECTS, 1945),
1933), (CHANCELLOR, PIA COLLEGE OF FELLOWS, 1971),
(GOLD MEDAL OF MERIT AWARD, 1952)
(GOLD MEDAL OF MERIT AWARD, 1951), (NATIONAL ARTIST
IN FIELD OF ARCHITECTURE, 1971)
 FRANCISCO T. MAñOSA

- COCONUT PALACE, SHRINE OF MARY, QUEEN OF PEACE,  PABLO S. ANTONIO, SR.

OUR LADY OF EDSA, 2019 SOUTHEAST ASIAN GAMES
CAULDRON, SAINT JOSEPH PARISH BAMBOO ORGAN - FAR EASTERN UNIVERSITY
CHURCH, MARY IMMACULATE PARISH NATURE CHURCH,
AMANPULO, CENTENNIAL TOWER (PRESIDENT, PHILIPPINE ARCHITCETS SOCIETY, 1941),
(PRESIDENT, LEAGUE OF PHILIPPINE ARCHITECTS)
COURAGEOUSLY & PASSIONATELY CREATED ORIGINAL (NATIONAL ARTIST IN FIELD OF ARCHITECTURE, 1976)
FILIPINO FORMS, SPACES WITH INTRICATE & REFINED
DETAILS.

His approach to traditional design is based on the ability B. ARCHITECTURAL STYLES: WHICH MAINLY FOCUS
of the architect to identify the essential building elements
ON ARCHITECTURAL CHARACTER OF THE STYLE
and to translate them into a contemporary image. His
ITSELF.
architecture is not a mere mechanical mimicry of
vernacular architecture, which many would think to be
locked in time. “STYLES”

(FELLOW, UNITED ARCHITECTS OF THE PHILIPPINES),  NEOLITHIC STYLE OF ARCHITECTURE

(LIKHA AWARD, 2004)

 FEDERICO ILUSTRE

- QUEZON MEMORIAL SHRINE, FORMER GSIS

HEADQUARTERS BUILDING, VETERANS MEMORIAL
BUILDING, INDEPENDENCE GRANDSTAND (QUIRINO
GRANDSTAND), MANILA INTERNATIONAL AIRPORT (NINOY
AQUINO INTERNATIONAL AIRPORT TERMINAL 2),
DEPARTMENT OF AGRICULTURE BUILDING, NATIONAL
HOUSING AUTHORITY BUILDING, PLANETARIUM RIZAL PARK

 LEANDRO V. LOCSIN - BEGAN IN THE 15TH MILLENIUM & REMAINED THROUGH THE
STONE AGE.
- CULTURAL CENTER OF THE PHILIPPINES, PASAY CITY , SAINT - COMMON MATERIALS: MUD BRICKS, STONE & OTHER
ANDREW THE APOSTLE CHURCH
ORGANIC MATERIALS
- SIMPLE STRUCTUIRES THAT WERE NORMALLY USED AS
TRADITIONAL QUALITIES WITH THE OPENNESS & VASTNESS
TEMPORARY SHELTER.
OF MODERN ARCHITECTURE.
- SOME OF THE EARLIEST FORMS OF NEOLITHIC
Largely based on the visual perception of architecture, ARCHITECTURE CAN BE FOUND IN ASIA.
the formal analysis involved an investigation of the visual - SOME OF THE EARLIEST FORMS OF NEOLITHIC
effects rendered by Locsin's forms and spaces. Both ARCHITECTURE CAN BE FOUND IN ASIA.
object form and spatial form were analyzed.
  ACIENT EGYPTIAN  ACIENT ROMAN

- ROMAN ARCHITECTURE FLOURISHED IN THE ROMAN

REPUBLIC AND EVEN MORE SO UNDER THE EMPIRE, WHEN
THE GREAT MAJORITY OF SURVIVING BUILDINGS WERE
CONSTRUCTED.
- IT USED NEW MATERIALS, PARTICULARLY CONCRETE, AND
NEWER TECHNOLOGIES SUCH AS THE ARCH AND THE DOME
TO MAKE BUILDINGS THAT WERE TYPICALLY STRONG AND
WELL-ENGINEERED
- THE MOST WELL KNOWN EXAMPLE OF ANCIENT EGYPTIAN
ARCHITECTURE ARE THE EGYPTIAN PYRAMIDS; YET,
EXCAVATED TEMPLES, PALACES, TOMBS AND FORTNESS  BYZATINE ARCHITECTURE
HAVE ALL BEEN STUDIED BY ARCHITECTS.
- DUE TO LOCATION, MOST ANCIENT EGYPTIAN BUILDINGS
WERE BUILT OF MUD BRICK AND LIMESTONE READILY
AVAILABLE MATERIALS BY SALVES.

- BYZATINE ARCHITECTURE IS A STYLE OF BUILDING THAT

FLOURISHED UNDER THE RULE OF ROMAN EMPEROR
JUSTINIAN BETWEEN A.D. 527 AND 565
- IN ADDITION TO EXTENSIVE USE OF INTERIOR MOSAICS,
ITS DEFINING CHARACTERISTICS IS A HEIGHTENED DOME,
THE RESULTS OF THE LATEST SIXTH-CENTURY ENGINEERING
TECHNIQUES

 MOORISH ARCHITECTURE

- APPLICABLE TO MODERN ERA

-EX: KHALIBU PALACE IN CABANATUAN CITY, NUEVA
ECIJA, THE EGYPTIAN-THEMED NIGHTCLUB MAKES A GUEST
FEEL AS IF HE OR SHE IS A PERSIAN DEMIGOD.
- CHARACTERISTICS ELEMENTS OF MOORISH ARCHITECTURE
INCLUDE MUQARNAS, HORSESHOE ARCHES, VOUSSOIRS,
 ANCIENT GREEK
DOMES, CRENELLATED ARCHES, LANCET ARCHES, OGEE
ARCHES, COUNTRYARDS, AND DECORATIVE TILE WORK
KNOWN AS ZELLIJ IN SPANISH AND PORTUGUESE
- THE TERM “MOORS” REFERS PRIMARILY TO THE MUSLIMS
INHABITANTS OF THE MAGHREB, THE IBERIAN PENINSULA,
SICILY AND MALTA DURING THE MIDDLE AGES. THE MOORS
INITIALLY WERE THE INDIGENOUS MAGHREBINE BERBERS.
THE NAME WAS LATER ALSO APPLIED TO ARABS.
- THERE ARE 5 ORDERS OF CLASSICAL ARCHITECTURE:
DORIC, IONIC, CORINTHIAN, TUSCAN AND COMPOSITE
 ROMANSQUE ARCHITECTURE
– ALL NAMED AS SUCH IN LATER ROMAN TIMES
- GREEK ARCHITECTS CREATED THE FIRST 3 AND HUGELY
INFLUENCED THE LATTER TWO WHICH WERE COMPOSITES
RATHER THAN GENUINE INNOVATIONS.

- CHARACTERIZED BY HEAVY, ARTICULATED MASONRY

CONSTRUCTION WITH NARROW OPENINGS.
- THE USE OF ROUND ARCH AND BARELL VAULT, THE DEVELOPMENT
OF THE VAULTING RIB AT SHAFT, AND THE INTRODUCTION OF
CENTRAL AND WESTERN TOWERS FOR CHURCHES.
  NORMAN ARCHITECTURE  TUDOR ARCHITECTURE

-USED TO CATEGORIES STYLES OF ROMANESQUE -IT FOLLOWED THE LATE GOTHIC PERPENDICULAR STYLE IN
ARCHITECTURE DEVELOPED BY THE NORMANS. DOMESTIC BUILDING OF ANY PRETENSIONS TO FASHION.
- THE NORMANS INTRODUCED LARGE NUMBERS OF “TUDOR” HAS BECOME A DESIGNATION FOR STYLES LIKE
CASTLES CHURCH AND FORTIFICATION, IN A STYLE HALF-TIMBERING THAT CHARACTERIZE THE FEW. IN THIS
CHARACTERIZED BY THE USUAL ROMANESQUE ROUNDED FORM THE TUDOR STYLE LONG RETAINED ITS HOLD ON
ARCHES (PARTICULARLY OVER WINDOWS AND ENGLISH TASTE.
DOORWAYS) AND ESPECIALLY MASSIVE PROPORTIONS -THE LOW TUDOR ARCH WAS A DEFINING FEATURE. SOME
COMPARED TO OTHER REGIONAL VARIATIONS OF THE OF THE MOST REMARKABLE ORIEL WINDOWS BELONG TO
STYLE. THIS PERIOD. MOLDINGS ARE MORE SPREAD OUT AND THE
FOLIAGE BECOMES MORE NATURALISTIC.
 GOTHIC ARCHITECTURE
 ELIZABETHAN ARCHITECTURE

- THE WATTLE WALLS WERE DAUBED WITH MORTAR AND

WHITEWASH WAS THEN APPLIED. OTHER FEATURES OF THE
- ITS MOST PROMINENET FEATURES INCLUDED THE USE OF ELIZABETHAN HOUSE WERE HIGH CHIMNEYS,
THE RIB VAULT AND THE FLYING BUTTRESS, WHICH ALLOWED OVERHANGING FIRST FLOORS, PILLARED PORCHES,
THE WEIGHT OF THE ROOF TO BE COUNTERBALANCED BY DORMER WINDOWS & THATCHED ROOF GAVE ELIZABETHAN
BUTTRESSES OUTSIDE THE BUILDING, GIVING GREATER ARCHITECTURE ITS STRIKING EFFECTS.
HEIGHT AND MORE SPACE FOR WINDOWS.
-AMPTHER IMPORTANT FEATURE WAS THE EXTENSIVE USE OF  INDO ISLAMIC ARCHITECTURE
STAINED GLASS, AND THE ROSE WINDOW, TO BRING LIGHT
AND COLOR TO THE INTERIOR.
-ANOTHER FEATURE WAS THE USE OF REALISTIC STATUARY
ON THE EXTERIOR, PARTICULARLY OVER THE PORTALS, TO
ILLUSTRATE BIBLICAL STORIES FOR THE LARGELY ILLITRATE
PARISHIONERS.
- SOME KEY ARCHITECTURAL FEATURES, SUCH AS THE
POINTED ARCH AND A DECORAVTIVE KIND OF RIB VAULTY
DERIVED FROM ISLAMIC ARCHITECTURE.

 MEDIEVAL ARCHITECTURE -ISLAMIC ARCHITECTURE WHICH IS ERECTED WITH BOTH

INDIAN AND ISLAMIC ARCHITECTURAL ELEMENTS.
- FOR BRICKWORK, MUD WAS USED, AND STONE BLOCK
WERE LAID DRY AND SECURED WITH EACH OTHER WITH
IRON CLAMPS. BUILDINGS & MOSQUE ARE DECORATED
BEAUTIFULLY WITH MOSAIC, GLAZED TILES, CALLIGRAPHY,
ETC.

 BAROQUE ARCHITECTURE

-MEDIEVAL ARCHITECTURE IS ARCHITECTURE COMMON IN

THE MIDDLE AGES, AND INCLIDES RELIGIOUS, CIVIL, AND
MILITARY BUILDINGS. STYLES INCLUDE PRE-ROMANESQUE,
ROMANESQUE, AND GOTHIC.

 RENAISSANCE ARCHITECTURAL

-HAS SEVERAL IMPORTANT CHARACTERISTICS. IT USUALLY

INCLUDES CURVING FORMS.
INCLUDING OVAL SHAPES AND A COMBINATION OF
CONCAVE AND CONVEX FORMS THAT MAKE WALLS SEEMS
TO UNDULATE OR APPEAR WAVY WITH A STRONG SENSE OF
MOTION.

-IS THE EUROPEAN ARCHITECTURE OF THE PERIOD BETWEEN

THE EARLY 14TH AND EARLY 16TH CENTURIES IN DIFFERENT
REGIONS, DEMONSTRATING A CONCIOUS REVIVAL AND
DEVELOPMENT OF CERTAIN ELEMENTS OF ANCIENT GREEK
AND ROMAN THOUGHT AND MATERIAL CULTURE.
  JACOBEAN ARCHITECTURE  GOTHIC REVIVAL STYLE

-ALTHOUGH THE GENERAL LINES OF ELIZABETHAN DESIGN

REMAINED, THERE WAS A MORE CONSISTENT AND UNIFIED
APPLICATION OF FORMAL DESIGN, BOTH IN PLAN AND
ELEVATION. -THE IDENTIFYING FEATURES OF THE GOTHIC REVIVAL
-MUCH USE WAS MADE OF COLUMNS AND PILASTERS, ARCHITECTURE ARE THE POINTED ARCH AND WINDOWS,
ROUND-ARCH ARCADES, AND FLAT ROOFS WITH STEEPLY PITCHED ROOFS, AND ORNAMENTAL TRACERY.
OPENWORK PARAPETS. THESE AND OTHER CLASSICAL -ITS DESIGNS WERE BASED ON FORMS AND MOTIFS USED IN
ELEMENTS APPEARED IN A FREE AND FANCIFUL THE MIDDLE AGES. THE GOTHIC REVIVAL BUILDINGS HAD
VERNACULAR RATHER THAN WITH ANY TRUE CLASSICAL RICH COLOR AND DECORATION, IRREGULAR APPERANCE
PURITY. WITH THEM WERE MIXED THE PRISMATIC AND VERTICAL EMPHASIS.
RUSTICATIONS AND ORNAMENTAL DETAIL OF SCROLLS,
STRAPS, AND LOZENGES ALSO CHARACTERISTIC OF
 MOORISH REVIVAL STYLE
ELIZABETHAN DESIGN. THE STYLE INFLUENCED FURNITURE
DESIGN AND OTHER DECORATIVE ARTS.

 PALLADIAN ARCHITECTURE

-ONE OF THE MOST DISTINCTIVE ELEMENTS OF MOORISH

REVIVAL ARCHITECTURAL IS THE HORSESHOE ARCH.
ARCHES IN GENERAL ARE A VERY COMMON ELEMENTS.
- PALLADIANISM WAS AN APPROACH TO ARCHITECTURE
MOORISH ARCHES ARE RARELY A PERFECT CURVE AND
STRONGLY INFLUENCED BY THE 16TH CENTURY ARCHITECT
OFTEN CONTAIN MORE DECORATIVE ELEMENTS.
ANDREA PALLDIO
-WE CAN ALSO LOOK FOR THE PRESENCE OF CIRCULAR OR
-CHARACTERIZED BY CLASSICAL FORMS, SYMMENTRY, AND
ONION-SHAPED DOMES (GENERALLY TOPPED WITH A
STRICT PROPORTION, THE EXTERIORS OF PALLDIAN
POINTED SPIRE), A FAIR AMOUNT OF COLOR, AND A HIGH
BUILDINGS WERE OFTEN AUSTERE.
AMOUNT OF ORNATE DESIGN.
 ROCOCO ARCHITECTURE
 BARONIAL STYLE

-ROCOCO, ALSO KNOWN AS „LATE BAROQUE‟, WAS AN

EXTREME, DECORATIVE DEVELOPMENT OF BAROQUE
-BARONIAL STYLE WAS ESSENTIALLT A SLIGHTLY ROMANTIC
ARCHITECTURE THAT EMERGED IN THE 18TH CENTURY AS AS
OFFSHOOT OF VICTORIAN ARCHITECTURE
REACTION AGAINST GRANDEUR AND SYMMETRY.
-CHARACTERIZED BY MEDIEVAL MOTIFS SUCH AS TURRETS,
-IT WAS A MORE FLUID AND FLORID ELABORATE STYLE,
CROW-STEPPED STRONG GABLES AND GATEHOUSE.
COMPRISING ORNATE, ASYMMETRIC DESIGNS AND PASTEL
SHADES.
 FEDERAL STYLE
 GEORGIAN ARCHITECTURE

-SYMMETRICAL FORM AND FENESTRATION

-ELLITICAL FAN LIGHT OVER PANELED FRONT DORR
-RIGID SYMMETRY IN BUILDING MASS AS WELL AS -SIDE LIGHTS FLANKING FRONT DORR
WINDOWS AND DOOR PLACEMENT. -CLASSICAL DETAILS, LIKE THE GEORGIAN STYLE, BUT MORE
-BRICK, STINE, OR STUCCO (BRICK IS MOST DELICATE IN SIZE AND SCALE
PREDOMINANTLY USED) -FLAT LINTELS OVER WINDOWS, OFTEN WITH BULL‟S EYE
-HIP ROOFS, SOMETIMES WITH DORMERS CORNERS.
-WINDOW DECORATIVE HEADERS
-ENTRANCE EMBELLISHMENTS, SUCH AS PEDIMENTS,  REGENCY STYLE
ARCHED TOPS, AND OGEE CAPS

 NEOCLASSICAL ARCHITECTURE

-THINGS LIKE FRIEZES, DECORATIVE HORIZONTAL

ARCHITECTURAL BANDS NEAR A CEILING OR ROOF LINE,
AND FLUTED GREEK COLUMNS. WERE POPULAR
- GRAND SCALE OF THE BUILDINGS ARCHITECTURAL ELEMENTS.
-THE SIMPLICITY OF GEOMETRIC FORMS -SOME REGENCY STRUCTURES ALSO HAD ELEMENTS LIKE
-THE GREEK (PARTICULARY DORIC) DETAILING, DRAMATIC BALCONIES AND BAY WINDOWS, THAT PROJECTED
COLUMNS, AND BLANK WALLS. BEYOND THE SURFACE OF A FIRST-FLOOR WALL.
  ITALINATE STYLE  CHICAGO SCHOOL STYLE

-A LOW-PITCHED OR FLAT ROOF

- A BALANCED SYMMETRICAL RECTANGULAR SHAPE - DISTINGUISHING FEATURES OF THE CHICAGO SCHOOL
-A TALL APPERANCE, WITH TWO, THREE, OR FOUR STORIES. INCLUDE THE USE OF STEEL-FRAME BUILDINGS WITH
-WIDE, OVERHANGING EAVES WITH LARGE BRACKETS AND MASONRY CLADDING (USUALLY TERRA COTTA)
CORNICES -LARGE PLATE-GLASS WINDOWS AND LIMITED EXTERIOR
-A SQUARE CUPOLA; A PORCH TOPPED WITH BALUSTRADED ORNAMENTATION
BALCONIES; TALL, NARROW, PAIRED WINDOWS. -SOMETIMES ELEMENTS OF NEOCLASSICAL ARCHITECTURE
-OFTEN ARCHED WITH HOOD MOLDINGS PROJECTING ARE USED IN CHICAGO SCHOOL SKYSCRAPERS.
ABOVE THE WINDOWS -MANY CHICAGO SCHOOL SKYSCRAPERS CONTAIN THE
-A SIDE BAY WINDOW, OFTEN TWO STORIES TALL THREE PARTS OF A CLASSICAL COLUMN.
-HEAVILY MOLDED DOUBLE DOORS THE FIRST FLOOR FUNCTIONS AS THE BASE, THE MIDDLE
-ROMAN OR SEGMENTED ARCHES ABOVE WINDOWS AND STORIES, USUALLY WITH LITTLE ORNAMENTAL DETAIL, ACT AS
DOORS THE SHAFT OF THE COLUMN.
-RUSTICATED QUOINS ON MASONRY BUILDINGS. -AND THE LAST FLOOR OR SO REPRESENT THE CAPITAL, WITH
MORE ORNAMENTAL DETAIL AND CAPPED WITH A
 2ND EMPIRE STYLE CORNICE.

 ART NOUVEAU STYLE

- MASARD ROOF- DORMENTED TOP FLOOR WHOSE

FAÇADE WALLS SLOPE STEEPLY INWARDS AND ARE CLAD IN
ROOF TILES
-EAVES -OFTEN SUPPORTED BY ORNAMENTED BRCAKETS -ASYMMETRICAL LINE, OFTEN TAKING THE FORM OF
-TILES – ORIGINALLY SLATE, ARE PATTERNED FLOWER STALKS AND BUDS VINE TENDRILS, INSECT WINGS.
-ORIGINAL WINDOWS OFTEN DOUBLE CASEMENT; TWO -OTHER DELICATE AND SINUOUS NATURAL OBJECTS
AND FOUR LIGHT SASH WINDOWS ARE ALSO COMMON -LINE MAY BE ELEGANT AND GRACEFUL OR INFUSED WITH A
-WINDOW AND DOOR OPENINGS, FREQUENTLY ARCHED POWERFULLY RHYTHMIC AND WHIPLIKE FORCE
AND EMPHASIZED BY PROJECTING LINTELS AND PILASTERS
-DOORWAYS HALF-GLAZED, PANELED AND TRANSOMED  PRAIRIE STYLE
ABOVE.

 INDO SRACENIC STYLE

-ONION (BULBOUS) DOMES -GEOMETRIC, STRAIGHT LINE EMPHASIS

-CHHAJJA, OVERHANGING EAVES, OFTEN SUPPORTED BY -EXTERIOR FRAME AND GRID COLOR SHOULD CONTRAST
CONSPICUOUS BRACKETS SIDING
-POINTED ARCHES, CUSPED ARCHES, OR SCALLOPED -LONG CLERESTORY WINDOWS
ARCHES -PERIMETER GRIDS
-HORSESHOE ARCHES, IN FACT CHARACTERISTIC OF -BIG PICTURE WINDOWS
ISLAMIC SPAN OR NORTH AFRICA, BUT OFTEN USED -SIDELITES
-CONTRASTING COLOURS OF VOUSSOIRS ROUND AND -LONG VERTICAL AND HORIZONTAL BANDS OF WINDOWS
ARCH -CASEMENT COMBINATIONS
-CURVED ROOFS IN BENGALI STYLES -HINGED INSWING PATIO DOOR
-DOMED CHHATRI KIOSKS ON THE ROOFLINE -CASEMENT AND TRANSOM WINDOW COMBINATION
-PINNACLES
-TOWERS OR MINARETS  NATIONAL ROMANTIC STYLE
-HAREM WINDOWS
-OPEN PAVILIONS OR PAVILIONS WITH BANGALA ROOFS
-JALIS OR OPENWORK SCREENS
-MASHRABIYA OR JHAROKHA-STYLE SCREENED WINDOWS

 JACOBETHAN STYLE

-CONSIDERED TO BE A FORM OF ART NOUVEAU

-PRACTITIONERS CONTINUED THE ECLECTIC APPROACH,
WHERE ROMANTICIZING ELEMENTS OF THE NORDIC VIKING
ERA LINKED WITH STYLE ELEMENTS OF ITALIAN
RENAISSANCE WHILE AT THE SAME TIME CONTRADICTING
MATERIAL VERSATILITY AND FUNCTIONALITY.
-USE OF FLAT ROOFS WITH WINDOW BAYS
-THE MATERIALS SHOULD HAVE A REGIONAL FEEL, WHY THE
-LONG GALLERIES WITH TUDOR ARCHES AND GABLES
PREFFERED MATERIALS IN DENMARK WERE BRICKS
-TRADITIONALLY ENTRANCE HALL WAS BUILT SO THAT IT
(ESPECIALLY RED) TO BRICKS AND TILES, GRANITE (FROM
WAS BUILT SO THAT IT WAS PERPENDICULAR TO THE
BORNHOLM) TO SOCKETS, STAIRS AND SCULPTURAL
ENTRANCE BUILDING.
ORNAMENTS AND WOOD FOR ROOF CONSTRUCTIONS.
-IN JACOBEAN HOUSES ESPECIALLY, WOODEN STAIRCASES
WERE ALSO A LARGE FEATURE
  EXPRESSIONIST ARCHITECTURE  ART DECO STYLE

-SMOOTH WALL SURFACE

-SHARP EDGED, LINEAR APPEARANCE.
-STYLIZED DECORATIVE ELEMENTS USING GEOMETRICAL
FORMS, ZIGZAGS, CHEVRONS.
-LOW RELIEF DECORATIVE PANELS.
-STEPPED OR SET BACK FRONT FAÇADE
SAMPLE BUILDINGS UNDER EXPRESSIONIST ACHITECTURE: -STRIPS OF WINDOWS WITH DECORATIVE SPANDRELS
EINSTEIN TOWER (AR. ERICH MENDELSOHN) -REEDING AND FLUTING AROUND DOORS AND WINDOWS.
-TOWER BUILT TO SYMBOLISE EINSTENIAN CONCEPTS. IT
WAS DESIGN TO HOLD EINSTEI‟S LOBORATORY.  INTERNATIONAL STYLE
-MEDELSOHN WANTED THE BUILDING TO BE MOLDED
RATHER THAN BUILT, WITHOUT ANGLES AND WITB SMOOTH
ROUNDED CORNERS.

SYDNEY OPERA HOUSE (AR. JOHN UTZON)

-HE DRAWS INSPIRATION FROM NATURE FOR ORGANIC
FORM AND CREATES AN ARCHITECTURE THAT IS
PREDOMINANTLY EXPERIENTAL IN CHARACTER.
-THE BUILDING MUST FORM A FREESTANDING SCULPTURE IN -RECTILINEAR FORMS
-LIGHT, TAUT PLANE SURFACES THAT HAVE BEEN
CONTRAST TO THE SQUARE BUILDINGS SURROUNDING IT.
COMPLETELY STRIPPED OF APPLIED ORNAMENTATION AND
DECORATION
 MODERN ARCHITECTURE
-OPEN INTERIOR SPACES
-AND A VISUALLY WEIGHTLESS QUALITY ENGENDERED
USING CANTILEVER CONSTRUCTION.

 MID CENTURY MODERN STYLE

-LACK OR ORNAMENT
-EMPASIS OF RECTANGULAR FORMS AND HORIZONTAL
AND VERTICAL LINES
-SHAPES OF BUILDING ARE BASED ON BOXES.
-LOW, HORIZONTALMASSING, FLAT ROOFS, EMPHASIS ON
HORINZONTAL PLANES AND BRIOAD ROOF OVERHANGS
-A CLEAN, MINIMALIST AETHSTIC
-USE OF MODERN BUILDING MATERIALS & SYSTEMS.
-AN EMPHASIS ON BRINGING THE OUTDOORS IN
-EMPHASIS ON HONESTY OF MATERIALS
-AND THE PRESENCE OF ANGULAR STRUCTURES
-RELATIONSHIP BETWEEN INTERIOR SPACES AND SITES
-EMPHASIS ON OPEN, FLOWING INTERIOR SPACES
 GOOGIE STYLE
-GENEROUS USE OF GLASS AND NATURAL LIGHT
-USE OF SUN AND SHADING TO ENHANCE HUMAN
COMFORT.

 CONTRUCTIVIST ARCHITECTURE

-IS ASTYLE OF ARCHITECTURE THAT WAS POPULAR

THROUGHOUT THE 1950‟S. OTHER NAMES FOR “GOOGIE”
DESIGN INCLUDE: POPULUXE, DOO-WOP COFFEE SHOP,
MODERN AND SPACE AGE:
-CHARACTERISTICS OF GOOGIE INCLUDE ATOMIC AND
-APPLICATION OF 3D CUBISM TO ABSTRACT AND NON-
SPACE AGE SHAPES AS WELL AS GLASS USED AS DESIGN,
OBJECTVE ELEMENTS.
NOT JUST TO SERVE A FUNCTION.
-THE STYLE INCORPORATED STRAIGHT LINES, CYLINDERS,
CUBES AND RECTANGLES.
 BRUTALISM ARCHITCETURE
-MERGED ELEMENTS OF THE MODERN AGE SUCH AS RADIO
ANTENNAE, TENSION CABLES, CONCRETE FRAMES AND
STEEL GIRDERS.

 BAUHAUSE STYLE

-BRUTALIST ARCHITCETURE IS RECOGNIZABLE BY

PROMINENCE OF RAW BUILDING MATERIALS. TYPICAL
FEATURES INCLUDE:
-UNADORNED, FLAT, USUALLY CONCRETE, EXTERIORS
-WINDOWS ARE HOLES IN THE WALL, VERSUS THE
-FORM FOLLOWS FUNCTION CONTINIOUS OUTER SKIN OF INTERNATIONAL STYLE
-TRUE MATERIALS BUILDINGS.
-MINIMALIST STYLE
-GESAMTKUNSTWERK COMBINES MULTIPLE ART FORMS
SUCH AS FINE AND DECORATIVE ARTS UNIFIED THROUGH
ARCHITECTURE
-UNITING ART AND TECHNOLOGY
  POSTMODERNISM ARCHITCETURE  NEO-FUTURISM STYLE

-CURVED FORMS
-DECORATIVE ELEMETS
-ASYMMETRY, BRIGHT COLORS NEO-FUTURISM INCORPORATES URBAN DESIGN THAT IS IN
-FEATURES OFTEN BORROWED FROM EARLIER PERIODS TOUCH WITH:
-COLORS AND TEXTURES UNRELATED TO THE STRUCTURES OF -HUMAN EMOTIONS
FUNCTION OF THE BUILDING. -ETHICAL VALUES
- ECO SUSTAINABILITY
 LATE-MODERNISM ARCHITECTURE -AND THE USE OF NEW MATERIALS AND TECHNOLOGIES

“BIOMIMICRY AS SUSTAINABLE ARCHITECTURE”

-HORIZONTALLY ORIENTED RIBBON WINDOWS, BELT

COURSES
-HOODED OR DEEP-SET WINDOWS
-LARGE AREAS WITHOUT WINDOWS
-USE OF INDUSTRIAL MATERIALS LIKE CONCRETE.
-DRAMATIC SCULPTURAL CONCEPTION OF BUILDING‟S
VOLUMES
-NO ORNAMENT
-WALLS EAVELESS OR WITH BOXED OR CANTILIVERED
EAVES
-DECORATIVE USE OF FUNCTIONAL FEATURES
-FLAT AND SHED ROOF

 DECONSTRUCTIVISM ARCHITECTURE

-SURFACE MANIPULATION
-FRAGMENTATION
-NON RECTILINEAR SHAPES WHICH DISTORT
-DISLOCATE ARCHITECTURAL CONVENTIONS
CONCERNING STRUCTURES AND BUILDING ENVELOPE.

 BLOBITECTURE STYLE

-„BLOBITECTURE‟ ALSO KNOW AS „BLOBISM‟, IS A TERM

GIVEN TO A POST-MODERN ARCHITECTURAL STYLE
CHARACTERIZED BY:
-CURVED AND ROUNDED BUILDING SHAPES, OR „BLOB
ARCHITECTURE‟
-BLOBITECTURE BUILDINGS APPEAR TO HAVE AN ORGANIC
FORM THAT IS SOFT, FREE-FLOWING, YET COMES TOGETHER
TO PRODUCE A COMPLEX WHOLE

 PARAMETRICISM STYLE

-THE TERM WAS COINED IN 2008 BY PATRIK SCHUMACHER,

AN ARCHITECTURAL PARTNER OF ZAHA HADID (1950-2016)
-PARAMETRICISM IS A STYLE WITHIN CONTEMPORARY
AVANT-GARDE ARCHITCETURE, PROMOTED AS A
SUCCESSOR TO POST-MODERN ARCHITECTURE AND
MODERN ARCHITECTURE