ORGANIZATION IN

ARCHITECTURE

EGYPTIAN ARCHITECTURE
(4000-2280 B.C.)

Art in ancient Egypt continued strangely

unchanged through the various phases of
foreign influence from Assyria, Persia,
Greece, and Rome.
The close connection between religious rites
and architecture is everywhere manifested.
Egyptian architecture persistently maintained
its traditions.

EGYPTIAN ARCHITECTURE
(4000-2280 B.C.)
Egyptian monumental architecture- which is essentially a
columnar and trabeated style is expressed mainly in
pyramids and in temples:
o
impressive avenue of sphinxes
Mythical monster (A sphinx (Greek: /sphinx, Botian:
/Phix) is a mythical creature with, as a minimum, the
body of a lion and the head of a human or a cat.)
o
possessed in their massive
pylons , great courts, hypostyle halls, inner sanctuaries, and
dim, secret rooms, a special character.

Pylon is the Greek term for a monumental

gateway of an Egyptian temple consists of two
tapering towers, each surmounted by a cornice,
joined by a less elevated section which enclosed
the entrance between them.

The desire for permanence appropriate in a tomb,

was expressed by the extremely stable shape, by the
static mass, and perhaps by the size.

Hatshepsuts temple

Great Sphinx of Giza

Khufu's pyramid

The well preserved Temple of Horus at Edfu is an example of Egyptian

architecture and architectural sculpture.

The Pyramids of Giza

Temple of Queen Hatshepsut

Queen Hetepheres II

MESOPOTAMIAN
ARCHITECTURE

MESOPOTAMIAN ARCHITECTURE
The distinguishing characteristic of a Mesopotamian
Architecture is the ziggurat, or tower, built at successive levels,
with ramps leading one platform to the next.
Ziggurats (Akkadian ziqqurat, D-stem of zaqru "to build on a
raised area") were massive structures built in the ancient
Mesopotamian valley and western Iranian plateau, having the
form of a terraced step pyramid of successively receding stories
or levels.
In many respects, it is like a modern building with seatbacks.
The ziggurat in Mesopotamia pointed north, south, east and
west and the vertical walls of each story were closed, in the
temple of Babylon, built by Nebuchadnezzar (6th century B.C.),
the stones were colored white, black, blue, yellow, silver, and
gold from bottom to top.

Zigurrat

MESOPOTAMIA_A reconstruction of the ishtar Gate at

Babylon (beginning of the sixth century BC), decorated
with enameled brick reliefs. Vorderasiatisches Museum,
Berlin.

_A ziggurat in Iraq

An Assyrian winged bull, also known as a shedu, Bas-relief

c. 713716 BC

A bronze head attributed to Naram-Sin from Nineveh,

Akkadian period, c. 2250 BC. National Museum,
Baghdad.

GREEK ARCHITECTURE
(1100 - 100 B.C.)

GREEK ARCHITECTURE

Its most characteristic is found on its templea low building of post-and lintel
construction. In this type of construction,
two upright pieces or posts are surmounted
by a horizontal piece, the lintel, long
enough to reach from one to the other. (Ex.
temple of Apollo at old Corinth )

post-and lintel construction greek

There are three types of Greek architecture:

1.

Doric column- its column has no base; the bottom of the

column rests on the top step. The freeze is divided into
triglyphs and metopes.
Triglyph is an architectural term for the vertically
channeled tablets of the Doric frieze, so called because of
the angular channels in them, two perfect and one divided,
the two chamfered angles or hemiglyphs being reckoned
as one.

* The rectangular recessed spaces between the triglyphs on a

Doric frieze are called metopes

Parts of a column

Doric

Triglyph centered over the last column in the Roman Doric

order of the Theater of Marcellus

There are three types of Greek architecture:

2.

Ionic columnis taller and

slender
than
Doric. It has a
base, and the
capital
is
ornamented with
scrolls on each
side and its
frieze
is
continuous.

There are three types of Greek architecture:

3.

Corinthian
column- with
the base and
shaft resembling
the Ionic, tended
to
become
slender.
The
distinctive
feature is the
capital, which is
much
deeper
than the ionic

Parthenon, Greek architecture

Acropolis

Temple of Hephaestos, fluted Doric columns

with abacuses supporting double beams of the

Erechtheion: masonry, door, stone lintels,

coffered ceiling panels

At the Temple of Aphaia the hypostyle columns

rise in two tiers, to a height greater than the
walls, to support a roof without struts.

ROMAN
ARCHITECTURE
(1000 B.C. A.D., 4000)

ROMAN ARCHITECTURE
(1000 B.C. A.D., 4000)
The Romans adopted the Columnar and trabeated
style of the Greeks and developed also the arch and
vault from beginnings made by the Etruscans (the
early inhabitants of west-central Italy).
The combined use of column, beam, and arch is the
keynote of the Roman style in earliest ages.
Another characteristic of Roman architecture is
the flat round dome that covers an entire building

ROMAN ARCHITECTURE
(1000 B.C. A.D., 4000)
Example is Pantheon. The building is two tiers high
to the springing of the hemispherical dome inside,
but there is an extra tier on the outside, providing
rigid and weighty haunches to prevent the dome
from splitting outwards; and, as an extra
precaution, a further series of steps of concrete
rises two-thirds the height of a dome. For this
reason, Roman domes are always saucer-shaped
outside, though hemispherical within.

Pantheon

Dome of the Pantheon, inner view

Interior of Pantheon

BYZANTINE
ARCHITECTURE
(A.D. 200 - 1453)

BYZANTINE ARCHITECTURE
(A.D. 200 - 1453)
Byzantine takes its name from Byzantium later
called Constantinople and now called Istanbul.
Is characterized by a great central dome which
had always been a traditional feature in the East.
One of the characteristic features of Byzantine
churches was that the forms of the vaults and
domes were externally, undisguised by any
timbered roof; thus in the Byzantine style, the
exterior closely corresponds with the interior.

The 11th-century monastery of Hosios Lukas in Greece is

representative of the Byzantine art during the rule of the
Macedonian dynasty.

Interior of the Hagia Sophia under renovation,

showing many features of the grandest

The apse of the church with cross at Hagia Irene. Nearly

all the decorative surfaces of the church have been lost.

The Basilica of Sant'Apollinare Nuovo

WESTERN
ARCHITECTURE
IN THE
MIDDLE AGES
(A.D 400 - 1500)

WESTERN ARCHITECTURE IN THE

MIDDLE AGES
(A.D 400 - 1500)
Western architecture passed through three stages of
development during the middle ages. These are the Early
Christian, Romanesque, and Gothic. These three styles
developed one another: The Romanesque was an
outgrowth of the early Christian, and the Gothic, of the
Romanesque.
The Western Styles follow the general type of the Roman
Basilica, a long rectangular building divided by pillars
into a central nave and aisles.
o
Nave is the central approach to the high altar, the main
body of the church.

Roman Basilica

Late Gothic Fan vaulting (1608, restored 1860s) over the nave at
Bath Abbey, Bath, England Suppression of the triforium offers a
great expanse of clerestory windows.

Romanesque nave of the abbey church of

Saint-Georges-de-Boscherville, Normandy, France has a
triforium passage above the aisle vaulting

Sometimes, there is one aisle on each side of the

nave; sometimes there are two. Often, the nave is
higher than the aisles, and, therefore, there is an
opportunity for clerestory lighting
o
Clerestory is an architectural term that
historically denoted an upper level of a Roman
basilica or of the nave of a Romanesque or Gothic
church, the walls of which rise above the rooflines of
the lower aisles and are pierced with windows. In
modern usage, clerestory refers to any high windows
above eye level. In either case, the purpose is to bring
outside light, fresh air, or both into the inner space.

The wallof the clerestory of the "Basilica" style Monreal

cathedral are covered with mosaic

EARLY CHRISTIAN
ARCHITECTURE
(A.D. 400 - 700)

EARLY CHRISTIAN ARCHITECTURE

(A.D. 400 - 700)
The early Christian Basilica has grown in part from the
Roman house where the earliest Christians met for worship,
and in part from pagan basilicas.
In the classic temples, the emphasis lay on the exterior; in the
Christian Church, on the inside. A second form of building,
known as the central type, was designed around a central
vertical axis instead of longitudinal.
The long, internal lines of the basilica carried the eye of the
visitor from the door to the altar as their ritualistic climax of
the structure.
On the other hand, the circular or octagonal buildings focused
on the center. The interiors of early Christian churches were
often decorated with mosaics.

Santa Sabina, Rome, interior (5th century).

 All Saints Church,

(14th century bell
tower), general
view from

All Saints
Church, general
view from

Abbey Church, interior: nave

towards east

San Vitale, general vie

ROMANESQUE
ARCHITECTURE
th
th
(11 and 12
CENTURIES)

ROMANESQUE ARCHITECTURE
(11th and 12th CENTURIES)
ROMANESQUE:
Is an extension and development of the Early Christian
Basilica.
Romanesque has very heavy walls with small window
openings and a heavy stone arched or vaulted roof
inside. In this respect, it resembles the Roman stylehence the name Romanesque (Roman-ish).
In the Romanesque Cathedral, several small windows
were combined in a compound arch.
In the Romanesque church, the faade sometimes has
one doorway, sometimes three.
They were relatively simple moldings, with or without
carvings or conventional designs, figures animals or
fruit.

ROMANESQUE ARCHITECTURE
(11th and 12th CENTURIES)
GOTHIC:
The arches appeared only as stone tracery. Eventually,
the windows became so large that the walls ceased to
have any function as walls; the roof was supported by
the huge buttresses and the entire wall space was
filled with stained-glass windows. The triforium space
was regularly filled with small arches, and the rose
window became large and important. The doorways
became spacious.
The Gothic faade regularly had three doorways.
In Gothic, the human figure became the characteristic
decoration, a recessed doorway being filled with rows
or saints or kings.
Is known primarily for its cathedrals and churches.

La Sagrada Familia
Basilica In Barcelona
Spain

St. Michael's Church, Hildesheim has similar character

to the church in the Plan of Saint Gall.

The faade of the

cathedral of Lisbon.

Interior of St. Michael's, Hildesheim, (1001-31)

alternating piers and columns and a C.13th pain
wooden ceiling

Charlemagne's Palatine
Chapel, Aachen, C. 9th,
modelled on the octagonal
Byzantine church of San
Vitale in Ravenna
South transept of Tournai
Cathedral, Belgium, 12th century.

Facade of Angoulme
Cathedral, France.

Santa Maria in Cosmedin,

Rome
(8th early 12th century)
has a basilical plan and
reuses ancient Roman
columns.

RENAISSANCE ARCHITECTURE
(Fifteenth and Sixteenth Centuries)

RENAISSANCE ARCHITECTURE
(Fifteenth and Sixteenth Centuries)

The cathedral or temple is no longer

the typical building; secular
architecture comes to the fore, as in
Roman times.
It is not a slavish imitation, but rather
a free use of the materials found in
classic architecture.

Tempietto di San Pietro in Montorio,

Rome, 1502, by Bramante. This small
temple marks the place where St Peter
was put to death.

Temple of Vesta, Rome, 205 AD. As the most important temple

of Ancient Rome, it became the model for Bramante's Tempiett

The Dome of St Peter's Basilica, Rome

Sant'Agostino, Rome, Giacomo di

Pietrasanta, 1483

BAROQUE ARCHITECTURE
(1600 - 1750)

BAROQUE ARCHITECTURE
(1600 - 1750)
It is characterized primarily as a period of
elaborate sculptural ornamentation.
It had a profusion of carved decoration.
Columns and entablatures were decorated
with garlands of flowers and fruits, shells
and waves.
Surfaces were frequently carved.
The churches no longer used the Gothic
nave and aisles. They have often domes or
corpulas.

Faade of the Church

of the Ges, the first
truly baroque faade

Santa Susanna in Rome, Italy

Peter and Paul Cathedral in Saint Petersburg, Russia

Saints Peter and Paul Church in

Krakow, Poland

THE
NINETEENTHCENTURY
ARCHITECTURE

THE NINETEENTH-CENTURY
ARCHITECTURE
The nineteenth century is known as a period of
eclecticism. Eclecticism in architecture implies
freedom on the part of the architect or client to choose
among the styles of the past that which seems to him
most appropriate.
Modern eclectism was not only pure in style; it
understood something of the flavor of the past as well
as its forms.
At best, modern eclectism was marked by scholarship,
taste, and sympathy for the forms of the past and
remarkable ingenuity in adapting central heating,
plumbing, and electric lighting to those forms.

19th century
architecture at
Freemantle, Perth.

Malaga

MODERN
ARCHITECTURE

MODERN ARCHITECTURE
Is an attempt to interpret mans purpose through his
building in a style free in relation to change and
independent of fix symmetries.
New materials came to be utilized-prestressed steel in
tension, high-pressure concrete, glass block, wood,
metal, chromium, plastics, copper, cork, steel, gypsum
lumber, real and artificial stone, and all varieties of
synthetic and compressed materials, and the versatile
plywood.
Strength is no longer synonymous with massiveness
because the supporting function is created by a light,
cage like skeleton of steel and reinforced concrete,
which is faster and easier to build.

Contrasts in modern architecture, as shown by

adjacent high-rises in Chicago, Illinois. IBM Plaza
(right), by Ludwig Mies van der Rohe, is a later
example of the clean rectilinear lines and glass
of the International Style, whereas Marina City,
(left), by his student Bertrand Goldberg, reflects
a more sculptural Mid-Century Modern aesthetic.

The Salk Institute complex in La Jolla, California,

by architect Louis Kahn.

The Second Goetheanum, 1924-1928, in Basel,

Switzerland, is an example of architectural
Expressionism.

The AEG Turbinenfabrik ("turbine

factory"), 1909, designed by Peter
Behrens, illustrating the
combination of industry and design.

Greyhound Bus Station in Cleveland, Ohio, showing

the Streamline Moderne aesthetic.

The Bauhaus building at

Dessau, Germany, designed
by Walter Gropius

PHILIPPINE
ARCHITECTUR
E

PHILIPPINE ARCHITECTURE
The Philippines has shown knowledge and expertise
in all the arts.
In this country, along Roxas Boulevard, the Ayala,
and Escolta, one can seethat the architecture in the
Philippines has come with the times.
Those architectures reflect not only the living proofs
of the antiquity of architecture in the country but
also trace back the influence of Europe on this
particular art at a time.
One can note the predominance of native products
used, as materials for edifices of apparently western
architectural forms.

PHILIPPINE ARCHITECTURE
Salazar F., in her article RP architecture
captured in churches, says that the most
modern architects and writers doing analyses
of Philippine says that most modern architects
and writes doing analyses of Philippine
churches marvel at the majestic structures
which were designed and built during the
Spanish regime.
The Filipinos spontaneous and inventive
attitudes created a kind of architecture that
was unique from Western architectural idioms.

The front entrance of

Fuerza de Santiago
towering 40 metres high

San Augustin church Paoay, Ilocos Norte

July 2005

Emilio Aguinaldo's house in Kawit,

Cavite, renovations designed by Aguinaldo him
the first President of the Philippines, in 1919.

The interior of the San Agustn

Church in Intramuros, with
magnificent trompe l'oeil mural on
its ceiling and walls

Cebu Metropolitan
Cathedral

Dingras Church