Post World War 2 Architecture
Post World War 2 Architecture
Post World War 2 Architecture
HISTORY OF ARCHITECTURE 04
SAINT LOUIS UNIVERSITY
DEPARTMENT OF ARCHITECTURE
MWF/5:00-6:00/H705
ISSUED: APRIL 28, 2017
DUE: MAY 03, 2017
SUBMITTED BY:
FLORENDO, MARTINA JEUNESSE B.
SUBMITTED TO:
AR. JONARD JARDENIL
2. CESAR CONCIO
4. ALFREDO LUZ
AJ Luzs architecture embraced the form and line of
modernism but adapted it to the tropical climate of
the Philippines. He used a lot of passive sun shading
made from aluminum in his projects. He often, when
he could, put pools and strategic clumps of foliage to
further mitigate the hot sun. All these would score
him high points today if the building was evaluated
with LEEDs (a modern system of rating green
buildings).
5. OTILLO ARELLANO
Buildings:
-Batasang Pambansa
-The Church of Jesus Christ of Latter Day Saints
-Development Academy of the Philippines
-Philippine Veterans Bank.
7. GABRIEL FORMOSO
As from being an architect he was also one of the
people selected by Manila Mayor Antonio Villegas
in 1963 to the planning and working committee
for the future Pamantasan ng Lungsod ng
Maynila
In his career spanning 4 decades, he has
designed more than a hundred residences, a
number of hotels, commercial and industrial
centers and clubs, including the iconic Bangko
Sentral ng Pilipinas Complex in Roxas Boulevard
He mostly designed his buildings in the
modernist fervor, with himself describing his
work as the embodiment of "honesty of
conception and the principled concern for human
His designs have
requirements a distinct international
transcending the irrelevanciesstyleof
prejudice
which must and instinct".
have been honed during his
He focused more
schooldays in theon volumetric
University manipulations,
of Santo Tomas
(UST)his
thus and laterare
works at the
more Massachusetts
functional andInstitute
simplisticof
Technology
than where
excessively he obtained his Bachelor in
decorated
Architecture
Formosos in 1941 and
residential Masterate
designs are seenin with
Architecture in 1946.
masculine looking adobe walls and bold-line
Fresh from
fascias in hishisownstudies abroad,
distinct he served
treatment. These as a
professoralong
concepts in Designwith atthethe USTplan
open College
layoutof
Architecture
became and Fine Arts.
the trademark His remarkable
of Formosos designs.
achievements
In December 20, and performance
1973, in the college
Formoso formed GF and
paved theArchitects,
Partners, way for his a appointment as Dean of
professional partnership
the UST College
composed of Architecture
of committed andThe
architects. Finefirm
Arts
from 1954 to 1959. In 1973, he
combines aesthetic, technical, and economic became a Trustee
of the International
aspects of design with School
human andand
a year later, a
functional
trustee of
considerations OB Montessori Center Inc, as well.
He was able to strike a balance between his
AWARDS
academic life and professional practice. Some of
-PRC Outstanding
the edifices Architect
attributed to himof are
the the
Year, 1979
Philamlilfe
-Patnubay
Building inng UNSining
Avenue, at Kalinangan,
DBP Building1977 in Makati,
-Republic Cultural
the Philippine Heritage
National BankAwards,
Building1973
in Escolta,
-United Architects
Manila Hilton of the Philippines
and Holiday Inn. Likha Award,
1990
For his involvement with a number of professional
societies such as the American Institute of
Buildings:
Architects and the Philippine Institute of
Architects; socio-civic and religious organizations
-La Tondena Building
such as Rotary Chamber of Manila, Philippine
MotorInternational
-G.T. Association,Tower Men of the Sacred Heart of the
Sanctuario
-Asian de San
Institute Antonio Parish and his
of Management
8. CARLOS ARGUELLES -The Peninsulato
contributions Manila
the growth of Philippine
-Bangko Sentral
architecture, he was ng Pilipinas
a recipient of the Papal
Award "Pro Ecclesiae et Pontifice" in 1996;
"Centennial Honors for the Arts" from the Cultural
Center of the Philippines in 1999: and recently
the "Thomasian Centennial Award" from the
University of Santo Tomas.
II. BUILDING ELEMENTS
1. BRIS SOLEL
Can comprise a variety of permanent sun-shading structures, ranging
from the simple patterned concrete walls popularized by Le Corbusier
in the Palace of Assembly to the elaborate wing-like mechanism
devised by Santiago Calatrava for the Milwaukee Art Museum or the
mechanical, pattern-creating devices of the Institut du Monde Arabe by
Jean Nouvel.
In the typical form, a horizontal projection extends from the sunside
facade of a building. This is most commonly used to prevent facades
with a large amount of glass from overheating during the summer.
Often louvers are incorporated into the shade to prevent the high-
angle summer sun falling on the facade, but also to allow the low-angle
winter sun to provide some passive solar heating.
MERALCO BUILDING
In the building, the architect used the the 1960 architectural medium of brise-soleil. A series
of vertical concrete elements were bordered by monolithic concrete towers. There was the
phalanx of twenty-nine curved vertical members which were installed as a concave curtain
between2. solid rectangular
GLASS WALLSmasses. The sun baffles which functions as a screen to the sunlight
and deflect the torrential rain also creates brightness in the architecture of the building. The
Is glass
two towers that is used
were designed like as
twoapeople
building material.
supporting It isother
each mostwith
typically used
a bridge thatas
connects
elevatorstransparent
in the service core ofmaterial
glazing the structure,
in theasbuilding
their hands.
envelope, including windows
in the external walls. Glass is also used for internal partitions and as an
architectural feature. When used in buildings, glass is often of a safety
type, which include reinforced, toughened and laminated glasses.
PHILAM LIFE THEATRE
Architecture
The Architectural design of the building is influenced by International style. The multi-storey
reinforced concrete block is transformed into extraordinary architecture by the use of brise-
soleil of aluminum which help manipulate the shade and shadow within the building. The
building was surrounded with sun baffles to control the entrance of light to the interior without
sacrificing the external appearance of the building. The building was covered with gray-tinted,
anti glare, heat-absorbing glass curtain walls to further reduce the heat inside, The windows
were framed by concrete columns, this heightened the overt grid of the facade. Due to the
satisfactory response to the sun baffles, Philamlife requires all its branch in the Philippines to
apply this in their architecture. Eventually, the use of sun baffles was not limited to commercial
structures but almost all types of architectures, including residential.
Design
The design of the building were skillfully addressed virtuously in rhythm and proportion. The
sculptural entrance was covered of molded thin shell concrete that dramatically brings the
people to the interior lobby. The rear exit which was in the exterior portion of the building is
connected to the streets by the walkway designed with "a series of flower-like concrete
hyperbolic paraboloid covers". Another innovative construction form that caught the
imagination of the architects during this period is the thin shell concrete. In the interior, there is
the 780-seat auditorium with walls that were generously paneled with narra. Beyond the
auditorium lobby is the transparent glass walls that brings the of the landscaped ares in the
building.3.The
REINFORCED CONCRETE
auditorium of the buildingPIERCED SCREEN
is the first one to be built that complied with the
acoustical requirements of an auditorium after the World War II.
Jalis, or pierced screens, were used extensively in Indian architecture
as windows, room dividers, and railings. In the course of the day, the
movement of their patterns in silhouette across the floor would
enhance the pleasure of their intricate geometry. This jali, one of a
pair, would have formed part of a series of windows set in an outside
wall, as suggested by the weathering on one side. They are attributed
to the reign of the Mughal emperor Akbar, when red sandstone was the
favored building material.
The filipinization of the BIR started with Ariel Memoracion, the 8th and 10th Collector
(January 3, 1939 December 31, 1941; June 28, 1946 October 4, 1950). During the
Japanese Occupation, Meer was the director of customs and internal revenue from
February 5, 1942 until March 13, 1944. After the Liberation, he was replaced by Jose Leido,
Sr. Leido was succeeded by Meer, who became collector for the second time.
4. CONCRETE SHELLS
Also commonly called thin shell concrete structure, is a structure
composed of a relatively thin shell of concrete, usually with no interior
columns or exterior buttresses. The shells are most commonly flat plates
and domes, but may also take the form of ellipsoids or cylindrical
sections, or some combination thereof. The first concrete shell dates back
to the 2nd century.
Like the arch, the curved shapes often used for concrete shells are
naturally strong structures, allowing wide areas to be spanned without the
use of internal supports, giving an open, unobstructed interior. The use of
concrete as a building material reduces both materials cost and
construction costs, as concrete is relatively inexpensive and easily cast
into compound curves.
Initially, Leandro Locsin designed the church for the Ossorio family, who was planning to build a
chapel in Negros. Unfortunately, when Frederic Ossorio left for the United States, the plans for
the chapel were scrapped.
However, in 1955, then University of the Philippines, Diliman Catholic Chaplain, Fr. John Delaney,
S.J. commissioned Locsin to design a chapel that is open and can easily accommodate 1,000
people. The Church of Holy Sacrifice is the first round chapel in the Philippines with the altar in
the middle, and the first to have a thin shell concrete dome. The floor of the church was
designed by Arturo Luz, the Stations of the Cross by Vicente Manansala and Ang Kiukok, and the
double-sided crucifix and altar base by Napoleon Abueva, all of whom are now National Artists.
The dome of the church is supported by pillars located at the sides of the church, so that there
are no supports to block the space inside. The unique design of the dome allows natural lighting
and ventilation. At the middle of the dome is a circular skylight, which supports the triangular
bell tower. The bell tower, then extends to the interior, supporting the crucifix. The arrangement
of the interior of the church is concentric, with the altar in the middle.