June Carlo Zapanta and Immanuel A.

Martinez
Research-N 12:30 PM 1:30 PM MWF
Instructor: Ar. Neil Andrew Menjares

Research topic: A Research on the Local General Publics View on the Classical
and Modern Buildings of Cebu
BIBLIOGRAPHY

Bakare, L. (2011, August 5). Architecture Modernism vs Traditionalism. Retrieved

from The Guardian Web site:
https://www.theguardian.com/commentisfree/2011/aug/05/architecture-
modernism-vs-traditionalism-olympics

Burchard, J. (1976). In Bernini is Dead?: Architecture and the Social Purpose.

McGraw-Hill Book Company.
Douglas, J. (1966). In Building Adaptation. Anchor Books Editions.

Gomez, A. P. (2008). In Built Upon Love Architectural Longing After Ethics and
Aesthetics. Sabon: MIT Press.
Gomez, A. P. (2016). In Attunement. Sabon: MIT Press.
Hall, E. T. (2006). In The Hidden Dimension. Anchor Books Editions.
Klassen, W. (1990). In Architecture and Philosophy. Cebu City: USC Press.

Pazr, B. (2014, January). On Classical and Modern in Architecture - In

memoriam Zoltn Szentkirlyi. Retrieved from Periodica Polytechnica
Architecture: https://pp.bme.hu/ar/article/view/7430

Perren, C., & Mlecek, M. (2015). In Perception in Architecture. Berlin, Germany:

Cambridge Scholars Publishing.

Reisner, Y., & Watson, F. (2010). In Architecture and Beauty Conversations with
Architects About a Troubled Relationship. John Wiley and Sons Ltd.

Scruton, R. (2013). In The Aesthetics of Architecture. Princeton, New Jersey:

Princeton University Press.

Shubow, J. (2012, May 24). Commentary: The Debate Over Classical vs

Contemporary Architecture Needs to Continue. Retrieved from The
Washington Post Web site:
https://www.washingtonpost.com/blogs/where-we-
 live/post/commentary-the-debate-over-classical-vs-contemporary-
architecture-needs-to-
continue/2012/05/23/gJQAo8XUlU_blog.html?utm_term=.3b207a50a554

Smith, P. F. (2003). In The Dynamics of Delight Architecture and Aesthetics.

Routledge.

Stackhouse, S. (2017). Classical Architecture for the Modern World. Retrieved

from Fresh Writing:
https://freshwriting.nd.edu/volumes/2014/essays/classical-architecture-for-
the-modern-world#
New Sources

1. Architecture Modernism vs Traditionalism

https://www.theguardian.com/commentisfree/2011/aug/05/archit
ecture-modernism-vs-traditionalism-olympics
Taken from: www.theguardian.com
Interview by: Lanre Bakare
Modernist: Michael Taylor
Traditionalist: Robert Adam
August 5, 2011
(Bakare, 2011)

2. Commentary: The Debate Over Classical vs Contemporary Architecture

Needs to Continue
https://www.washingtonpost.com/blogs/where-we-
live/post/commentary-the-debate-over-classical-vs-contemporary-
architecture-needs-to-
continue/2012/05/23/gJQAo8XUlU_blog.html?utm_term=.3b207a50
a554
Taken from: www.thewashingtonpost.com
Author; Justin Shubow
May 24, 2012
(Shubow, 2012)

3. Classical Architecture for the Modern World

https://freshwriting.nd.edu/volumes/2014/essays/classical-
architecture-for-the-modern-world#
Taken from: www.freshwriting.nd.edu
Author: Sara Stackhouse
University of Notre Dame College of Arts and Letters
 2017
(Stackhouse, 2017)

4. On Classical and Modern in Architecture - In memoriam Zoltn

Szentkirlyi
https://pp.bme.hu/ar/article/view/7430
Taken from: Periodica Polytechnica Architecture
Author: Bla Pazr
January 2014
(Pazr, 2014)

5. The Hidden Dimension

Author: Edward T. Hall
Second Edition
Publisher: Anchor Books Editions
Copyright: 2006
Publish date: 2006
(Hall, 2006)

6. Building Adaptation
Author: James Douglas
Publisher: Anchor Books Editions
Copyright: 1966
Publish date: 1966
(Douglas, 1966)

7. Perception in Architecture
Editor: Claudia Perren and Miriam Mlecek
Publisher: Cambridge Scholars Publishing
Copyright: 2015
Publish date: 2015
(Perren & Mlecek, 2015)

8. Attunement
Author: Alberto Perez Gomez
Publisher: MIT Press
Copyright: 2016
Publish date: 2016
 (Gomez, 2016)

9. Architecture and Philosophy

Author: Winand Klassen
Publisher: USC Press
Copyright: 1990
Publish date: 1990
(Klassen, 1990)

10. The Aesthetics of Architecture

Author: Roger Scruton
Publisher: Princeton University Press
Copyright: 2013
Publish date: 2013
(Scruton, 2013)

11. Architecture and Beauty Conversations with Architects About a Troubled

Relationship
Author: Yael Reisner with Fleur Watson
Publisher: John Wiley and Sons Ltd.
Copyright: 2010
Publish date: 2010
(Reisner & Watson, 2010)

12. Built Upon Love Architectural Longing After Ethics and Aesthetics
Author: Alberto Perez Gomez
Publisher: MIT Press
Copyright: 2006
Publish date: 2008
(Gomez, Built Upon Love Architectural Longing After Ethics and Aesthetics, 2008)

13. The Dynamics of Delight Architecture and Aesthetics

Author: Peter F. Smith
Publisher: Routledge
Copyright: 2003
Publish date: 2003
(Smith, 2003)
 14. Bernini is Dead?: Architecture and the Social Purpose
Author: John Burchard
Publisher: McGraw-Hill Book Company
Copyright: 1976
Publish date: 1976
(Burchard, 1976)

Articles within the sources

1. Architecture Modernism vs Traditionalism
Robert Adam: I think evolving is fine but I don't think saying, "I have
something new at my disposal and therefore I should use it regardless"
is right

2. Commentary: The Debate Over Classical vs Contemporary

Architecture Needs to Continue

3. Classical Architecture for the Modern World

The rapid modernization evident in the world we live in today has
falsely led many people to overlook the relevance of the classical
tradition. (Stackhouse, 2017)
Knowledge of the classical conventions is important for all aspiring
architects because the correctness of traditional architecture is
measured in accordance with the principles of symmetry, proportion,
balance and compliance with the five orders. (Stackhouse, 2017)
4. On Classical and Modern in Architecture - In memoriam Zoltn
Szentkirlyi
We use the terms classical and modern naturally in everyday practice.
One, usually to refer to eternal values, the other to the present, to what
we consider up to date. We experience more the normative side of the
first, and the operative character of the other. Classical, however, has
never been something closed, to be simply revered, copied or imitated;
on the contrary, it has been permanently working, by influencing and
balancing us throughout ages, as a constituent part of every
following, every present. Classical and modern belong together in
this sense, preconditioning each other inseparably in their mental and
social function.
5. The Hidden Dimension
6. Building Adaptation

7. Perception in Architecture
Chapter Two: beyond PERCEPTION (Pages 30 55)
Chapter Five: sensual IMMNERSION (Pages 118 162)
Culturally shaped perception models change our understanding of
space, our relationship to space and our use of space. According to
Jonathan Cray, human perception is based on a culturally significant
range of expertise that is changing over time and has become
controlled since the invention of optical devices in the nineteenth
century. Also, representation techniques exert a direct influence on
our views and out understanding of space. In the wake of the
discovery of central perspective, it become possible for the first time
to depict space in correct proportions, and as a result, the city turned
into an object of art that could be planned. Instead of symbols and
pictorial formulas, a pictures subject matter, its surface and point of
view become the basic element of a new construction of image and
space. Perspective transforms the comprehension of the world into a
rational, mathematical construction. Erwin Panofsky describes the
construction of perspective as a cultural convention. The linear
perspective turns into a symbolic form reflecting a historically
conditioned worldview. (Perren & Mlecek, 2015, p. 12)
In spatial design practices that use multisensory approaches, these
modes and media include new practical design tools, such as
innovative technologies or materials, as well as theoretical concepts
that shape the way in which the designer considers relationships
between the build environment and human occupation (Perren &
Mlecek, 2015, p. 144)

The spatial installations explored here have served to exemplify how

a careful consideration and composition of temporal sensory
qualities and relationships generate new ephemeral multisensory
spaces for human occupation and interaction in the case of Hiller's
installation, between auditory, visual and physical relationships,
movement, proximity and distance; in NOX's water pavilion, between
projections of light and sound, textures, thermal qualities, geometries,
movement, action and interaction; and in my own work between
sound, air flows, light reflections and movement, drawing together a
variety of sense from immediate spatial environment. Each of the
 works thus enabled new spaces to emerge by way of shifting visual,
and social relationships of a site within its larger architecturalcontext.
The projects have furthermore demonstrated specific interactive and
responsive tools are used as key enablers for augmented ultisens01Y
approaches in spatial design, thus shaping human behaviours and
interactions. I have sought then to highlight how human occupation
is integral in relation to such temporary formations of spatiality and
becomes an active part in the spatial design. (Perren & Mlecek,
2015, pp. 150-151)
8. Attunement
Chapter 3: Architecture as Communicative Setting 2: Modern
Poetic Atmospheres (Pages 71-105)
Chapter 4: Architecture as an Unveiling of Place (Pages 107-138)
Chapter 5: Stimmung, Phenomenology, and Enactive Cognitive
Theory: From Habit to Language (Pages 139-163)
9. Architecture and Philosophy
Aesthetics (Page 8)
Symbol and art (Pages 162-165)
Whilst the major theorists of this era assumed that architecture must
conform to the prevailing Zeitgeist or spirit of the age, the present
proposal is the aesthetic value is something which has absolute
validity, and can stand outside time and place. (Klassen, 1990, p.
9)
For beautiful things are those which please when seen. Hence
beauty consists in due proportion; fir the senses delight in things duly
proportioned, as in what is after their own kind because even sense
is a sort of reason just as is every cognitive faculty. Now, since
knowledge is by assimilation, and similarity relates to form, beauty
properly belongs to the nature of a formal cause. (Klassen, 1990, p.
27)
"Nothing can express the aim and meaning of our work better than
the profound words of St. Augustine 'Beauty is the splendor of
Truth'. " To Mies, there has never been any doubt about the
rightness, the truth and hence the beauty of what he was
trying to do. Every step along his way has been a clear step sure,
steady, uncomplicated, uncompromising. The first step is the brick,
simple fact of the material. The second step is to understand the
meaning of one material, and the meaning of all materials. The
third step is to understand the materials characteristic of our time
steel, concrete, and glass. The fourth step is to understand the
needs of our epoch: the need to provide vast amounts of shelter
(the mass need); and the need to make each man free (the
 individual, human need). And the inevitable result of this clear and
uncompromising progression is to ensure 'the splendor of truth'.
(Klassen, 1990, p. 27)
Beauty was not conceived as a value independent of other values
but rather as the radiance of truth (splendor veritatis) shining
through the symbol, which was also the splendor of ontological
perfection, that quality of things which reflects their origin in God
and enables us through them to attain direct insight into the
perfection of the Divine Nature. Thus it was a quality ultimately
apprehensible to reason rather than the senses. (Klassen, 1990, p.
27)
The goal of art is to achieve an expression of the beautiful; but 'this
beautiful, what is it? Where is it?' Reason is powerless to answer this
question, but the best solution of the problem is Plato's, the beautiful
is the splendor of the true; it also is its 'intensity'; and it still could be
defined 'the essence of life'. (Klassen, 1990, p. 28)
A building physical object which exists among other objects in the
environment. What happens when we see or perceive such an
object, is a process which cannot easily be described. The Latin
percipere, which originally means to grasp thoroughly. indicates
that want to the perceived object our own, entirely our we want to
at least qualities of the object; we want to fuse them with our
beings. The German word for perceive, wahrnehmen, suggests that
we want to take the perceived object something true, not
something fake; wo want to take it as something we can rely on, as
something which can help us to orient ourselves in the environment
. (Klassen, 1990, p. 55)
The expressiveness of the object of art is due to the fact that it
presents a thorough and complete interpenetration of the materials
of undergoing and of action (italics mine), the latter including a
reorganization of matter brought with us from past experience. For,
in the interpenetration, the latter is material not added by way of
external association nor yet by way of superimposition upon sense
qualities. The expressiveness of the object is the report and
celebration of the complete fusion (italics mine) of what we
undergo and what our activity of attentive perception brings into
what we receive by means of the senses. (Klassen, 1990, p. 61)
Dr. Barnes has brought out the _necessity for this completeness of
blending, the interpenetration of 'shape' and pattern with color,
space, and light. Forms is, as he says, 'the synthesis or fusion (italics
mine) of all plastic means their harmonious merging'. On the
other hand, pattern in its limited sense, or plan and design, 'is merely
the skeleton upon which plastic units are engrafted. (Klassen,
1990, p. 61)
 First, the aesthetic object is prima facie more accessible than
aesthetic experience as such. It presents itself to perception as a
closed whole and thus lends itself to precise descriptions. Second,
phenomenological method is better equipped to deal with the
object or content of experience than with experience qua act, As
'intentional analysis', it tends naturally to begin with noematic
analysis, leaving noetic analysis (its necessary correlate) for a later
stage. Third and more important, Dufrenne takes the spectator's
point of view in this book. And what the spectator experiences is
precisely the aesthetic object. (Klassen, 1990, p. 67)
By accepting the judgments and preferences of our culture, we
waste no time in trying to discover what each separate culture
prefers or sanctions; we do not allow ourselves to be seduced by
aesthetic relativism; we are free to discover what the work of art is,
and how it evokes aesthetic experience, without deliberating
endlessly over the choice of these works. We need only place all
the odds of a venerable tradition on our side. Unanimously
accepted works (italics mine) of art will be our most reliable guides
to the aesthetic object and to aesthetic experience. (Klassen,
1990, p. 69)
Subjectivism besets every value judgement, including judgements
of taste pronounced on beauty, with the result that the sought for
objective criterion suddenly appears unreliable. (Klassen, 1990, p.
70)
10. The Aesthetics of Architecture

It was left to the practitioners of the late Gothic revival to make the
distinction between architecture and building vivid in the popular
mind, and it was Ruskin who gave final expression to it, in the first
chap- ter of Seven Lamps of Architecture, where he expressly
confined the name 'architecture' to whatever is useless, unnecessary,
or mere incrustation. Alberti, by contrast, wrote of a single universal
art of building, which 'consists in the design and the structure'. 'The
whole force and reason of the design' he continued, 'consist in
finding an exact and correct way of adapting and joining together
the lines and angles which serve to define the aspect of the building.
It is the property and business of design to appoint to the edifice and
all its parts an appropriate place, exact proportion, suitable
disposition and harmonious order, in such a way that the form of the
building should be entirely implicit in the conception.' 3 Ideas of what
is 'right', 'appropri- ate', 'proper' and 'proportionable' determine from
the beginning the direc- tion of his thought. I have quoted from the
first page of his treatise. On the next page he writes of the function of
walls and apertures, the intricacies of roof construction, the effects of
 climate, sun and rain. He passes unhesitatingly from the abstractions
of the philosopher to the realities of the work- ing engineer. And yet
the ideas of what is 'appropriate', 'proportionable' and 'decorous'
never cease to dominate his argument. According to Alberti it is as
much the business of the common builder as of the architect to know
what is appropriate, 4 and to build in the light of that knowledge.
(Scruton, 2013, p. 21)
Beauty is a consequential thing, a product of solving problems
correctly. It is unreal as a goal. Preoccupation with aesthetics leads
to arbitrary design, to buildings which take a certain form because
the designer likes the way it looks. No successful architecture can
be formulated on a general system if aesthetics. (Scruton, 2013, p.
22)

11. Architecture and Beauty Conversations with Architects About a
Troubled Relationship
The entire book accounts for the biographies of many iconic
architects ranging from Frank Gehry to Zaha Hadid. In their
biographies, their design concepts and paradigms are described
along with the evolutionary process behind its birth. (Pages 30-257)
12. Built Upon Love Architectural Longing After Ethics and Aesthetics
Beauty, in its original sense, produced wonder, in both fear and
admiration. (Gomez, 2008, p. 81)

Most of the buildings that our societies manage to build are

inherently conservative; building construction (and most
architectural practice) is thus analogous to common language. The
early nineteenth century conceived "style" for the first time as a
syntactic system of formal combinations that had to be present as a
condition for "expression." While today we may recognize that
codification is ultimately futile, historians recognize the "syntactic"
particularities of regional architectures, even within the large rubric
of modernism and despite its quest to become a "tradition against
itself." The rate of significant change in buildings depends on the
temporal or cosmological premises of different cultures. Some
changes may be totally imperceptible within the timescale of
human life, while others (especially since the nineteenth century
consecrated "progress" and the cult of the genius) are evident even
within a single generation. Beyond the specific agendas of
technology and politics, receptivity to metaphor may have been
crucial to the longevity of certain formal "styles," such as "classical"
and " Gothic" architectures. Nevertheless, every architecture act
 has a temporal situation, and no form is timeless. (Gomez, 2008, p.
143)
13. The Dynamics of Delight Architecture and Aesthetics
The architectural critic, Jonathan Glancey, writing in the guardian,
has no inhibitions about declaring his stance on the matter:
Architects were once their own worst enemy when they delighted
in building conceived as purely functional machines. But one of
those functions must provide beauty (Smith, 2003, p. 4)
It is not about style, though it is bound to feature. (Smith, 2003, p.
4)
At the heart of ideal beauty is the concept harmony, a word we
freely use in connection with architecture but which originates in
music. (Smith, 2003)
Pattern born amid formlessness: that is biologys basic beauty. The
battle between uniformity and non-uniformity or between force of
stability and instability in nature has a parallel in the bi-polar nature
of high culture. (Smith, 2003, p. 23)
After the travail of the discursive act of understanding, the intellect
rejoices at the vision of order and integrity Beauty is what pleases
when it is seen, not because it is intuitive without effort, but because
it is through effort that it is won We take pleasure in knowledge that
has overcome the obstacles in its path (Smith, 2003, p. 24)
Systems in Nature are subjected to internal tension through these
forces and patterns emerge when a system crosses a stability
threshold. It has to be driven by this tension sufficiently far from
symmetry before a pattern starts to appear. The force of order and
symmetry fight their corner against the forces of complexity and non-
uniformity until they can hold out no longer, and symmetry gives way
to a broken pattern. The idea that nature works on the principle of
order engaging in a perpetual contest with complexity has echoes
of definitions of beauty stretching back to the Greeks. Plato
recognized that it is a characteristic of human reason to seek unity
in multiplexity. For Aristotle, beauty lay in the recognition of similars
within the simlars. (Smith, 2003, p. 24)
On the face of it, a leap too far. But in fact the link between
harmony and chaos theory takes us to the heart of our static
perception which, on the formal level, is concerned of quality of
outcome of interactive shapes, colors, tones, and textures of
buildings aside from cognitive meaning. It involves a rather special
way of seeing which may be termed holistic vision. Often it takes an
 act of will to stand back from the detail in order to take in the wider
whole.
In the built environment the formal aesthetic resolves down to two
main themes: pattern defined as coherent diversity and the theory
of proportion. These themes reflect several overlapping
psychological drives in the minds mission to impose orderliness on
the continuous stream of stimuli reaching the brain via the senses.
(Smith, 2003, p. 26)
Something in the human mind is attracted to symmetry However,
perfect symmetry is repetitive and predictable, and our minds like
surprises so we often consider imperfect symmetry to be more
beautiful than exact mathematical symmetry Nature also seems to
be dissatisfied with too much symmetry. (Smith, 2003, p. 27)
14. Bernini is Dead?: Architecture and the Social Purpose

A great urban aesthetic arises not from a cluster of architectural

chefs d'oeuvre but from a sensitivity on the part of each successive
builder to the amenities that are already there. No good architect
would really dream of destroying the beautiful natural terrain of an
isolated site but would, instead, try to marry his building to the land
and the vegetation and the water and the sky. It is easier to forget
and it is common to forget that there is also an urban terrain and
that this, too, is entitled to respect, even to love. Urban aesthetics
are not to be made over as lightly as ladies' clothes. (Burchard,
1976, p. 550)

According to Seblas (2017)