The roof began as an archaic design consisted of narrow eaves and span but because the sizes of the room gets bigger, there was an increased number of pillars making the interior cluttered. Towards the 8^th century up until now, cantilevers are used for the construction of the roof.
 
 

The Cultural Center was planned in four parts-a library, a museum, an amphitheater, and a theater seating seven thousand. The centerpiece and first to be built was the theater, a monumental white slab set off by wide reflecting pools, containing a large auditorium for performances of opera, ballet, and symphony. The former First Lady was determined to have perfect acoustics, and a stage deep enough for grand opera, broad enough for a troop of horses. After a year, the Center was broke. Imelda asked for foreign aid and then came Lyndon Johnson. In a sense the Cultural Center was a monument to Lyndon Johnson, a Texas-sized whit elephant.
 
 

When the Cultural Center was finished at last, she wanted the hall inaugurated in a manner emphasizing Philippine roots. The result was a pageant-drama involving an orchestra of native instruments, dance, solo and choral singing, pantomime, to a story in an ancient form of Tagalog, which not even the Tagalog speakers in the audience could understand.
 
 

The lay out of the Cultural Center follows the principle: form follows function. The structure is considered to be modern and contemporary. The legacy of the functional approach to architecture can be seen in the new technology using building materials such as steel, concrete, etc. The adoption too of flat instead of pitched roofs has removed many restraints in the design of buildings.

Because Modern/Contemporary architecture were much more concerned with designing buildings to serve the purpose of whatever went on inside them than with their exterior appearance, surfaces tend to be impersonal. Sometimes, however, the shuttering marks on concrete were exposed in order to give an interesting texture to the external surface. The buildings are frequently asymmetrical, and the purpose they serve is often easy to deduce.

The Film Center was built on 1982 and the idea had come to Imelda Marcos in a mystical vision in June 1980, to create an Asian answer to Cannes, next door to her Cultural Center. So much of the construction money was siphoned off her claque that structural engineering was neglected. Two months before the festival was to open, two floors of the center collapsed, taking a number of workers with it. Officially, eight laborers died-the real figure was said to be over thirty. Not to delay the construction, it was alleged that the bodies were left in situ and concrete was poured over them. This distressed the superstitious, so Imelda reportedly had the center exorcised.
 
 

The façade of the Film Center consists of several columns supporting the flat roof. This is similar to the pylon or entrance gate of an Egyptian temple. Unlike Imelda Marcos planned the structure to be, it is more Egyptian inspired rather than the Greek’s Parthenon.
 
 

It is to be seen in many buildings constructed between the world wars, the great majority of them serving commercial purposes. Discipline is not very strong, and designers felt encouraged letting their imagination roam freely.
 
 

In essence, Art Deco was a simplified form of classical architecture, in which the Greek and Roman orders were reduced to their simplest and then blended with motifs from other cultures.
 
 

 9:55 a.m. METROPOLITAN MUSEUM

Neoclassical buildings are characterized by clean, elegant lines and uncluttered appearances and also by freestanding columns and colonnades.
 
 

The prototype to which Neoclassical architects most commonly turned was the temple, which was considered to represent classical architecture in its purest form. In the temples the columns served their original purpose: they were freestanding and carried the weight of the building. It was only in later years that they were used mainly for decorative purposes.
 
 

In Neoclassical architecture orders are also used structurally rather than as a form of decoration. Columns, freestanding and supporting entablatures, are more common than pilasters or attached columns.
 
 

Rooflines are generally flat and horizontal, the roof itself often being invisible from the ground. There are no towers or domes.
 
 

Facades tend to be long and flat. In front of them might be what was in effect a screen consisting of a number of freestanding columns.
 
 

The maintenance of the classical proportions on the exterior of the building was of paramount importance. Decoration on the exterior of Neoclassical buildings is reduced to a minimum. The craftsmanship is usually of a very high order. Stone cutting, plasterwork and woodwork are more severe than in earlier styles, but no less excellent in execution.
 
 

The stained glass found in the front wall of the theater is what makes it Art Deco. Also evident are the use of painted columns and walls. The theater is one of the few Art Deco structures still present in the country. Early this decade, plans of having it demolished was suggested by some legislators, protests were made by a number of cultural groups and up to now, it has been a great debate whether to indeed erase this structure in the geographical map of Manila.
 
 

The materials used in Art Deco were predominantly modern, chromium plate being particularly popular. More traditional materials, such as stained glass, colored tiles and smooth render over brick, were also used, often in startling, jazzy patterns.
 
 

Triumphal arches during the Roman period commemorate great military victories and other important events. They were often situated astride a main road leading into a city and were composed either of one or of three arches.
 
 

There are usually a column on each side of the arch and Corinthian or Composite orders were most commonly used. Elaborate carvings decorated the space below the columns and around and underneath the arches and friezes. The part above the entablature was called the attic. This contained the dedicatory inscription. Above the attic there was usually a large sculptured group, often in the form of figures driving a chariot with four or six horses.
 
 

The school was built during the Spanish period (17^th century), and it was during this time that it was the height of the Renaissance. The UST Main Building is a good example of Renaissance influence. Renaissance buildings are chiefly characterized by their classical components. Doors are normally flanked by columns carrying an entablature. Pediments above the doors are common. The façade is decorated with rows of pilasters placed between the windows. Perfect symmetry is also evident in Renaissance architecture.
 
 

The rounded arch, the most distinctive characteristic of Romanesque architecture can be seen in doors, windows, arcades, vaulted ceilings and in many decorative features.
 
 

Round, square or octagonal towers with their own steep roof and of considerable height draw the eye upwards and relieve the heavy outline of the building. Doors are deeply set and the doorways flanked by a series of receding columns. Windows were comparatively small and narrow. They were made to look larger and more important by the columns, arches and decorated mouldings, which surrounded them.
 
 

Due to SMC’s growing business, they constructed their own building along Ortigas Avenue to be the central place for all business activities of the corporation. The structure is similar to the Mesopotamian’s truncated pyramid. The ground floor has the biggest area and as it goes to the higher floors, it becomes smaller. The building appears to be a ziggaurat but with interiors.