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The Tudor Revival architecture of the 20th century (also called Mock Tudor or Tudorbethan)[1], first manifested itself in domestic architecture beginning in the United Kingdom in the mid to late 19th century based on a revival of aspects of Tudor style. It later became an influence in some other countries, especially the British colonies. For example, in New Zealand, the architect Francis Petre adapted the style for the local climate. Elsewhere in Singapore, then a British colony, architects such as R. A. J. Bidwell pioneered what became known as the Black and White House. The earliest examples of the style originate with the works of such eminent architects as Norman Shaw and George Devey, in what at the time was thought of as a neo-Tudor design. The term “Tudorbethan” is modelled on John Betjeman’s 1933 coinage of the “Jacobethan” style, which he used to describe the grand mixed revival style of ca 1835–1885 that had been called things like “Free English Renaissance”. “Tudorbethan” took it a step further, eliminated the hexagonal or many-faceted towers and mock battlements of Jacobethan, and applied the more domestic styles of “Merrie England”, which were cosier and quaint.

High-tech architecture, also known as Late Modernism or Structural Expressionism, is an architectural style that emerged in the 1970s, incorporating elements of high-tech industry and technology into building design. High-tech architecture appeared as a revamped modernism, an extension of those previous ideas aided by even more advances in technological achievements. This category serves as a bridge between modernism and post-modernism, however there remain gray areas as to where one category ends and the other begins. In the 1980s, high-tech architecture became more difficult to distinguish from post-modern architecture. Many of its themes and ideas were absorbed into the language of the post-modern architectural schools.

The great 19th century architect of skyscrapers, Louis Sullivan, promoted an overriding precept to architectural design: “Form follows function”.

While the notion that structural and aesthetic considerations should be entirely subject to functionality was met with both popularity and skepticism, it had the effect of introducing the concept of “function” in place of Vitruvius “utility”. “Function” came to be seen as encompassing all criteria of the use, perception and enjoyment of a building, not only practical but also aesthetic, psychological and cultural.Nunzia Rondanini stated, “Through its aesthetic dimension architecture goes beyond the functional aspects that it has in common with other human sciences. Through its own particular way of expressing values, architecture can stimulate and influence social life without presuming that, in and of itself, it will promote social development.’

To restrict the meaning of (architectural) formalism to art for art’s sake is not only reactionary; it can also be a purposeless quest for perfection or originality which degrades form into a mere instrumentality”.[8]

Among the philosophies that have influenced modern architects and their approach to building design are rationalism, empiricism, structuralism, poststructuralism, and phenomenology.

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