What it would be like to live in a mental world where one’s reasons for making something functionally, and one’s reasons for making something a certain shape, or in a certain ornamental way are coming from precisely the same place in you.
Precisely the same place.1

Building Beauty

Ecologic Design and Construction Process

Post-Graduate Diploma in Architecture

Educating architects to serve life and the people.


Building Beauty 2018-19

Registration Open Now

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For further info and registration: hello@buildingbeauty.org.

An innovative approach to architecture education is now underway in Sorrento, Italy. Building Beauty seeks to reconcile the education of architects with the art of making things that have life, and are good to people and the land. The program is taught in English, and housed at the Sant’Anna Institute in Sorrento, where classes began in November 2017. The next course will begin in November 2018.

Building Beauty is a Post-Graduate Diploma in Architecture (60 ECTS credits, equivalent to 120 USA/UK credits). Legal accreditation is currently being sought from Universities in Italy, the United States, the United Kingdom, and India. The idea underpinning Building Beauty is that of a different, both holistic and scientific approach to architectural education, one that poses the ordinary living environment to centre stage, focuses on the adaptive process of building and change and the role of design in it, where life is respected and enhanced in all its forms and “beauty” becomes a tangible objective of social and ecologic pursuit as well as a matter of rigorous scientific investigation. The program is shaped to offer a profound experience of designing and making, revolving around the exploration of the reality of feelings and an evidence-based approach to the architectural process.
Building Beauty is founded on Christopher Alexander’s intellectual and practical work, and designed in close collaboration with Maggie Moore Alexander and some of Alexander’s life-long collaborators. This legacy is most evident in our thirteen founding principles below and in a few taught modules in our curriculum. The curriculum emphasizes the generation of beauty by means of the practical work of making; it is offered to all those willing to explore that beauty which makes a difference in the world.

Peter Gabriel and Christopher Alexander, Aspen 1997.
Read about the time they met
Peter Gabriel, Message to Building Beauty

“At the core of Christopher Alexander’s work is a wonderful contribution to the way architects, planners and people working on their homes think about what they are creating, especially from the point of view of the psychology of space. The style and detail of his work goes in and out of fashion, but I always hoped it would develop into a real science, with its own sets of guiding algorithms through which building projects can be evaluated. We need more buildings that are warm, soulful and humane environments that can bring out the best of us.”



Watch our students challenging themselves and expanding their tactile capabilities with the blind sculptor Felice Tagliaferri.

Founding Principles of the School

We must find a way of seeing and knowing the role of architecture, which allows us, consciously and emotionally, to recognize that the material beauty of the buildings and physical material details we build, can convey the qualities of compassion and happiness.
But even more profound than this communication is the fact that such buildings do not only communicate such qualities, but actually contain – have in them – the qualities of compassion and happiness.
These feelings are comparable to the behaviour we call kindness; they elicit and call out compassion in the social and spatial situations which are called forth by this architecture.2

Together, we will learn how to generate beauty that makes a difference in the real world. The program is structured by the following Principles: 

1. Beauty

There exists in the natural, cultural and physical world, a class of phenomena that are beautiful, the beauty of which has essentially to do with our everyday material and spiritual life.We want to understand what characterizes such phenomena, how they occur and change, and how, as makers, we can help in the process.

2. Cosmology

The context in which we approach problems to develop solutions acknowledges and embraces the complexity, uncertainty and change that are ever more prevalent in our world.We explore a non-conventional agenda in education and research for making, which poses beauty and its generative process centre stage.

3. Day-To-Day, Minute Functionalism

We acknowledge that life takes place by continuously adapting the surrounding environment in an uninterrupted everyday process of adapting by making.We intend making as an adaptive process of change that predominantly occurs in the dimension of the ordinary.

4. Objective Nature of Beauty

Beautiful ordinary spaces have a quality whose value, once explored at the appropriate level, belongs to all human beings, and is good for everyone. Because that quality exists, makers can, at each step in the process of change, add to and expand—rather than detract from and reduce—the original quality.We define and measure the objective quality of space that emerges at the level where human beings share a common canon of values.

5. Holistic Nature of Space

Space is essentially grounded on our individual and collective self, where functionality, ornament and beauty are just different names for the same thing.We explore our individual and collective self in space as a fundamental way to understanding how to make things.

6. Quality of Space Comes Prior to Function

Beauty emerges, in the physical world, as an inner order that is spatial. Good functionality, and the sense of belonging and wellness are by-products of that.We focus on the order of space that recurs in phenomena of beauty: what it is made of, and how we can help it to emerge and expand over time.

7. Testing The Quality

The quality of space can be tested through understanding the authentic feelings that connect us to the place and others in a profound way.We pursue the ability to recognize, trust and develop our own feelings as a reliable ground for testing the quality of space.

8. Making With Exquisite Care

The quality of spaces does not come by design: it can only emerge during the process of making. We experience beauty in space when we see that everything around has arisen by careful choice and restless consideration of both the place and our own self.We are interested in the process of fine-tuning that creates a place: in a short-term “project” scenario, and in the longer-term, and truly “evolutionary.”

9. The “Unfolding” Nature of Beauty Generation

Essentially a process of adaptive transformation, making beauty happens in steps whereby each step expands the pre-existent beauty and, in itself, is complete and makes full sense.We test and explore the unfolding nature of beauty generation both in the process of making and in that of teaching how to make.

10. The Healing Nature of Making

Reunifying what was previously separated is central to the process—in space, in communities, and in ourselves as makers and citizens. Conventional separations (between actors, places and times of decision) are overcome and reunified at each step in a fully integrated healed/whole.We explore how to reunify self, community, design and construction at each step of the process of making.

11. The Reality of The Land and That In Ourselves

Making has to do with understanding the order of the space (existent in the land) and that of what we want to make (existent in ourselves), and then with reunifying the two in a coherent whole.We investigate all means to make such two orders explicit, and then reinforce each other.

12. Mocking Up

In a conventional building process, the means of most separations is the drawing. People make decisions, separately, by looking at drawings. We use drawings as an integral part of making: a physical, on-site, trial-and-error process based on the use of full-scale physical mock-ups.We practice full-scale mocking-up as the core system of decision-making in the building process.

13. Construction

Direct hands-on construction is essential to making. That is where and when everything happens; the building yard and the actual act of construction are the place and moment where the healing reunification occurs.We practice direct construction as the all-encompassing environment of making.

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1. Alexander, Christopher. Lecture by Christopher Alexander at Harvard, presented on 27 October 1982. Architexturez Imprints, 1982.

2. From page 484 of Battle for the Life and Beauty of The Earth: A struggle between two world-systems, Alexander, C., Neis, H., & Alexander, M. M. (2012). New York: Oxford University Press.