Moving from a stage of criticism of modernity and the re-discovery of the social aspect to one of an explosion of ideas and possible ways to go, evident via the multiple metamorphoses of architecture as being discussed, designed and/or built, it is ripe time for research to open again the discussion on issues deeply rooted to the nature of architecture such as composition and form, not in order to formulate normative theories, but in order to supply analytical tools and reestablish a framework of understanding. Composition can either be used as a term to denote a process of making or a result. In both cases however a meaning of imposing order is inherent in the word; it brings, that is, into prominence the issue of architectural order. What can be said however about the constitution of the architectural object by formal means?ls it possible to retrieve a description of this form which would at the same time inform about the object's constructibility in formal terms and its possible significance? A top-down approach is suggested which acknowledges the global nature of architectural composition, and attempts to uncover what can be defined as the deep structure of the architectural object. Architectural order is seen as establishing relations which control issues of what, where why and how in the design-to-be. A lot of them become codified through usage, but they can always be foregrounded. What could be described as an aesthetic structure in architecture is analysed as comprising of structured relations and their inter-relations, while the abstract, logical mode of constitution of the compositional structure by them characterises the logic of composition on a deep level. This type of analysis of a series of objects in time makes it possible to uncover issues related to the evolution of a style, or of a personal idiom of an architect. Based on findings of an extensive analysis of both qualitative and quantitative kind on the evolution of the personal idiom of an architect, this paper will attempt to investigate processes of ' metamorphoses' and deep structure transformations, operating within the scope of this personal structured idiom, as the architect moves from the realm of' private' to that of the ' public'.