University of Santo Tomas

Espana Blvd., Sampaloc, Manila, 1008 Metro Manila

College of Architecture

MUSEUM ON THE GO: RESEARCH PAPER

In Partial Fulfillment of the

Major Course Requirement in Architectural Design II

Submitted by:
Aliana Jasmine A. Cadiang
John Kenneth B. Ramasta
Samantha Lorraine A. Samaniego
Lea Mae R. Serrano
(1AR-3)

Submitted to:
Arch. Froilan Fontecha
Arch. Ferreras

January 12, 2015

TABLE OF CONTENTS

1.0 THE ORDER OF NATIONAL ARTISTS..3

2.0 NATIONAL ARTISTS FOR ARCHITECTURE4
2.1 JUAN F. NAKPIL..4
2.2 PABLO S. ANTONIO...7
2.3 LEANDRO V. LOCSIN0
2.4 IDELFONSO P. SANTOS.13
2.5 JOSE MARIA V. ZARAGOSA..15
3.0 SHIPPING CONTAINER ARCHITECTURE..19
4.0

MUSEUM

EXHIBITION

DESIGN

AND

INTERACTIVE

DISPLAY

DESIGN..22
5.0 CASE STUDIES OF MOBILE MUSEUM...24
5.1 NOMADIC MUSEUM.24
5.2 CHANEL MUSEUM27
6.0 OTHER VITAL INFORMATION..31
6.1 SHIPPING CONTAINER DIMENSIONS31
6.2 ADVANTAGES...32
6.3 DISADVANTAGES.34
BIBLIOGRAPHY/REFERENCES..37

I.

THE ORDER OF NATIONAL ARTISTS

A National Artist is a Filipino citizen who has been given the rank and title of
National Artist in recognition of his or her significant contributions to the
development of Philippine arts and letters. The rank and title of National Artist
is conferred by means of a Presidential Proclamation.

Juan F. Nakpil - In 1973, he was named one of the National Artists for
architecture, and tapped as the Dean of Filipino Architects.

Pablo S. Antonio - In 1976, he was conferred the rank and title of National
Artist of the Philippines by President Ferdinand Marcos.

Leandro V. Locsin - In 1990, the late President Corazon C. Aquino

proclaimed him a National Artist of the Philippines for Architecture.

Ildefonso P. Santos, - In 2006, he was recognized as a National Artist of the

Philippines in the field of Architecture. He was also known for being the
Father of Philippine Landscape Architecture.

Jose Maria V. Zaragosa - In 2014, a Thomasian architect, was among those

proclaimed National Artist of the Philippines by the President Benigno
Simeon Aquino.

II.

NATIONAL ARTISTS FOR ARCHITECTURE

a. JUAN F. NAKPIL

Born on the 26th of May 1899, Juan Nakpil was a Filipino Architect, a
civil engineer, a teacher and a civic leader. He was the eldest child of
Philippine revolution veterans Julio Nakpil and Gregoria de Jesus. He went
and took up Engineering at the University of the Philippines and received his
Bachelors Degree in Civil Engineering at the University of Kansas. He then
went to Fontainebleau School of Fine Arts in France.

Juan Nakpils greatest contribution is his belief that there is such thing
as Philippine Architecture, espousing architecture and giving appreciation of
the countrys tradition and culture. It is also largely due to his zealous
representation and efforts that private Filipino architects and engineers, by
law, are now able to participate in the design and execution of government
projects. He has utilized strength, function, and beauty in the building that he
created that are the countrys heritage today. One of his major works is the
1937 International Eucharistic Congress altar and rebuilt and enlarged the
4

Quiapo Church in 1930 adding a dome and a second belfry to the original
design.
With the persistence of inspiration and genuine concern, he has led his
colleagues in upgrading the standards of competence and practice in the
profession and in the betterment of the educational courses for architecture.
His firm, Juan F. Nakpil and Sons, is indicative of the creative Filipino family
guided by a strong sense of cultural nationalism and generous participation in
helping build an environment that is native to the temperament of the people,
but at the same time embracing the demands of change from the rural to the
urban way of life.
In year 1973 he was named as the first National Artist for Architecture
and Dean of Filipino Architects.
Other Works:

The State Theater was built in 1930s eventually closed

And demolished in 90s located in Rizal Avenue, Manila

Captain Pepe Building

Quezon Hall located in U.P. Diliman

Rizal House reconstruction

b. PABLO S. ANTONIO
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Pablo Antonio was born in Binondo, Manila in 1901 and orphaned in

the age of 12. A pioneer of modern Philippine architecture he was recognized
in some quarters as the foremost Filipino modernist architect of his time. He
has to work at daytime to earn and supplement his studies during the night.
He studied Architecture in Mapua Institute of Technology but had to drop out
of school to assist in the building of the Legislative Building. Ramon Arevalo,
the engineer in charge of the Legislative Building, sponsored his education in
the University of London, where he graduated in Architecture in 1927.

He first rose to prominence in 1933 when he designed the Ideal

Theater in Avenida, Manila, which is one of his major works as an architect.
His work caught the attention of the founder of Far Eastern University, Nicanor
Reyes Sr. who was looking for a builder for the university campus in Manila.
He was commissioned to make the campus of FEU Manila from 1938 to 1950,
making it the largest ensemble of Art Deco buildings in Manila.

His basic design is grounded on simplicity, no clutter. The lines are

clean and smooth, and where there are curves, these are made integral to the
structure. Pablo Jr. points out, "For our father, every line must have a
meaning, a purpose. For him, function comes first before elegance or form".

He was best mentioned as taking Philippine Architecture to a new

direction with clean lines, plain surfaces and bold rectangular masses. In his
designs, he made each building unique, avoiding obvious trademarks. He
believes that buildings should be planned with austerity in mind and its
stability forever as the aim of true architecture, that buildings must be
progressive, simple in design but dignified, true to a purpose without resorting
to an applied set of aesthetics and should eternally recreate truth.

In year 1976, he was named National Artist of the Philippines for Architecture,
he was only the second architect so honored, after his contemporary, Juan
Nakpil.

Other Works:

Far Eastern University designed by Pablo Antonio in the

late 1930s

Ideal Theater on the left design by Pablo Antonio

Bel-Air Apartments in Roxas Boulevard designed and built in 1937

c. LEANDRO V. LOCSIN

Born on August 15, 1928 was Filipino architect, artist, and interior
designer known for his use of concrete, floating volume and simplistic design
in his various projects. He later studied at the De La Salle Brothers in 1935
before returning to Negros due to the Second World War. He returned
to Manila to study Pre-Law before shifting to pursue a Bachelor's Degree in
Music at the University of Santo Tomas. Although he was a talented pianist,
he later shifted again to Architecture, just a year before graduating.

As an architect, he has reshaped the urban landscape with a distinctive

architecture reflective of Philippine Art and Culture. He believes that the true
Philippine Architecture is "the product of two great streams of culture, the
oriental and the occidental... to produce a new object of profound harmony." It
is this synthesis that underlies all his works, with his achievements in concrete
reflecting his mastery of space and scale. Every Locsin Building is an original,
and identifiable as a Locsin with themes of floating volume, the duality of light

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and heavy, buoyant and massive running in his major works. From 1955 to
1994, Locsin has produced 75 residences and 88 buildings, including 11
churches and chapels, 23 public buildings, 48 commercial buildings, six major
hotels, and an airport terminal building.

In year 1990 he was named as one of the National Artist of Philippines

for Architecture.

Other Works:

Cultural Center of the Philippines

11

Folks Arts Theater

Philippine International Convention Center, Manila

12

d. ILDEFANSO P. SANTOS, JR.

Ildefonso Santos is the National Artist for Architecture and the Allied
Arts in 2006. He distinguished himself by pioneering the practice of landscape
architecture an allied field of architecture in the Philippines and then
passing four decades of exemplary and engaging work that has included
hundreds of parks, plazas, gardens, and a wide range of outdoor settings that
have enhanced contemporary Filipino life. He was then acknowledge as the
Father of Modern Philippine Landscape Architecture.

Santos, Jr., who grew up in Malabon, made his first mark with the
Makati Commercial Center where he introduced a new concept of outdoor
shopping with landscaped walks, fountains and sculptures as accents.
Santos, Jr.'s contribution to modern Filipino landscape architecture was the
seminal public landscape in Paco Park. He was not only a pratitioner but an
educator and mentor who had contributed a lot in setting up the first four-year
undergraduate degree program in Landscape Architecture in the University of

13

the Philippines and had expanded the degree program to a Master degree
program in Tropical Landscape Architecture.

He was proclaimed as a National Artist for Philippine Architecture in

year 2006.

Other Works:

Manila Hotel

Cultural Center of the Philippines

14

Tagaytay Highlands Resor

e. JOSE MARIA ZARAGOZA

Jose Maria Zaragoza (1912-1994) played a key role in the

reconstruction of postwar Philippines, helping reshape the landscape of
Manila ravaged by the Second World War through his striking structures that
melded modernism and Philippine motifs and styles.

15

He designed some of the most famous religious structures in the

Philippines such as the Santo Domingo Church and Convent and the Pink
Sisters Convent, both in Quezon City. He also designed the Pius XII Catholic
Center in Ermita, Manila; and the Tala Leprosarium in Caloocan City. Perhaps
his most controversial liturgical work was his redesign of the Quiapo Church.
His most famous office building is the Meralco Building, still the most
beautiful building in Ortigas Center. The late architect and architecture
historian, Benedictine Father Rodrigo Perez III, said the 15-story Meralco is
slightly curved to give it more stability and to avoid the boxlike appearance of
rectangular buildings and the train effect of straight corridors. Tapering
vertical sun breakers enhance the gentle curve of the concave faade. But
without a doubt, Zaragozas most famous building is Santo Domingo Church
and Convent, which he designed for the Dominicans, his mentors at
University of Santo Tomas. The design married old and new and follows the
plan of the church-tower-convent complex of the colonial period, said Father
Perez. While the building embodies the simplicity of modern design, such
features as arches give it a traditional touch.
Zaragoza took up BS Architecture at UST and graduated in 1936. Two
years later, he placed seventh in the licensure examination and became the
countrys 82nd licensed architect.
Works:

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Santo Domingo Church

Lopez Building MERALCO, Pasig City

17

National Library of the Philippines, Manila

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III.

SHIPPING CONTAINER ARCHITECTURE

Shipping container architecture is a type of architecture in which we utilize

steel intermodal containers as the primary structural element.

Containers are in many ways an ideal building material because they are
strong, durable, stackable, cuttable, movable, modular, plentiful and relatively
cheap. Architects as well as laypeople have used them to build many types of
buildings such as homes, offices, apartments, schools, dormitories, artists'
studios and emergency shelters. They are also used to provide temporary
secure spaces on construction sites and other venues on an "as is" basis
instead of building shelters. Having said that, this type of architecture gets a
lot of encouraging coverage in the design world as a trendy green alternative
to traditional building materials, and seems like a smart choice for people
looking for eco-consciousness. Shipping container architecture seems to be
taking over the world, which is only fitting as these disused metal boxes lend
themselves perfectly to building structures.

Using shipping containers for construction is a great way of recycling the

disused containers that are piling up in ports across the world. While more
and more people are opting to build their houses out of shipping containers,
an even bigger impact can be made when companies, or even governments
decide to use shipping containers as the main building material for their
building projects.

19

The following are examples of shipping container architecture:

1.)

Architect: HAN SLAWIK

Location: Hannover, Germany
Date: 2002
2.)

Architect: Poteet Architects, lp

Client: Stacy Hill
Location: San Antonio
Date: 2010

3.)

Architect: LOT-EK
Client: UNIQLO
Location: Mobile

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IV.

MUSEUM EXHIBITION DESIGN AND INTERACTIVE DISPLAY

DESIGN

Museum Exhibition Design

Interactive Display Design

Museum Exhibition Design is the process of developing an exhibitfrom a

concept through to a physical, three-dimensional exhibition involving the
challenge to tell a story with innovative and practical solutions.

Interactive Display Design many designers, museum directors, even

visitors would think of a push button as interactive.

21

Meaning of Inter occurring between, a push button could be thought

of as interactive but the communication between the participants (the button
and the visitor is very limited with only one outcome). The definition of an
interactive exhibit requires open ended or branching outcomes. A push
button only has one outcome with out branching outcomes.
The researchers would define a sand box as an interactive display design;
there are almost unlimited outcomes between the participants. The access
to the exhibit is immediate; a sand box requires very little explanation for
interaction you can just start using the sand.
The best interactive exhibits have very limited action on the part of the
exhibit, the sand is doing very little until you start to use it, then the action can
be with the sand, other participants (past, present and future) as well as the
conversation with other participants that accompanies such interaction, often
the most important part of the exhibit dialogue is with other participants.
In conclusion, exhibition and interactive display differ in what and what is
not prone to human interaction.

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V.

CASE STUDIES OF MOBILE MUSEUM

a. NOMADIC MUSEUM

(Interior)

Architect: Shigeru Ban Architects

Location: New York, NY
Date: 2005

23

ISOMETRIC VIEW

FLOOR PLAN ON SITE

The Nomadic Museum was a temporary structure housing Ashes and

Snow, an exhibition of large-scale photographic works by artist Gregory
Colbert. It was built, initially, on pier 54 in New York City and open in 2005.
The pier is located on the Westside Highway at 14th street and is part of the

24

five-mile-long public Hudson River Park. The 67 feet wide and 672 feet long
museum provided a transitory environment that evoked the journey of the
exhibition and physically framed the artists work within the context of
conservation. The structural walls were comprised of twenty-foot long steel
cargo containers, which, when stacked and secured, create a rigid columnar
structure of steel. Architectural membrane filled the opening between the
containers. The roof was made of paper tube columns and trusses that span
the width of the exhibition space. The simple triangular gable design of the
roof structure and the ceremonial columnar interior walkway of the museum
eco the atmosphere of a classical church. The central walkway is bordered on
either side by bays filled with river stones over which the art work hang in
suspension between paper tube columns. The wooden walkway is composed
of recycled scaffolding planks.

25

b. CHANEL MUSEUM

(Interior)

Architect: Zaha Hadid Architects

Client: Chanel; Chanel Mobile Art
Location: Paris, France
Date: 2008-2010

26

FRONT AND BACK ELEVATIONS

TOP VIEW

FLOORPLAN ON SITE

27

Materials for the pavilion include: a faade constructed from fibre

reinforced plastic, the roof PVC, ETFE roof lights, the primary structure was
created from 74t steel and has over 1752 different steel connections, and the
secondary structure consists of aluminum extrusions.
The form of the 700 sqm. Chanel Pavilion is a celebration of the iconic
work of Chanel, unmistakable for its smooth layering of exquisite details that
together create an elegant, cohesive whole. The resulting functional, and
versatile architectural structure of the Pavilion is a series of continuous arch
shaped elements, with a courtyard in its central space. Artificial light behind
the translucent ceiling washes the walls to emphasize the arched structure,
and assists in the creation of a new artificial landscape for art installations. A
large roof light opening dramatically floods the entrance in daylight to blur the
relationship between interior and exterior. In addition to the lighting and color
effects, the spatial rhythm created by the seams of each segment gives strong
perspective views throughout the interior.

The 65 sqm. central courtyard has large transparent openings to the

sky above and is designed to host events as well as provide an area for
reflection after visiting the exhibition. The courtyard serves as an intermediate
28

space between the exhibition and public area of the Pavilion. In light of the
extensive shipping between cities, the steel structure has been designed to be
built in under one week, which is essential for an ephemeral pavilion. With a
direct visual connection to the courtyard, the 128 sqm terrace continues the
dialogue between the Pavilions exterior and interior. During an event, the two
spaces can be linked to become one large event zone.

Reflective materials allow the exterior skin to be illuminated with

varying colors, which can be tailored to the differing programs of special
events in each city. The dichotomy between the powerful sculptural mass of
the Chanel Pavilions structure and the lightness of its envelope create a bold
and enigmatic element. The Pavilions exterior develops into a rich variety of
interior spaces that maximize the potential to reuse and rethink space due to
the innate flexibility of its plan. The total fluidity of the Chanel Pavilions
curvilinear geometries is an obvious continuation of Hadids 30-years of
exploration and research into systems of continuous transformations and
smooth transitions. With this repertoire of morphology, Zaha Hadid is able to
translate the ephemeral typology of a pavilion into the sensual forms required
for this celebration of Chanels cultural importance.

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VI.

OTHER VITAL INFORMATION

SHIPPING CONTAINER DIMENSIONS

Standard External Dimensions

Container Length
Container Width
Container Height
> Standard

(20 FT)
6.06 m
2.44 m

(40 FT)
12.19 m
2.44 m

2.59 m

2.59 m
2.89 m

> High Cube

Standard Internal Dimensions
Internal Length
Internal Width
Internal Height
> Standard
> High Cube
End Door Aperture Width
End Door Aperture Height
> Standard
> High Cube
Floor Area
Cubic Capacity
> Standard
> High Cube
Weight

5.87 m
2.33 m

12.00 m
2.33 m

2.35 m

2.35 m
2.65 m

2.28 m

2.28 m

2.26 m

2.26 m
2.56 m

13.93 sqm

28.33 sqm

32.85 cbm
37.09 cbm

66.83 cbm
75.32 cbm

2.23 tonnes

3.35 tonnes

30

ADVANTAGES

Strength and durability

Shipping containers are in many ways an ideal building material. They are
designed to carry heavy loads and to be stacked in high columns. They are
also designed to resist harsh environments, such as on ocean-going vessels
or sprayed with road salt while transported on roads. Due to their high
strength, containers may be adapted for secure storage.

Modular
All shipping containers are the same width and most have two standard
height and length measurements and as such they provide modular elements
that can be combined into larger structures. This simplifies design, planning
and transport. As they are already designed to interlock for ease of mobility
during

transportation,

simply

emplacing

them

completes

structural

construction. Due to the containers' modular design additional construction is

as easy as stacking more containers. They can be stacked up to 12 high
when empty.

Labor
The welding and cutting of steel is considered to be specialized labor
and can increase construction expenses, yet overall it is still lower than
conventional construction. Unlike wood frame construction, attachments must

31

be welded or drilled to the outer skin, which is more time consuming and
requires different job site equipment.

Transport
Pre-fabricated modules can also be easily transported by ship, truck or
rail, because they already conform to standard shipping sizes.

Availability
Used shipping containers are available across the globe.

Expense
Many used containers are available at an amount that is low compared
to a finished structure built by other labor-intensive means such as bricks and
mortar which also require larger more expensive foundations. Construction
involves very little labor and used shipping containers requiring only simple
modification can be purchased from major transport companies for as little as
US $1,200 each. Even when purchased brand new they are seldom more
than US $6000.

Foundations
Containers are designed to be supported by their four corners making
a very simple foundation possible. As well the top four corners are very strong
as they are intended to support a stack of other containers.

DISADVANTAGES

32

Temperature
Steel conducts heat very well; containers used for human occupancy in
an environment with extreme temperature variations will normally have to be
better insulated than most brick, block or wood structures.

Humidity
As noted above, single wall steel conducts heat. In temperate climates,
moist interior air condenses against the steel, becoming clammy. Rust will
form unless the steel is well sealed and insulated.

Construction site
The size and weight of the containers will, in most cases, require them
to be placed by a crane or forklift. Traditional brick, block and lumber
construction materials can often be moved by hand, even to upper stories.

Building permits
The use of steel for construction, while prevalent in industrial
construction, is not widely used for residential structures. Obtaining building
permits may be troublesome in some regions due to municipalities not having
seen this application before.

Treatment of timber floors

To meet Australian government quarantine requirements most
container floors when manufactured are treated with insecticides containing

33

copper (2325%), chromium (3845%) and arsenic (3037%). Before human

habitation, floors should be removed and safely disposed. Units with steel
floors would be preferable, if available.

Cargo spillages
A container can carry a wide variety of cargo during its working life.
Spillages or contamination may have occurred on the inside surfaces and will
have to be cleaned before habitation. Ideally all internal surfaces should be
abrasive blasted to bare metal, and re-painted with a nontoxic paint system.

Solvents
Solvents released from paint and sealants used in manufacture might
be harmful.

Damage
Containers are damaged by friction, handling collisions, and force of
heavy loads overhead during ship transits, while in service. The companies
will inspect containers and condemn them if cracked welds, twisted frames or
pinholes are found, among other faults.

Weaknesses
Although the two ends of a container are extremely strong, the roof is
not. A limit of 300kg is recommended.

34

VII.

BIBLIOGRAPHY

Walsh, C. (2015, January 2). Prefab Modular Homes Inspired by

Shipping

Container

Architecture.

35

Retrieved

from

http://www.jetsongreen.com/tag/shipping-container-architecture

on

January 7, 2014

Pagnotta, B. (2011, August 29). The Pros and Cons of Cargo Container
Architecture.

Retrieved

from

http://www.archdaily.com/160892/the-

pros-and-cons-of-cargo-container-architecture/ on January 7, 2014

Smith, Z. (2005). Using Shipping Containers in Houses and Other

Buildings. Retrieved from https://firmitas.org/why.html on January 7,
2014

OReilly, N. (2015). Shipping Container Architecture. Retrieved from

http://www.shippingcontainerliving.com/shipping-containerarchitecture.html on January 7, 2014

(-). (2011, June 27). Juan F. Nakpil: First National Artist for Architecture.
Retrieved

from

http://noypicollections.blogspot.com/2011/06/juan-f-

nakpil-first-national-artist-for.html on January 7, 2014

(-). (2011). Trivias about Juan F. Nakpil, National Artist for Architecture.
Retrieved

from

http://beta.philippine-trivia.com/trivias/history/trivias-

about-juan-f-nakpil-national-artist-for-architecture.html on January 7,
2014

36

(-). (2011). THE NATIONAL ARTISTS OF THE PHILIPPINES.

Retrieved

from

http://www.ncca.gov.ph/about-ncca/org-

awards/architecture/juan_nakpil.php on January 7, 2014

(-). (2011, August 19). Pablo Antonio, National Artist in Architecture.

Retrieved

from

http://noypicollections.blogspot.com/2011/08/pablo-

antonio-national-artist-in.html on January 7, 2014

(-). (2011). THE NATIONAL ARTISTS OF THE PHILIPPINES.

Retrieved

from

http://www.ncca.gov.ph/about-ncca/org-

awards/architecture/pablo_antonio.php on January 7, 2014

(-). (2011). THE NATIONAL ARTISTS OF THE PHILIPPINES.

Retrieved

from

http://www.ncca.gov.ph/about-ncca/org-

awards/architecture/leandro_locsin.php on January 7, 2014

Sonoza, M.A. (2013, June 20). Architect IP Santos, Jr. Library

Collection Turnover to the College of Architecture Library. Retrieved
from

http://uplibrarybulletin.wordpress.com/2013/06/20/architect-i-p-

santos-jr-library-collection-turnover-to-the-college-of-architecturelibrary/ on January 7, 2014

(-). (2011). THE NATIONAL ARTISTS OF THE PHILIPPINES.

Retrieved

from

http://www.ncca.gov.ph/about-ncca/org-

awards/architecture/ip_santos.php on January 7, 2014

37

Zulueta, L. (2014, June 30). Jos Maria Zaragoza: Master builder.

Retrieved from http://lifestyle.inquirer.net/164674/jose-maria-zaragozamaster-builder on January 7, 2014

(-). (2011). THE NATIONAL ARTISTS OF THE PHILIPPINES.

Retrieved

from

http://www.ncca.gov.ph/about-ncca/org-awards/org-

awards-national-artist-list.php on January 7, 2014

(http://en.wikipedia.org/wiki/Shipping_container_architecture)

(http://www.residentialshippingcontainerprimer.com/built_with_shipping
_containers)

(http://www.productionfreight.com/wp-content/uploads/containerdimensions.pdf)

(http://www.dma-ny.com/site_sba/?page_id=307)

(http://en.wikipedia.org/wiki/Juan_Nakpil)

(http://en.wikipedia.org/wiki/Pablo_Antonio)

(http://en.wikipedia.org/wiki/Leandro_Locsin)

38

(http://www.locsinarchitecture.com/history/)

(http://historyofarchitecture.weebly.com/leandro-v-locsin.html)

(http://en.wikipedia.org/wiki/Ildefonso_P._Santos,_Jr.#Work)

(http://historyofarchitecture.weebly.com/jose-maria-zaragosa.html)

SPECIAL THANKS TO THEFREEDICTIONARY.COM, GOOGLE IMAGES,

AND NESCAFE

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