CHAPTER VI

Design Framework

6.1 Design Philosophy

“Life can bring you down but lift up put this shoe, get your feet inside this shoe and

TAKE ANOTHER STEP.”

.- Proponent

6.2 Design Concept

6.2.1 Major Design Concept

A Shoe Introducing Modern Filipino Architecture Inspired in

Industrial- Minimalist Style Bringing Nature and Aquatic Healing to

Patients

The most common architecture in this generation, Proponent’s choice is

Modern Filipino Architecture mixing the ambiance of industrial and minimalist style.

Different shapes is the proponent’s choice for the facade, walkways and bicycle

ways showing the hospitality of the project for the patients.The building concept

came up to this design because of a shoe. A shoes that will protect your feet a

million times you walk, run and jump. The project DOS will build people who is in the

wrong way of life, fixing wrong lines to go back in shape.Aquatic healing/ therapy

was one of the major highlights of the study that through architecture, the proponent

will give the design that will fit to the comfort and cure of the patients including

coconut palm and other vernacular materials that will represent Filipino Architecture.

6.2.2 Minor Design Concept

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 Circulation and Accessibility

To improve and maximize the interaction between the

occupants and the environment, a defining feature of the design is

a system of continuous open spaces that serves as a recreational

amenity link between individual developments

 Form

The first that will catch the attention of the occupants is the

aesthetic of exterior design which will define the ambiance of the

place. Variety in building forms should be employed to create visual

character and interest.

 Safety and Security

The safety and security will be considered no only for the benefit

of the project also the comfort and betterment of the future

occupants.

 Function

The integration of different spaces makes the planning at its

utmost. Planning of every space will be carefully considered with

architectural programming that would result a one great

harmonious function.

 Time

A timely and responsive development for the present and future

needs of the users.

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  Environment

The project aims to create an environment that will comfort

every user by means of architecture that will shelter nature.

 Acoustics

The acoustic designs will serve as controller and absorber of

sound, especially those unwilling sound, in every enclosed area.

6.2.2.1 Specific Design Consideration

To be able to meet the design standards of the National Building Code

of the Philippines.

6.3 Architectural Style Guide

Architecture in the Philippines

It is a reflection of the country's historical and cultural heritage. Most

prominent historic structures in the archipelago are based on a mix of indigenous

Austronesian, Chinese, Malay, American, and Spanish influences.

During three hundred years of Spanish colonialization, the Philippine

architecture was dominated by the Spanish influences. The Augustinian friars, along

with other religious orders, built a large number of grand churches and cathedrals all

over the Philippine Islands. During this period the traditional Filipino Bahay na bató

(Filipino for "stone house") style for the large houses emerged. These were large

houses built of stone and wood combining Filipino, Spanish and Chinese style

elements.

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 Figure 88 Filipino Architecture (San Miguel Corporation Headquarters)

Source: https://i.pinimg.com

After the Philippines was ceded to the United States of America as a

consequence of the Spanish–American War in 1898, the architecture of the

Philippines was dominated by American aesthetics. In this period, the plan for the

modern City of Manila was designed, with a large number of neoclassical

architecture and art deco buildings by famous American and Filipino architects.

During World War II, large portions of Intramuros and Manila were destroyed. In the

reconstruction period after the Second World War, many of the destroyed buildings

were rebuilt.

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 Figure 89 Francisco “Bobby” Mañosa: The Autumn of the Architect

Source: landasia.ph

Francisco 'Bobby' Mañosa (born February 12, 1931) is a Filipino architect

noted for his Filipino inspired architectural designs. His most notable work is The

Coconut Palace.

Mañosa devoted his life’s work to creating a Filipino identity in architecture.

Inspired by traditional vernacular forms such as the bahay kubo and the bahay na

bato, Mañosa combined traditional forms and indigenous materials with modern

building technology to create structures he felt were best suited to the Philippines’

tropical climate

Francisco Mañosa was born in Manila, Philippines. He currently lives in Ayala

Alabang Village as a retired but decorated architect. He has 3 children, all of whom

now work for the family company. Bambi, the eldest and only daughter, is the head

of the interior design department of Mañosa & Co, as well as the Director of the

Tukod Foundation. Dino acts as CEO of the entire Mañosa Group, and is the

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founder and CEO of Mañosa Properties. Francisco's youngest son, Gelo, continues

his architectural legacy as the CEO of Mañosa & Co.

While not working on his projects for the company, Francisco Mañosa was

also part of the jazz band The Executive Band. He played piano for the band.

In 2012, Francisco Mañosa had a fall in which he cracked two vertebrae

which had to be fused in order to heal. He also needed heart bypass surgury in

order to repair a life-threatening ventricular blockage.

Figure 90 Coconut Palace (Tahanang Pilipino)

Source: https://c2.staticflickr.com

For more than five decades he was a lone voice in the wilderness, preaching

“back to the bahay kubo and the bahay na bato,” while contemporaries such as Lor

Calma and Leandro Locsin explored the innovations of Le Corbusier, the Bauhaus

school and later Frank Gehry and Kenzo Tange.

The fact that he has situated himself at the polar opposite of the modernists

has made Mañosa something of a contentious figure in local architectural circles.

Although many younger architects such as Ning Encarnacion-Tan and Emmanuel

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Miñana have been strongly influenced by his work, just as many have rejected his

neovernacular approach, perhaps finding it too “Filipiniana” in its use of motifs and

patterns drawn from traditional structures.

The main objection to his style is summed up by architect Royal Pineda, as

quoted by Powell: “Modern architecture needs to respond to the lifestyles of today

and the future. It has to move forward. It is constantly evolving. We should not be

restricted by images of the bahay kubo and bahay na bato.”

As Powell noted, “One criticism leveled at Mañosa’s approach is that ‘you

cannot export it.’ But is that valid, for Mañosa has always been primarily concerned

with creating a Filipino identity in architecture?”

“In order to design Filipino, you must understand what it means to be Filipino,”

he was also fond of saying.

As early as the late 1950s, with brothers Jose and Manuel Jr.—both also

architects of note—he was already mining vernacular forms. The Sulo Restaurant,

an early Makati landmark, drew on motifs from Muslim Mindanao. One of the

brothers’ last collaborations, the corporate headquarters of San Miguel Corp., was

inspired by the Banaue rice terraces.

On his own, Mañosa pulled off a tour de force in the Tahanang Pilipino,

completed in 1980. Meant to be a guesthouse for visiting performers at the nearby

Cultural Center of the Philippines (CCP), the two-year project soon escalated into

the tropical baroque “Coconut Palace” as the architect explored new uses for the

coconut tree, as well as other indigenous materials, creating a number of previously

nonexistent downstream industries in the process.

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Organic extension

Mañosa’s work seemed to be an organic extension of the man himself: A

traditional family man, he excelled in designing supremely liveable homes that invite

family togetherness. A devout Catholic—a Papal Knight, no less—Mañosa also

excelled in religious architecture, designing the Edsa Shrine as well as the so-called

“nature church” in the Mary Immaculate Parish in Las Piñas, an inspired design

whose anahaw roof seemed to hover weightlessly over the worshippers, as they

knelt on pews which seemed to grow out of the ground.

Every project expressed the architect’s own quest for Filipino identity.

“I design Filipino, nothing else,” Mañosa declared early on and made good his boast,

even if it meant turning down lucrative jobs that didn’t meet his aesthetic standards.

He had built up a successful practice, especially after the Tahanang Pilipino. There

were also lean years, when he could have used the money being offered him to

design more conventional projects, but Mañosa has stuck to his guns all these

years.

The controversial nature of Mañosa’s life work could also explain why few

took up the cudgels for him when he found himself embroiled in the National Artist

Award scandal of 2009, even though he had been short-listed for the architecture

category years before and many still believe he is deserving of the award.

‘Contemporary Filipino’

In any case, it’s all water under the bridge now.

Mañosa & Co., the architectural firm that he built over half a century of work,

continues his mission of championing modern Filipino design.

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 The heavy lifting he leaves to his three children: Dino, who heads the

company’s property development arm; Angelo, who is chief designer for the

architectural firm; and Bambi, who is in charge of interior design and the company’s

educational foundation.

Although keeping to the house style, the firm has newer designs that push the

envelope of what modern Filipino architecture can be, incorporating technical

innovations that make the structures “green,” that is to say, climate-responsive and

energy-efficient.

They are no longer alone. “Contemporary Filipino” is the current buzzword in

au courant architectural circles.

While the popularity of the Mediterranean and California bungalow styles

remains undimmed, “tropical” Southeast Asian styles are all the rage, and Filipino

design is no longer the poor relation ushered in through the back door, but an equal

and increasingly popular option for young and well-heeled homeowners.

Young design hotshots such as Jason Buensalido have won acclaim for

designs that draw on the bahay kubo and bahay na bato for inspiration. It’s not just

budget homes; even deluxe multimillion-peso residences designed following modern

Filipino lines are no longer unheard of.

Bobby Mañosa has lived to see his dream finally realized: the lowly bahay

kubo and the quaint bahay na bato finally elevated to their proper place as

expressions of the native Filipino genius. It’s just ironic that his own role as Filipino

architecture’s most vociferous champion and tireless proselytizer isn’t more

generally acknowledged, a prophet unrecognized in his own land.

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 “It’s a generational thing,” says Angelo Mañosa. “The younger generation is

the privileged generation. They don’t really pay homage to the past. It’s really the

older architects, those in their 40s and 50s, who acknowledge my dad’s influence.

“He really planted the seeds that are bearing fruit today,” he continues. “He

wasn’t the only one, of course, but he was really one of the pillars, and it’s good that

we’ve come to a point as a country where we can take pride in being Filipino. Even

in such areas as fashion, people have become more nationalistic.

“People now have different interpretations of what contemporary Filipino

architecture should look like,” he continues. “Some can get very space-ageish; ours

is more toned down. We still carry the very simple bahay kubo lines, and that tends

to differentiate us. Our designs may not be very trendy, but they hold their own over

time. Twenty, 30 years on, they’ve stood the test of time.”

Modern Architecture

Figure 91 Frank Lloyd Wright

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 Source: https://www.theparisreview.org

Frank Lloyd Wright (June 8, 1867 – April 9, 1959) was an American

architect, interior designer, writer, and educator, who designed more than 1,000

structures, 532 of which were completed. Wright believed in designing structures

that were in harmony with humanity and its environment, a philosophy he called

organic architecture. This philosophy was best exemplified by Fallingwater (1935),

which has been called "the best all-time work of American architecture. His creative

period spanned more than 70 years.

Modern Architecture or modernist architecture was based upon new and

innovative technologies of construction, particularly the use

of glass, steel and reinforced concrete; the idea that form should follow function; an

embrace of minimalism; and a rejection of ornament. It emerged in the first half of

the 20th century and became dominant after World War II until the 1980s, when it

was gradually replaced as the principal style for institutional and corporate buildings

by Postmodern architecture.

Modern architecture emerged at the end of the 19th century from revolutions

in technology, engineering and building materials, and from a desire to break away

from historical architectural styles and to invent something that was purely functional

and new.

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 Figure 92 Falling Water

Source: https://media.architecturaldigest.com

Fallingwater is a house designed by architect Frank Lloyd Wright in 1935 in

rural southwestern Pennsylvania, 43 miles (69 km) southeast of Pittsburgh. The

house was built partly over a waterfall on Bear Run in the Mill Run section of Stewart

Township, Fayette County, Pennsylvania, located in the Laurel Highlands of the

Allegheny Mountains. The house was designed as a weekend home for the family of

Liliane Kaufmann and her husband, Edgar J. Kaufmann Sr., owner of Kaufmann's

Department Store.

After its completion, Time called Fallingwater Wright's "most beautiful job,"

and it is listed among Smithsonian's "Life List of 28 places to visit before you die."

The house was designated a National Historic Landmark in 1966.] In 1991, members

of the American Institute of Architects named Fallingwater the "best all-time work of

American architecture" and in 2007, it was ranked 29th on the list of America's

Favorite Architecture according to the AIA.[7] It and several other properties by

Wright were inscribed on the World Heritage List under the title "The 20th-Century

Architecture of Frank Lloyd Wright" in July 2019.

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