POST WAR ARCHITECTURE

INTRO –

During Post war, Philippine Architecture was dominated by the American style. In this period the plan
for the modern city of Manila was designed with a large number of art deco buildings, by famous
American and Filipino architects. During the liberation of Manila by the Americans in 1945 large portions
of Intramuros and Manila were destroyed. In the period after the Second World War many of the
destroyed buildings were rebuilt.

The devastation brought by the last world war II, coupled by economic exigencies gave away to the
extention of slowly emerging architectural concept to detach from the bondage of traditional forms.

1946

the independent Philippines expressed its identity by implementing Modernism through the utilization
of reinforced concrete, steel and glass, the predominance of cubic forms, geometric shapes and
Cartesian grids, and the absence of applied decoration. (ARCH’L STYLE)

1947

corps of architects and engineers were tasked to study the modern US and Latin American capitals and
formulate a master plan for Manila.

The 1950’s and 60’s

staple architectural element were the brise-soleil, glass walls, pierced screens, and thin concrete shells

Federico Ilustre
- Started his career in 1935 as a draftsman for Juan Nakpil and worked for a small amount of time
as a furniture designer in 1936 for Puyat and Sons. Became a licensed architect in 1937
- His designs are hybrids modern architecture and neo-vernacular; taking elements and
proportioning from vernacular architecture with the functionality of modern buildings.
- consulting architect from the 1950’s to 1970’s, worked on the building at the Elliptical Road in
Q.C , The centerpiece is the 66- meter high Art Deco Quezon Memorial Monument, composed of
3 pylons topped by winged figures representing the 3 island groups.

Quezon Memorial Monument

- Three vertical pylons clad in Bianco Carrara marble, whose white pureness and crystal-like
appearance evoke an ethereal effect on the structure. (representing the three main geographic
divisions of the country; Luzon, Visayas, and Mindanao), 66 meters (217 ft.) tall (Quezon’s age
when he died), surmounted by three mourning angels holding sampaguita (the national flower)
wreaths an ochre granolithic gleam sculpted by the Italian sculptor Monti
- Construction of the Quezon Memorial was begun in 1952 but proceeded slowly, in part due to
the cost of importing Carrara marble, brought in blocks and then carved and shaped on-site, The
monument was finally completed in 1978, the centennial of Quezon's birth. His remains were
 reinterred in the memorial on August 19, 1979. It was during that time that by virtue of a
presidential decree, President Ferdinand E. Marcos mandated the site as a National Shrine

Federico Llustre other known buildings/ structures

- Former GSIS Headquarters Building, Manila 1957 ;

- Veterans Memorial Building Manila, 1957( Demolished @ 1957) ;
- Independence Grandstand ( Quirino GrandStand ) ,
- Rizal Park, Manila 1949 ;
- Manila International Airport , Nichols Field, 1961 ( demolished; currently the site of the Ninoy
Aquino International Airport Terminal 2 ) ;
- Department of Agriculture Building, Quezon City ;
- National Housing Authority Building, Quezon City ;
- Planetarium, Rizal Park, Manila

The post-war doctrine was “form follows function” professed by the “3rd generation” architects,
namely,

- Cesar Concio,
- Angel Nakpil,
- Alfredo Luz,
- Otillo Arellano,
- Felipe Mendoza,
- Gabriel Formoso and
- Carlos Arguelles.

“Form follows function" is a principle associated with modernist architecture and industrial design in
the 20th century. The principle is that the shape of a building or object should be primarily based upon
its intended function or purpose.

1950s

- The 1950s also witnessed space age aesthetics and soft modernism which experimented with
the sculptural plasticity of poured concrete to come up with the use of thin- shell technology
- The height of building was limited by law to 30 meters with the amendment of Manila
ordinance NO. 4131, a high – rise fever redefined Manila’s skyline :
- Angel Nakpil’s 12-storey Picache Building, considered as the 1st skyscraper in the Phils.
- Cesar Concio’s Insular Life Building, the 1st office building to surpass the old 30-meter height
restriction

Cesar Homero Concio, Sr.

- November 30, 1907- April 27, 2003
- First University Architect of the University of the Philippines
- When the University transferred to Diliman from Padre Faura in the late 1940’s, Cesar Concio
was tasked to continue what Louis Croft has started.
- He is also one of the architects selected by President Roxas in 1947 to study the trends in
Architecture and Engineering to design the buildings of the Capital City, especially in his position
as the chief architect of the UP Diliman Campus.
- Known For : Insular Life Building, UP Palma Hall, UP Melchor Hall, Church of the Risen Lord

UP Palma and Melchor Hall

- The Palma Hall was designed by the first campus architect, Cesar Homero Rosales Concio. He
also designed the twin building of Palma Hall--Melchor Hall (known also as the College of
Engineering building) which is originally similar in structure and volume but modifications to the
buildings have been made in the subsequent years. It is said that the design for Palma Hall and
Melchor Hall was influenced by the popular City Beautiful Movement during that time.
- The main building is an asymmetrical structure and is divided into two wings, where the east
wing has four floors and the west wing with three, imposed by a central section. Each wing
features a continuous open balcony on each floor. The main entry of the building is a
rectangular three-story-high portal, where the balconies of the second and third floor overlook
it.
- The overall idea of the design is to make the structure well-ventilated and to let natural lighting
enter its halls. This shows Cesar Concio's architectural style of having a rational approach in
design resulting in logically arranged spaces, neatness of form and successful adaptation to
climate.
- also exhibits the architectural style that propagated during that time that characterizes an
interrelation of space and transparency in its design that reflects the Filipino quality of
lightheartedness.
- In the future, the said Institutes will move out of the pavilions to the new National Science
Complex, in order to give way for the other departments of the College of Social Sciences and
Philosophy to occupy them.

Church of the Risen Lord

- The Church of the Risen Lord was a stone throw from Leandro Locsin’s circular chapel, the Parish
of the Holy Sacrifice. The structure was proclaimed in the fifties as “an engineering masterpiece
with its double parabola.
- The chapel was saddle-shaped – a hyperbolic paraboloid with flat ends. The lower slopes of the
vaulted wall were punctured by windows and vertical louvers at both sides of the longitudinal
elevation.
- The glass-clad façade had an opening defined by a smaller arch that supported a cantilevered
porte-cochere. This entrance directly led to the processional nave, terminating the vision at the
altar. Just above the entrance, a choir loft could be ascended via a circular winding stair.
- It is one of the few churches that is modernly designed and lacks iconographic religious
references.

Angel E. Nakpil
- February 20 1914 - November 2 1980
- was a leading Filipino architect.
 - Nephew of architect and national artist of the Philippines Juan Nakpil.
- He graduated from the UST in 1931.
- Harvard-trained architect.
- He served as the City Planning Commissioner of Manila during the post-war reconstruction
years, from 1947 - 1949.
- He was a charter member of the United Architects of the Philippines, which was founded in
1975.
- Known For: Former PLDT Headquarters, National Press Club, The Lopez Museum, Picache
Building, Pasong Tamo ROche Building and Petrona Apartments Complex.

National Press Club building

- inaugurated on December 30, 1955 with President Magsaysay as sponsor, along with several
cabinet members and other government officials and other donors.
- The NPC building became a historic monument to the ideals of press freedom and unity among
colleagues in the country's newspaper industry
- It was designed by Architect Angel E. Nakpil and was constructed by Alberto T. Abaya.

The Lopez Museum

- The Lopez Memorial Museum was a four-story building with a triangular plan featuring upper
floors carried on cantilevers projecting from a center and from the ground up. The reinforced-
concrete structure, though massive, evoked a sense of lightness and visual buoyancy because
of the cantilevering. The upper floors had small windows with banded shades and maximum
wall surface to display art works. The shades minimized ambient glare from the outside.
- The triangular plan adapted to the limitations of the site. The unobtrusive base of the building
permitted an uninterrupted vista of the lush and verdant exterior landscape. A reflecting pool
that followed the triangular design gave the whole place a serene dignity
- The Lopez Memorial Museum transferred to Benpres Building on April 19, 1986, and eventually
its old home in Pasay was demolished. The museum now occupies the ground floor on Benpres’
right wing, originally intended for the Chronicle’s production department, including its huge
printing press.

Picache Building

- This 12-storey building is considered as the first skyscraper in the Philippines. It was built in
themid-1950s using the International Style architectural design reflected through rectilinear
forms; light, taut plane surfaces that have been completely stripped of applied ornamentation
and decoration; open interior spaces; and a visually weightless quality engendered by the use of
cantilever construction. Glass and steel, in combination with usually less visible reinforced
concrete, are the characteristic materials of construction

Alfredo J. Luz
- 30 December 1922 - 1989
- brother of National Artist for Sculpture Arturo J. Luz.
 - Worked briefly in Vancouver canada before starting his own firm in the Philippines
- AJ Luz was at the cutting edge of Philippine modernism in the late ’50s and early ’60s.
- His style embraced the form and line of modernism at first but changed his style to adapt to the
tropical climate to the Philippines.
- Used passive shading made from aluminum
- Would put pools and clumps of foliage to mitigate the hot sun.
Known For :
- Menzi Building Ayala Ave.,
- Amon Trading Building Buendia,
- L&S building on Roxas Blvd. , Dewey Blvd,.
- Fil-oil Refinery Service Building in Limay, Bataan,
- Ramon Magsaysay Centre, Quisumbing Building,
- WHO Building at UN Ave. Manila.

WHO Building

- International Style of architecture in the Philippines, the WHO building is a classic example of
its type, with concrete brise soleil, popularized by Le Corbusier and used by Philippine architects
of the time, and the thin concrete shell parabolic roof similar to Concio’s Protestant church in
the University of the Philippines Diliman campus.
- A major renovation wasn’t originally in the plans, but when Typhoon Ondoy hit the Philippines in
September 2009, submerging the WHO compound under about two meters of water, destroying
the carpeting and original wood flooring, and bringing to light issues of inadequate drainage and
obsolete sewage systems. This led to the addition of a second story in the auditorium building
with a lounge and a coffee room where people could continue discussions in smaller groups
outside the main conference hall.
- A glass elevator overlooking the pond and yard was added to the side of the WHO Manila
headquarters auditorium building to make the second floor handicap accessible.
- Provisions for the disabled were not standard in the 1950s, so these had to be installed as well.

Ramon Magsaysay Centre

- one of the first buildings in the country to introduce the column-free structural concept and
movable partitions in its interiors which allows maximum space utilization and adaptability.
- It was also one of the first buildings to use gypsum boards and metal runners for its interior
dividing walls.
- It was designed by Alfredo J. Luz & Associates, in consultation with Italian-American designer
Pietro Belluschi of Boston and Alfred Yee Associates of Honolulu, a pioneer in designing pre-
cast, pre-stressed concrete building structures.
- A structural system using pre-cast, pre-stressed concrete beams and multiple in-place floor slabs
and wall panels was adopted.
- The main column of the building is the cast-in-place concrete shear wall core over deep concrete
piles making the structure resistant to lateral forces due to earthquakes or wind load.

Otillo Arellano
 - Born in Manila on 1916 Passed away in a fire that razed their ancestral home in San Juan in
1981.
- He is the son of Arcadio Arellano and the nephew of Juan Arellano.
- One of the first architects of the post war generation that incorporated native symbols of the
Philippines to his architectural designs while applying a modernist approach.
- He rose into the Architectural Profession during the 50s to 60s, becoming the one of the
architects representing the Philippines in some International Expositions.
- He was also chosen by Imelda Marcos to restore the Metropolitan Theater.
- Awards: Patnubay ng Sining at Kalinangan, 1970
- PRC Outstanding Architect of the Year, 1977 Buildings
- National Bureau of Investigations Philippine Pavilion 1964, New York Otillo Arellano

Known for:
- Restoration of the Metropolitan Theater,
- Philippine Pavilion in 1964 World Exposition,
- Gateway of the Wallace field during the 1953 Philippines International Fair,
- National Bureau of Investigation Headquarters

Philippine Pavilion in 1964 World Exposition

- The Philippine Pavilion for the New York 1964 World Fair is a circular pavilion, tapped with gold
anodized aluminum roof in the form of the Filipino farmer's hat called the 'salakot'.

- Its main feature was the twelve huge panels of carved relief in fine acacia wood radiating from
the center column at the ground floor which are interpretations of the paintings of the country's
outstanding muralist Carlos "Botong" Francisco.

Gateway of the Wallace field during the 1953 Philippines International Fair

- The pavilions were distributed among the international and local sections on either side of a
long central reflecting pool. The pool and the fair’s entrance were built behind the Rizal
Monument.
- The main axis was formed by this pool connecting the monument with a landmark tower —
Arellano’s "Gateway to the East." This distinctive arch was an art deco-esque structure topped
by an abstracted salakot.
- Behind this "gateway" was a large circular plot that housed the Catholic pavilion designed by
architects Arturo Mañalac and Evelio N. Valdes. The prominence given this pavilion reflected
the sensibilities of the era and the influence of a Catholic Church that survived American
secularization and two wars. (It was ironic that many of the motifs used in the fair’s architecture
were from Mindanao, or what was referred to as the Mohammedan south.)

Felipe Mendoza
- May 26, 1917 - April 28, 2000
- also an Physical Planner
 - He formed a partnership with Gabino de Leon and Homero Ingles but formed his own
architectural firm in 1951.

Awards :

- Patnubay ng Sining at Kalinangan, 1976 ;

- UAP Likha Award, 1982 ;
- PRC Outstanding Architect of the Year, 1982

Known for:

- Designer of the Philippine Veterans Bank Headquarters,

- Batasang Pambansa ( Philippine House of Representatives ),
- The Church of Jesus Christ of Latter Day Saints, Development Academy of the Philippines
-

The Church of Jesus Christ of Latter Day Saints

- The site is situated on a 3.5 acre lot with the structure having an exterior finished in ceramic tiles
with a modern adaptation of a six-spire temple design. Rooms consist of a baptistry, celestial room,
four ordinance rooms, three sealing rooms.

Batasang Pambansa

- The Batasang Pambansa was designed in the classic Brutalist style with distinct Filipino
elements, by way of a steeply-pitched Bahay Kubo-style roof. The hall has a high, and very dramatic
soffit ceiling with multiple recessed lights in the center that mimic the effect of sun streaming
through a skylight.

- Brutalism is a design movement from the 1950s-70s that spawned massive, linear structures
with large expanses of raw concrete (beton brut actually means “raw concrete”). This was a popular
type of style for institutional and government buildings (other local examples are the Cultural Center
of the Philippines and the Heart Center along Quezon Avenue).

Gabriel Formoso
- started his career in the 1950’s and by the 1960’s, he was already successful and became the
most popular architect of the residences of the posh Makati villages.
- he was also one of the people selected in 1963 to the planning and working committee for the
future Pamantasan ng Lungsod ng Maynila.
- Known for his modernist design, he describes his work as the embodiment of “ Honesty of
conception and the principled concern for human requirements transcending the irrelevancies
of prejudice and instinct “
- Focuses his designs on volumetric manipulations, making his works simple and functional rather
than being excessive.
 - Awards: PRC outstanding architect of the year, 1979 ; patnubay ng sining at kalinangan, 1977 ;
Republic Cultural Heritage Awards, 1973 ; United Architects of the Philippines Likha Award, 1990
- Known For : Bangko Sentral ng Pilipinas, La Tondera Building, G.T. International Tower, Asian
Institute of Management, The Peninsula Manila

Banko Sentral ng Pilipinas

- It is one of the Postwar styles of Philippine architecture classified as “Post-Independence /

Post-Colonial”, specifically, Brutalism. It is a harmonious composition of massive concrete blocks
relieved of their severity by continuous horizontal bands of windows.

The Peninsula Manila

- The Peninsula was typical of his - Formoso, edifices, distinguished by its bush hammer finish and
exposed concrete aggregate façade. Indoors, his Brutalist design was softened by a rather lush
tropical feel with lots of tall plants and cozy, comfortable furniture.

- Renovation projects include the outer structures dominated by numerous small dark panes of
glass, rose arches in the neoclassical style, echoing Formoso’s more recent projects, including the
Pacific Star building down the street. Inside, more dramatic changes. The casual, lounge-like feel of
the Lobby was transformed into a more elegant space, with National Artist Napoleon Abueva’s
majestic Sunburst sculpture affixed to the top of the 50-foot-high ceiling setting the tone.

- Taking the place of the utilitarian staircases on both wings of The Lobby are a grand pair of
marble winding staircases, the most photographed in the country, according to the hotel.

Carlos Arguelles
- Studied abroad at Massachusetts Institute of Techonology where he obtained his Bachelor in
Architecture in 1941 and Masters in Architecture in 1946
- Served as a professor in Design at the UST College of Architecture and Fine Arts
- Appointed as Dean of the UST College of Architecture and Fine Arts from 1954 to 1959
- Involved in a number of professional societies such as the American Institute of Architects and
the Philippine Institute of Architects ; Rotary Chamber of Manila
- Awards : Papal Award “ Pro Ecclesiae et Pontifce “ , 1996 ; “ Centennial Honors for the Arts “
CCP 1999 ; “ Thomasian Centennial Award “ from UST.
- Known For : Philippine National Bank, Escolta ; Metropolitan Bank and Trust Company Building ;
Aglipayan Church ; International Rice Research Institute Building ; Philam Life Building

Philam Life Building

- Arguelles was a proponent of the International Style in the Philippines, and the Philam Life
Building certainly shows off his prowess for it. The International Style is characterized by a distinct
focus on volume and balance, emphasizing the natural beauty of modern forms without the need
for decoration or ornament.
- The Philam Life Building is a good example of perfect balance between rectilinear and organic
forms. The magnificent sculptural entrance creates a dramatic first impression for everyone entering
the building. It is made out of molded thin shell concrete and has circular perforations to allow
natural light in.

- The rear entrance, though not as majestic, still manages to capture visual interest. It connects to
a series of pedestrian walkways and is composed of parabola-shaped cutouts.

- A generous walkway flanks the entire frontage of the building, with ample greenery that
provides a pleasant view for the visitors and guests.

- Upon entering, one is greeted by a spacious lobby with enormous circular columns and high
ceilings. Though initially imposing, the interesting artwork and carvings that adorn the walls provide
warmth and life to the space. The lobby also opens up to a large central courtyard which makes the
area look more inviting. It also allows more natural light into the building's lobby and the other
spaces surrounding it.

- Probably the most famous (and in recent news, the most controversial) part of the Philam Life
Theater is its auditorium, situated in the left portion of the building. The 780-seat theater has walls
paneled with narra, and reputedly has one of the best acoustics in the country.

- The acoustical design was done by Bolt, Beranek and Newman, the same names behind other
world-famous performance halls such as the Sydney Opera House, UN Assembly Hall, and Lincoln
Center's Avery Fischer Hall.

Philippine National Bank Building (Escolta)

- The building is 12 stories: a nine-storey tower sitting on a three-storey podium. For all its
relative height, it was built at a time when the country seemed to be at the height of its powers ,
considered second only to Japan in terms of its economic strength.

- Diminishing the sense of mass is the brise soleil, or sunbreaker screen, that rests about a meter
away from the inner skin of full-height glass windows that encloses the interior. like the volada, or
exterior layer of wood louvers and capiz shell windows that lightly wraps the second floor of the
traditional Filipino house, or the barong tagalog the traditional men’s shirt of embroidered
pineapple fiber which floats away from the body, cooling while clothing.

The modern architecture of the Philippines following World War II has been strongly influenced
by the modern architecture of the United States, as compared to Southeast Asian and European
influences. Traces of Filipino modern architecture can be seen in the contemporary mainstream
Filipino architectural scene.

The quest for Filipino style has been considered since the 1950s, in response to the strong American
influence on architecture and other cultural fields, such as literature and painting. The American
modern architecture of the “International Style” left no room for domestic expression. However, in
the late ’60s and ’70s, a world-wide wave of regionalism in modern design emerged.

The ’50s saw the dawn of tropical modern architecture, which differed from the occidental or
American modern architecture in other areas of the world such as Africa and Latin America. Tropical
modern architecture is an adaptation to the tropical conditions of the Philippines, particularly with
regard to the climate. Tropical modern architecture is manifest in the presence of solar control
devices such as the sun-shade, which is ubiquitous in the tropics, and slight domestic touches in
design among the tropical areas. Distinguishing the Filipino style from tropical modern architecture
is important to the understanding of Filipino style, which expresses the cultural identity of the
Philippines.

In 1960s

- The filipinos incorporated some modernist formal principles by employing local materials and
referencing vernacular traditions

In 1970S

- The former first lady Imelda macos pursued a singular “National architectural style” to
concretize the official maxim of isang bansa, isang diwa
- The oil crisis in 1973 gave rise to a movement for energy – efficient design called Tropical
Regionalism
- Examples: Manosa borthers’ san Miguel corporation Headquarters building
- Felipe mendoza’s development academy of the philippines
- Locsin;s Benguet corporation Building

- There are considered to be two distinctive models of traditional architecture for most Filipino
architects: bahay kubo and bahay na bato Even major modernism architects such as Locsin and
Manosa have always referred to the significance of these models as the traditional architectural
heritage of the Philippines .
- The bahay kubo is the most indigenous domestic house and the bahay na bato, which appeared
in the 19th century as the domicile of choice among the wealthy populace, is a product of the
three centuries of interchange between the Filipino and Spanish peoples.

LEANDRO LOCSIN

- Leandro V. Locsin designed several residences and hotels adopting these traditional methods.
Although he designed surprisingly modern structures, such as the Chapel of the Holy Sacrifice
with RC shell construction in 1955, his interest remained rooted in contemporary Filipino style.
- Locsin’s interest in Filipino culture is not limited to architecture, and he is particularly interested
in Filipino ceramics.
- Locsin is famous for his collection of early ceramics and, in 1967, together with his wife Yulo,
wrote a book entitled “Oriental Ceramics discovered in the Philippines”. Locsin’s deep
understanding of traditional Filipino culture and his sophisticated sense of design has helped
him to synthesize traditional idioms into modern architectural idioms.
- His most important residential work may be his own house, which was completed in 1963.
- The house features a spacious interior and trellis partitions (calado).
- Also, in the renovation of the Manila Hotel, one of most prestigious old hotels in Manila, he
designed fine calado in the reception hall so as to retain the atmosphere of the traditional
Filipino style.
- At the time, the use of calado as a partition by a modernists was seen as somewhat unusual;
however the space surrounded by the calado is not rigid, but rather fluid, and this characteristic
is related to the modern sense of space.

Francisco "Bobby" Mañosa

- Father of Philippine Neo-vernacular Architecture

- He intensively studied, mastered and interpreted the untapped DNA of Philippine architecture,
especially the Bahay Kubo and Bahay na Bato. He also pushed for the use of indigenous
materials such bamboo, coconut, rattan and capiz, among others for architectural finishes,
furniture and furnishings.
- he pioneered the sustainable architecture—way before this environmental design movement
broke ground in the Philippines. He conceptualized the “edible garden”—a design where plants
surround the external walls of the structures. This is quite evident in the San Miguel Building—
one of his major works—with its rice terrace–like green balconies and “tukod” (inwardly slanting
windows).
- While he had journeyed alone in his battle to uplift and promote Philippine architecture,
Mañosa wholeheartedly defended his philosophy and developed the “Filipinism” design style.

One of his many landmark projects included:

- the Tahanang Pilipino (or the Coconut Palace), where he invented numerous coconut product
finishes with suppliers and orchestrating many artists and artisans to participate in the different
rooms showcasing Philippine culture; the internationally awarded Amanpulo Resort, which
celebrates deconstructed “bahay kubos”; Our Lady of Peace Shrine in EDSA, Quezon City;
Metrorail Transit System Stations for LRT 1, circa 1980s; Quezon Memorial Circle Development
Plan; Chapel of the Risen Lord in Las Piñas City, which was the cover of his first published book,
Designing Filipino, among others.

Many Filipino modern architectures have little concern with Filipino style and are concerned
primarily with American contemporary style. However, two outstanding architects, Francisco
Manosa and Leandro V. Locsin, have pursued modern Filipino style and have contributed greatly to
the establishment of this style. Although these architects have their own characteristic designs, they
share the quest for the Filipino style.

Sharing the essentials of the style with other architects, beyond region or generation, who are
concerned with their own cultural identity is important in order to understand the activities of these
two architects.
Manosa and Locsin were contemporary, and worked under similar conditions with respect to, for
example, construction technology, economic background, and social needs, whereas most other
architects were unable to achieve the Filipino style.

The works of these two architects have always clearly reflected the modern condition, while
demonstrating the ability to overcome problems through creative endeavor resulting in cultural
adaptation. This effort clearly shows the synthesis of insights into each conditions and the necessity
of design.

Francisco Manosa and Leandro V. Locsin have a deep understanding of the history of the
Philippines. The post-modernism architecture of the world is supported by strong interest in history,
and it may be impossible to establish the Filipino style without such an understanding.

The pursuit of architecture as the product of the Filipino culture for the sake of the enrichment of
the Filipino culture is an ongoing problem for architects seeking to realize the Filipino style while
designing for present-day expectations.