Module History of Architecture 4philippine Architecture

CHAPTER 1: INTRODUCTION TO PHILIPPINE CIVILIZATIONS AND ARCHITECTURE
OBJECTIVES:
At the end of the lesson, the learner will be able to:
1. Recognize and value the history of Philippine Architecture and the influence of different
ethnic cultures
2. Discover and learn the rich culture and architecture of the Filipino ancestors
3. Learn the similarities and differences of influences in the Philippines and other Asian
countries
PRE-TEST:
Direction: Encicle the letter of best answer to each statement.
1. Other famous name of the Philippines

a. Land of the Morning b. Las Islas Filipinas
b. Ma-I d. Pearl of the Orient Seas
2. The name of Narra in the Ilocos Region which is referred to as the queen of Philippine Trees.
a. Dungon b.Nega c. Asana d. Apalit
3. It is known as the Southwest Monsoon in the Philippines.

a. Amihan b. Habagat c. Buhawi d. Ipo-ipo
4. A group of people made up of 30 to 100 families; the smallest political unit of Tagalog society.
a. Barangay b. Town c. Hamlet d. Sitio
5. The second largest island of the Philippines with an area of 36,906 miles.
a. Luzon b. Visayas c. Minadanao d. Bohol
6. He is referred to as the Tagalogs’ supreme being, creator of heaven, earth and men.
a. Apolaki b. Apo Malyari c. Kidul d. Bathala
7. Aside from airiness, it is another characteristic of Philippine Architecture especially in its domestic
structures brought about by indigenous materials that the early Filipinos used
a. Massiveness b. Lightness c. Elegance d. Refinement
8. Visayan people who have tattooed in their body.

a. Pintados b. Hundawas c. Bangut d. Spartan
9. The oldest and largest cave located southwest of Palawan.

a. Callao b. Tabon c. Biak na Bato d. Sagada
10. A type of house occupied only in time of war.

a. Pitch House b. Tree House c. Cave d. Tent
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DISCUSSIONS:
Geographical
The Philippines, known as the Pearl of the Orient Seas, is located in the southeast of
Asia. It is an archipelago of 7,100 islands with a total land area of 115, 707 square miles or
299,681 square kilometers. It is a country of volcanic origin which makes it part of the Pacific
Ring of Fire. It is bounded by Taiwan on the North, Pacific Ocean on the East, West Philippine
Sea in the West and Indonesia on the South.
Generally, the Philippines is divided into three major islands: Luzon with an area of
40,814 square miles, Visayas, and Midanao with an area of 36,906 square kilometers. The
Philippines is also divided into the following regions:
1. Region I: Ilocos
Ilocos Norte La Union
Ilocos Sur Pangasinan
2. Region II : Cagayan Valley

Batanes Nueva Viscaya Quirino
Cagayan Isabela
3. Region III : Central Luzon

Nueva Ecija Bulacan Aurora
Pampanga Bataan Zambales
4. Region IV-A: CALABARZON

Cavite Laguna Batangas
Rizal Quezon
5. Region IV-B: MIMAROPA

Occidental Mindoro Marinduque Palawan
Oriental Mindoro Romblon
6. Region V: Bicol
Camarines Sur Catanduanes Sorsogon
Camarines Norte Albay Masbate
7. Region VI: Western Visayas

Antique Aklan Capiz
Negros Occidental Iloilo
8. Region VII: Central Visayas

Negros Oriental Cebu
Siquijor Bohol
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9. Region VIII: Eastern Visayas
Northern Samar Southern Leyte Biliran
Western Samar Northern Leyte Eastern Samar
10. Region IX: Western Mindanao

Zamboanga del Norte Basilan
Zamboanga del Sur
11. Region X: Northern Mindanao

Bukidnon Misamis Occidental Cagayan De Oro City
Camiguin Misamis Oriental Lanao del Norte
12. Region XI: Davao

Davao del Sur Davao Oriental
Davao del Norte Compostela Valley
13. Region XII: SOCCSKSSARGEN

North Cotabato Sultan Kudarat
Sarangani South Cotabato
14. Region XIII: CARAGA

Agusan del Norte Surigao del Norte Dinagat Islands
Agusan del Sur Surigao del Sur
15. National Capital Region (NCR)

Manila City Navotas City Makati City
Quezon City Malabon City Paranaque City
Pasay City San Juan City Las Pinas City
Caloocan City Mandaluyong City Muntinlupa City
Marikina City Pasig City Taguig City
Valenzuela City Pateros
16. Cordillera Administrative Region (CAR)

Abra Benguet Ifugao
Apayao Benguet Kalinga
Mt. Province
17. Autonomous Region of Muslim Mindanao (ARMM)

Lanao del Sur Maguindanao Basilan
Sulu Tawi-tawi
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Geological
The Philippines is physically made up of mountains and plains, valleys and volcanoes
and its bodies of water are made up of bays, lakes, rivers, waterfalls and seas. The chief
agricultural products are rice, coconut, corn, hemp, tobacco, sugarcane and tropical fruits. It has
the world’s longest discountinuous coastline (34,000 km.). its forests provide timber and forest
products such as ipil, molave, yacal, guijo, apitong, tanguile, red and white lauan, almon,
palosapis, Benguet pine, tindalo, kamagong and narra, referred to as the queen of Philippine
trees. Narra, which is found in different regions, has various names: asana in the Tagalog
provinces, dungon in the Ilocos Region, apalit in Central Luzon, nega in Visayan Region and
Palawan, and bitali in the southern provinces.
The country is also rich in minerals like gold, chromite, nickel, deuterium and copper.
Clay, limestone, marble, adobe, granite, coral stone, asbestos, lime, gravel and sand are also
abundant in the Philippines. Bamboos, coconut trees, palm, nipa, and rattan are indigenous
materials found all over the country.
Climatic
Philippine climate is generally classified into dry and wet season. Dry season occurs
from November to June. November to February are cool months while March to June are the
warm and humid months. Wet season occurs from July to October wherein rains and typhoons
are experienced.
The prevailing winds in the country are the Northeast Monsoon or amihan and the
Southwest Monsoon or habagat.
Religion
The Philippines is the only Christian nation in Asia. Ninety three percent (93%) are
Catholics or Protestant Christians, followed by Islam and the Iglesia ni Cristo.
The inflow of Spanish missionaries in the Philippines started when Magellan planted the
cross after the first mass in Limasawa on March 31, 1521. Christianity prevailed in the
archipelago as well as the growth of church architecture.
The Islam came to southern Philippines in 1380 and the first Islamic sultanate was
established in Jolo in 1450.
The Filipinos already believed in the existence of a supreme being before the Spaniards
came. The Filipinos believed in the cult of the dead and the cult of the spirits. They venerated
the birds, the trees, the mountains and the hills, the rivers, brooks and lakes. The animism was
further strengthened by the migration of the first waves of Indonesian and Malays who were
animists.
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The early religious worship included the venration of the spirits and ancestors. The
spirits were two types: the good spirits called anitos and the bad spirits called mangales.
The Filipinos were also believers in underworld creatures like the nuno sa punso,
aswang, kapre, tiyanak, duwende, and manananggal. They also believed in the power of the
talisman or agimat. They had also beliefs that normally guided their way of life and their
architecture.
Bathala – Tagalog’s supreme being, creator of heaven and earth and men; Kabunyan in Ifugao;
Laon or Aba in Bisayas
Kaptan – for the Visayans, he was endowed with the power to raise the dead to life
Sumpoy – the god of the underworld who received the dead
Sidapa – the Visayan god who determined the length of life on earth
Lalahon – the goddess of plants and harvests; Lakampati in Tagalog
Barangaw – the goddess of the rainbow
Dal’lang – the Ilokano goddess of beauty
Malyari – the Zambal god of power and strength
Poko – the Tagbanua god of the sea
Kidul – the Kalinga god of thunder
Kolyog – the Ifugao god of earthquakes
Apolaki – the Pangasinan war god
Social, Cultural, Economic, Political
The first people to settle in the country were the Negritoes, who came from the Asian
mainland and whose culture belonged to the Old Stone Age (Paleolithic Age). They were
followed by the sea-faring Indonesians who belonged to the New Stone Age (Neolithic Age).
After the second wave of Indonesians had settled in the Philippines, the Malays, considered as
the ancestors of the Bontoks, Ilongots and Kalingas, arrived and settled in most parts of the
country.
The Philippines is a nation of cross-cultural races. The country is unique with four
cultural heritages – Asian, European, Mexican and American.
The early form of government established by the Filipinos was the barangay system
headed by a chieftain called datu or raha, hari or lakan in bigger barangays. A barangay was
made up of 30 to 100 families. The family was the basic unit of Philippine society, thus strong
and close family relationships characterized every Filipino home.
Three Social Classes:

1. Nobles – called maharlikas; the highest social class
2. Freemen – called timawas; the middle-class members
3. Slaves – called alipin; the lowest social class
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From the book, Barangay of Henry William Scott, the Spaniards called the natives of
archipelago as INDIOS.
Sinibado de Mas – in his 1842 population estimates more neutrally divides Spanish and
Filipinos into the following categories
Filipinos – indios
Espanoles Filipinos – Spaniards born in colony
Espanoles Europeos – Spaniards born in Spain
1-2 Million – inhabitants in the archipelago at the time of Spanish advent, according to the latest
historical study of Philippine population.
Friars speculated on the origins of the Filipino people, and believed that the Negritos
were aboriginal inhabitants of the land while Ferdinand Blumentritt derived the Filipino people
from 3 waves of Malay migration into the archipelago:
1st wave – he theorized, displaced the Negritos they found in the coast, but married their women
2nd wave – droved the first into interior mountains, and became the progenitors of the present
lowland population
3rd wave – introduced Islam
The Beyer Wave Theory
First came the Java Man, and then the “Little People” – Australoid Sakai, Negritos and
Proto-Malays – followed by two waves of Indonesians – Type A and Type B – with a smaller
wave of Papuans, who were succeeded in turn by separate Northern and Southern Malay
waves and finally the Jar Burial People.
To these were added two people from 19 th century folklore – the Orang Dampuan in Sulu and
the ten datus of Borneo said to have purchased Panay islands from native Negritos
The 1st waves walked dry-shod into the archipelago together with Pleistocene mammals over
land bridges. Since submerged, later ones came from China, Vietnam, Borneo and the Celebes
in dugout canoes or plank built boats.
The Proto-Malays carried blowguns, bows and arrows; Northern Malays introduced
bronze and rice terraces; and the Southern Malays were blacksmiths, weavers and potters.
Java Man was powerfully muscled and hairy; Type A Indonesians were tall, light skinned
and thin lipped;and Southern Malays were tattooed.
Most prehistorians today postulate two movements of people into the islands of Southeast Asia
and the Pacific to account for the present population:
1st – AUSTRALOID – characterized by very dark pigmentation, ex. Philippine Negritos
2nd –SOUTHERN MONGOLOID – the brown race; also called AUSTRONESIAN, because their
descendants speak languages belonging to that family.
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Philippine Languages
Philippine languages belong to the Austronesian language family. By the time of

Spanish advent, Austronesian speakers had occupied the whole archipelago, absorbing or
displacing the sparse populations already present, as their original tongue diversified into three
main branches:
Northern Branch – Luzon languages like Ilocano, Ibanag and those on the Cordillera
Southern Branch - almost all languages spoken in Mindanao
Central Branch – it included not only in Visayan, but all the languages between Pampanga and
Butuan as well as Tausug in Sulu
Lutaw or Lutaya - Non-Philippine Austronesian language that entered from boat people and
diversified into Sama-Badjaw languages
A Word about Orthography

Spanish orthography confuses B and V
Non-Castillans confuses S and Z
Spanish alphabet had no W and NG
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Physical Appearance of Filipinos
Descriptions of the color of Filipinos by Spaniards in the 16 th century were often

contradictory. They recognized the Filipinos as one race of medium stature, black hair and dark
skin. However, Filipinos were not all the same shade nor were they all necessarily darker than
Spaniards. Women were generally lighter than men due to their occupation like weaving which
kept them less exposed to the sun.
Decorative Dentistry
The idea that only wild animals had white teeth was widespread in Southern Asia.
SANGKA – Visayan term for tooth filing, leveling and it was done by an expert with a slender
stone file, who sometimes removed half the tooth in the process. Variations included opening
the space between teeth, or grinding them to sawtoothed points, but the desired effect was
always to render them even and symmetrical
The teeth were colored in different ways after filing. The most impressive examples of Visayan
dentistry were its goldwork.
PUSAD – general term for teeth goldwork, whether they were inlays, crowns or plating
MANUNUSAD – the dental worker, a professional who got paid for his services
HALOP – covering, included both plating held on by little gold rivets run through the tooth,
actual caps extending beyond the gum line, also secured by pegs
BANSIL – gold pegs inserted in holes drilled with an awl called ulok, usually in a thumbnail-
shaped field that had been filed into the surface of the incisors before hand
Tatooing
The Spaniards called the Visayans “PINTADOS” because they were “painted” – that is
tattooed.
Tattoos were symbol of male valor. Tattoos were required for public esteem by either
sex. Celibate transvestites were socially acceptable MAPURAW, naturally colored.
BATUK – general term for tattoos – or PATIK in some places; also meant the marking of snakes
or lizards or any design printed or stamped on
KULMAT – to strut around showing off new tattos
HUNDAWAS – stripped to the waist for bravado
SPARTAN ELITE –those with tattoos right up to the eyelids
BIRO – was both the soot and the ink
BAUG or BINOGOK – the healing period when the wounds were still swollen
MUD or LUSAK – if infection caused the designs to be muddied
Different regions were no doubt distinguished by different patterns.
LABID – the distinctive inch-wide lines, both the straight ones and those which go snaking or
zigzagging up the leg to the waist
ABLAY – those on the shoulder
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DUBDUB – those on the chest up to the throat
DAYA-DAYA or TAGUR in Panay – on the arms
BANGUT - (a muzzle or halter) were the ones that made of the face such a frightening mask,
also called LANGI, “gaping” like a crocodiles jaws or the beak of a bird of prey
HINAWAK – from hawak, a tight lean waist – where men tattooed below the waist
LIPONG – heroes tattooed all over except under the G-string
Skull Moulding
Mothers give their new born children a skull shape which conforms to the local canon of
beauty. Ancient Visayan considered broad faces with receding foreheads and flat noses
handsome and compressed their babies’ skulls to achieve them.
Visayan skull moulding was done with a device called TANGAD, a comblike set of thin
rods bound to a baby’s forehead by bandages fastened at some point behind. This prevented
the forward growth of the frontal bone and directed it backward so that the head grew higher at
the rear.
TINANGAD – adults with the desired tangad profile
PUYAK – flatness of the back of the head
ONDO – opposite of tangad; is itself a comment on the Visayan attitude toward unmoulded
skulls; means tight packed or over stuffed – like a hunchback’s hump
Penis Pins
Visayan men wore a pin through their penis for the greater stimulation of their sex
partners.
Tugbuk is a pin which is inserted in childhood; they were small bars of brass, gold, ivory
or lead, or a little tube of tin driven across the head of the penis to protrude on both sides far
enough to received decorations which ranged in size from simple rivets to hold them in place, to
rosettes as large as the rowel of a horseman’s spur. But generally, they served to anchor a kind
of ring or cogwheel with blunt teeth called Sakra.
In the case of the rings, one or more were pressed on, like finger rings, behind the pin;
but the penis wheels had opposed to accommodate the tugbuk. But in use, these ornaments
required manipulation by the woman herself to insert, and could not be withdrawn until the male
organ was completely relaxed, a condition Visayans referred to as kinamakawing whether in
humans or canines
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Circumcision
The practice of circumcision was widespread in the Visayas. It was called TULI and was
technically supercision rather than circumcision – that is, cut lengthwise above rather than cut
around. The operation was performed informally with no particular ceremony and was thought to
serve hygienic purposes.
PISOT – uncircumcised; an unripe fruit or green youth
17th Century – the word ISAM came to be used in Visayan for circumcision according to the
Muslim rite and MAGISLAM meant to perform the ceremony
Pierced Ears
Both men and women wore earrings. They had their ear pierced; men with one or two
holes per lobe and women with three or four to accommodate a variety of ornaments.
HOGAR or TOSOK –the holes which were made with a copper needle
KULOT or SISIP – operation if the distended lobes tore out, the ends could be trimmed and the
raw edges sutured together to heal whole again
BINGBING – persons without pierced ears
BIBIT – those whose earlobes were naturally too short for successful piercing and distending
Hair
Hairstyles usually differed between one community and another and could go in and out
of fashion quickly. All Visayans had long hair because to cut hair was a sign of deepest
mourning or punishment.
Facial hair – and in some places, body hair, too – was removed with tweezers or a pair of clam
shells
Both men and women had their eyebrows shaved into thin arcs likened to a crescent
moon.
Women took pride in a great mass of hair, gathering up ankle-length tresses into a
chignon as large as the head itself.
Flowers, sesame oil or a perfumed ointment called BULAT, compounded of many
ingredients, were worked in for fragrance
Datus preferred the bolder scent of mammal excretion like ambergris, civet or musk
Clothing
Visayan clothing varied according to cost and current fashions and so indicated social
standing. The basic garments were the G-string and tube skirt.
LIHIN-LIHIN – more prestigious clothes added for public appearances and on formal occasion –
blouses and tunics, looses smocks with sleeves, capes or ankle-length robes
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G-string or BAHAG – a piece of cloth 4-5 m long and sometimes less than 1m wide; the ends
hanging down were WAYAWAY – ampis in front and pakawar behind – and were usually
decorated
BINKISI – an expensive G-string with fancy work called GOWAT, and if it had a fringe of 3-
strand, lubid cords, it was LUBITAN
WATID – a G-string dragging on the ground, a deliberate sign of mourning
Men also wore a blanket or another length of cloth as clothing
SINGAL – was to put one on like a G-string
TAMPI – simply to wrap it around the hips, tied with a knot in front and not passed
between legs
ALAMPAY – meant ot wrap anything around the shoulder or over the head like a cape,
including G-string which were then given fewer turns around the waist to allow it to extend over
the shoulder or head
SAOB-SAOB – an ankle length garment, with or without sleeves but open down the front like a
cloak, used in formal occasion
LAMBONG – tube skirt, it could be fastened under the armpits or over the shoulder or even
around the head
PANDONG – a lady’s cloak, simply meant any natural covering open gowns or cloaks were
closed in front by cords or gold GANSING, a kind of hook and eye or button at the throat;
or a hulun (sash), whence the waist or private parts were called GINHUNLAN
PUDONG – male headdress or TURBAN
POTLONG or SAPLONG – head cloth or bandana wore by men and women in Panay
MAGALONG – a red pudong and the insignia of braves who had killed an enemy
TUBATUB – kerchief worn by Women if it was pulled tight over the whole head
SAYAP or TARINDAK – a broad-brimmed hat woven of sago-palm leaves
Jewelry
Both Visayan men and women wore earrings and earplugs, necklaces and collars of
beads or gold chain, bracelets, wristlets, anklets, and finger rings, as well as brooches, clasps
and gold sequins on their clothes besides which men wore arm and leg bands.
Ornaments were made of tortoise shell, mother-of-pearl, precious stones, giant clam
shells and gold. Vegetable fibers and seeds were also used by the poor for everyday wear and
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as part of male mourning ritual. Visayan jewelry came in a variety
of forms and styles:
PANIKA – an ear ornament; general term for rings and plugs worn
in the lower hole (Panikaan) and were often decorated with Burit
granules of filigree
PAMARANG or BARAT – large gold plugs, sometimes wheel
shaped with a gem set in the middle
DALIN-DALIN – simple loops
PALBAD – more delicate rosettes worn by ladies in the uppermost hole
DINALOPANG – if shaped like a yellow dalopang blossom
KAYONG-KAYONG – any pendant dangling from an earring
SANGI – a single ring worn in one ear only
Necklaces in the form of strands, chokers and collars, ranged from dried seeds to precious
stones and gold beads
CARNELIANS – most popular precious stone
TAKLAY – garnets or other gems from China often strung in between gold beads
KASIKAS – ring worn around the neck, wrists or ankles, including the gold bands on men’s
biceps and above the calves of their legs
DALAK and KARAMKAM – either bracelets or wristlets – that is actually cuffs
GALIS – shell bracelets so snug in fit that the hand was greased to slip them on or off
KAMAGI – most spectacular item in this Visayan inventory, a heavy gold chain of such tightly
interlocked links it, hardly looked like a chain at all, but rather as solid and sinous as golden
serpent
GOAR – individual loops
SINOYOT - when woven in their simplest form
PINAROGMOK – if square
SINIWALO – if octagonal and with large round finials called tontonan
CARNELIANS – most popular precious stone
TAKLAY – garnets or other gems from China often strung in between gold beads
KASIKAS – ring worn around the neck, wrists or ankles, including the gold bands on men’s
biceps and above the calves of their legs
DALAK and KARAMKAM – either bracelets or wristlets – that is actually cuffs
GALIS – shell bracelets so snug in fit that the hand was greased to slip them on or off
KAMAGI – most spectacular item in this Visayan inventory, a heavy gold chain of such tightly
interlocked links it, hardly looked like a chain at all, but rather as solid and sinous as golden
serpent
GOAR – individual loops
SINOYOT - when woven in their simplest form
PINAROGMOK – if square
SINIWALO – if octagonal and with large round finials called tontonan
Historical
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Before the arrival of the Spaniards, the Philippines was already known to the Chinese
traders as Ma-Yi (Ma-i) originally applied to Mindoro. The name was popularized by Chau Ju-
Kua, Chinese Superintendent of Foreign Trade in Chuanchau.
Bornean datus who founded a political confederation in the Visayas wrote legal codes
such as Maragtas and Code of Kalantiaw.
On March 16, 1521, the Portuguese navigator, Ferdinand Magellan, daw the coast of
Samar and landed at the island of Homonhon. The accidental landing led to the European
discovery of the Philippines which Magellan initially named, “Archipelago of St. Lazarus.”
Ruy Lopez De Villalobos reached the Philippines in 1542 and named the islands of Samar and
Leyte, “FILIPINAS” after the young prince who would become King Philip II, from which the later
colony would be called “Las Islas Filipinas.”
The first mass in the country was held on March 31, 1521 on the shore of Limasawa and
the cross planted on the hill in the same day, symbolized the Christianization of the country..
The conquest by the cross and the sword was carried on. Various missionary orders arrived in
the Philippines led by Augustinians (1565), Franciscans (1578), Jesuits (1581), Dominicans
(1587), Recollects (1606), the Friars of San Juan De Dios (1641), Vincentians (1862),
Capuchins (1886) and Benedictines (1895).
For 377 years, the Spaniards ruled over the Philippines. They did not only build
churches but also taught the Filipinos to live in permanent homes called bahay na bato.
Education was introduced to the Filipinos, thus schools were built for the academic instruction of
the people. Civic and military architecture were also introduced.
On August 19, 1896 the Katipunan was discovered by the Spanish authorities and on
August 23, 1896 the Philippine Revolution began. On May 1, 1898, Commodore George
Dewey, commander of the American fleet, defeated the Spanish navy under Admiral Patricio
Montojo in the Battle of Manila Bay. On June 12, 1898, Philippine Independence was
proclaimed in Kawit, Cavite. On December 10, 1898, the Treaty of Paris was signed wherein
Spain ceded the Philippines to the United States to $20,000,000.00. In November, 1899 the last
of the Spanish forces returned to Spain.
Architecture
Philippine Architecture is an admixture of the Muslim, Malayan, Chinese and

Japanese, European, Spanish and American influences. The architecture is a reflection of the
history and heritage of the country. The most prominent historic constructions in the archipelago
are from the Spanish, Japanese, Malay, Hindu, Chinese, and American cultures.
Periods of Development
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1. EARLY PERIOD or Pre-colonial Period - consisted of the Nipa hut made from natural
materials but there are some traces of large-scale construction before the Spanish colonizers
came but not well documented. An example of this is the pre-colonial walled city of Maynilad
although later after the Spanish colonization, dismantled by the Spaniards and rebuilt as
Intramuros. There are also other minor pre-colonial walled cities like Betis and Macabebe.
2. Spanish Period - the Philippine architecture was dominated by the Spanish culture. During
this period Intramuros, the walled city, of Manila, was built with its walls, houses, churches and
fortresses. The Augustinian friars built a large number of grand churches all over the Philippine
Islands.
During this period the traditional Filipino "Bahay na Bato" style for the large mansion emerged.
These were large houses built of stone and wood combining Filipino, Spanish and Chinese style
elements. The best preserved examples of these houses can be found in Vigan, Ilocos Sur and
Taal, Batangas.
3. American Period - 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.
4. Post-War Period - 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.
5. Contemporary Period - At the end of the 20th century modern architecture with straight lines
and functional aspects was introduced. During this period many of the older structures fell into
decay. Early in the 21st Century a revival of the respect for the traditional Filipino elements in
the architecture returned.
BALAY – Visayan word for house

KABALAYAN – a settlement
MAGKABALAY – a man and wife
MINALAY – married
OGSORAN – temporary shelter which had a sliding roof to serve for either shade, shelter or
sunning
Three Types of Houses
1. For Datus – permanent wooden structures that might be called town houses
2. For Ordinary People – cottages built of light materials near the fields
3. Used only in time of war – tree houses
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Finer details of Visayan Architecture are revealed by their special terms:
HAGDAN – a house ladder or stairway

BALITANG – one rung or step
ALANTAGA – a landing
LUGDOG – a single bamboo used as a ladder with stubs of branches left on
SALUGSOG – a split-bamboo ladder for house dogs
PUMULONG –the decorated facade
PASNGAWAN – the entrance
GANGHAAN – a door or window large enough to pass through
TARAMBOWAN – a window just for looking out
BATALAN – a kind of veranda for laundering
SARAMDE – living space along the sides of the house
SIBAY – a small room for slaves
PUSOR – a kind of macrame done in rattan which rendered all structural bindings artistic
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Activity 1. Essay
1. What are the traditional beliefs of the Filipino in the site selection for construction of
dwellings?
2. How does religion affect the architectural development in the Philippines?
3. Compare the effects of the colonialization of American from the Spaniards in the lifestyle of
the Filipinos.
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Activity 2. Fill in the blanks with the correct answer.
1. ______________________________ Other famous name of the Philippines

2. ______________________________ Person without pierced ears in Visayas
3. ______________________________ Name of narra in the Ilocos Region which is referred to as the queen
of Philippine Trees
4. ______________________________ A type of house occupied only in time of war
5. ______________________________ Tube skirt or a light blanket wrapped around the body
6. ______________________________ Known as the Southwest Monsoon
7. ______________________________ A device used in Visayan skull moulding which is a comblike set of
thin rods bound to a baby’s forehead by bondages fastened at some point behind.
8. ______________________________A group of people made up of 30 to 100 families; the smallest political
unit of Tagalog society
9. ______________________________The second largest island of the Philippines with an area of 36,906
miles.
10. _____________________________ Known as the Northeast Monsoon
11. _____________________________ Aside from airiness, it is another characteristic of Philippine
Architecture especially in its domestic structures brought about by indigenous materials that the early Filipinos
used
12. _____________________________Referred to as the Tagalogs’ supreme being, creator of heaven, earth
and men.
13. _____________________________The Pangasinan war god
14. _____________________________The goddess of plants and harvests
15. _____________________________ Visayan people who have tattooed in their body
16. _____________________________ The ethnic group who consults an almanac which contains dates,
months, lunar cycles, high and low tides and other events. The almanac is based on the position of the
bakunawa, a huge snake with supernatural powers living elsewhere.
17. _____________________________ The oldest and largest cave located southwest of Palawan.
18. _____________________________ Visayan tooth filing
19. _____________________________ Visayan god who determined the length of life on earth
20. _____________________________ Freemen or the middle class members in the society.
21. _____________________________ The royal ordinances proclaimed by King Philip II on July 23, 1573
which governed the planning and administration of new settlements in the Americas and in the Philippines.
22. _____________________________ The good spirits as believed by Filipinos
23.______________________________ The Kalinga god of thunder
24. ______________________________ The god of underworld who received the dead
25. ______________________________ The bad spirits as believed by Filipinos.
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Activity 3. Matching Type.
Match the regions in Column A to the name of region in Column B and provinces in
Column C.
1. Region 1 a. National Capital Region A. Zamboanga Del Sur
2. Region 2 b. Northern Mindanao B. Sulu

3. Region 3 c. Bicol C. Camiguin
4. Region 4-A d. Cagayan Valley D. Surigao del Norte
5. Region 4-B e. SOCCSARGEN E. Sultan Kudarat
6. Region 5 f. Davao F. Pateros
7. Region 6 g. Ilocos G. Compostela Valley
8. Region 7 h. Cordillera Administrative Region H. Aurora
9. Region 8 i. Central Luzon I. Ifugao
10. Region 9 j. CARAGA J. Pangasinan

11. Region 10 k. MIMAROPA L. Batangas
12. Region 11 l. Zamboanga Peninsula M. Batanes
13. Region 12 m. Autonomuous Region of Muslim Mindanao N. Guimaras
14. Region 13 n. CALABARZON O. Sorsogon
15. NCR o. Central Visayas P. Romblon
16. CAR p.Eastern Visayas Q. Siquijor
17. ARRM r. Western Visayas R. Leyte
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Activity 4. Assignment
Find the best architectural example/s in each region.
Region Best Architectural Example Location /Province

1
2
3
4-A
4-B
5
6
7
8
9
10
11
12
13
CAR
NCR
ARMM
ACTIVITY 5. Reflection
1. Make your own assessment in the different influences of Filipinos that affect the
architectural development of the Philippines.
2. Compare the physical appearance of Filipinos now and then.
CHAPTER 2: PRE-COLONIAL PERIOD
OBJECTIVES:
1. Identify the environmental factors that affect the architectural design of buildings in pre-
colonial period.
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2. Differentiate the types of dwellings of Filipinos in different regions
3. Explain the architectural and structural aspects of traditional indigenous dwellings of
Filipinos.
PRE-TEST
Multiple Choice. Circle the letter of the answer that best answers each question or
completes the statement.
1. Ifugao house with three-level structure namely; stone pavement, house cage and roof.
a. Fayu b. Fale c. Falig d. Finaryon
2. The area of bahay kubo reserved for entertaining guests.

a. Sala b. Batalan c. Bulwagan d. Azotea
3. Figure form placed on top of the roof of Ifugao house used as a protection against evil
spirits and lighting and as a sign of asking a favour from the god Kabunyan
a. Ambubulan b. Tajuk pusong c. Panolong d.
Kabunyan
4. The granary of the Bontoc

5. The traditional house of Kankanay.

a. Baysinug b. Binayon c. Binuron d. Binangiyan
6. The Bontoc house which is square in plan and is designed to facilitate various activities.
7. The space found underneath the bahay kubo used as a storage space for the farming
and fishing implements and also for the animals kept.
a. Bodega b. Silong c. Kamalig d. Silid
8. This decorative element is used by Badjao to indicate the number of children the family
has and to drive away evil spirits.
a. Comb b. Mirror c. Figurine d. Okir
9. A detached structure located some few feet away from the T’boli house which functions
as a toilet.
a. Kotel b. Blaba c. Desyung d. Fato Hu
10. Binayon or Finaryon – the octagonal shaped house of Kalinga

a. Baysinug b. Binayon c. Binuron d. Binangiyan
DISCUSSIONS:
Pre-colonial Period, also known as Early Period or Pre-Spanish Period, is the age prior to
the arrival of the Spaniards. During this period, Filipinos established their villages near bodies of
water where mostly food were taken from the river or sea, or in a burn agricultural environment.
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According to Robert Fox, early Filipinos lived along the coasts or rivers due to the
following factors:
1. The daily diet of the early Filipinos were mostly food from the sea. Animals like chicken, pig,
or carabaos, were treated more as ritual or festival foods.
2. Their fishing implements provided more yield than those used for hunting. Hunting was more
of a game than a pre-occupation.
3. The water provided a good means of travel since roads did not exist until the Spanish times
4. The bodies of water were the major source for bathing, washing and drinking
In both environments, houses were not built permanently and therefore, light and
flexible materials were used. Community environment allowed constant communal relocation.
The usual community design had the chieftain’s house at the center and was usually big to
allow community conferences and other ceremonies. Around the large house were smaller
houses of the members of the community.
The following are common features of the houses:
1. Plans were square, rectangular or octagonal.

2. Most houses were elevated from the ground to avoid dampness during the rainy season or
the heat emanating from the ground during the warm season. Elevating the house also provide
protection from insects, vermin, wild animals and floods.
3. Floorings were wood, bamboo, rattan, beaten bark or removable reed mat on wooden floor
joist
4. Structural components l;ike the posts and beams were made of wood, tree trunks or bamboo.
Walls were made of wooden panels, tree bark, nipa, bamboo, sawali, coconut and palm leaves,
cogon grass and buri palm on wooden and bamboo framing.
5. Roof were steep either hipped, gabled or pyramidal in form with wooden or bamboo framing.
6. Stairs might be a single log with notches as steps or might be of bamboo frame with split
bamboo as steps.
7. Doors were either sliding or hinged, made of wooden panels, bamboo or sawali.
8. Windows, which were rarely provided, were sliding or awning type made of wooden panels,
bamboo, buri, nipa and sawali.
9. Toilets were separate structures built some few meters away from the house.
10. Kitchen was also built away from the house but was not detached to protect the main house
from getting burned in case of fire
Ethnic Architecture
Ethnic architecture in the Philippines refers to different forms of folk and vernacular
architecture found among the different ethno linguistic communities in the Philippines, from low
land communities to communities in the Cordilleras, the Visayan Islands, Mindanao, and other
adjacent islands.
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Ethnic architecture draws inspiration mainly from the environment, specifically, the
climate, terrain, vegetation, and fauna around it. It also responds to communal and social needs
to be safe from hostile and marauding tribes and to interact with fellow human beings.
Characteristics
Ethnic structures are deeply rooted in the Southeast Asian building tradition and share
its characteristics, pile construction, the hip or gable roof, and the use of materials available
from the environment, such as wood, vegetation, and sometimes mud. Most ethnic houses
conform to a general pattern: they have steep thatched roofs to facilitate drainage; they are
elevated on posts or stilts for protection from the earth’s dampness and humidity; they have
slatted flooring to let in the cool air from below; in the lowlands they use bamboo, nipa, and
cogon to keep cool, while in the uplands, they use tightly fitting solid planks to help keep in
warmth. The ethnic house is generally a multipurpose one-room structure, light and airy,
comfortable and functional, yet durable and structurally stable.
The design and construction of houses in such a culture are also affected by a set of
animistic beliefs and assumptions that govern the choice of site; time and season for building;
rituals to be observed before and during the construction of the house, including the noting of
certain signs or omens that may affect the progress or abandonment of the work; the orientation
of the house as well as the distribution of interior spaces; and other beliefs and practices that
assure good health, a prosperous and happy family life, as well as protection from evil spirits of
both the occupants and the builders of the house.
Structures
o Lowland structures tended to have a more open, airy interior.

o Upland ones were tightly enclosed with solid planks, having few or no windows because
of the chilly mountain weather.
Special Types of Houses Developed
 Sulu archipelago - houses were built over water.

 In places where violent intercommunity clashes occurred - tree houses were built by
such groups as the Ilongot and the Gaddang of northern Luzon, and the Mandaya and
Bukidnon of eastern Mindanao.
 In areas regularly ravaged by typhoons (like Batanes) - sturdy, firmly fastened, lime-
and-stone-walled dwellings with a thick grass roof protected their inhabitants from strong
rains and winds.
Two Types of Mosques Developed In The Philippines:
 Masjid - the traditional Islamic mosque, is the “larger and more permanent structure,
built on a stone foundation, often near a stream or a body of water”
 The smaller ranggar (Maranao) or langgal (Tausug and Yakan).
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The Maranao “great house,” the torogan (sleeping place), Earthquake-proof, solid, and
durable, it is the Maranao ancestral house, residence of the datu or sultan of the leading kin
group. Occasionally it is used as the setting for big weddings, wakes, and other socio-
religious gatherings. Its elevated position among the other houses is immediately apparent
in the exuberant wavelike patterns of colorful and intricate okir carvings on the protruding
beam-ends of the house, making the torogan appear like a floating, sculptural mass. It
looms huge and stately with its high, salakot like roof that flares at the sides.
Major Classes of Earliest Shelters
CAVE
- The largest and oldest cave dwelling is found in Tabon
located southwest of Palawan.
- Covers an area approximately 41.00m in to the interior
and has an 8.00m high and 16.00m wide opening.
- Basic amenities found in the cave are the paga which is is
a sleeping board and hearth used for cooking and for
providing warmth in the interior during cold days.
LEAN-TO -
(Used by the negritoes also known as ati, ata, aeta, agta.)
Two variations of lean-to dwelling:

a. Wind shield or one shaded lean-to with or without flooring
b. Single pitched roof supported by rafters. The ridge rest on
horizontal lintel which is supported by tree trunks. The other
end rest directly on the ground.
- This may be built with or without walls.
- Usually knee-high elevated flooring on even 4’-0’’ high
floorings were provided to keep the occupants dry
especially during the rainy seasons.
- Materials used for the walls, roof and floor framing are
rattan and bamboo.
- For sheathing, material use is nipa, palm leaves, banana leaves, coconut fronds or
grass.
TREE HOUSE
- Built in forked branches of 20’ to 60’ high trees or a top
15’ to 20’ high stumps which serve as a foundation.
- Bamboo is often used for framing as well as for the
flooring and walls.
- Rattan was used for securing the whole framework, nipa
palm as roof covering.
This type of dwelling was use by:
a. The Gadang and Kalinga in Luzon
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b. The Manobo and Mandaya of Mindanao
c. The Moros of Lake Lanao
d. Negritoes in Bukidnon of North-central Mindanao
e. Bagobo of the Gulf of Davao
f. Mandaya Bilaan and Ilongot
ETHNIC HOUSES
The following are the early forms of dwelling used by the early Filipinos:
1. BADJAO/BADJAW
Environmental Situation: Coastal water of Tawi-Tawi, Sibutu and Semporna. Chief occupation
is fishing.
Plan:
- House on stilts above the shallow water
- Flooring made of bamboo
- Main room is a combination of sala and sleeping area while the adjacent area is
used as a kitchen.
- House made accessible to each other by means of bamboo planks laid out like
streets
- One characteristic item found in the sala is the mirror used to indicate the number
of children the family has and to drive away evil spirits.
-
The Badjaos also build boathouses of various designs and sizes.
Parts of boathouses:
a. Djenging is used primarily for storage and sleeping
b. 12’ in length
c. Bamboo flooring nailed permanently to floor joist while some portion of the floor
is covered by loose wooden planks for the purpose of using the underneath
space as additional storage space.
d. Okir designs dominate the sides
e. Furnishing that are found in the cabin are the following: sail, fishing lamp,
suitcase, stove, pots and plates, water jug, small chest, mats and pillow.
Structural Elements:
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- The interior space is enclosed by wooden walls nailed permanently for protection
against the elements.
Protective Elements:
- The roof is often covered with galvanized iron sheets.
- Headroom is limited to approximately 3’-0’’ which do not allow anyone to stand erect
when inside the cabin.
Circulatory Elements:
- Doors and windows are provided in the cabin to allow light and air inside.
2. BAHAY KUBO, NIPA HOUSE, NIPA HUT
Environmental Situation: Lowland all over the Philippines
Plan:
- Originally it is a one room dwelling structure with porch on all sides of the house
- It is graduated into a more sophisticated type of dwelling
Parts of bahay kubo:
a. Bulwagan – reserved for entertaining guests, w/ a low table called dulang

b. Silid – a private room used for sleeping with “ tampipi” instead of closets.
c. Paglutuan or gilir – kitchen or cooking area
d. Silong – space found underneath the house as a storage space for the
farming and fishing implements and also for the animals. Often fenced off
with bamboo slats.
e. Kamalig – a storage house detached from the house where unhawled rice is
kept.
- The kitchen found at the rear of the house, usually with the following features:
a. Dapogan – table on top of which is the river stone shaped stove or kalan
b. Bangahan – later called bangguera or banggerahan, use as a place for
drying and storing pots and pans, drinking glasses, plates and other kitchen
utensils
c. Batalan – unroofed area where water jars (used for drinking, washing and
bathing) are kept
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- The house stands on stilts 6‘ to 14‘high above the ground for reason of protection
against dampness and infestation of vermin and snakes.
- The first to be erected are the four main posts
- The posts are inserted into deep holes on the ground dug at 3‘-0” deep
- To provide more stability to the posts, rocks are inserted around the area where the
end of the post lies or made to rest on a flat stone slab
- Walls are made of nipa leaves or flattened split bamboo and are woven in
herringbone pattern forming the sawali sliding.
- Gililan – floors sills, are provided to support the walls
Two floor beams:
a. Yawi – used to define the area to be covered by the floor space
b. Patukuran – where floot joists ( soleras ) rest are constructed
3. BILAAN
Environmental Situations: Hilly area behind the west coast of Davao Gulf reaching north to
the Bagobo territory and west to the Davao-Cotabato water shed.
Plan:
- Designed with floors in varying levels of two to five with each level made few inches
above the other
- The floor is made of timber covered with broad strips of barks
- Platforms are placed outside the walls as drying area and as a place for their
dancalan
Dancalan – a wooden plate with handle used for chopping meat
- A large stove is used as a fireplace and cooking area

- Underneath the house is a cage for horses, pigs and dogs.
- Poles with the length of 20’-0’’ and made of hardwood material are used as uprights
to which side beams and cross beams were attached by lashings.
- The roof is single pitch made of flattened bamboo and has overhanging eaves of
approximately 1’-0’’ from the walls.
- The roof framing is built with the king post place at the center of the end beams
- A stair made a long, wooden log with notches
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- Doors are provided while windows are few and small
4. BONTOC/BONTOK
Environmental Situations: Mountain area of the Cordillera
Also known as Fayu is square in plan and is designed to facilitate various activities.
Basic form is like the ifugao house except that the quarters are on ground level and the
house cage serves as the granary
- The four corner post and side walls of the ground floor, leaning slightly outwards at
the top to the horizontal beam, are built as supports to the roof.
The front and side walls are made of wood connected to the posts while the rear wall is
made of stone and mud (because of the fire place at the rear)
- walls : up to waist level, leaving a continuous opening protected by the eaves
- “falig” : granary for richer people adjacent to their house
- has a lot of sections having specific names for its area is quite bigger
- Roof covering are made of grass shingles to the rafters
5. CATICUGAN
Environmental Situation: Lowland of Dumaguete
Plan:
- Elevated from 1’-0’’ on bamboo post
- The house consist of following areas:
a. Sala – also used as dining room and sleeping area, considered the main room of
the house, provided with altar.
b. Sleeping room – also use as storage room, families sleep directly on the floor
using mats, beds are not provided.
c. Kitchen – usually built after the construction of the main house is completed
Banggerahan – place for drying and storing pots and pans, drinking glasses, plates
and other kitchen utensils
d. Two porches – located in front and at the rear of the house made as integral
parts of the house
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- Bamboo posts erected a top stone foundation for the purpose of preventing early
decay of the material
- The main floor beams are attached to the posts together with the transverse and
longitudinal beams by means of rattan lashings
- Exterior walls are made of nipa, coconut leaves, buri palms, cogon grass, wood and
bamboo
- Interior partitions 5’-6’ high usually made of sawali.
- Wall framing of bamboo.
- Hip roof types or a gable roof type covered with nipa, cogon grass or flattened
bamboo in shingles
- Roof framing is made up of ridge pole supported by king post resting on traverse
beams.
- Bamboo purlins upon which nipa shingles are attached by means of sewing with a
sharpened split midrib of the buri frond rattan for lashing onto the purling
- Entrance to the house is through the stairs made of two upright bamboo with
horizontal slats inserted between them
- The door is made of fenensa rattan hinges attached to wooden jambs
- Window are awning type
- Either buri or nipa is used for the window panels
6. COASTAL BAGOBO
Environmental Situations: Hills east and south of Mt. Apo and the coastal town of Daliao, Sta.
Cruz and Digos behind the Davao Gulf.
Plan:
- Datu house is designed to accommodate large gathering of people
- Used as defense center and ceremonial house of community
- Single room built on stilts, there are sleeping platform for guest and warriors and
quarters for the Datu and their wives
- A separate ceremonial chamber for the celebration of social and religious activities
by the datu is provided
28
- Sleeping platform is also use for the display of gongs and old jars which is
considered as symbols of wealth and hanging spirits altars and decorated poles for
deities of warfare.
- Piles are used to support the house
- Gabled roof is made of bamboo with thatch covering
7. GADDANG
Environmental Situation: Forested areas along the hilltops of the Cordilleras
Plan:
- Built on upright posts of about 1.00 - 2.00 m above the ground with split bamboos as
its flooring material
- Furniture are absent since eating, sleeping and any mode of living are done on the
floor
- The only furniture in the house is one or two trunks used for storing valuables.
- Upright tree trunks are used as main support of the house while walls are made of
either split, plaited or upright bamboo covered with grass
- From a central horizontal beam acting as ridge pole, cogon thatching arches all the
way downward to the level of the floor
29
8. HILIGAYNON
Environmental Situation: Lowland of Western Visayas
Plan:
- Square in plan
- Built on stilts 4’-5’ high
- Space underneath is used both a shelter for the carabaos, goats, pigs and chicken
- Kitchen in one corner and cooking apparatus on an elevated earthen platform, three
big stones in triangular arrangement form as the stove
- Kitchen also contains bamboo water containers and jars, and the tools for tuba
making
- Bamboo slats for flooring in order to have shiny finish, they apply oil on the
smoothened surface
- Dining table is not provided since eating is done on the floor, if ever there is one, it is
used only for visitors and on certain occasions
- In living room, one will find a wooden bench together with some few pieces of chairs
or a wooden sala set containing of a sofa, two side chairs and a center table often
decorated with a flower vase
- Agoho timber for the main posts and dried bamboos trunks for the minor posts are
used as main support to the house and to the roof
- Walls that separate the kitchen from the living room are made of woven bamboo
splints
- Exterior walls are made of amkan or flattened bamboo nodes, woven bamboo slats
or nipa shingles
- Framing for the gable roof is first assembled on the ground and is raised above only
after beams have been fastened to the posts
30
- Dried bamboo trunks are used as roof beams
- After the roof framing has been secured, nipa, cogon or coconut leaves are laid out
as protective covering
- Main stairs always in odd numbers for they believed to bring good luck, is raised
leading to the main room
- One or two windows and the main door are made to face the east also to affect a
good fortune
9. IBALOY
Environmental Situation: Mountains of Benguet
Plan:
- House for the poor folks are built directly on the ground, covered with cogon grass
thatching and are provided with very small door opening in order to contain the heat
within
- For well-to-do families, dema houses containing a bedroom, dining room, kitchen, a
discussion room and a storage room are built above the ground. In order to keep the
house warm, wooden planks are used for the flooring
- Ibaloy of Takdian built one-room houses. It has enclosed kamparan used or
pounding rice and for cooking. This enclosure stands directly on the ground which
contains two stoves used separately for preparing the family’s food and that of the
pigs
- The house is devoid of furniture
- House corners usually contains weapon, blankets, bakong clothes container, saraw
jar and working implements of the household head
- Pieces or furniture are generally absent in the Takdian’s house. Stool made from
blocks of wood
- Built-in bed of 2’ wide and elevated 6” from the floor is permanently nailed in the
corner of the house
- Pine wood, numbering four to six or more is used as posts for the structure
- The floor is elevated about less than a meter above the ground by posts made of
mature pine or tribangdal fern wood
- Ceilingless, the Takdian roof is made of dema
- Stair is provided while doors and windows is provided for circulation
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-Takdian house is windowless. A door which generally faces east or the north is
provided
10. IBANAG
Environmental Situation: Lowland of Isabela
Plan:
- The house is built elevated about a meter or more from the ground
- Living room is converted into a bedroom at night
- Houses with an altar room
- Storage room for rice, corn and tobacco
- Batalag or porches located at the front is used by the family for relaxation and at
rear is used as an open-air bathroom and as washing and laundry area
- The house is supported by posts of sturdy wood
- The wall is made of split bamboo
- Roof covering is usually made of cogon or nipa
- The batalag porches are not roofed
11. IFUGAO
- The Apalis-Mondiguing is a typical Ifugao house

Environment Situations: Mountain of Cordillera
- an enclosed structures resting on Four tree trunks as column (Amugawan tree)

- Square in plan
- Wooden planks on solid floor joist (over hanged), floor girders for flooring
- Ambubulan figure formed placed on of roof for protection against evil spirits,
lightning and as a sign of asking of favor from the God Kabunyan
- Buried in to the hole ½ m in to the ground and secured by the stones placed on each
holes
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- Floor girders are carved with mortises on both ends to firm in the pointed upper end
of the post which acts as the tendons. These girders support solid floor joists section
with wooden flooring attached by wooden pegs.
- covered by four steeply pitched roof Roof made of reeds and grass (pyramidal shape
roof)
- Detachable ladder for security and protection. The floor ht. is about 1.50 to 2.00 mts
can be found in the mountains of Cordillera.
 “fale” house
- three-level structure : stone pavement, house cage and roof
- posts : shoulder height, support only the girders
- 3-level space within the house : floor, shelf, loft (granary)
- walls : slaut outward
- ratguard : thin cylinders placed on the posts
- roof : thatched, pyramidal, extends up to floor level
- basket under second level
- detachable stairs
- slaughtered carabao and human heads displayed on front of their house
- doors can be remain open
- “hagabi” : bench under their house for socialization
 local variations
a. kiangan house : roof is not as steep and does not extend up to floor level, hipped
: wall sidings – wood or sawali; no ratguards
b. mayoyao house : roof is steeper and completely conceals the house cage; not
ratguards
: eminent for its pure, classic outline and fine craftsmanship
12. ILOKANO
Environmental Situation: Lowland of Ilocos
Plan:
Ilokano House:
a. Pinagong
b. Tinubang
c. Kalapaw
Pinagong and Tinubang houses:
- Generally rectangular in plan
- Akin to the architectural form of the Tagalong house
pinagong and tinubang house
- Consist of the following:

a. Main room – sala or living room
b. Silid – sleeping room which is separated from the main room by means of
partitions
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c. Kitchen – cooking area ; usually has an unroofed annex made of unsplit bamboo
laid out with spaces in the between and whose floor level is lower than the
klitchen porper. The annex is used for storing large water jars, for cleaning pots
and pans and rice and vegetables and for bathing and urinating. It is also used
as drying place for their rice meat and fish under the sun.
d. Batalan – this connects the kitchen to the main house and serves as the dining
room
- Types of flooring:
a. Datar – made of small and thin strips of bamboo tied together with almost no
spacing in between them.
b. Basar – made of large strips of bamboo tied together with large spacing in
between the laths and woven bamboo is placed over it.
- Kalapaw:
- A small and low hut consists of the following :
a. Porch – used as an ante room and sleeping area during siesta hours
especially during summer months
b. Main room – largest areas, it is use for entertaining guests, sleeping
area for the household members and storage space for family treasures
and personal belongings
- A curtain hanging from a wire is drawn during the night to separate the
sleeping area of the women from the men.
a. Dining room – by the house members only. A low table called dulang is
provided where the family eats. No chairs are needed in as much as the
members of the family squat while eating. It is also used for storing
various utensils, condiments and the earthen jar containing the drinking
water.
b. Kitchen – 4“ to 6” lower than the dining room, this is used for cooking
food and for washing dishes and pots
c. Sirok (silong) – used as storage space, often fenced by bamboo slats
with nipa or cogon sheathing
- The main room is furnished with a bamboo bench and usually with an antique
cabinet, a family heirloom which is the centerpiece of the room
- The main posts are buried into the ground and are attached to the tie
- Beams through the mortise and tenon system of construction
- Supplementary used as braces to prevent the house from leaning
- Split bamboos are used for walling
- Bamboos called balatbat are used for purlins
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- A single roof covers the whole house including the batalan and the kitchen, but in
some instances, the kitchen and the batalan have separate roofs
- Thatching is made of by placing bamboo laths covered with layers of nipa and cogon
placed on top of the rafters
- The roof ridge is placed over the main room which allows a spacious ceiling height
and the slopes towards the sides which provides a low ceiling height to the rest of
the house slopes towards the sides which provides a low ceiling height to the rest of
the house
- The main door and stairs of the pinagong house are located in such a way that one
can enter either the kitchen or the house proper.
- The bamboo door and windows of the Ilokano house slide by means of a horizontal
bamboo placed above them
- The sliding window may also be propped up by using bamboo placed above them
- The sliding window may also be propped up by using a bamboo pole cut into a
desired length and placed in a slanting position with one end resting on the window
sill and the other end supporting the lower edge of the window frame
- The kalapaw has a single door opening located at main room
- The porch provided with low ladder opens to the entry
- Windows are provided only at the main room and are two types
a. Sliding sashes
b. Awning types
13. ILONGOT
Environmental Situation: Lowland of Isabela
Plan:
- Communal type of house allows several families within the structure but partitions
are not provided to separate each family
- Its flooring made of rattan strips usually elevated 5’ from the ground
- At the center of the floor is a 25sq.ft to 225sq.ft floor space sunk 6” below the floor
line. On one side of this sunken area are apportioned spaces for sleeping for each
family. The elevated remaining spaces of 4’-5’ wide are used as fireplaces and
storage spaces per family
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- The underneath portion is used to house pigs and chicken
- Skulls of animals are used as decorations
- Wooden posts are used as structural supports
- Walls may be built either low and open at the upper part or high and entirely closed
above
- Roof made of thatched roof is of sloping pyramidal type on top of which is a short
ridge
- At both ends of the ridge are projecting wood which curve upward simulating a pair
of horns
- Stairs is a single notched pole leading to a single main door
- The clerestory above the low wall provides ventilation to the house
14. ISNEG OR APAYAO
Environmental Situation: Mountain of Apayao at the Northern end of the Cordillera
Plan:
- Elevated at 1.5m above the ground
- Binuron
– A single-room rectangular structure designed with three levels,
- Appears to have been influenced by boat design
– The lowest level called datag or xassaran is located at the center of the
room
– Tamuyon is the immediate level platforms that occupy three sides of the floor
proper
– Tarakip – the highest level located on the remaining side of the house
– At the rear corner of the datag is the hearth with a stove consisting of three
stones. Hanging from the rafters above the hearth is a three-shelf sideboard
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- House flooring is a removable reed mat made of solid rattan stems or bamboo grass
tied together with rattan strips placed atop the floor joists which in turn are supported
by girders
- Ornaments are ancestral weapons, porcelain jars and plates belonging to the Ming
or Sung dynasty
- Fifteen post of heavy hardwood are used as supports to the house. The posts are
distributed in the following manner:
a. Sinit posts – six of these support the datag and two support the tarakip
b. Adixi posts – six of these support the roof
c. Atobtobo – a single post supporting the ridgepole
- Walls slanting outwards toward the top made of wooden panel boards that are
rabetted to the upper and lower wall beams
- Gable roof, which covers the main house and the lean-to roof, which covers the
tarakip is made of bamboo and cogon grass thatching
- Roof framing which is a separate framework from the floor, consists of six posts
rising from the ground but placed outside the floor posts
- Arched rafters which allow the roof to look like an ogival arch outside
- Purlins made of closely knit canes to which layers of cogon grass are attached
- Approach to the house is through a wooden stair, usually located on one end of the
side wall, which leads to a door
- No fixed window openings since wall construction system allow occupants to remove
few wallboards in case air is needed for the interior
15. IVATAN HOUSE
Environmental Situation: Slope of cliffs and villages built along the sides and tops of rocky
hills of Batanes Island. Batanes is the location of ancient known as Ijang.
Plan:
- Stand directly on the ground to withstand strong winds or typoons
- The dwelling is made up of two houses:
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a. The rakuh (big house) consist of the living room and sleeping quarters
b. The kusina (kitchen)
a. Walls made of thick lime and stone, are sometimes embedded with wooden
reinforcement in order to resist the effect of strong earthquake with a thick roof of
cogon.
b. Reinforcement run from the base up to the roof frame
a. Doors and windows are provided in the rakuh house but the wall facing the direction
of the strongest winds and left solidly closed.
b. made up of two houses : one which makes up the living and the sleeping areas
(”rakuh”), the other makes up the kitchen
- rakuh has 2 doors and 2 windows built on 3 walls, fourth wall facing the strongest wind
is left windowless
 Special Type of House
a. Chivuvuhung
- cogon
- itbayaten house
- one structure, one room house
b. Sinadumparan
- ivatan
16. KALINGA
Environmental Situation: Steep mountain slope of the Cordillera.
Plan:
- Either rectangular or octagonal
- Octagonal form is called binayon or finaryon (upper kalinga) (the house of the
rich)
- floor: reed mat
- on one side, the floor is removed leaving a space that extends from the ground level
to the roof
- Attic as granary
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- Elevated fireplace is found at the left rear side of the house
- Working space at ground level near the entrance
- Floor rising at about 1.50m above the ground
- Dattagon – a central area with slightly elevated floor on all sides called sipi
- floor area is divided into one wide middle section (“dattagon”) and slightly narrow
elevated side sections (“sipi”)
- “kinimpal” : roof system using several layers of bamboo
- “tinalob” : only 2 layers of bamboo (for poor)
- 4 inner posts constitute the house’s core support; outer posts at each corner of the
house support the roof
 12 posts used as supports to the binayon house: 4 inner posts : 8 outer posts to
form an octagon
- roof : hipped, not high and steep, made of bamboo
- Lower part of the wall is made of plaited bamboo or sawali
- Hipped roof and thatched with reeds
- Four tall posts carry two crossbeams which support the queen post
- Rafters maybe arched to produce a vaulted interior
- The ridge is covered by bubong thatch
- Approach to the house is through ladder
- Doors are provided at the front and at the rear
17. KANKANAY
Environmental Situation: Bakun mountain in the north central area of Benguet
Plan:
- Traditional kankanay house is called binangiyan
- Single-room dwelling elevated at 1.5m from the ground
- Interior space is used for sleeping, cooking, eating and storage of utensils and
valuables
- Underneath the roof and above the hearth is an attic which serves as a granary
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- Space underneath the house is not enclosed, it used for activities like basket
weaving, kitchen utensils making, sewing cloth or cutting firewood. Space also used
for entertaining guests and as family room. Pigs and chickens may be kept in a
corner
- Flooring is made of hardwood like narra rests on three floor joists
- Underneath the overhanging eaves, jaw bones and skulls of butchered pigs are
displayed for the visitors to see
- living quarters consist of main area where the fireplace is located and a small room
at the rear
- The house is supported by four or more wooden posts to which the floor framing is
attached; made of narra or pine
- Walls made of hardwood, slant outwards at the top
- Wall boards are rabetted to the transverse beam above
- Pyramidal in form, is mortised to the four corners of the slanting walls
- High and pointed, it is thatched with runo, pudong and cogon grass
- Eaves of the roof extends downward to about 1.20m above the ground, as a result,
the roof covers or conceals the house walls
- no rat guards
- Detachable bamboo stair placed at the entrance is used to access to the house
- When Kankanay leaves the house, the stair is removed and placed crosswise
against the closed sliding door
- Windows are not provided except for a small opening above the door which serves
as an outlet for the smoke coming from the hearth
- only one entrance, door is decorated with fluting
18. LUSARAN VALLEY HOUSE
Environmental Situation: Lowland of Cebu
Plan:
- Elevated approximately 3‘ from the ground, designed in various shapes of
rectangular, L- shape, square shapes and T – shapes.
- T- shape has a variation called double T where two wings are added perpendicularly
to the axis of main house
- The kitchen contains the hearth made of earth supported by wooden and bamboo
frame
- The hearth is partly made open to allow smoke to go out of the kitchen area
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- A partially open shelf is provided for the water jug and other utensils
- Adjacent to kitchen is an open platform made of bamboo which is used for dish
washing, pounding the grain and where family members may also brush their teeth
and wash their feet
- There is an inner room used for keeping a wooden chest, clothes, pillows and shoes.
- Furnishings of a long bench and a table permanently attached to a wall can be found
in a corner of the living room
- Posts are either made of trunks which are buried 3’ into the ground or of bamboo
- The roof either hipped or gabled or combination of both, covered with cogon grass
- Butterly roof is used over the kitchen which is designed to lead the smoke outside
the kitchen
- Roof framing is made either of bamboo or branches of hamabawud
19. MAGAHAT
Environmental Situation: steep hillsides, on top of hills or along creeks and rivers in deep
valley of southern negros island.
Plan:
- The plan is either square or rectangular
- Space within can be used as a receiving room, a kitchen, dining and as bedroom
- Floor lies at 2.50 above the ground and made of bark of trees, bamboo splits or split
trunks of palm trees
- Furniture are not provided so that people eat, sit and sleep on the floor
- Ceilings are filled with trophies of jawbones of a wild pig or deer antler, hornbill
heads or legs of wild chicken.
- Log, posts, used as columns are buried at .50m below the ground. Additional posts
are placed under the floor beams to provide further strength
- Walls are usually made of split bamboo, bark or rattan leaf thatches
- Gable roof framing is supported by log beams attached to the main posts
- To prevent rain from entering the house, bark of trees or split bamboos are placed
over the ridge poles
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- A 4” diameter log with notches on one side is used as the main stair. It can be
removed during the night or hidden in the bushes when the magahat leaves his
house
- The main door, 1.00 wide is oriented to the east for prosperity
20. MANDAYA
Environmental Situation: Edges of cliffs of Davao
Plan:
Tree houses which are of two kinds:
a. rests directly on the limbs of trees whose size and shape are dedicated by the
direction to which the supporting branches grows
b. built on top of trees stumps of 4.50 – 6.0m high
- Typical house planned with living room, enclosed bedrooms, small porch adjacent to
the living room and an earth- covered hearth found at the rear of the house
- Suspended from the rafters are the swing made of bamboo and reserved especially
for an honoured guests or for mother who rocks her baby o sleep.
- Two to three foundation posts are extended upwards to support the roof.
- Walls are made either flattened bamboo strips or nipa poles covered by nipa palms.
- Gable roof with bamboo frame a nipa palm
- Roof ridge supported by king posts
- Stair leads to the entry porch made from bamboo poles
- An open space between the roof slope and the top of the wall provides an opening to
the house
- If windows are provided they usually small
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21. MANGYAN
Environmental Situation: Mountain side or hillside of Mindoro
Plan:
- A communal house
- A one-room structure elevated from the ground measures 6.00x10.00 and
rectangular in plan
- Palaganan – a passageway leading from the main door
Visitors may sleep along the palaganan but most of the time as an extra
storage space.
- Flooring made of large logs with rattan lashing
- Individual families are not separated from one another by partition, rather, their
space allotment is defined by a mat spread on the floor and they have individual
fireplace.
- Walls are made of bark of trees constructed a meter or less above the floor
- Gabled roof with cogon grass thatching
- Roof eaves project 1.00m beyond the wall
- Ladder of four steps leads to a narrow door which in turn leads to the palanan.
- No windows, openings are provided through space between the flooring and the
underneath surface of the wall
22. MANOBO
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Environmental Situation: Lowland of Agusan, Bukidnon, Davao, Misamis Oriental, Cotabato
Plan:
- The house proper is usually 6 & ½’ – 7’ above the ground
- Kitchen, the first one to be built, has its flooring 12” to 15” lower than the house
proper.
- Little or no decorations because Manobos stay outdoors most of the time.
- Four or more corner posts are used as main supports to the house
- Rules for the number of posts:
a. House measures 12’ x 12’ – 4 posts extending to the roof
b. if an area goes beyond the limit, more posts and more poles of about 20-50 are
provided
- Sun-dried cogon grass gabled roof shaped like inverted v.
- Roof for kitchen is considerably lower than that of the main roof
- The only entrance of the house is located at the kitchen area
- The ladder is made of the trunk of the tree
- Window openings are uniform in 2’ width since they are made to follow the size of
the wall panel.
23. MARANAW/MARANAO
Environmental Situation: Hills along the river or land of Mindanao. The ranggar, the small
Islamic prayer house, would be located proximate to the community.
Three major typologies of the Maranao house:

a. Lawig - small houses
b. Mala-a-walai - large houses
c. Torogan - ancestral home of the upper class Maranaos, who in the past kept
their young daughters hidden like a jewel in some secret lamin and who had
the exclusive right to the art of the colourful okir.
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- Torogan means Maranao royal house, ancestral house for Datu and his family
- Central beam that supports the roof and king post are heavily carved and
polychromed
- Floor beams protruded from the wall with its ends curving upward in the form of a
boats prow.
- Elevated from the ground by nine to twelve huge posts of bamboo or timbers, placed
on top of rocks for earthquake purposes
- These end beams are called panalong and are ornately carved with piako (fern-like)
or naga (dragon-like) motifs
- Wall made of gisuk wooden panels curved with ornate okir designs
Okir/okirr - floral
- Steeped pitched roofs and shapes in the form of a carabao’s horns.
- Windows are stilts, richly framed in wooden panels with okir located in front of the
house
- Datu’s panggao or ceremonial bed located in a place of honor away from the
entrance of the houe
- Torogan is also used for a variety of socio-religious activities such as weddings,
funeral wakes, conferences and even court proceedings.
- built from .30 to 2.20 mts. above the ground.
- Most important feature is the wood carvings & the use of colors red, yellow and blue.
24. SAMAL HOUSE
Environmental Situation: Coastal water of Jolo

- In Eastern Sulu, are built partially above the ground and water in wooden post
- In Western Sulu, individual houses, built on stilts above tidal mud flats, are
connected to one another by catwalks made of timber and bamboo.
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- Floorings are made of bamboo
- Stilts usually made of bamboo poles
- Walls made of wooden boards or sawali
Protective elements:
- On both sides of gable roof project underneath it lower lean-to roofs
- Roof thatching is held securely by placing flattened bamboo spaced far apart over
it.
- Stairs are not provided in each individual house since catwalks serve as an approach
to each house
- Doors and windows with sliding sashes can be found
25. SUBANUN
Environmental Situation: Mountainous interior of Zamboanga
Plan:
- Rarely exceeding an area of 20.00 sq.m. is built above the ground
- One-room structure with areas on slightly different levels consisting of the living
room, dining area and cooking area, sometimes an entry porch is provided.
- Posts may be wooden material or bamboo poles
- Walls with bamboo framing with layers of nipa palms
- Gable type covered with nipa palm
- Stair is made of a single log and bamboo railings
- Windows are absent in the house walls
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26. TAUSUG
Environmental Situation: Coastal water of Tapul, Siasi, Basilan, Malaysia, Borneo, Tawi-Tawi,
Zamboanga del Sur, Cotabato
Plan:
- Traditional tausug house is called bay-sinug
- Consists of the following:
a. Porch or salas – may be built in front, on the sides or all around the house with
or without roofs. Maybe used as passageway to the kitchen; if walled may be
used as sleeping area; resting and conversation area. If found near the kitchen
as an open extended platform, it is called pantan used as a family area.
b. Sleeping quarters
c. Kitchen – a separate area linked to the main house by a bridge made of bamboo
or wooden planks. It has a stove and iron stand containing the pots and pans.
- Tajuk Pusung – found at the roof top. A wood carving in the form of the manuk-
manuk bird showing a stylized head and neck of a rooster or a stylized design of a
naga dragon.
- Posts are made of heavy timber or bamboo
- Main house has nine posts corresponding to the parts of the human body; 2 hips, 2
shoulders, left and right ribs, neck and the groin. Except for the center post, all posts
raise up to the roof.
- Hanglad – wooden floor beams attached to the posts
- Walls made of split bamboo woven coconut palms
- Hip roof is supported by eight posts rising directly from the ground
- Pauid or sani – type of palm leaves as roofing material
- Sungan – roof has four sloping sides but with only two sides meeting to form the
apex
- Libut – roof square in shape, has four sloping sides with its top open resulting in a
square in shape hole which allows free circulation of air in the house interior.
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- Wall is pierced with small, rectangular windows
27. T’BOLI
Environmental Situation: Hilltops and mountaintops in the Lake Sebu area in Cotabato
Plan:
- House built 6’ high stilts
- Designed in various levels with each level having different functions
- House contains the following:
a. Lowa – central space used as sleeping area for overnight guests.
b. Blaba – side area used as working and conversational space
c. Desyung – regarded as the area of honor because here the head of the house
entertain guests and performs rites under a curtained canopy
d. Dofil – this is the sleeping quarters for the wives and children of the headman
e. Bukdol – this is the entrance to the house
f. Kohu- the hearth made of beaten – earth floor. It has a shelf where pots and
pans, baskets and other utensils are kept.
g. Dol- an area used for the kohu and stair landing.
h. Fato Hu – located at the rearmost part of the house, it is the utility area
i. Kotel – a detached structure located some few feet away from the house which
functions as a toilet
- Upper portion of the curtained canopy of the desyung is richly ornamented with
appliqués (cut-out fabric decoration) and tassels (hanging ornament made of a
bunch of cords fastened at one end.
- On the posts and walls are jaw bones of wild boars, hunting weapons and fishing
tools
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- Bamboo for housposts
- Walls made of sawali or woven bamboo strips
- The roof slope 30 degrees extending downwards 3’ beyond the wall totally
concealing the wall surface
- Roof covered with cogon or dried grass
- Its apex standing at 17’ high
- Stair is made of single bamboo pole
- The door designed similarly to the door of a chest which can be lowered and closed
28. TINGGIAN
Environmental Situation: Mountain of Abra and Apayao district of Cagayan
Plan:
- House is elevated from the ground with floors made of wooden boards
- Wall boards are ornamented with carvings of eyes, noses and mouths to form figures
of human faces
- Posts and walls are made of wood
- Walls are usually with peepholes to allow house occupants to see people or things
outside without them being seen
- Roofs is made of several layers of runo grass(found in the innermost): Thatch;
facing each other and placed one over the other and well packed thatch (found in the
outermost)
29. TIRURAY
Environmental Situation: hillsides or steep slopes of Cotabato
Plan:
- Rectangular in shapes built on posts 4‘ to 6‘ high above the ground
- House is used not only for sleeping but also for meeting sessions
- Located right near the main door is the hearth where cooking is done
- Bamboo for flooring
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- Wooden posts are used as support to the house while bamboo is used for walls
- Gabled type of roofing covered with nipa or cogon thatch is used
- Stairs are usually made of notched poles which can be removed during nighttime for
security and protection
30. UPLAND BAGOBO
Environmental Situation: Upper stretch of the Pulangi and Davao River
Plan:
- Built on stilts, has its floors on different levels
- The flooring is made of strips of palma brava
- Elevated floor is used as sleeping area for other member of the family
- Special sleeping place is provided for the unmarried daughter/s while sleeping area
for the unmarried sons are located on boards placed underneath the roof
- The spaces below the rafters are used as storage space
- The hearth is located near the main door
Hearth – floor of the fireplace
- Over the stove is an open shelf for the native jars and bamboo water holder
- Bamboo rack is also found nearby containing Chinese plates and coconut shells
near the stove stands the rice mortar
- Walls are made of the bark of the tree
- The walls of sleeping are usually 6’ high are made of flattened bamboo.
- Steep gabled roof made of bamboo, grass or bark
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- Main support of the roof ridge is high poles located at the center of the house which
project from 8’-0’’ to 9’-0’’ beyond the cross beam.
- Side beams also support after which run up to the central ridge
- Rafters are held in place by tying there ends to horizontal poles that run around the
roof perimeter below
- Window generally absent
- Small holes cut through the walls allow the occupants to observe people outside
- Provide small amount of light to enter the interior to allow women to spin, dye, weave
to decorate their clothing.
31. TAGBANUA
Environmental Situation: Coastal and near-Coastal plains and valleys of Central Palawan
Plan:
- Elevated on stilts about 8‘ high
- Usually made of eight levels, each corresponds to certain function such as entrance,
cooking or hearth, dining, sleeping and various levels for storage.
- The highest level usually contains storage space for pillows and blankets
- Since there are various floor levels partitions are unnecessary
- Entire house do not have windows
32. YAKAN
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Environmental Situation: Mountainous interior of Basilan
Plan:
- House is elevated on piles about 2.00 to 3.00 above the ground
- Single room in rectangular plan approximately 50 to 100 sqm floor area
- House does not have partitions
- It has main room with a door leading to the kitchen and another door to a roofed
porch running the length of the house
- Kitchen is used as family’s dining area. It contains stove which bamboo ladles,
coconut shells and fish driers are hung, also pots and pans and long bamboo
containers for water
- Underneath the house is the rice mortar
- Porch is used for entertaining guests and as resting place for the household
- Flooring is made of thick wooden planks on floor joists or split bamboo
- In living room, one will find a cloth weaving loom located near the door which leads
to the porch outside
- There are wooden or bamboo boxes for palay which may also be used as benches
for visitors, clothes chests, brass metal containers, brass food trays and bronze
boxes for betel and mats.
- Posts are made of sturdy wood onto which floor beam are attached
- Walls are made of sawali or horizontal wooden boards or bamboo poles attached to
one another by rattan lashings
- Steep ridges roof covered with cogon thatch
- Roof slopes downward and breaks into a slight angle upward its lower side
- The roof eaves overhang the wall at .50 m
- Ladder steps in odd numbers leads to the and another is provided for the kitchen
- Doors oriented towards the east for prosperity
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- Few and small windows are provided because of the belief that bad spirits cannot
pass through the small openings quite easily
- Small window is often provided at the end wall opposite the kitchen
Definition of terms:
Lumah – traditional house of yakan, elevated on timber posts about 2m above the ground
Pantan – porch is the main entry to the house which may be open of roofed
Dagtung – large bamboo crafted as water containers
Langgal – local prayer house
Sapiaw – roof is steeply pitch with cogon on bamboo or timber frames
Sawali – walls are woven bamboo strips
Calarian – presently know as yakan weaving village
ACTIVITY 1.
1. What are the different parts of bahay kubo? Describe each part of the house. Show floor plan,
section and perspective.
53
Activity 2.
2. What are the similarities and differences of traditional dwelling houses in different regions?
Elements of Houses Similarities Differences

Plan
Structural
Protective
Circulatory
Materials
Decorations
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Environmental
Condition
ACTIVITY 3. Essay
1. Why do design of houses varies in different parts of the country?
2. What is ethnic architecture?
3. How does climate affect dwellings in different places?
55
ACTIVITY 4. Name of the houses.
Identify the name of houses in the following pictures.
1. _____________________ 2. ______________________ 3. _______________________
4. ________________ 5. ____________________ 6. _____________________
7. _____________________ 8. ____________________ 9. _____________________
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10._______________________ 11. ______________________ 12._______________________
ACTIVITY 5. Identification
Fill in the blanks with the correct answer.
1. _________________________ A storage house detached from the house (bahay kubo)

where unhawled rice is kept.
2. _________________________A wooden plate with handle used for chopping meat in
the Bilaan house
3. _________________________ House of well-to-do familes of Ibaloy containing a
bedroom, dining room, kitchen, a discussion room and a storage room
4. _________________________ Ifugao house with three-level structure namely; stone
pavement, house cage and roof
5. _________________________ Situated at the lowland of Cebu with various shapes of
rectangular, L-shape, square shapes and T-shapes and butterfly roof over the kitchen
6. _________________________ The house situated in Negros island with celings filled
with trophies of jawbones of a wild pig or deer antler, hornbill heads or legs of wild
chicken.
7. _________________________ The area of bahay kubo reserved for entertaining
guests.
8. __________________________ The granary of the Bontoc
9. __________________________ Badjao’s used this primarily for storage and sleeping
10. __________________________The Bontoc house which is square in plan and is
designed to facilitate various activities.
11. _________________________ The space found underneath the bahay kubo used as a
storage space for the farming and fishing implements and also for the animals kept
12. _______________________ The traditional house of Kankanay.
13. _______________________ The passageway at the central part of the Mangyan house,
leading from the main door
14. ________________________The lowest level of the Isneg house
15. ________________________End beams which are ornately carved with piako or naga
motifs.
16. ________________________ This decorative element is used by Badjao to indicate the
number of children the family has and to drive away evil spirits.
17. ________________________ The area of bahay kubo which is unroofed where water
jars for drinking, washing and bathing are kept
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18. ________________________House located in the villages along the sides and tops of
rocky hills of Batanes Island
19. ________________________ House of Isneg which is a single-room rectangular
structure designed with three levels and appears to have been influenced by boat
design.
20. ________________________ Located at the rearmost part of the T’boli house, it is the
utility area.
21. ________________________The octagonal shaped house of Kalinga
22. ________________________The Maranao royal house which is the ancestral house for
datu and his family.
23. ________________________ It is found at the roof top of Tausug house which is a
wood carving in the form of the manuk-manuk bird showing stylized head and neck of a
rooster or a stylized design of a naga dragon.
24. ________________________ The big house of the Batanes which consists of the living
room aand sleeping quarters.
25. _________________________ A detached structure located some few feet away from
the T’boli house which functions as a toilet.
26. _________________________ House situated in the edges of the cliffs of Davao with
swing suspended from the rafters made of bamboo and reserved especially for an
honoured guests or for mother who rocks her bay to sleep.
27. _________________________A Yakan house which is a single-room structure
rectangular in plan with approximately 50 to 100 square meters floor area, located in the
mountainous interior of Basilan.
28. _________________________ The traditional Tausug house
29. _________________________ It is the side area, usually 6’ wide, used as working and
conversational space for T’boli house.
30. ________________________ Houses located at the lowland of Isabela with skulls of
animals used as decorations.
31. _________________________ Asmall local prayer house of Muslim
32. _________________________Table on top of which is the river stone shaped stove or
kalan
33. _________________________ The traditional Islamic mosque which is larger and more
permanent structure, built on a stone foundation, often located near a stream or a body
of water.
34. _________________________ Thin cylinders placed on the posts of fale house
35. _________________________ Part of the kitchen for drying and storing pots and pans,
drinking glasses, plates and other kitchen utensils in bahay kubo.
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CHAPTER 3: SPANISH PERIOD
OBJECTIVES:
1. Explain the construction methods used in Spanish period
2. Identify the masters of architecture and contributions during the Spanish Period
3. Recognize the contributions or legacy of Spanish colonizers in Philippine architecture
PRE-TEST:
Multiple Choice. Circle the most appropriate answer.
1. The horse stable of the bahay na bato, it is where the carriages and saints’ floats or andas
are usually kept.
a. Carceres b. Cuadra c. Bodega d. Spina
2. It is a room adjacent to the kitchen used as food storage.

a. Aljibe b. Dispensa c. Alcoba d. Bodega
3. It is known as the Shrine of Freedom by Fr. Antonio Sedeno with the assistance of Engr.
Diego Jordan, then, redesigned by Ar. Jose Maria Zaragoza.
a. Fort Santiago b. Fort San Pedro c. Fort Pilar d. Fort San Antonio Abad
4. The church which contains the famous Bamboo Organ, originally designed by Fr. Diego
Cerra (1792) and restored by Francisco Manosa in 1975.
a. Paoay Church b. Las Pinas Church c. Lipa Cathedral d. Panay Church
5. This church located in Intramuros is the only surviving vaulted church in the Philippines
today, unique for its vaulted foundation which was designed to resist earthquake.
a. Manila Cathedral b. San Agustin Church c. Sta. Ana Church d. Sto. Domingo Church
6. It is known today as the Basilica of Immaculate Conception, its first architect was Bishop
Domingo Salazar while the architect of the present church is Fernando Ocampo.
a. Manila Cathedral b. San Agustin Church c. Sta. Ana Church d. Sto. Domingo Church
7. It is a witness to several occasions of the Philippine history, this church was the seat of the
Malolos Congress and the site of the inauguration of the first Republic, built by the
Augustinian, Fr. Melchor Hernandez
a. Malolos Church b. Barasoain Church c. Sta. Cruz Church d. San Rafael Church
8. This church, first built by Augustinian Fr. Miguel Murguia, has an unusually large bell which
was made from approximately 70 sacks of coins donated by townspeople.
a. Panay, Capiz b. Molo, Iloilo c. La Paz, Iloilo d. Roxas, Capiz
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9. It is a set of laws promulgated by the Spanish crown, regulating social, political and
economic life.
a. Law of the Indies b. Philippine Constitution c. Code of Maragtas d. Bible
10. It is declared a national landmark in August 1973, this Iloilo church’s façade is characteristic
with profuse carvings displaying Filipino folk art in the form of stylized coconut tree, St.
Christopher carrying the child Jesus.
a. San Joaquin Church b. Miag-ao church c. Paoay Church d. Sta. Maria Church
DISCUSSIONS:
Spanish Period or Spanish colonization introduced European architecture into the

country. The influence of European architecture and its style actually came via the Antilles
through the Manila Galleon. The most lasting legacies of Spain in terms of architecture were its
colonial churches which were designed by anonymous friar and bahay na bato.
In this era, the nipa hut or Bahay Kubo gave way to the Bahay na Bato (stone house)
and became the typical house of noble Filipinos. The Bahay na Bato followed the nipa hut's
arrangements such as open ventilation and elevated apartments. The most obvious difference
between the two houses would be the materials used to build them. The Bahay na Bato was
constructed out of brick and stone rather than the traditional bamboo materials. This colonian
Filipino house, is a mixture of native Filipino, Spanish and Chinese influences. In Vigan, Ilocos
Sur, excellently preserved examples of the houses of the noble Filipinos can be admired. In
Taal, Batangas, the main street is still ligned with examples of the traditional Filipino homes.
BAHAY NA BATO –a permanent house made of stone for ground floor and wood for second
floor. It was patterned after the stone- constructed, huge antillan house. It is an improved
version of bahay kubo in terms of materials & space allocations.
- brought about 19th century by the changes in society and economy
- Three Possible Origins:
1. Bahay Kubo – pointed roof, concept of space (“space surrounded by

space…”) and ventilation (wide window), “silong”, open plan
2. Tribal Leader’s House – strong construction; spacious with many furniture
and rooms; elaborate decoration; best materials
3. Conventos – adjacent to the church, permanence spaciousness; may have
been the local models of luxury and prestige
- Earthquake proof : resting on wooden posts mortised on stone, buried on the ground to
“dance” with the earthquake
- The peak of native Philippine architecture: made the bahay kubo bigger and more
extravagant but retained its character
- Ten Areas of Bahay na Bato
GROUND FLOOR - made of coral stones, adobe or rubble; with small windows; area include:
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a.) ZAGUAN – where wine caruajes or carriages & saint’s floats are usually kept.
b.) CUADRA – horse table.
c.) BODEGA – a storage room for keeping old furniture & palay bins.
d.) ENTRESUELO – a mezzanine elevated 1.0 mt. Above the ground usually located on the
floor of the masters bedroom right underneath his bed. It is where the valuables are kept, may
also house offices or additional dwelling units
e.) PATIO – an enclosed courtyard open to the sky & adjacent to Zaguan
SECOND FLOOR
a.) CEREMONIAL STAIRS – first three step (descanzo) made of marble tiles; landing with
bastonera; remaining steps are made of wood, narra
b.) CAIDA – an antesala, an all purpose rm. spacious hall separated by callado for dining,
sewing, & dancing.
c.) SALA – a living room for friends and intimates; divided by movable screens or biombo
d.) COMEDOR – dining room; plateria and long table.
e.) COCINA– kitchen w/c sometimes built separately but connected to the house; contains the
paminggalan (food cabinet) and dispensa (rice storage)
f.) DISPENSA – use as a food storage, adjacent to kitchen.
g.) BANO or Paliguan – bathroom separately from the toilet.
h.) CUARTO – sleeping area; usually three; contains four-posted beds, armories, chests; saints
with ivory heads and hands are placed at the master bedroom.
i.) AZOTEA – open terrace open of stone and ceramic placed near the kitchen and toilet; with a
cistern for gathering rain water, use for laundry drying space.
j.) BALCON – overhang balcony in the living room, over looking the streets.
k.) ALJIBE – cistern storage of collected rainwater, underneath azotea.
l.). COMON OR LATRINA – toilet, sometimes with two-passenger water closet
m.) ALCOVA – additional quartos
n.) VOLADA – flying gallery over the zaguan; protects the interior from heat and rain
- Distinctive Features
1. PERSIANA – large windows with slats covered with capiz to filter light;
unique in Southeast Asia
2. VENTANILLA – small windows usually at lower portion of the wall
3. CALLADO – open woodwork or tracery; fixed over a window or placed as
space dividers
4. BARANDILLAS – wrought iron traceries on the wall
5. BANGGERA – where the dishes are kept

- Regional Differences
Examples:
1. ILOCOS – sober architecture; Vigan houses are entirely made of bricks,
pilasters embedded on sides, dignified without too much decoration
2. CEBU – expansive, ground floor made of huge coral stones
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3. SOUTHERN TAGALOG – “airy”. Second flanges over the walls of the
ground
LAW OF THE INDIES (Leyes de Indias)
A set of laws promulgated by the Spanish crown, regulating social, political and
economic life. The laws are composed of decrees that attempted to regulate the interactions
between the settlers (Spaniards) and the natives.
In the Book IV of the 1680 compilation of these laws, consist of ordinances for the
discoveries, the population and the pacification of the Indians, which is focused on creating
community and town planning, in this set of laws it is stated that the lands, provinces and
counties that are to be discovered, settled and pacified, shall be done with greater facilities and
with accordance with the service to God our lord and for the safety of the natives among other
things.
Example of laws for Town Planning:
 1 “No person, regardless of state or condition, should, on his own authority make a new
discovery by sea or land, or enter a new settlement or hamlet in areas already
discovered. If he were found without our license and approval or by those who had our
power to give it, he would face a death penalty and loss of all his possessions to our
coffers.”
 2 “Those who are in charge of governing the Indies, whether spiritually or temporally,
should inform themselves diligently whether within their districts, including lands and
provinces bordering them, there is something to be discovered and pacified, of the
wealth and quality, [and] of the peoples and nations who inhabit there; but do this
without sending to them war personnel nor persons who can cause scandal.”
 3 “Having made, within the confines of the province, a discovery by land, pacified it,
[and] subjected it to our obedience, find an appropriate site to be settled by Spaniards-
and if not, [arrange] for the vassal Indians so they be secure.”
 4 “If the boundaries of the settlement are populated, utilizing commerce and ransom, go
with vassal Indians and interpreters to discover those lands, and with churchmen and
Spaniards, carrying offerings and ransoms and peace, try to learn about the place, the
contents and quality of the land, the nation(s) to which the people there belong, who
governs them, and carefully take note of all you can learn and understand, and always
send these narratives to the Governor so that they reach the Council [Consejo de
Indias].”
 5 “Look carefully at the places and ports where it might be possible to build Spanish
settlements without damage to the Indian population.”
 13 “Persons who participate in discoveries, whether by land or by sea, should take
possession, in our name, of all lands and provinces they might reach and, upon setting
foot on to land, perform the necessary ceremonies and writs, thus providing public
evidence and faithful testimony.”
 14 Once the discoverers arrive at newly discovered provinces or lands, together with the
officials, they should name each land, each province, and the mountains and principal
rivers they might encounter as well as the settlements and towns they might find or that
they may begin.
City Planning Ordinances
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 34 “choose the province, county, and place that will be settled, taking into
consideration the health of the area, which will known from the abundance of old
men or of young men of good complexion, natural fitness and color, and without
illness; and in the abundance of healthy animals of sufficient size, and of healthy
fruits and fields where no toxic and noxious things are grown, but that it be good
climate, the sky clear and benign, the air pure and soft, without impediment or
alterations and of good temperature, without excessive heat or cold, and having to
decide, it is better that it be cold.”
 35 “And they should be in fertile areas with an abundance of fruits and fields, of good
land to plant and harvest, of grasslands to grow livestock, of mountains and forests
for wood and building materials for homes and edifices, and of good and plentiful
water supply for drinking and irrigation.”
 36“And that they should be populated by Indians and natives to whom we can
preach the gospels since this is the principal objective for which we mandate that
these discoveries and settlements be made.”
 37 “And they should have good access and outlet by sea and by land, and also good
roads and passage by water, in order that they may be entered and departed easily
with commerce, while bringing relief and establishing defenses.”
 38 “Once the region, province, county, and land are decided upon by the expert
discoverers, select the site to build a town and capital of the province and its
subjects, without harm to the Indians for having occupied the area or because they
agree to it of good will.”
 39 “The site and position of the towns should be selected in places where water is
nearby and where it would be possible to demolish neighboring towns and properties
in order to take advantage of the materials that are essential for building;”… “also for
farming, cultivation, and pasturation, so as to avoid excessive work and cost, since
any of the above would be costly if they were far.”
 40 “choose places of medium elevation that enjoy good winds, especially from the
north and south, and if there were mountains or hills, these should be in the west or
in the east, and it there should be a need to build in high places, do it in areas not
subjected to fogs; take note of the terrain and its accidental features and in case that
there should be a need to build on the banks of a river, it should be on the eastern
bank, so when the sun rises it strikes the town first, then the water.”
 41 “Do not select sites for towns in maritime locations because of the danger that
exists of pirates” … “Unless the site is in an area where there are good and principal
harbors, among these, select for settlement only those that are necessary for the
entry of commerce and for the defense of the land.”
 90 “The aforesaid stipulations and territory should be divided as follows:
Separate first the land that is needed for the house plots [solares] of the town, then
allocate sufficient public land and grounds for pasture where the cattle that the
neighbors are expected to bring with them can obtain abundant feed, plus another
portion for the natives of the area.
The rest of the grounds and territory should be divided into four parts: one is for the
person in charge of building the town, the other three should be subdivided into thirty
lots for the thirty neighbors of the town.”
 100 “Those who should want to make a commitment to building a new settlement in
the form and manner already prescribed, be it of more or less than 30 neighbors,
(know that) it should be of no less than twelve persons and be awarded the
authorization and territory in accordance with the prescribed conditions.”
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 112 “The main plaza is to be the starting point for the town; if the town is situated on
the sea coast, it should be placed at the landing place of the port, but inland it should
be at the center of the town. The plaza should be square or rectangular, in which
case it should have at least one and a half its width for length inasmuch as this
shape is best for fiestas in which horses are used and for any other fiestas that
should be held.”
 113“The size of the plaza shall be proportioned to the number of inhabitants, taking
into consideration the fact that in Indian towns, inasmuch as they are new, the
intention is that they will increase, and thus the plaza should be decided upon taking
into consideration the growth the town may experience. [The Plaza] shall be not less
that two hundred feet wide and three hundred feet long, nor larger than eight
hundred feet long and five hundred and thirty feet wide. A good proportion is six
hundred feet long and four hundred wide.”
 114 “From the plaza shall begin four principal street: One [shall be] from the middle
of each side, and two streets from each corner of the plaza; the four corners of the
plaza shall face the four principal winds, because in this manner, the streets running
from the plaza will not be exposed to the four principal winds, which would cause
much inconvenience.”
 115 “Around the plaza as well as along the four principal streets which begin there,
there shall be portals, for these are of considerable convenience to the merchants
who generally gather there; the eight streets running from the plaza at the four
corners shall open on the plaza without encountering these porticoes, which shall be
kept back in order that there may be sidewalks even with the streets and plaza.”
 116 “In cold places, the streets shall be wide and in hot places narrow; but for
purposes of defense in areas where there are horses, it would be better if they are
wide.”
 118 “Here and there in the town, smaller plazas of good proportion shall be laid out,
where the temples associated with the principal church, the parish churches, and the
monasteries can be built, [in] such [manner] that everything may be distributed in a
good proportion for the instruction of religion.”
 119 “For the temple of the principal church, parish, or monastery, there shall be
assigned specific lots; the first after the streets and plazas have been laid out, and
these shall be a complete block so as to avoid having other buildings nearby, unless
it were for practical or ornamental reasons.”
 120“The temple of the cathedral [principal church] where the town is situated on the
coast shall be built in part so that it may be seen on going out to sea and in a place
where its buildings may serve as a means of defense for the port itself.”
 121 “Next, a site and lot shall be assigned for the royal council and cabildo house
and for the custom house and arsenal, near the temple, located in such a manner
that in times of need the one may aid the other; the hospital for the poor and those
sick of noncontagious diseases shall be built near the temple and its cloister; and the
hospital for the sick with contagious diseases shall be built in such a way that no
harmful wind blowing through it may cause harm to the rest of the town. If the latter
be built in an elevated place, so much the better.”
 122 “The site and building lots for slaughter houses, fisheries, tanneries, and other
business which produce filth shall be so placed that the filth can easily be disposed
of.”
 124 “The temple in inland places shall not be placed on the square but at a distance
and shall be separated from any other nearby building, or from adjoining buildings,
and ought to be seen from all sides so that it can be decorated better, thus acquiring
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more authority; efforts should be made that it be somewhat raised from ground level
in order that it be approached by steps, and near it, next to the main plaza, the royal
council and cabildo and customs houses shall be built. [These shall be built] in a
manner that would not embarrass the temple but add to its prestige. The hospital for
the poor who are not affected by contagious diseases shall be built near the temple
and near its cloister, and the [hospital]
for contagious diseases shall be built in an area where the cold north wind blows, but
arranged in such a way that it may enjoy the south wind.”
 126 “In the plaza, no lots shall be assigned to private individuals; instead, they shall
be used for the buildings of the church and royal houses and for city use, but shops
and houses for the merchants should be built first, to which all the settlers of the
town shall contribute, and a moderate tax shall be imposed on goods so that these
buildings may be built.”
 127 “The other building lots shall be distributed by lottery to the settlers, continuing
with the lots closer to the main plaza, and the lots that are left shall be held by us for
assignment to those who shall later become settlers, or for the use that we may wish
to make of them, and so that this may be ascertained better, the town shall maintain
a plan of what is being built.”
 128 “Having made the plan of the town and having distributed building lots, each of
the settlers shall set up his tent on his plot if he should have one. For this purpose
the captains should persuade settlers to carry them, and those who did not bring one
should make their huts of easily available local materials, so that they may have
shelter, and everyone as soon as possible shall make a palisade or ditch encircling
the plaza so that they may not be harmed by Indians or natives.”
 130 “Adjoining the commons there shall be assigned pasture ground for the work
oxen and for the horses as well as for the cattle for slaughter and for the usual
number of cattle that the settlers must have according to these Ordinances, and in a
good number so they can be admitted to pasture in the public lands of the Council;
and the rest [of the adjoining land] shall be assigned as farm lands, which will be
distributed by lottery in such a number that the [farm lots] would be as many in
number as the lots in the town; and if there should be irrigated lands, lots shall be
cast for them and they shall be distributed in the same proportion to the first settlers
according to their lots; the rest shall remain for ourselves so that we may assign it to
those who may become settlers.”
 133 “They shall arrange the building lots and edifices placed thereon in such a
manner that when living in them they may enjoy the winds of the south and north as
these are the best; throughout the town arrange the structures of the houses
generally in such a way that they may serve as defense or barrier against those who
may try to disturb or invade the town, and each house in particular shall be so built
that they may keep therein their horses and work animals and shall have yards and
corrals as large as possible for health and cleanliness.”
 134 “They shall try as far as possible to have the buildings all of one type for the
sake of the beauty of the town.”
 135 “The faithful executors and architects as well as persons who may deputed for
this purpose by the governor shall be most careful in overseeing that the above
[ordinances] be executed; and they shall hurry in their labor and building so that the
town may be completed in a short time.”
 136 “If the natives should resolve to take a defensive position toward the [new]
settlement, they should be made aware of how we intend to settle, not to do damage
to them nor take away their lands, but instead to gain their friendship and teach them
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how to live civilly, and also to teach them to know our God so they learn His law
through which they will be saved. This will be done by religious, clerics, and other
persons designated for this purpose by the governor and through good interpreters,
taking care by the best means available that the town settlement is carried out
peacefully and with their consent, but if they [the natives] still do not want to concur
after having been summoned repeatedly by various means, the settlers should build
their own town without taking what belongs to the Indians and without doing them
more harm that it were necessary for the protection of the town in order that the
settlers are not disturbed.”
 137 “While the town is being completed, the settlers should try, inasmuch as this is
possible, to avoid communication and traffic with the Indians, or going to their towns,
or amusing themselves or spilling themselves on the ground [sensual pleasures?];
nor [should the settlers] allow the Indians to enter within the confines of the town until
it is built and its defenses ready and houses built so that when the Indians see them
they will be struck with admiration and will understand that the Spaniards are there to
settle permanently and not temporarily.”…
 140 “Having made peace and alliance with [the Indians lords] and with their
republics, make careful efforts so that they get together, and then [our] preachers,
with utmost solemnity, should communicate and begin to persuade them that they
should desire to understand matters pertaining to the holy Catholic faith. Then shall
begin our teaching [efforts] with great providence and discretion, and in the order
stipulated in the first book of the holy Catholic faith, utilizing the mildest approach so
as to entice the Indians to want to learn about it. Thus you will not start by
reprimanding their vices or their idolatry, nor taking away their women nor their idols,
because they should not be scandalized or develop an enmity against the Christian
doctrine. Instead, they should be taught first, and after they have been instructed,
they should be persuaded that on their own will they should abandon all that runs
contrary to our holy Catholic faith and evangelical doctrine.”
Basic town or city planning
Coastal Plan
A-Plaza mayor
B-Secondary plaza
C-arcaded streets
D-Cathedral
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E-Hospital
F-Monastery or Convent
G-Cabildo or Tribunal
H-Custom House
I-Arsenal
J-Prevailing wind
Inland Plan
A-Plaza mayor
B-Secondary plaza
C-arcaded streets
D-Cathedral
E-Hospital
F-Monastery or Convent
G-Cabildo or Tribunal
H-Custom House
I-Arsenal
J-Prevailing wind
Examples : 1. Intramuros
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Fort Santiago
Intramuros – Latin word which means inside the walls, it is the oldest district of Manila, the
walls was constructed on 1590 until 1872, the walls are constructed in order to protect the city to
foreign invasions, it is located along the shores of manila bay and south entrance of Pasig
River, it is guarding its citadel the Fort Santiago.
The city was planned and executed by Jesuit priest Antonio Sedeno.
2. Vigan
- one of the few Hispanic towns left in the Philippines where its structures remained intact,
and is well known for its cobblestone streets, and a unique architecture that fuses
Philippine and Oriental building designs and construction, with colonial European
architecture.
3. Cebu
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MILITARY ARCHITECTURE
- forts and fortresses constructed by Spanish friars as a defense against local and
foreign aggressors like Moro pirates during the Spanish Colonial Period in the country. Spanish
forts in the Philippines were created for warfare and military bases. From ancient times to
modern times, forts have been a necessity for many cities.
INTRAMUROS – famous walled city within a city; seven gates; completed 1872; made of
bricks and hard adobe from the Pasig River quarries; wall are 45 ft thick and rise 25 ft above the
moat; structures inside the city include:
a. Fort Santiago
b. San Agustin Church
c. Convent
1. Fort Santiago, (REAL FUERZA DE SANTIAGO) – “Shrine of Freedom”, designed by

Father Antonio Cedeno, with Diego Jordan as engineer; also known as Walled City of
Manila.
Intramuros, the walled city multifaceted built by the Spaniards upon their occupation of

Manila, is a marvelous way to spend the day in Manila. It is located along the southern bank of
the Pasig River and was built by the Spaniards in the 16th century.
It is constructed almost completely of stone blocks and possesses the same architectural
traits one can see in other Spanish defenses like the Caribbean
The site of was Intramuros was ruled by three chieftains Rajah Sulayman, Lakan Dula and
Rajah Matanda and was originally a large Malayan-Islamic settlement named "Maynilad".
2. Fort Pilar, Zamboanga City, by Fr. Melchor de Vera
The Royal Fort of Our Virgin Lady of the Pillar of Zaragoza (Fort Pilar) is a 17th
centurymilitary defense fortress in Zamboanga City.
The fort, which is now a regional museum of the National Museum of the Philippines, is
a major landmark of the city and symbol of its cultural heritage. In 1635, upon the requests of
the Jesuit missionaries and Bishop Fray Pedro of Cebu, the Spanish governor of the
Philippines Juan Cerezo de Salamanca (1633–1635) approved the building of a stone fort in
defense against pirates and raiders of the sultans of Mindanao and Jolo. Its architectural style is
Bastioned fort.
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3. Fort San Pedro, Cebu
Fuerza de San Pedro is a military defense structure built by Spanish and Cebuano
laborers under the command of Spanish conquistador, Miguel López de Legazpi and
the Spanish Government in Cebu. It is located in the area now called Plaza Indepedencia, in the
pier area of the city. The smallest, oldest triangular bastion fort in the country was built in 1738
to repel Muslim raiders Muslim raiders Architectural style is Italian-Spanish school of
fortification.
4. Fort Santiago, Ozamis City
The Cotta Fort was built by Father Jose Ducos in 1756 to serve as a Spanish outpost in
the land. Fort Santiago is a citadel first built by Spanish conquistador, Miguel López de
Legazpi for the new established city of Manila in the Philippines. The defense fortress is part of
the structures of the walled city of Manila referred to as Intramuros. Architectural style is Italian-
Spanish school of fortification
5. Fort San Antonio Abad
Fort San Antonio Abad is a fort in Malate built during the Spanish Colonial period.
Named in honour of its patron saint, Saint Anthony the Abbott, the structure was originally built
in 1584 in what was then a separate hamlet of Malate to serve as a rear protection for the
Manila as well as to guard the Manila-Cavite route. The architectural style is triangular
bastioned fort.
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7. Fuerza de Capul
Fuerza de Capul was built by the Jesuits in the 18 th century and was renovated by the
Franciscans in the 19th century. The site is a fortified church, it is in good condition with
modifications. The fortress is rectangular in plan with a bastion in every corner. There are two
round, and two spade shaped bastions. The fortress is made of stone walls.
8. Fort of Iligan
In 1756, the Misamis Cotta was built by the natives on orders of Jesuit priests
Francisco Jose Ducos and Nepomuceno Paver, primarily to provide shelter for Spanish battle
ships anchored in the bay, historical accounts showed.
The fort was a stone work, star shape construction with an embankment and a 744-foot
enclosure and a bastion tower in the center, 30 feet across, each side facing a projecting corner
of fortress , which is surrounded by double-tier, rectangular stockade with an embankment, 854
feet circumference.
SCHOOL BUILDINGS
1.) COLLEGIO de STO. TOMAS by Fr. Roque Roano
2. SAN AGUSTIN COLLEGE, ILOILO by Joaquin Diaz
3. SAN JUAN DE LETRAN COLLEGE by Fr. Miguel Narro
BRIDGES:
1. Fuente de Espana – first bridge to span the Pasig River linking Intramuros and Binondo
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2. Colgante Bridge – suspension bridge; only for pedestrians; framework of iron imported
from England
CHURCHES
1. MANILA CATHEDRAL Plaza Roma, Intramuros, Manila - early builders : Dominicans, then
converted into cathedral by : Fr. Domingo Salazar. Today, it is known as Basilica of Immaculate
Concepcion. The seat of the Catholic Archdiocese of Manila is presently the 6th cathedral to
rise on the site since 1581. Previous structures were destroyed by typhoons, earthquakes, fire,
and the last war. It was rebuilt on the second half of the 1950s through the efforts of Architect
Fernando Ocampo and Archbishop Rufino J. Santos.
2. SAN AGUSTIN CHURCH, Gen. Luna cor. Real Street, Intramuros, Manila - early builders:
Augustinians, then by 1607 it was reconstructed by : Juan Macias. The oldest stone church in
Metro Manila dates back to 1571. An intricately carved door opens to the church. Of great
interest are the Baroque pulpit, molave choir stalls, and an 18th century pipe organ.
3. SAN SEBASTIAN CHURCH Plaza del Carmen, Quiapo, Manila This small jewel-box church
is the first all-steel church in the Philippines and in Asia; and the second in the world. Design for
the church was finished in 1883 and was prefabricated in Belgium. The completely knocked-
down church was shipped backed to the Philippines in 6 ships.
4. OUR LADY OF PEACE AND GOOD VOYAGE Antilopo, Rizal Antipolo is known to be the
home of Our Lady of Peace and Good Voyage.
5. BACLAYON CHURCH Baclayon town, Bohol Located 6 km fr the city proper.The church is
the oldest stone church in the country, built by the Jesuits in 1595.
6. DAUIS CHURCH Dauis town, Bohol Located 3 kilometers from the city proper. This is one
of Bohol’s beautiful churches, which has retained its Spanish architecture although it has a
semi-modern façade.
7. LOBOC CHURCH Loboc town Located 24 kilometers from Tagbilaran City. The second
oldest church in Bohol, built in 1608, with a three-storey convent.
8. LOON CHURCH Loon town Located 25 kilometers from the city proper. The crowning glory
of the Recollect churches in Bohol.
9. PAOAY CHURCH Laoag, Ilocos Norte This fortress-like church is probably the most popular
in this area.
10. BAGUIO CATHEDRAL Baguio City Rising above the city skyline are the pinkish hues of
the Baguio Cathedral. The cathedral is but one of religious landmarks which dot the city. There
is the Bell Temple, north of the city the Maryhurst Seminary with its brilliant gardens, and
Lourdes Grotto with its 252 steps to heaven.
11. SHRINE OF THE NUESTRA SEÑORA DE MANAOAG Pangasinan The shrine of Nuestra
Senora of "Apo Baket" is situated atop the hill. The shrine is known all over the Philippines.
Devotees frequent the church especially on Saturdays and Sundays.
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12. BARASOAIN CHURCH Malolos, Bulacan - – early builders: Augustinians (1859), then
restored by Fr. Miguel de Vera (1894). Combination of Romanesque & Renaissance Arch.
The seat of the Revolutionary Congress where the First Filipino Constitution was drafted and
ratified.
13. DARAGA CATHOLIC CHURCH Albay Built in 1773 by Franciscan missionaries. This is
highly prized by art enthusiasts because of its rich baroque architecture. Its very huge structure
is considered above-standard.
14. BINONDO CHURCH, MLA. – early builders: Dominicans (1596), supervision of the dome by
: Domingo Cruz y Gonzalez ( 1781)
15. LAS PINAS CHURCH, RIZAL – original design by: Fr. Diego Cerra (1792) and restored by
Arch’t. Francisco Manosa (1975).
16. MALATE CHURCH – early builders: Augustinians (1591), rebuilding the church by
Columbian fathers (1950’s).
17. QUIAPO CHURCH – early builders: Franciscans, then original plan designed by Juan
Nakpil ( 1933).
18. SANTA CRUZ CHURCH, MLA. - early builders: Jesuits, Fr. Agustin de Mendoza
reconstruct the church (1868).
19. STO. DOMINGO CHURCH – 1 church by: Bishop Domingo Salazar, then redesigned by :
Archt. Jose Ma. Zaragosa.
LATE SPANISH PERIOD ARCHITECTURAL DEVELOPMENT
1. roofs at 45 degrees gradient or less

2. use of bricks, limestone, hardwood, capiz shells (G.I. sheets and clay tiles or “tisa”
were imported)
3. elaborate lace-like grillwork (1870’s)
4. transoms with floral and foliate scroll work (1890’s)
5. 1890’s Art Nouveau brought swirling vines and flowers for staircase balustrades,
etched or colored glass panels replaced capiz
6. emergence of Filipino and foreign architects working in the Philippines
a. FELIX ROXAS – first Filipino architect; served as architect to the Manila
government; studied in England and Spain
b. JUAN HERVAS – a Catalan who was one of the Spanish architects invited
to reconstruct Manila after the earthquake of 1863 and 1880
7. churches
a. Sto. Domingo Church, Intramuros
b. San Ignacio, Intramuros – first church designed by a Filipino architect
c. San Sebastian Church, Manila – only Gothic church in the Philippines and
the 1st “ all iron church in the World”(1991), early builders by : Augustinian
Recollects then Engr. Don Genaro Palacios y Guerra designed the present.
LIGHTHOUSES
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Lighthouse is a structure with a powerful light that gives a continuous or intermittent
signal to navigators. It is a structure, usually with a tower, built onshore or on the seabed to
signal danger or provide aid to seafarers.
Examples:
1. Apo Reef Light, 1906 - was a historic lighthouse built on Bajo Apo Island in Apo Reef
Natural Park. The park is located in the middle of Mindoro Strait, west of
the province of Occidental Mindoro, in the Philippines. The station was established to warn
ships of the dangerous shallow reefs in that part of the strait.
The original tower was the tallest lighthouse tower ever erected in the Philippines. The
118-ft (36.0-m) tall structure was an ironskeletal tower with a central cylinder, reinforced by
a hexagonal frame and topped with the lantern room with two levels of gallery.
2. Pasig River Light, 1846 - was the first light station in the Philippines when it was
established in 1642. The first lighthouse tower in the country was erected in the station and first
lit in 1846. It was then located on the north jetty at the mouth of Pasig River in San Nicolas,
Manila, marking the entrance of the river for vessels cruising Manila Bay, looking to dock on
the inland Port of Manila that was then located along the banks of the Pasig River
in Binondo and Intramuros.
The first lighthouse, which was known locally as Farola (Spanish for "lighthouse"), was
one of the most conspicuous landmarks in the harbor of Manila from the time it was built till the
early part of 20th century. The construction and land reclamation of the new Port of
Manila along Manila Bay, south of the light station, and the subsequent expansion and
reclamation north and west of the tower, had greatly altered the location of the lighthouse,
obscuring the light from the wide expanse of Manila Bay. Its former location and the location of
its replacement tower is about 1.5 kilometres (0.93 mi) upriver from the present mouth of the
river
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3. Corregidor Island Lighthouse, 1853 - The lighthouse erected by the Spanish Government
on Corregidor Island in Manila Bay, Philippines, but was destroyed in World War II.
4. Cabra Island Lighthouse, 1889 - is a historic lighthouse built on Cabra Island, the

westernmost of the Lubang group of islands inOccidental Mindoro, Philippines. International
vessels entering the Philippines from South China Sea were welcomed by the Cabra Light and
directed either towards Manila Bay or the center of the archipelago through Verde Island
Passage, one of busiest sea routes of the Philippines.
5. Cape Melville Lighthouse, 1892 - is a historic lighthouse located in the island of Balabac,

the southernmost point of the province ofPalawan in the Philippines. It is also the southwest
corner of the archipelago. The first-order light was constructed by the Spaniards to light Balabac
Strait, the treacherous body of water that separates the Philippines from the neighboring country
of Malaysia.
The light is displayed from a 90-ft tall (27.4 m) granite tower, located on a hill 1.5 miles
northwestward of the tip of Cape Melville, for a total elevation of 297 ft (90.5m) above sea level.
The station was built by the Spanish Government as part of their extensive lighting plan for the
archipelago. The lighthouse of Cape Melville was first lit on August 30, 1892.[3]
6. Cape Engaño Lighthouse, 1893 - also known as Faro de Cabo Engaño, is a

historic lighthouse located at the Palaui Island in the town ofSanta Ana,
the province of Cagayan, Philippines. Located at the northernmost part of Luzon Island and
situated atop the summit of a hill, 92 meters above sea-level, the lighthouse provides a 360-
degree view of Babuyan Island and the Dos Hermanas Island (Two Sisters) on the
North, Pacific Ocean on the West and Engaño cove on the East.
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7. Cape Bojeador Lighthouse, 1892 - aka Burgos Ligthouse. Set high on Vigia de Nagparitan
Hill in Burgos, Ilocos Norte, this lighthouse was erected in 1890 and was first lit on 1892. After
100 years, it still functions as a welcoming beacon to international ships entering the Philippine
archipelago from the north. The light marks the northwestern-most point of Luzon. This
octagonal-shaped stone tower was part of the Spanish government's master plan of illuminating
the Philippine archipelago. Over the years, restorations were made and its original lamp was
replaced after it was damaged by the 1990 earthquake. Cape Bojeador Lighthouse was
declared a National Historical Landmark on August 13, 2004 and a National Cultural Treasure
on June 20, 2005 by the Philippine Government.
8. Malabrigo Point Lighthouse, 1895 - Lighthouse in Lobo, Batangas, Philippines. First lit on
October 1, 1895.
9. Linao Point Lighthouse, 1896 - The Spanish-built lighthouse near Aparri, Cagayan
province, Philippines in 1903.
10. Capul Island Lighthouse, 1896 - is a lighthouse on Titoog Point in San Luis on the
northern tip of Capul Island, Northern Samar in thePhilippines. It marks the western entrance to
the San Bernardino Strait coming in from Ticao Pass.
Construction on the lighthouse was started on October 1893 and it was first lit on
December 1896 while the station was still partially complete. Work was suspended a month
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before on November 1896 on the onset of the Philippine Revolution.
The Capul Island Lighthouse together with the Batag Island Lighthouse were declared
provincial historical landmarks by the province of Northern Samar in October 2008.
Other Structures during Spanish Period
1. 1st Water System Of Manila
The industrious Father Juan Peguero conceived a solution to the water problem of
manila providing inhabitants of Manila with the water flowing from a spring located behind the
Sanctuary of San Juan which was of superior quality by procuring facilities for distribution,. The
water was delivered through an aqueduct – a series of water pipes 350 brazas long or about
700 meters down to the embarcadero on the San Juan River.
2. 1st Irrigation Canal at Tanay, Rizal – Fr. Juan Delgado
3. 1st Artesan Well In Betis, Pampanga
In the last quarter of the 19th century, 1886-1894, Father Manuel Camañes dug an
artesian well on the north-side of the church which served as a source of potable water not only
for the Betis townsfolk, but to the other nearby towns as well (Jorge, Catalogo, P. 530-531).
It was buried in mud and debris until it was unearthed in 1976. It was rehabilitated on July 14,
2006.
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4. 1st Pier And Seawall At Carmen, Cebu – Fr. Pedro Monasterio
5. 1st Stone Pier At Guian, Samar – Fr. Antonio Fuertes
6. Hagonoy-Paombong Roads And Bridges , Bulacan – Fr Ignacio Mansanares
7. Hospital De Los Banos – Bro. Pedro Bautista
8. Monasterio De Guadalupe - Bro. Antonio Herera
Schools
1. San Agustin College
The plan of the Order of Saint Augustine to establish a school in Iloilo was conceived
as early as the 1880s.Months later, permission was granted by both civil and religious
authorities. On May 13, 1890, Fr. Manuel Diez Gonzales, apostolic commissary, communicated
the approval of the Order. This was followed by the respective approbations of the Bishop of
Jaro, Msgr. Leandro Arrue, given on September 4, 1890, and that of the Government on
October 3, 1890.
The Provincial Chapter held in Manila in 1893 appointed Fr. Manuel Gutierrez to take the lead in
building the school, which the latter initiated by purchasing a lot. But the cornerstone of the
school was not laid until 1895 when Fr. Fernando Llorente, the famed architect of the beautiful
Janiuay (Iloilo) cemetery, took over the construction project. Fr. Joaquin Diaz, after putting up
the Oton church, subsequently finished Llorentes work.
But the fruit of the magnanimous labors of the Augustinian builders was not used for its raison
deter. The American troops invaded in Iloilo in 1899 and transformed the school building into a
garrison. The structure was so heavily damaged that it had to undergo a major overhaul in the
first months of 1904.
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2. San Juan De Letran
Colegio de San Juan de Letran emerged from the fusion of two similar institutions
both located in Intramuros by father Miguel Naro. The first was founded in 1620 by Don Juan
Geronimo Guerrero, a retired Spanish Officer, who transformed his hermitage home into an
orphanage called the Colegio de Niños Huerfanos de San Juan de Letran. At about the same
time, another institution by the name of Colegio de Huerfanos de San Pedro y San Pablo was
established by the Dominican brother Diego de Santa Maria at the Convent of Santo Domingo.
The founders of these two institutions with identical origin and purpose did not only share a
common concern for the children of Intramuros but they were also linked by strong bonds of
friendship. It was not surprising therefore that their institutions were merged into one even in
their lifetime in 1630 and became known simply as the Colegio de San Juan de Letran. The
name San Juan de Letran was inspired from the major basilica of Saint John Lateran in Rome,
mother of all Christian churches.
3. School Of Libon, Albay – Fr. Diego Mezzo
4. San Alberto College Dagupan, Pangsinan- Fr. Vicente Extequi
5. University Of Santo Tomas, Manila
The building, designed by Fr. Roque Ruaño, O.P., is the first earthquake-resistant

building in the Philippines. Ruaño was influenced by Frank Lloyd Wright's Imperial Hotel,
Tokyo.
In 1920, Fr. Ruaño, O.P. was assigned to draw up plans for the UST Main Building to
be constructed at the Sulucan property of the Dominican Order. During the years 1922 and
1923, the plans were finally completed. However, some fine tunings may have been made on
the design criteria as a result of the new lessons learned from the Great Kantō earthquake of
September 1, 1923 which flattened Tokyo and Yokohama. Eventually, construction began in
1924. The structure is a rectangular building having a dimension of 86 meters long and 74
meters wide with two interior courtyards orpatios. The most significant feature is the fact that it is
actually made up of 40 separate structures independent from one another with the only
opportunity provided by pre-cast stab flooring. But some locations
of the separations are now difficult to determine exactly because
of the numerous cosmetic changes the interior of the building
which has undergone over the years.
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6. Ateneo De Manila , Intramuros – Escuela Municipal, Manila
 renamed by Diego Hervas “Ateneo Municipal de Manila

 Padre Faura – destroyed by war
 1951- site to Loyola Heights (collegiate and high school).
SCHOOLS
 Escuela Practica Y Profecional De Artes Oficio De Manila
The first academic school to train these maestros de obras or master builder founded
by the Spanish government in 1880.
 Liceo De Manila
A private institution offering academic course for maestro de obras and headed by
Leon Ma. Guerrero. The first private school to offer an academic title for Maestro de Obras,
Maestros de Obra-Practica and “Maestros de Obra-Academia” ( the forerunner of formal
education in architecture/engineering)
 Escuela De Ingenieria Y Arquitectura
Which offered a five year course in architecture and cicil engineering in year 1905 after one
year the escuela was closed.
ACTIVITY 1.
What are the different parts of bahay na bato? Draw the typical plan of bahay na bato including
its section and elevation.
80
ACTIVITY 2. Compare bahay kubo from bahay na bato
FEATURES BAHAY KUBO BAHAY NA BATO
Plan
Structural elements
Protective elements
Circulatory elements
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Decorations
Materials
Other
ACTIVITY 3. Essay
1. How did the Spanish colonizers change the architecture of the Philippines?
2. Who are the missionaries and great builders of stone-aged churches all over the country?
3. Why did the Spaniards teach the Filipinos to make bricks or ladrillos?
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4. What are the significant contributions of Spaniards in the development of the Philippines?
1. __________________________ It is known as the Shrine of Freedom by Fr. Antonio Sedeno with
the assistance of Engr. Diego Jordan, then, redesigned by Ar. Jose Maria Zaragoza.
2. _________________________ The church which contains the famous Bamboo Organ, originally
designed by Fr. Diego Cerra (1792) and restored by Francisco Manosa in 1975
3. _________________________ It is declared a national landmark in 1973, and it is the first all steel
building built in the Philippines.
4. _________________________ This church located in Intramuros is the only surviving vaulted
church in the Philippines today, unique for its vaulted foundation which was designed to resist
earthquake.
5. __________________________It is known today as the Basilica of Immaculate Conception, its first
architect was Bishop Domingo Salazar while the architect of the present church is Fernando
Ocampo.
6. __________________________It is a witness to several occasions of the Philippine history, this
church was the seat of the Malolos Congress and the site of the inauguration of the first Republic,
built by the Augustinian, Fr. Melchor Hernandez
7. __________________________ This church, first built by Augustinian Fr. Miguel Murguia, has an
unusually large bell which was made from approximately 70 sacks of coins donated by
townspeople.
8. __________________________ It is a set of laws promulgated by the Spanish crown, regulating
social, political and economic life.
9. __________________________ It is declared a national landmark in August 1973, this Iloilo
church’s façade is characteristic with profuse carvings displaying Filipino folk art in the form of
stylized coconut tree, St. Christopher carrying the child Jesus.
10. _________________________ It is the first bridge to span the Pasig River linking Intramuros and
Binondo.
11. _________________________ This is the cistern used for the storage of collected rainwater and
often located underneath the azotea.
12. _________________________ It is known as the Intramuros of the North
13. _________________________ It is ante sala of the bahay na bato, an all purpose room for dining,
sewing and dancing.
14. _________________________ It is the second most important city in the Philippines during
Spanish Colonial years and it is next to Manila.
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15. _________________________ The pediment of the church is a carved tableau of a carved tableau
of a battle scene commemorating the surrender of the town Tetuan in the North Coast of Africa to
Spanish troops in 1860.
16. _________________________ The piece-de-resistance is found on the pediment where the relief
mural combines myth, symbol and local flora and fauna. Placed right at the center of the triangular
pediment is the image of the legendary St Christopher with the infant on his shoulder, implanting a
fully grown young coconut tree.
17. _________________________ A storage room for keeping old furnitures and palay.
18. _________________________ It is an open terrace open to the toilet, used for laundry and drying
space.
19. _________________________ A mezzanine elevated one meter above the ground usually located
on the ground floor of the master’s bedroom right underneath his bed.
20. _________________________ It is a place wher wines, carriages and saints’ floats are usually
kept.
21. _________________________ Known as Burgos Lighthouse, declared a national historical
landmark on August 12, 2004 and a National Cultural Treasure on June 20, 2005 by the Philippine
government.
22. _________________________ It is the smallest and oldest triangular known Spanish Colonial
Fortification located in Cebu. Both a garrison and a fort, its construction was ordered by Legazpi in
1738, soon after he landed there.
23. __________________________ It isa flying gallery over the zaguan and it protects the interior from
heat and rain.
24. __________________________ An open woodwork or tracery; fixed over a window or placed as
space dividers.
25. __________________________ First Filipino architect; served as architect to the Manila
government who studied in England and Spain.
ACTIVITY 5. Enumeration
Features of architural devevelopment during the late Spanish Period
1.
2.
3.
4.
5.
6.
7.
School/Universities founded during Spanish Period
1.
2.
3.
4.
5.
6.
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Parts of Church Complex
1.
2.
3.
4.
5.
Two greatest contributions of Spaniards in the Philippines
1.
2.
ACTIVITY 6.
What are the different parts of Roman Catholic Church in the Philippines? Draw floorplan,
section and elevation and provide label on each part.
85
CHAPTER 4: AMERICAN PERIOD
OBJECTIVES:
1. Value the architectural legacy in the Philippines introduced during the American period
2. Learn the Burnham plan for the city planning of Manila and Baguio
3. Determine the Filipino architects who made contributions in architecture during American
period
4. Differentiate the contributions of American colonizers from Spanish colonizers
PRE-TEST:
Multiple Choice. Encircle the best answer to each statement.
1. He is the urban planner and architect commissioned by Gov. Gen. Taft to plan Manila and
Baguio.
a. William Parsons b. Daniel Burnham c. William Howard Taft d. John Hay
2. It is the first hotel in the Philippines and in Asia designed by William Parsons. In 1976, it was
awarded as the most beautiful hotel in the world, in which Leandro Locsin is the architect.
a. Philippine Plaza Hotel b. Heritage Hotel c. Manila Hotel d. Luneta Hotel
3. It is one of the three important health complex during American Period which was responsible to
produce graduates who would become disciples of health and sanitation.
a. Philippine Bureau of Science b. Philippine Medical School
c. Philippine Medical Hospital d. University of the Philippines
4. It was founded by Fernando Calderon to provide some of Manila’s Infant with pasteurized milk
through Mr. and Mrs. Nathan Statts, who had helped set up pasteurization plants in America and
Europe, to donate one for Manila.
a. Gota de Leche b. Elk’s Club
c. Philippine General Hospital d. Army and Navy Club
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5. It is the Manila’s first extramural cemetery completed in 1822 and enlarged in 1859.
a. La Loma Cemetery b. Manila North Cemetery
c. Paco Cemetery d. Eternal Gardens
6. The architecture style introduced by the Americans in the Philippines which is characterized by
symmetrical shapes, tall columns, triangular pediments and domed roof.
a. Classical Style b. Neo-Classical Styl c. Art Noveau d. Ecclectic Style
7. It is a single-storey house which is introduced by the Americans that is slightly raised from the
ground and constructed in reinforced concrete and wood with an extended veranda in front.
a. chalet b. villa c. bungalow d. mansion
8. He is the First Filipino architect under the American Period with Academic title MO-A.
a. Carlos Baretto b. Andres Luna de San Pedro
c. Diego Hervas d. Fernando Ocampo
9. It is a one-storey house introduced in 1948 with wide picture windows, a lanai and a carport for
up to three cars.
a. chalet b. villa c. bungalow d. mansion
10. It is the first school that offered Architecture in the Philippines in 1925.
a. University of Santo Tomas c. Mapua Institute of Technology
B. Adamson University d. University of the Philippines
C. DISCUSSIONS:
After the Spanish American war in 1898, the Americans took over rule of the Philippines
until after the Second World War. The Americans called the inhabitants Filipinos, and so today,
Citizen of the Republic of the Philippines are recognized in international law as FILIPINOS.
On April 11, 1899 John Hay the Secretary of State signed the Paris of Treaty. In this
treaty Spain ceded the Philippines, Guam, and Puerto Rico to the United States for about $20
million dollars after the Spanish American War. This gave the U.S. three more colonies to
control, however, the Filipinos had not been consulted about American rule.
Treaty of Paris was an agreement made in 1898 that resulted in the Spanish Empire's
surrendering control of Cuba and ceding Puerto Rico, parts of the Spanish West Indies,
the island of Guam, and the Philippines to the United States.
The United States wanted a colony in Asia as a base for its ultimate goal of partaking in
the huge market of China, that is why the US wanted to colonize the Philippines. At the turn of
the century, China was economically subdivided by Europeans and United States wanted part
of it.
American Colonial Policy for the Philippines are: they promised to train the Filipinos in
Democracy and Self-Government; they want the Philippines to stand on its own as a free and
independent nation; they shared power with the Filipinos in the government. Human Rights
were protected; and they developed the economy, improved hygiene and sanitation, and
introduced the public school system.
CHANGES IN THE AMERICAN PERIOD
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Government:
- Democracy was the greatest legacy the Americans gave us.
- The government has three branches: Executive (president), Legislative (senate and
congress) and Judiciary (department of justice).
Education
- Public schools were opened up
- First teachers were called Thomasites
- Medium of instruction is English
Schools founded are the following:

 Philippine School of Arts and Trade
 Philippine Normal School
 Silliman University (1901)
 University of the Philippines (1908)
 National University(1914)
 Philippine Women’s University(1919)
 Far Eastern University(1933)

Religion
- Protestantism was introduced. More or less than 300,000 Filipinos became protestant. The
church and the state (government) were separated. Freedom of religion was practiced.
Infrastructure
- Americans built roads, streets, and bridges. The new infrastructure helped make the
movement of products and services more efficient. Boulevards, zone districts, and centers of
leisure were also established
Entertainment
- Movies became more popular
- New kinds of music and dance were introduced like rock n roll, boogie, jazz, tango, chacha,
polka, and rhumba
Sports
- Filipinos learned to watch and play games like table tennis, basketball, volleyball, boxing, and
football.
Health and Sanitation

- Filipinos learned the value of cleanliness, proper hygiene, and healthy practices
- Hospitals, clinics, and health centers were established including public hospitals for lepers.
Clothing
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- Men: Suits, Polo shirts, ties, and jeans
- Women: Dresses, High-heeled shoes, and handbags
Livelihood
- Philippine Economy improved
- Increase in Agricultural production
- Development of new industries
Attitude
- Filipinos became more frank, and humorous.
- We developed a stronger belief in rights
- “Pagmamano” was replaced by kissing the cheeks of parents and elders as a sign of respect
Language
- The English language was widely taught all over the country Filipinos adopted American
names. Soon, some English words became part of our vocabulary. Filipinos adopted American
names like Charlie, Anna, and Cherry.
Negative Impact of the American Colonization
 Americanization of Filipinos
 Colonial Mentality
 Respectful Filipino ways of greeting were replaced by merely saying “hi” or “hello”
 Filipinos started to prefer white-collar jobs
 Traditional Filipino food was replaced
 Lost our sense of “bayanihan”
Waters in Nineteenth Century Manila
Simply flying over Manila tells more about the omnipresence of water in the city than
would many books: great masses of water in the Bay itself as well as in Laguna de Bay, the
silvery ribbon of the Pasig and its briny water tributaries, the esteros. If one flies over the city at
the time of monsoons, or, better still, after a typhoon, the urban space is dotted with
innumerable pools and flooded zones. The landscape is agreeable, even beautiful, but, nearer
the ground, this first impression rapidly gives way to disgust: waters that shone under the low-
angled sun are in fact dirty, very dirty. From the 1820s onwards, alarmist observations increase
and the city
Waters seem to get inexorably more polluted. By the end of the century, the first
testimonies of the American colonial administration, highly sensitive to hygiene and to public
health, leave no doubt about the extent of water pollution in the city of Manila.
Estero of Binondo - The walker who wishes to pass alongside

the estero of Binondo has to be very courageous to pursue his
promenade alongside putrid mudbanks and mountains of
89
household garbage. No doubt this generalized pollution is today more embarrassing to the smell
and the eyes than to the health of the residents, but it presents national and municipal
authorities with a real urban adjustment problem. This degradation of the aquatic environment
which pervades Manila is not a recent phenomenon and does not have to be explained in
connection with the enormous growth that the city has experienced in the last half-century.
Estero de San Sibacon Estero de la Reina Estero de Paco
90
Escolta Estero Estero Meisic Tondo
The 'Venice of the East": A Gigantic Culture Medium
It is impossible to measure scientifically the real levels of pollution in the waters of

nineteenth century Manila. Nevertheless, numerous testimonies underline a double and
inextricably linked process: on the one hand, authors are increasingly sensitive to the nuisances
and to the degradation of the environment in which they live, and on the other hand, inquiries
and descriptions seem to indicate that the sanitary situation of the city of Manila tends to worsen
as the century progresses.
The disappearance of the recreational usage of waterways in Manila is a good indirect

indication of the degradation of the environment. Indeed, in the early nineteenth century, the
Spanish merchant elite and the high officials owned country houses in the suburbs. These
residences, often very luxurious, were established along the Pasig and the esteros. One of the
favorite pastimes of the inhabitants, from Easter to the Corpus feast, was swimming. Paul de la
Gironiere describes with emotion the "small bamboo palaces" built at the end of Binondo
wharves. From the middle of the century onwards, these country cottages disappear as a result
of the pressures of economic activity, but also because of the growing pollution of waters.
Epidemics of cholera that struck the city of Manila several times (1820-1823, 1842-1844,
1854,1856,1863-1865,1882-1883, 1888-1889) reveal the extent of such threats and provide a
means of measuring the degradation of the environment. For Spanish physicians of the
nineteenth century, water pollution has immediate consequences on public health in two ways:
on the one hand, corrupt and stagnant waters supposedly contaminated the air of the city and,
on the other hand, the direct consumption by residents of an increasingly polluted water caused
many diseases.
The attention of Spanish physicians and hygienists is focused particularly on the esteros,
more especially the progressive transformation of these waterways into dumps and stagnant
sewers. According to the physicians, ditches surrounding the fortified town (Intramuros) were
among the worst.
For physicians, the progressive transformation of waterways into miasmatic reservoirs

result in the recurrence of epidemic diseases in the city of Manila. Observers are thus struck by
the concomitance between 1820 and 1843 cholera epidemics and a particularly heavy pollution
of the Pasig and the ester~sA.~t the end of the century, the degradation of the environment is
such that some physicians assert that cholera has become endemic in the Manila region
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In March-April 1850, military physicians again worry about the pollution of river water
and the esteros. They do not hesitate to claim a relationship between the epidemic of smallpox
then raging in Manila and the miasmas released by waters and muds in a state of putrefaction.
Orders are given for the barracks to hermetically close windows looking onto waterway^.^^
Spanish physicians therefore went more in fear of particularly dry periods that favored
fermentation in the esteros and increased the exhalation from marshy zone. Feared, too, were
the first rains to fall on the overheated ground because they produce particularly pernicious
emanations. On the other hand, they were much less alarmed by the more and more frequent
and increasingly dramatic floods.
This pollution is all the more worrying to physicians as the esteros and the river
constitute, until the construction of a water supply in 1882, the main source of drinkable water
for the population, especially of the underprivileged
Surface taps also serve to water animals, but the liquid is so bad that even horses refuse
it if not softened with molasses.The collection of rainwater is the solution largely employed by
the houses of Manila before 1882. Masonry houses always have one or several tanks, in
general placed under the azotea. However, tanks (aljibes) seem to have often been constructed
without great care and are frequently fissured by seismic shakes:" the potable water then risks
contamination especially from cesspools or pozos negros. More often than not the water in
tanks is of an acceptable quality. Indigenous houses constructed from nipa, or all at least many
of them, resorted to the same solution. However, the water is polluted by running down the nipa,
and there is also the problem of mosquitoes taking advantage of these reservoirs to multiply
Whatever the quality of the water obtained by collecting rainwater, the volume is limited
and extremely seasonal. During the dry season, which can last up to six months, reserves are
rapidly exhausted: it then becomes necessary to buy all or part of the domestic supply from
water carriers. At this time of the year, the price of drinkable water is high: the capacity of ships
supplying water is limited by the shallow depth of the river and its tributaries. Moreover, sources
of supply are remote: indeed prices depended on the distance and the latter conditions the
quality of the water. The water drawn from the Pasig beyond the limit of tide influence, between
Santa Ana and Guadalupe, is the least expensive (2.5 centavos per tinaja) but it is not always
very clear and has to be filtered through the sand of the bank before its transportation. The
small right bank tributaries of the Pasig are of a better quality and the most prized of all is spring
water: that of the spring of San Juan costs up to 12.5 cents per tinaja
The high water prices and the strong rises of the dry season above all affect the poorest
people of Manila, who drink water exclusively and who have no other alternatives, for lack of
tanks and pesos, than to drink the briny and tainted water of wells, the Pasig and the esteros.
There is a need to remember that the esteros are also major means of communication
within the conurbation. They are used for the short-haul trade (supply of the city, transportation
of inhabitants). They play a fundamental role in the functioning of the internal port: the cascos
that load and unload deep water ships and the craft used for cabotage ply these waterways
continuously (many warehouses are constructed on their banks) and are moored along their
length. The filling in of these waterways therefore is also a very serious economic problem. In
part, the growing water pollution of Manila is the result of this multiplicity of usages of water
within urban area.
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Nature and Men: The Agents of Degradation
Manila is located at the mouth of the short river Pasig (26 kilometers during the studied
period), an outlet of a vast lake, the Laguna de Bay that debouches into the Bay of Manila.
The site of Manila is therefore as flat as it is low. The less raised zone of Intramuros was
little less than two meters (seven feet) above sea level during the nineteenth century.33 In spite
of this small elevation, largely artificial, the fortified town is one of the healthiest points of the
conurbation because it is built on a sandy strip slightly higher and more stable than surrounding
grounds.
When rains are particularly strong and during powerful tides, the natural drainage
system and evacuation of running waters no longer operate: the city then turns into a vast lake
and Manileños have to travel by banca. Apart from these exceptional circumstances, part of the
urban area is built on zones liable to flooding, at least during the rainy season. The river banks,
and more particularly Quiapo, Santa Cruz, San Miguel and Paco (especially the district of
Concepcion) are exposed: each year during the rainy season, the cigar-makers of the Arroceros
workshops have to wear high-heeled sandals to access their place of work. These zones liable
to flooding and which are particularly marshy, were built during the nineteenth century as
demographic growth, economic development and the prohibition of nipa houses in the center,
necessitated the settlement of terrains that were traditionally transformed into rice fields or
zacatales, and led to the appearance of real "aquatic suburbs"
Waterways were considered as convenient dumps by most of the urban population.

Water was soiled by the cleaning and washing of linen, or by being used by both humans and
animals as public baths. Industries, such as tanneries, dyeing factories or breweries, developed
during the nineteenth century and contributed to pollute the river.
Manila Residents
At late 18th century the residents of Manila had a poor habit of garbage disposal in the
esteros, this is the reason of water stack. The lack of knowledge in waste management can be
partly explained by deficiencies in the collection of household garbage. The Ayuntamiento gave
solution in the environmental problem in the community, they implement the care of cleaning the
street, in 1830 had some collection cart and end of 1860’s garbage collection was assigned to
the contractor to place dustbins, detached all garbage, and used wagons to travel along the
street.
The municipal services were entrusted to the private entrepreneur but the system
functioned badly;
- The requirements were never respected;

- Under paid employees showed little zeal;
- Open arts infected streets and were put by carabaos that advanced very slowly; and
- Had to be bathed several times a day;
The cleaning was limited to only districts that paid the tax of Alumbrado Y Limpieza. In
the late 1860’s limited zones of masonry building in Intramuros, Binondo, Santa Cruz and
Quiapo was clean by the contractor.
In the late 1880’s, in the district of Tondo had no garbage collection services therefore
the municipality assigned a designated area to burn their waste. This was insufficient to meet
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the growing population for the reason that it affects the streets, waste grounds, the yards of the
possessions, the ruins of houses, on beaches, on the banks of the esteros or in canals. Since
there were no proper knowledge in waste disposal this was resulted pollution in waterways.
In the 1890’s the cleaning services was improved, it covered the whole part of manila,
there regular street sweeping and removal of horse and carabaos, the construction of water
supply and the installation of many fire hydrants also allowed a more frequent watering of
streets.
At the end of 18th century the proprietor was paid to culverts and for regular cleaning
services of the public waste, however they didn’t fulfil their proposed project therefore the street
turned into virtual lakes of dirty water.
Masonry Houses’ sanitary facilities were based on the fixed cesspool.
Fixed Cesspools- should be install in order to obtain the building permit; but
these infamous pozo negro, denounced the end of the century, by
Anglo-Saxons- symbol of the legendary dirtiness, provide the alternative system

in the absence of sewer.
The fixed pools posed serious hygiene problems;
- They were rarely trained and seismic shakes fissured them;

- Allowing feces to contaminate the soil; and
- Sir with pestilent emanations
The possession had latrines only on the blueprints of municipal architects;
- Tenants attended the call of native in discreet corner of the yard;

- In the nearest street of in ruins;
- Waste ground
1st Public Urinals- only imported from Europe in the early 1890’s and they were reserved to the
Binondo.
The Manila water pollution was resulted of progressive loss of natural means of drainage
and purification of site and a lack of public spiritedness and infrastructure in most manila
buildings.
Natural system of sanitation were unable to absorb the constantly increasing volumes of
used water.
Spanish Administration Efforts: A Drop in the Ocean
The elimation of pollution in Manila was not seriously considered even if there were a
proposal in 1850 about the removing topographic obstacles to help the circulation of air or even
the planting of trees to isolate marshy zones from which emanated miasmas. Spanish
authorities well understood that an improvement of the situation first of all entailed the creation
of an efficient cleansing system for the city, a system to which proprietors would be encouraged
to connect their buildings.
The municipality made exertion throughout the 19th century on studies deals with short
portions of streets, and the proposal for a grand-scale project on behalf of the Ayuntamiento, the
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concerns were repairing and the completion of a system for Intramuros, made in the early 1850.
However, most studies deal with the most anarchic manner:
- sometimes workers constructing a new pipe discovered,

- in the course of their excavations, an ancient abandoned sewer
But the results were not good because of the pipes became rapidly obstructed. Lack of
inclination caused many problems: the slow flow of water, especially, did not allow for the self-
cleansing of sewers as is necessary with tides, since pipes reverse if mouthpieces were placed
too low.
Spanish authorities seemed to have judged expenditure on sewers as useless in the

absence of great infrastructural works. In the 19th century, periodic projects were implemented
both to level and to raise streets.
At 1882 the time of the cholera epidemic of, the Governor General Primo de Rivera was
determined to act as the: summoned a council of specialists to study possible solutions to
sanitize the marshy zones of the capital. Proposals were extremely varied, including levelling
the entire circumference of the city; processing unhealthy soils with iron sulphate; spreading a
layer of lime; removing the contaminated earth. These were inspired by the successes at Jolo
(Sulu City).
In 1870s the second half of the period, some improvements were recorded during the
last fifteen years of Spanish rule, but the capital's size and its chronic insolvency prevented any
resolution of the problems.
The system of esteros, were blamed by hygienists for the poor health, they offered an
alternative solution. Repairs and improvements would restore to them their previous function of
evacuation. But the authorities were not agreed on this point and some sought yet another
solution: the drying-up of all stagnant waterways. This solution was demanded by the physicians
for the ditches ringing the fortified town, from as early as the 1820s. Cleaning attempts
produced little benefit and even in 1898 the ditches of Intramuros continued to infect the
atmosphere.
An end to the network of esteros, apart from those used for the transportation of goods.
Some esteros were effectively filled in during the 19 th century, as the sections obstructed when
the Divisoria was constructed, this was caused more problem. Indigenous communities
suspected that the cleansing operations of private entrepreneur was used for their own benefits
to profit from the reclaimed land
The total drying-up of the esteros supposed the construction of a parallel system of
sewers. The new projects for the port of Manila began in 1883 and the specific establishment of
a separate administration of Junta de Obras del Puerto de Manila endowed with huge financial
resources represented the first serious attempt to bring about a solution. The commission
charged with studying ways of improving the system of esteros reached a wise and logical
conclusion: allowing the esteros to become open-air collectors was not a viable solution but,
considering the lack of financial means and insufficient techniques to construct a modem
system of underground sewers, public authorities simply had to depend on them to keep the city
as clean as possible.
Waterways in the capital were divided into four categories:
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First Group- comprised esteros used for navigation and was assigned to the Iunta de
Obras del Puerto. The width was 12 to 25 meters to allow for both parking and circulation of
cascos and an average depth of 2 meters. Their quays had to be widened and strengthened.
Second Group consisted of the esteros of Gunao from the estero of San Miguel to the
bridge of Quiapo, San Sebastian until the Del Marques Bridge, Quiapo and Curtidor. With a
minimum depth of 1.5 meters, these were seen as both a means of cleansing the districts they
crossed and as being accessible to small-size ships.
The esteros of Trozo, Dulumbayan, Sibacon and Quiotan, were to become the backbone
of the future system. The esteros of Magdalena, San Lazaro, Bilibid, and Sampaloc were to be
transformed into simple ditches, so as to drain the numerous swamps along their banks. All the
other canals and cut-offs were to be allowed to dry out.
Management of these last three categories was to be entrusted to the Ayuntamiento.

Those esteros to be retained had to be channeled, regularized and their course rectified by
shortening. The form of cleaning was placing sieves to retain the waves from the high tide and
only to release them at low tide: the current so created being sufficient to clean the canals.
This ambitious program was far from being realized on the eve of the revolution. The
esteros used primarily for navigation had been appreciably improved because they played an
essential economic role in the functioning of the port. The municipality yards progressed far
more slowly.
In 1895, just the esteros of Curtidor and San Sebastian had been improved. The
draining of the estero of Quiotan, not envisaged under the 1882 plan, proved to be that it played
an important regulatory role in period of flood and it occupied an ideal site to act as a sewer.
Carlos de las Heras y Crespo - the municipal engineer and the creator of this observation
He decided that Manila required a comprehensive plan to provide for the cleansing of
the city and he proposed a plan of work.
He conclude that the esteros of the city could be a dumping site that disfigured the city
and were responsible for the poor sanitary state of Manila and the high rates of mortality aware
of the imperfections of the network then being constructed.
The pozos negros of masonry houses were certainly prejudicial to public hygiene, but
had the merit of avoiding a massive quantity of faecal matter pouring into the esteros, and
municipal authorities were unable to insist on the use of the new sanitary equipment without first
introducing basic equipments.
The use of esteros to establish a system of open sewers was certainly not the most
hygienic solution, Spanish authorities would never find necessary funds for the realization of two
separate systems, one for used water and the other for rainwater.
His proposed solutions were realistic and achievable, but it was questionable if it would
be useful or not. The esteros was retained as was the idea of reservoirs where tidal flows could
be stored to insure the drainage of sewers. The central idea was to solve the main drawback of
the site of Manila, its lack of unevenness. Vast zones were to be embanked to raise profiles
above the average level of the tide and thus allow a flow by gravity.
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The city was to be criss-crossed by a system of sewers should have sufficient slope. So
that it would be necessary to avoid reducing the number of esteros too much and, on the
contrary, to dig new collectors. Carlos de las Heras y Crespo foresaw the construction of 120
kilometers of pipes for a total cost of a bit over one million pesos.
The belated date of this project really forbids any real appreciation of the scheme.
However, the mileage of piping increased rapidly during the second half of the 1890s, partly due
to the use of cast-cement piping which allowed work to progress more rapidly and efficiently.
From the late 19th century, the authorities and inhabitants of Manila became aware of an
uncontrolled urbanization in a frail tropical environment. The medical profession took action to
resolve the problem of water pollution. These efforts didn’t improve the situation nor curb the
degradation of the urban sanitary environment.
Natural obstacles and local topography were mainly responsible for the failure: only very
large scale works would have restored the system of esteros to a sanitary state and create a
coherent and efficient drainage network.
American Assessment
American Administration improved the sanitation and gave solution on some sanitary
problem in the previous administration. The American Authorities were aware of the cronic state
of sanitary under equipment in the poorer district, where rain water, liquid waste, faeces and all
sorts of refuse piled up under the batalanes of the nipa huts, turning into large ponds during the
rainy season and putrid quagmires.
The Spanish authorities Carlos de las Heras link between social problems and the
degradation of the environment. Carlos de las Heras's plan, was concerned with the improving
the area designated for masonry buildings.
The study highlights the importance of an awareness of natural factors in urban history
and the history of the built-up environment. It is one of the American’s greatest achievement in
the Philippines was the improvement of public health and welfare. Before 1900, the Filipinos
suffered from ravages of smallpox dysentery, tuberculosis, cholera, malaria and other deadly
disease which killed thousands of people every year. Public Health and Sanitation were very
poor during Spanish regime.
The American study in 19th century causes of urban degration in Manila, it underline the
importance of town planning access in the environment data highlight the need to disturb of
complex natural mechanisms that govern the life of an estuary. The improvement of Manila was
depend on the geographical data, these was the primary role played by the esteros in cleansing
the city.
Health and Sanitation in the Philippines during the American Period
It is one of the American’s greatest achievement in the Philippines was the improvement
of public health and welfare. Before 1900, the Filipinos suffered from ravages of smallpox
dysentery, tuberculosis, cholera, malaria and other deadly disease which killed thousands of
people every year. Public Health and Sanitation were very poor during Spanish regime. They
became worse during the revolution and the Philippine American war, some problem face by the
American:
- no provisions for the sanitary disposal of human waste even in Manila.
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- the moat around the city wall, and the esteros, or tidal creeks, reeked with filth, and
the smells which assailed one’s nostrils, especially, at night, were disgusting.
- distilled water was not to be had for drinking purposes.
American Officials Involve in Health Improvement:
Dean C. Worcester
– the most influential man in the Philippines in 1901- 1912
– 1st came to the Philippines in 1887 as a member of a scientific expedition
– became 1st Philippine Commission in 1899 served as Secretary of the Interior for the
Insular Government in (1900-1903)
Victor G .Heiser (1890-1972)

– Director of Health for the Philippine Islands, Passed Assistant Surgeon, Public
Health and Marine Hospital Services
Dr. Paul Freer

– 1st dean of the Philippine Medical School
– supervise the setting up of laboratory equipment and facilities of Bureau of Science
in 1901
– conduct studies and develop the vaccines against smallpox, cholera and dysentery
Dr. Richard Strong

– 1st Filipino dean of the U.P College of Medicine and Surgery
– influence health education and monitor the implementation of pet program
Two Period of Progress in Sanitation:

Elimination of Graver Epidemic Diseases
1st period – principal concern of the authorities were controlling the outbreak of
cholera, vaccinating the habitant to get rid of smallpox and taking measures to
eliminate bubonic plague. The result
Result : satisfactory for all practical purposes and eliminate have been, in the
smallpox and bubonic plague. The cholera has been controlled, it can no longer
be considered a menace and a serious epidemic.
Constructive Sanitation
1906 - started the investigations in improving the General Water Supply of the
Islands.
Artesian Wells - the best solution in improving the water supply,
- which the water flows to the surface naturally
- in 1907 the 1st artesian well were installed.
Results: satisfactory as to flow and portability of water, and the success
immediately created a strong desire for artesian well in the island.
June 1915 - 1st commission was established, the operation begun in Pasig, Rizal
- It was composed of a physician, an engineer, a bacteriologist, district
nurses, and a sanitary inspector.
Dean C. Worcester – became 1st Philippine Commission in 1899
◦ Commission was instructed upon the ff. points:
- Prevailing types of disease;
- Factors which contribute to the spread and extension of these diseases
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- Prevalence of intestinal parasites;
- Best method of improving water supply, sewage and garbage disposal,
improving the housing and living conditions through proper utilization of
means and materials locally obtainable;
- Drainage canalization to obviate fly and mosquito breeding;
- Possibility for bettering building location and arrangement so as to
improve lighting, ventilation, building sites, etc.;
- Possible improvements of health organizations with especial reference to
personnel, employment of visiting nurses, etc.;
- Possibility of establishing sanitary markets and dairies, and
- Investigations into the financial status of the municipality for the purpose
carrying out the recommendations made by the commission.
-
American Health Initiatives Causing the Greatest Morbidity and Mortality:
Adult
- Diseases of the respiratory system, as bronchitis and tuberculosis it considered a
major killer diseases
- Diseases of the gastrointestinal system, as acute and chronic enteritis, gastritis and
dysentery.
Children
- Respiratory Diseases, under respiratory, rhinitis and bronchitis,,
- Skin Diseases, under skin problem, smallpox
- Nutritional Diseases, under nutritional, infantile beriberi, marasmus, and diarrheas.
Infant
- Poor Nutrition causes infection of the mother’s milk and lack of proper milk for
artificial feeding
- Mother’s weak bodies gave birth causes to weak children
- Infection at birth result of large percentage of native-born infants died before
reaching one year of age
Factors which contribute to the spread and extension of diseases:
- Faulty Personal Hygiene

- Poor Water Supply – improper handling was faulty and infection occurred either and
transmit or in the house
- Lack of Sewage Disposal Facilities – resulting infections by intestinal parasites
- Improper Garbage Disposal – improving the living condition through proper
utilization
- Air- borne Diseases – lack of bathing, lack of adequate and clean clothing among
infants.
- Faulty Nutrition –lack of a properly balanced and nutritious diet, with consequent
low food value of the mother’s milk and insufficient quantity among children’s
intestinal disease.
- Presence of Beriberi – lack of or inability to assimilate thiamine .
- Malnutrition – improper and irregular feeding of the child.
- Improper Milk Feeding – lack of proper milk for artificial feeding; general use of
basabasa, a soup from polished rice to supplement the mother’s milk after 6 months
of age.
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Health and Scientific Infrastructure
Three Important Health Complex
1. Philippine Bureau of Science in 1901

- responsible for the provision and management of the biology and the
chemistry needs of the Insular Government.
2. Philippine Medical School in1905

- produce graduates who would become disciples of health and sanitation
- place under the supervision of the Department of Sanitation
3. Philippine Medical Hospital in 1908

- was made to coincide within the meeting of the Philippine Island Medical
Society
- making available to the public the best medical facilities taking care of the
health needs of the government employees
IMPERIAL MANILA: American Colonial Architecture and Urbanism, 1898-1942
At the closing of the 19th century, Manila, as a new American colonial city, received
massive urban transformation aimed at concretizing America’s imperial imagination in the
tropics. This imperial ambition drove the colonial authorities to structure Manila’s urban built
environment as a model colonial outpost. This urban revision was initiated to facilitate efficient
colonial governance and to signify the power and prestige of the new colonial order. Manila,
perceived by the colonist as a pathologic space, became the vortex of colonial urban
reengineering that systematically transformed the city into a sanitized, ordered, and regulated
domain so structured to enhance the flow of economic activities. (G. Lico)
With the occupation of the Philippines by the United States in 1898, a new phase of
Philippine architectural history began. In accordance with America’s thrust towards establishing
an American-style government, urban planning and architecture served the needs of secular
education and public services. In 1904 American architect Daniel H. Burnham came to the
Philippines to conduct a survey of Manila and Baguio to prepare development plans for both
cities. Burnham was one of the architects of the1893 Chicago Exposition which, under the
influence of the Beaux Arts School of Paris, revived the neoclassic style of architecture.
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Burnham admired the bahay na bato and the colonial churches for their practicality and charm,
and suggested that they be models for future development.
Burnham’s recommendations for the development of Manila included the establishment

of a government center with streets radiating from it; the retention, cleaning, and improvement
of the esteros or canals; the construction of a bayshore boulevard from Manila to Cavite; the
development of parks and waterfronts, and the provision of sites for major public facilities, such
as schools and hospitals.
Among those assigned to implement the Burnham plan was American architect William
E. Parsons. Parsons followed Burnham’s recommendation that a style of architecture be
developed to suit the tropical climate. Parson’s major works include the Normal School (now
Philippine Normal University), the Philippine General Hospital, the Manila Hotel, and theArmy-
Navy Club.
Daniel Hudson Burnham, FAIA (September 4, 1846 – June 1, 1912) was an

American architect and urban designer. He was the Director of Works for the World's Columbian
Exposition in Chicago.
Burnham Park -is a 32.84 hectare urban park located at the heart of the City of Baguio, in
the Philippines. It was named after the American architect and urban planner, Daniel Hudson
Burnham who laid the plans for the city. Several stretch of roads around the park lead to Camp
John Hay, a former recreational base of the United States Armed Forces in the Philippines.
PHILIPPINE ARCHITECTURE DURING AMERICAN ERA
After the Spanish-American war, the architecture of the Philippines was dominated by the
American style. In this period the plan for the modern city of Manila was designed, with a large
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number of neoclassical architecture and art deco buildings by famous American and Filipino
architects.
NEOCLASSICAL ARCHITECTURE
Is an architectural style produced by the neoclassical movement that began in the mid-18th

century. In its purest form it is a style principally derived from the architecture of Classical
antiquity, the Vitruvian principles and the architecture of the Italian architect Andrea
Palladio.
In form, Neoclassical architecture emphasizes the wall rather than chiaroscuro and
maintains separate identities to each of its parts. The style is manifested both in its details
as a reaction against the Rococo style of naturalistic ornament, and in its architectural
formulae as an outgrowth of some classicising features of Late Baroque. Neoclassical
architecture is still designed today, but may be labelled New Classical Architecture for
contemporary buildings.
We can distinguish if a structure is a Neo – classical architecture if have these features:

Symmetrical shape
Tall columns that rise the full length of the structure
Triangular pediments
Doomed roof
ART DECO
• is an influential visual arts design style that first appeared in France after World War

I and began flourishing internationally in the 1920s, 1930s and 1940s before its
popularity waned after World War II.
• It is an eclectic style that combines traditional craft motifs with Machine Age imagery
and materials.
• The style is often characterized by rich colors, bold geometric shapes and lavish
ornamentation. Deco emerged from the interwar period when rapid industrialization
was transforming culture. One of its major attributes is an embrace of technology. This
distinguishes Deco from the organic motifs favored by its predecessor Art Nouveau.
• Historian Bevis Hillier defined Art Deco as "an assertively modern style [that] ran to
symmetry rather than asymmetry, and to the rectilinear rather than the curvilinear;
it responded to the demands of the machine and of new material [and] the
requirements of mass production".
In 1902 Judge William Howard Taft was appointed to head the Philippine Commission to
evaluate the needs of the new territory. Taft, who later became the Philippines' first civilian
Governor-General, decided that Manila, the capital, should be a planned town.
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 He hired as his architect and city planner Daniel Hudson Burnham, who had built
Union Station and the post office in Washington. In Manila, Mr. Burnham had in mind a
long wide, tree-lined boulevard along the bay, beginning at a park area dominated by a
magnificent hotel.
 To design, what is now known as, the Manila Hotel Taft hired William E. Parsons, a
New York architect, who envisioned an impressive, but comfortable hotel, along the lines
of a California mission, but grander. The original design was an H-shaped plan that
focused on well-ventilated rooms on two wings, providing grand vistas of the harbor, the
Luneta, and Intramuros. The top floor was, in fact, a large viewing deck that was used
for various functions, including watching the American navy steam into the harbor.
BURNHAM PLAN
• Daniel Hudson Burnham, FAIA (September 4, 1846 – June 1, 1912) was an

American architect and urban designer. He was the Director of Works for the World's
Columbian Exposition in Chicago.
• Planned by Daniel H. Burnham and executed by William Parsons
• (They wanted Manila to be the Paris of Asia)
• Developed plans for Manila, Baguio and Pagsanjan, Laguna
• Development of the waterfront, parks, parkways, waterways and transportation
• Street system from one district city to another
• Location of building sites for various activities
The Plan : MANILA
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In 1904, the greatest architect and city planner at that time, Daniel Hudson Burnham,
submitted his proposal for the City of Manila—three years before he prepared the plan
for the City of Chicago.
 Burnham in Manila
Burnham wanted Manila to be The City Beautiful of the Orient—the Pearl of the Orient.
Manila was to be a mesh of Rome, Paris, and Venice. When Burnham visited Manila in
1904, Metro Manila had two hundred thousand inhabitants and he had only less than a
month to plan it. However, Burnham predicted that Manila would be home to millions of
people before the century was over, so he planned Manila accordingly.
 Burnham found that Manila had mostly level land with a surface a few feet above mean
high tide, and the Pasig River running through it. The population of Manila as of 1903
was 223,029, and the planners thought the developments in industry and agriculture
could lead to fast population growth.
The plan states that it aims to provide:
 1) Development of water-front and location of parks and parkways so as to give

proper means of recreation to every quarter of the city
Suggestions:
–Return of privately-owned portions of Manila’s river or ocean bay to the public for the
use and enjoyment of the people
–On the bay front, a continuous parkway* running from the Luneta southward to Cavite.
*Boulevard 250 feet wide, with roadways, tramways, bridle path, palm and bamboo trees
for shade, and broad sidewalks
*”Its seaward side should be planted so as to interrupt occasionally the view of the sea
and by thus adding somewhat of mystery, enhance the value of the stretch of ocean and
sky”
–Shaded drives along the banks of the Pasig
–Replacement of the present Luneta by a new Luneta of same size and shape, but
placed 1000 feet further out in the bay on new-made land in order to “restore its former
commanding outlook”
––A large pleasure park near town center and on water front
–“Park spaces, small in extent, in the shape of plazas, circles, esplanades, parkway
boulevards…laid out so that in any quarter of the city future buildings of importance may
find already prepared for them a location susceptible of adequate treatment in its
approaches and surroundings”
–Nine parks (the “playfields of moderate size in the heart of the city” type) evenly
distributed throughout the city, taking inspiration from the parks recently created by the
South Park Board of Chicago
–An outer park northward of the city, from Santa Mesa toward the bay, where the ground
has varying contours
–Three other potential parks on the outskirts of the city, all of which are connected by
parkway boulevards
–Fountains throughout the city, once water supply is more abundant
 2) The street system securing direct and easy communication from every part of
the city to every other part
Suggestions:
–Maintain the city walls
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Burnham decided that older parts of the city with “well-shaded, narrow streets” were
“picturesque and should be maintained” for the effect they created. The city walls
themselves presented a unique case of archaeological and historical interest.
Constructed in the sixteenth century, they stood as one of the few remaining examples
of a fortified medieval town. Aesthetically, Burnham felt that their “imposing appearance
[gave] them a monumental value.” Some concerns were raised about the walls blocking
traffic and the circulation of air. The planner felt that the latter critique was unfounded
(since nearby buildings were just as high, or higher), and that gateways could be cut
through the angle bastions to help traffic and preserve the walls’ effect.
–Turn the city’s ancient moat into a sunken garden
Burnham had no desire to keep the ancient moat surrounding the Intramuros, or inner
city. The space had become stagnant and hazardous, a sanity and aesthetic nuisance,
and Burnham thought it better to drain and fill it with trees and grass to provide a circular
park. This would provide a dramatic setting for the old city walls.
–Outer districts of the city should have a street system with the following characteristics:
* No north-south or east-west orientation
Why?
“The avoiding of north and south or east and west orientation of streets allows each of
the four sides of the house to have the advantage of direct sunlight at some time during
the day, with consequent gain in ventilation and sanitation.”
* Fan-shaped grouping of radiating streets, dividing the town into 5 sections, with the
center being the area of the Intramuros and its adjacent territory
Why?
“The reason of this arrangement is the fact that from any given point in the outer section
of the city, the volume of traffic toward the centre will exceed the volume of traffic toward
any other single point. Hence the advantage of a system which directs half the street of
a given quarter directly towards the busy center.”
* Diagonal arteries for facilitating communication between city districts
Why?
Burnham thought it important for every section of town to be readily accessible from
every other part of town.
–Leave old city streets untouched, except for a couple new arteries deemed
“indispensible”
“Speaking generally, the planning of a town should be so carried out that a person may
pass from any given point to any other point along a reasonably direct line.”
 3) Location of building sites for various activities

Suggestions:
–Government/National building group (including the Capitol building and Department
buildings)
* Should be configured in a single, formal mass
* Eastern front should face a semi-circular plaza space, ideal for a national monument
“of compact plan and simple silhouette”
* Courthouse located separately, south of the main group (“The buildings which
constitute the visible expression of law, its symbol of dignity and power, should be given
the utmost beauty in their location, arrangement, architectural treatment, and
approaches. A Hall of Justice should be treated as a thing apart, a thing majestic,
venerable, and sacred…free from the clatter of commerce.”)
–Semi-public buildings (libraries, museums, permanent exposition buildings) stretching
from the Government group northward toward the bridge of Spain
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–Railway station centrally located on the river and between Pace and Pandacon,
connected by its’ own system of radiating arteries with all quarters of the city
–Municipal building group placed on Plaza McKinley
* Enlargement of the plaza
* Creation of a second plaza where a Custom House, Board of Trade, and Commercial
Museum would be located.
–The waterfront
“…The bay front, with its boulevards and parks, is the natural theatre of the social life of
Manila…”
In treating the waterfront, Burnham felt that Manila’s ocean bay and river were standout
features. The residences of the Governor-General, the Major-General Commanding the
Department of the Philippines, and the Vice-Admiral of the Station would be
located there. The planner also envisioned a closely-grouped series of city clubs
(considered semi-public institutions) on new-made land.
He suggested that any privately owned property near these waterways be returned to
the public. He referenced fountains in Washington and Rome as potential designs for
Manila, serving as “aesthetic and psychological relief from the long summer heat.” The
canals, or esteros, would be transformed from stagnant and unsanitary muddy banks to
a useful system for transporting goods. Though he recognized that widening, bridging,
and maintaining them would be costly, Burnham also saw their potential to contribute a
Venice-like beauty to the atmosphere.
–A world-renowned hotel located north of the Luneta Park
–A group of schools, or perhaps a university, placed on Santa Mesa Heights, a location
that was detached from the city, on high ground, and made water for aquatic sports
available.
 4) Development of waterways for transportation

Suggestions:
–A railway drawbridge over the Pasig
–An additional port to the North of the river near the present business and railway freight
districts
–Preservation and rejuvenaton of the esteros, or narrow canals, around the city as a
source for freight handling and for beauty
–An open quai along river-banks in the business parts of town
 5) Summer resorts
Suggestions:
–Placement on high grounds
–Accessible/within easy reach of the city
Burnham saw Venice, Paris, and Naples in our esteros and envisioned the Pasig River,
the Binondo canal, and the other waterways as major transport systems. Riverbanks,
Burnham wrote in his report, would be created with shaded drives.
William E. Parsons (1872-1939) was an architect and city

planner known for his works in the Philippines during the early
period of American colonization in the country as recommended
by Daniel Burnham.
Works: Manila Hotel, PGH Nurses' Home
Philippine Normal University,
Mansion House (Bagiuo)
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Malacañang sa Sugbo - Previously known as the Aduana (Customs) building, it was
originally built in 1910 to house the Bureau of Customs (BOC) office in the Port of Cebu
City. It was designed by William E. Parsons who was assigned as the architect of the
Philippine Government from (1905-1914). Parsons was chosen by Daniel H. Burnham to
execute the plans for the city of Manila and Baguio. Parsons made his own plan for
development of the city of Cebu and the Customs Office is the first building constructed
according to his plan.
• Philippine General Hospital, Manila - The Philippine General Hospital Administration

Building is situated along Taft Avenue in Manila. It was built by architect William E.
Parsons in neo-classic style that follows the Daniel Burnham plan for Manila. This plan
included Manila Hotel, Army and Navy Club and the Philippine General Hospital. These
were executed by his successor; Parsons included who was a city planner in the
Philippines during the early period American colonization in the country. His works was a
clear translation of Neoclassicism into a new hybrid of colonial tropical architecture.
• Elks Club, Manila - The Manila Elks Club was founded after the Spanish-American
War ended in 1898 which resulted in the transfer of the Spanish Philippines to the United
States control.
• Army and Navy Club, Manila - Originally, the Club was housed in a building
in Intramuros, Manila and then on April 12, 1911 transferred to its present site, an area
along the shores of Manila Bay reserved by urban planner Daniel Burnham in his plan of
Manila.
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• Manila Hotel – Pre-World War II - During World War II, the hotel was occupied by
Japanese troops, and the Japanese flag was flown above the walls for the entirety of the
war. During the Battle for the Liberation of Manila, the hotel was set on fire by the
Japanese. The shell of the building survived the blaze and the structure was later
reconstructed.
• The National Monument to Dr. Jose Rizal - The bronze and granite Rizal monument
located in Rizal Park, Manila, has long been considered among the most famous
sculptural landmarks in the Philippines. The monument is located near the very spot
where Dr. Jose Rizal was executed December 30, 1896.
On 28 September 1901, the Philippine Assembly approved Act No. 243, “granting the
right to use public land upon the Luneta in the city of Manila” where a monument shall be
erected to Jose Rizal.” As conceived by the Act, the monument would not merely consist
of a statue, but also a mausoleum to house Rizal’s remains. A Committee on the Rizal
Mausoleum consisting of Poblete, Paciano Rizal (the hero’s brother), Juan Tuason,
Teodoro R. Yangco, Mariano Limjap, Dr. Maximo Paterno, Ramon Genato, Tomas G.
del Rosario and Dr. Ariston Bautista was created. More than twelve years after the
Philippine Assembly approved Act No. 243, the shrine was finally unveiled on December
30, 1913 during Rizal’s 17th death anniversary.
The Rizal Monument in Luneta was the work of a Swiss sculptor named Richard
Kissling. Kissling was only the second placer in the international art
competition held between 1905 – 1907 for the monument design.
• Among the Filipino architects, maestro de obra Arcadio Arellano was the first to be
engaged by the Americans, serving as consultant to Governor-General William Howard
Taft in 1901. More rendered public service through the Bureau of Public Works, most
notably the pensionados who receive academic scholarships in the U.S.: Carlos Barretto
(from the first batch in 1903), Antonio Toledo (1910), Tomas Mapua (1911), and Juan
Arellano (1912), who would become the most influential Filipino architect of the time,
Their notable works include the Agriculture, Finance and Legislative Buildings, all stately
icons of American colonial power.
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• Without doubt, the American era brought forth a blossoming of the Philippine panorama:
the modern American buildings assimilated with the antique Spanish churches and forts
and the vernacular Filipino houses, making up an attractive architectural landscape.
Manila, in particular proudly rubbed elbows with the best cities of the world.
• With the passing of time, so too have many of the period structures permanently passed
away; some that have survived struggle and are imploring to be restored. Yet, there are
also those that have lived on and thrive in their repurposed revival, proudly and
poetically perpetuating their historical and architectural significance.
FILIPINO-AMERICAN COLONIAL ART AND ARCHITECTURE
Juan Arellano - A first generation architect that was sent to the US as one of the first
pensionados in architecture
- Designed the National Museum, the Jones Bridge, Arellano Post Office and the MET Theater
FABIAN DELA ROSA (1869-1937) -- The first notable painter of the 20th Century
- Known for his realistic portraits, genre and landscapes in subdued colors
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- First dean of the UP Fine Arts School
- Work: Rice Planters
FERNANDO AMORSOLO Y CUETO (1892-1972) -- The first and among the few Filipino
painters who have captured the different striking colors and character of the country's
magnificent sunlight (best known for his illuminated landscapes)
- Student of Fabian Dela Rosa
- Works: Dalagang Bukid and Planting Rice
GUILLERMO TOLENTINO (1890-1976) -- Trained in the classical style in Rome

- He is considered as the "Father of Philippine Arts"
- Works: the Oblation (UP), Bonifacio Monument (Caloocan), Filipinas in Bondage
Antonio Toledo -Consulting Architect in 1938 until his retirement in 1954

- The youngest pensionado when he was sent to the United States to study architecture
at the age of sixteen
- One of the pioneer professors of Mapua Institute of Technology
- Designed the Manila City Hall, Bureau of Customs and the Department of Tourism and
Finance Buildings
Tomas Mapua - Holds the distinction of being the first registered architect in the Philippines
- Nicknamed "UNO"
-He founded what is to become the Philippines' top Architecture and Engineering school,
the Mapua Institute of Technology
- He also founded the first Architectural Association in the Philippines, the Philippine
Institute of Architects
Pablo Antonio - Studied architecture at Mapua but dropped out of school in order to assist in
the design and construction of the Legislative Building (National Museum)
- 2nd awardee of the National Artist for Architecture
- Took Philippine architecture into a new direction, with "clean lines, plain surfaces, and
bold rectangular masses." (Art Deco instead of the more popular Neoclassicism)
- Works: Ideal Theater, Nicanor Reyes Hall (FEU), Galaxy Theater
Cesar Concio - Is the 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.
- Works: Palma Hall (UP), Insular Life Building, Church of the Risen Lord (UP)
Andres Luna De San Pedro - Son of the famous 19th century expatriate Filipino painter, Juan
Luna
- Introduced the new architectural forms in the Philippines by using the Art Nouveau Style.
- The Manila government appointed him the chief architect, a position he held from 1920-1924
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Juan Nakpil - The eldest child of Philippine revolution veterans Julio Nakpil and Gregoria de
Jesus (the widow of Andres Bonifacio and maker of Phil. flag)
- Became an assistant architect for the Bureau of Public Works
- The first National Artist for Architecture (1973)
FERNANDO OCAMPO - received his Bachelor of Arts in Ateneo de Manila in 1914, his Civil
Engineering degree in UST 1919 and studied architecture in the University of Pennsylvania
Art Deco Theaters in the Philippines

During the rise of cinema in the Philippines as a form of recreation, several theaters were
constructed in the 1930s to 1950s in the Art Deco style designed by prominent architects now
recognized as National Artists.
The following are the Philippine architects who contributed and lead to the design of the
classic Philippine theaters:
• Juan F. Nakpil - (May 26, 1899 – May 7, 1986) was a Filipino architect, teacher and a
community leader. In 1973, he was named one of the National Artists for architecture,
and tapped as the Dean of Filipino Architects.
• Pablo Antonio - (January 25, 1901 – June 14, 1975) was a Filipino architect. A pioneer
of modern Philippine architecture,[2] he was recognized in some quarters as the
foremost Filipino modernist architect of his time.[3][4] He was conferred the rank and title
of National Artist of the Philippines by President Ferdinand Marcos in 1976.
• Juan Marcos Arellano y de Guzman - (April 25, 1888 - December 5, 1960), or
• Juan M. Arellano, was a Filipino architect, best known for Manila's Metropolitan Theater
(1935), Legislative Building (1926; now houses the National Museum of the Philippines),
the Manila Central Post Office Building (1926),the Central Student Church (today know
as the Central United Methodist Church, 1932) the Negros Occidental Provincial Capitol
(1936), the Cebu Provincial Capitol (1937), the Bank of the Philippine Islands Cebu Main
Branch (1940), Misamis Occidental Provincial Capitol Building (1935) and the Jones
Bridge.
Art Deco Theaters of Manila are theaters constructed in the 1930s to 1950s built in Art
Deco style, or a similar branch of the style like Streamline Moderne, in the Philippines. The
construction of these early theaters in Metro Manila provided the venue for early forms of
entertainment like bodabil, a local adaptation of vaudeville, with most eventually converting to
movie theaters with the growth and popularity of Philippine cinema in the metropolis. Several
theaters built within the city of Manila were designed by prominent Philippine architects,
including future National Artists Juan Nakpil and Pablo Antonio.
Manila Metropolitan Theater or MET is an Art Deco building in Manila, designed by

the Filipino architect Juan M. Arellano. It was inaugurated on December 10, 1931, with a
capacity of 1670 (846 orchestra, 116 in loge, and 708 in balcony
Avenue Theatre - It was designed in the 1930s by National Artist Juan Nakpil. During those
days, theaters had designs from well-known architects and the Avenue Theater was no
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exception for it was a grand Art Deco building. The lobby's flooring was finished in marble and
housed 1000 moviegoers. It also contained a hotel and office space.
Capitol Theater, situated in Escolta, Manila, was designed by Juan Nakpil and was built in the
1930s with an approximate seating capacity of 800. This theater had a double balcony, which is
a rare architectural design. The theater's facade has reliefs of 2 muses done by Francesco
Monti.
Bellevue Theater is one of a few classic Philippine theaters built in the '30s still running today.
It is located on Pedro Gil (formerly Herran) Street, Paco, Manila and has a total seating capacity
of 600. The theater features a Neo Mudejar theme, and contains a quonset hut design, and
other classic ornamentation.
Ever Theater is located along Rizal Avenue in Manila. The theater was also designed by Juan
Nakpil and has a single screen cinema with an 800 seating capacity. It was also visited by
Walter Gropius during its inauguration in the 1950s, praising the theater's outstanding qualities.
Ideal Theater was located at Rizal Avenue in Manila and designed by the late architect Pablo
Antonio in 1933. The theater was demolished in the late 1970s to give way to the construction
of a department store.
Life Theater One of the works of Pablo Antonio, used to be one of Manila's prime movie
houses. The theater was adorned with aluminum buffles and columns, consistent with its Art
Deco design It has since been converted to a shopping center.
Scala Theatre. Another theater designed by Pablo Antonio was the Scala Theatre, also on
Avenida Rizal in Manila. With its floors paced with tea rose marble and its curved wall ligned
with glass blocks, the theater's magnificence did not last: it was closed in the '90s. The theater
catered to up to 600 people for its single screen operations.
State Theater. Another work of the late architect Juan Nakpil, the State Theater was on Rizal
Avenue in Manila. Built in the 1930s with an art deco design, the theater was eventually closed
in the 1990's, and was demolished in 2001
Times Theater was designed by Architect Luis Z. Araneta. It was erected in 1939, with an Art
Moderne relief. Unmaintained today, the theater is still operational, and can accommodate 800
people with its single screen operations.
Rex Theater is an artdeco structure built during the 1930's located in Salazar St. Binondo
Manila.This structure survived WWII but as time pass, it was converted to a restaurant, the
Presidents Tea House.
Gaiety Theater is located along the street of Marcelo H. Del Pilar in Malate Manila near Hyatt
Hotel.It was designed by Juan Nakpil in 1935. It was owned by an American, Mr. H. Brown,
producer of La Vida de Rizal.
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Luneta Theater- an old cinema house located along T.M. Kalaw St., Manila. The building is still
existing although the theater is no longer in operation. It is owned by the Litonjua family. The
theater is just beside the old Luneta Hotel
Lyric Theater sat 1600 people and was designed by Pablo Antonio, the foremost Filipino
modernist architect of his time who also designed the Ideal, Life, Galaxy, and Scala theaters.
Frank Goulette, a former policeman acquired the Lyric in 1913 and went on to start a chain of
movie houses through the Philippines. He died in 1933. The Lyric was taken over by Eastern
Theatrical Inc. (Rufino family).It suffered extensive damage during the war and is now non-
existent.
Manila Grand Opera House (Filipino: Maringal na Bahay-Opera ng Maynila, abbreviated

MGOH) was a theater and opera house located in the Santa Cruz district of Manila on the
intersection of Rizal Avenue and Doroteo Jose Street. Built in the mid-19th century as the H.T.
Hashim’s National Cycle Track, a circular wooden structure with a nipa roof, the complex served
as the center of Philippine culture and the primary theater for the viewing of plays, movies and
zarzuelas in Manila prior to the construction of the Cultural Center of the Philippines in the
1960s. The complex had undergone several incarnations and name changes before being
demolished. A hotel has since been constructed on the site on where the theater once stood.
HOUSES
• CHALET - A single-storey house that is slightly raised from the ground

- Constructed in reinforced concrete and wood with an extended veranda in front
- Already has room divisions
 BRISE SOLEIL from French meaning "sun breaker" - In architecture refers

to a variety of permanent sun-shading structure
DAYRIT-CUYUGAN HOUSE
It was built in 1920 by the couple Joaquin Dayrit y Singian and

Maria Paz Cuyugan y de Leon is also in San Fernando City. The
stone house was inherited by their eldest daughter Luz Dayrit y
Cuyugan who was married to Ulderico Rodriguez from Bacolor.
This ancestral house, which exemplifies the architecture
prevalent during the American colonial period, was
declared a Heritage House by the NHI in 2003.
THE MARIANO RAMOS ANCESTRAL HOUSE
The Mariano Ramos Ancestral House is the residence of the

late Don Mariano Ramos, first appointed Presidente Municipal
of Bacolod City, Negros Occidental. The house was built in the
1930s and its architecture is a combination of Castilian
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and Tuscan. It was seized by the Japanese forces during the Second World War
and used it as a watchtower and as a headquarters
DONYA CARMEN RODRIGUEZ ARGUELLES ANCESTRAL HOUSE
This NHI - declared Heritage House situated in a property

astride two streets was designed in the Art Deco style by
National Artist for Architecture Juan Nakpil and built in
1935 by its owner Dr. Isidro Rodriguez. It has two receiving
rooms, several bedrooms, two dining halls, a prayer room, an
intricately designed veranda, and a terrace at the back
overlooking a large swimming pool and a private garden with a
gazebo.
GOVERNOR NATALIO ENRIQUEZ ANCESTRAL HOUSE
This eye-catching and brick-roofed Sariaya

landmark near the church, is an Art Deco style
house designed by European schooled
architect Andres Luna de San Pedro, the son
of artist Juan Luna. It was built in 1931 by
erstwhile Tayabas Provincial Governor Natalio
Enriquez (1941 - 1945) and his wife Susana
Gala. A venue for fabulous social gatherings in
pre war Sariaya, it hosted the grand reception during the 1938 wedding of
their daughter Alicia to Manuel Gala where Philippine Commonwealth
First Lady Aurora Aragon Quezon served as principal sponsor. It was
declared by the National Historical Institute as a Heritage House on
May 14, 2008.
DON CATALINO RODRIGUEZ ANCESTRAL HOUSE
The third NHI-declared Heritage House in Sariaya, it was

renovated sometime in the year 1922 and owned by Don Catalino
Rodriguez, Sariaya’s town Presidente from 1908-1909. This
fenceless, almost block long residence with its main entrance facing
south along Calle Daliz is likewise bounded by Calle Rizal on the
west and Quezon Avenue (formerly Calle Talavera) on the east.
Among its features are colorful stained glass windows, a big veranda
facing east, a straight grand flight of wooden stairs, a beautiful high
ceiling with intricately-designed lattices, a spacious grand living
room, European and American fixtures in the bathroom and the kitchen and beautiful wall
paintings.
JULIANITO RODRIGUEZ HOUSE
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This brick-roofed, thick-walled, pink-colored, three storey house once owned by Mr.
Julianito Rodriguez and his wife Rosie Gala is a comprehensive renovation of a circa
1920s residence of erstwhile Tayabas Provincial Governor Maximo Rodriguez that
burned in 1944. He and wife Martinita Gala were the principal sponsors of Manuel Luis
Quezon and wife Aurora Aragon during their wedding in Hong Kong, and their house
was where President Quezon used to stay whenever he visited Sariaya in the old days.
FRANCISCO RODRIGUEZ HOUSE
The big house was once owned by the family of Mr. Francisco Rodriguez, built on the very site
of their old residence that got burned in the big wartime fire of 1944. It was later
bought by the late local architect William Rodriguez.
MANSION HOUSE
The Mansion House is the official summer residence

of the President of the Philippines. It is located in the
summer capital of the Philippines – Baguio City. This
magnificent building was built by the Americans in 1908
as the official summer residence for the U.S Governor General.
Severely damaged during World War II, it was reconstructed in
1947 and since then has served as the holiday home and
working office for each President of the Philippines during his or
her visits to Baguio.
VICTORIAN CAKE HOUSE, SAN MIGUEL
Locally referred to as the “malaking bahay” or big

house, the massive 1922 house of Don Catilino
Sevilla in San Miguel de Mayumo Bulacan was built
to impress a father-in-law. The third level housed has
a spacious ballroom where the local elite would throw black tie parties
during its heyday.
LUNA HOUSE, MALABON
Built in the 1910s, the Luna House in flood-stricken Malabon maintains its

beauty including the metal cutwork awnings and fancy grillwork in
the ventanillas.
SANTOS-HIZON HOUSE, SAN FERNANDO
A distinctly Victorian-style house, the Santos-Hizon House in San

Fernando, Pampanga was built by the couple Teodoro Santos and Africa
Ventura at the turn-on-the-century. It was purchased by Maria Salome
Hizon, a volunteer of the Red Cross during the Philippine Revolution.
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BAHAY NAKPIL-BAUTISTA
The Bahay Nakpil-Bautista is one of the well-preserved

houses in Quiapo. Designed by Arcadio Arellano for Dr.
Ariston Bautista in 1914, the house motifs were inspired by
the Vienesse Secession furniture given to its owners.
DIZON-HIZON HOUSE, SAN FERNANDO
Currently owned by Archdiocese of Pampanga, the

Archdiocesan Chancery was the former residence of Luis
Wenceslao Dizon and Felisa Hizon. It was designed by
architect Fernando H. Ocampo and was completed in the
mid-1930s.
ART DECO LUIS SANTOS HOUSE
This art deco house in the Kamistisuhan District of

Malolosbelon ged to Dr. Luis Santos. According to the
book Filipino Style, this house traces the 1930s
transition from the Art Nouveau to fanciful Art Deco.
Interior features Amorsolo painting on the ceilings,
sun-patterns on the floor, relief and paintings of nymphs
on the transoms.
THE LAZATIN HOUSE
"The Lazatin House is a heritage house owned by the Lazatins

in San Fernando City, Pampanga. It was built in 1925 by the
couple Serafin Lazatin y Ocampo and Encarnacion Singian y
Torres. Lazatin was the 6th Filipino billionaire and was
president of SFELAPCO. This ancestral house was named
a Heritage House by NHI in 2003 and currently owned by
Carmen Lazatin."
GENEROSO VILLANUEVA HOUSE

Generoso Villanueva House, known as "Daku Balay" (Big
House), is one of the finest examples of Art Deco
architecture in the Philippines from the 1930s.
OTHER ARCHITECTURAL BUILDINGS
Luneta Hotel - The Hotel was completed in 1918. According to

study by Dean Joseph Fernandez of the University of Santo
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Tomas, the hotel was designed by the Spanish architect-engineer Salvador Farre. The
structure is the only remaining example of the French Renaissance architecture with
Filipino stylized beaux arts in the Philippines to date. This famous landmark fell gradually
into decay. In 2007 the renovation activities have started and it is hoped that this building will be
restored to its old grandeur.
The Manila Metropolitan Theatre is an art deco building designed by the Filipino architect
Juan M. de Guzman Arellano, and built in 1935. The sculptures in the façade of the Theatre
are from the Italian sculptor Francesco Riccardo Monti, who lived in Manila from 1930 until his
death in 1958, and worked closely together with J.M. de Guzman Arellano. Highly stylized relief
carving of Philippine plants executed by the artist Isabelo Tampingco decorate the lobby walls
and interior surfaces of the building.
Jai Alai building
In 1940 the Jai Alai building was constructed

along Taft avenue, designed by Architect
Welton Becket. It has been built in the
Philippine Art Deco style. In addition to the Jai
Alai game it included the famous " Sky
Lounge". Unfortunately, demolition began on
July 15, 2000 on the orders of Mayor Lito Atienza. The building is now
gone for ever
National Monument to Dr. Jose Rizal The bronze and granite

Rizal monument located in Rizal Park, Manila, has long been
considered among the most famous sculptural landmarks in the
Philippines. The designer of the remodeling was Juan Nakpil, who
later became the country's first National Artist for Architecture.
Parish of the Holy Sacrifice is the first

circular church and the first thin-shell
concrete dome in the Philippines The Parish
of the Holy Sacrifice is the landmark Catholic
chapel in the University of the Philippines,
Diliman. Known for its architectural design, the
church is recognized as a National Historical
Landmark and a Cultural Treasure by the
National Historical Institute and the National
Museum respectively. It was designed by the late National Artist for
Architecture, Leandro Locsin. Alfredo Juinio served as the structural
engineer for the project. Other Filipino artists contributed to the design of
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the interior of the church: Around the Chapel are fifteen large murals
painted by Vicente Manansala depicting the Stations of the Cross; The
marble altar and the large wooden cross above it were sculpted by
Napoleon Abueva; The mosaic floor mural called the “River of Life” was
designed by Arturo Luz.
Regina Building - One of the earliest structures made of reinforced

concrete, a material introduced during the American colonial period.
According to sources, the original three-story building was designed by
Andres Luna San Pedro. In the early 1930's it was bought by the De
Leon family from the Roxas family and a fourth floor commissioned
from architect Fernando Ocampo. The building is one of Manila's
architectural landmarks, and is an example of the Art Deco style.
Together with the Perez-Samanillo.
Montalban Dam.
The Hotel may have been built in 1918 or 1920 when the
Americans brought in reinforced concrete that allowed the
construction of high rises. An early title to the property from
Manila City Hall, dated 1915, makes no mention of the building.
In 1922 a mortgage was taken out that was eventually paid off
in 1930.
Paco Station This was the old Paco Station of the PNR, one of the
oldest surviving examples of Early American Colonial
Architecture.
Manila Central Post Office is the head office of the Philippine Postal Corporation, and
houses the country's main mail sorting-distribution operations.
Designed by Juan M. Arellano and Tomás Mapúa, the post

office building was built in neoclassical architecture in 1926. It
was severely damaged in World War II, and rebuilt in 1946
preserving most of its original design
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Mapua Institute of Architecture - was founded by the first
registered Filipino architect, Don Tomas Mapua, in 1925, a
graduate of Cornell University. After he died, the tradition was
continued by his children, Don Óscar B. Mapúa Sr., a graduate
in Civil Engineering.
On 25 January 1925, Don Tomás Mapúa founded the Mapúa Institute

of Technology. At first the Institute only provided students with
programs for architecture and civil engineering especially for those who worked during the day.
In World War II, the institute was used as garrison by the Japanese forces during their
occupation in Manila. By this time, all classes were suspended and the senior students were
forced to graduate prematurely. In 1945 the Institute suffered total destruction during the
liberation of Manila. The construction of the buildings was not completed until 1963, through the
campus opened its doors to students in 1956.
Adamson University
Dr. George Lucas Adamson, a Greek chemist from
Athens, founded the Adamson School of Industrial
Chemistry (ASIC) on June 20, 1932 to train young
men and women along the lines of practical industrial
chemistry. It started as a one-
classroom school that evolved into the Adamson School of Industrial Chemistry and
Engineering (ASICE) on February 19, 1936. Upon approval by the Secretary of Public
Instruction of its application for university status on February 5, 1941, it became known as
Adamson University (AdU).
Although best known for its chemistry and engineering programs, Adamson gradually
added architecture which is the 2nd school of architecture.
Early Concrete Structure in Early American Period
Mosaic Temple Escolta - First multi-storey reinforced concrete building in the Philippines.
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Philippine Normal College - Is a public research university in Manila, Philippines established
during the early days of American colonial rule. Pursuant to Republic Act No. 9647, it is now
funded and operated as aNational Center for Teacher Education in the country.
The Philippine Normal University (PNU) was originally established as the Philippine
Normal School (PNS) by virtue Act No. 74 of the Philippine Commission. Enacted on 21
January 1901, Act No. 74 mandated for the establishment of a normal and trade school. The
Philippine Normal School formally opened on 1 September 1901, as an institution for the
training of teachers.
Philippine General Hospital And Nurse’s Home The Philippine General Hospital
Administration Building is situated along Taft Avenue in Manila. It was built by architect William
E. Parsons in neo-classic style that follows the Daniel Burnham plan for Manila. This plan
included Manila Hotel, Army and Navy Club and the Philippine General Hospital. These were
executed by his successor, Parsons included who was a city planner in the Philippines during
the early period American colonization in the country. His works was a clear translation of
Neoclassicism into a new hybrid of colonial tropical architecture
UP, Padre Faura The University of the Philippines was founded on June 18, 1908 through Act
No. 1870 of the Philippine Assembly. The UP was the result of the Secretary of Public
Instruction, W. Morgan Schuster’s recommendation to the Philippine Commission, the upper
house of the Philippine Assembly. Act 1870 authorized the Governor General to establish the
University of the Philippines in the “city of Manila, or at any point he may deem most
convenient.” The UP was to give “advanced instruction in literature, philosophy, the sciences
and arts, and to give professional and technical training” to every qualified student regardless of
“age, sex, nationality, religious belief and political affiliation.”
UP first opened its doors at Calle Isaac Peral (now United Nations Avenue) and Padre
Faura in downtown Manila in 1909 with the School of Fine Arts; the College of Liberal Arts; the
College of Medicine; the College of Veterinary Medicine; the College of Engineering; the
College of Law; and the College of Agriculture in Los Baños, Laguna.
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Old Manila Hotel Building - The architect and city
planner Daniel Hudson Burnham, known as
Baguio City’s mastermind, drew a vision for Metro
Manila in 1898. He planned to have a tree-lined
boulevard that began at Rizal Park and ended at the fabled Manila Bay, where a majestic hotel
would welcome local and foreign guests. With the rising demand for first-class accommodations
brought by the increasing number of entrepreneurs, heads of state, and other notable
personalities in various professions arriving upon the city’s shores, the vision was later drawn
into blueprints by the architect William Parsons and constructed in 1908.
New Manila Hotel Building The hotel was remodeled in 1975 and expanded to 570 rooms
with the addition of the high-rise hotel building behind the original five-story structure. The
renovations were headed by National Artists for Architecture Leandro Locsin and Ildefonso
Santos with Patricia Keller, partner in the international interior design firm of Dale Keller &
Associates. The hotel’s spartan interiors in simplified Mission style gave way to more lavish
furnishings.
Old Post Office Building- The Post Office building was only one of many government edifices
envisioned by the famous American urban planner Daniel Burnham. His plan was to pattern
Manila after Washington DC and make it the 'Paris on the Prairie'. According to Filipino urban
planner Paulo Alcazaren . The Post Office Building sits along the banks of the Pasig River and
by the Plaza Lawton across. It is flanked by the Manila Metropolitan Theatre to its northwest,
two bridges spanning the Pasig River, the Jones and the Sta. Cruz (now MacArthur) bridges
which serve as entry to the then-grand Taft Avenue with its tree lined walkways. The Post Office
Building has a rectangular shaped mast adorned with fourteen Ionic columns and has two semi-
circular drums on both sides has an atrium in the middle which provides natural light and
ventilation.
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New Post Office Building - The Manila Post Office was strategically located by Daniel
Burnham at the foot of Jones Bridge because of two reasons. First reason was that the Pasig
River can be conveniently used as an easy route for delivering mails and secondly, it can be
accessible from all sides including Quiapo, Binondo, Malate and Ermita.
Considered to be Juan Arellano's magnum opus, it was designed to be in
neoclassical style that expressed order and balance. It was built in 1926 and was worth one
million pesos. Fronting the huge, rectangular volume are the 16 Ionic pillars lined that are lined
up above the steps just before entering the lobby. The main body of the building is capped by a
recessed rectangular attic storey and flanked and buttressed by two semi-circular wings. Inside,
the main lobby has subsidiary halls at each end housed under the semi-circular spaces roofed
with domes.
The plans on completing the post office building was made public on November 28,
1927 but the awarding of the project happened a year after in 1928. From August 2, 1920 up to
January 9, 1922, the foundation was laid out. The work was put on hold because of the scarcity
of funds but was reported to be 56% complete towards the end of the year. The completion of
the building was continued on February 1928.
Proposals for the completion of the Manila Post Office Building were made known on
November 28, 1927 but the awarding of the project was made only in 1928.
Old Congress Building - Design by Juan Arellano following the canons of Graeco-Roman
architecture. The Old Legislative Building (also known as the Old Congress Building) is a
building located along Padre Burgos Avenue in Ermita, Manila, Philippines. Currently, it houses
the National Art Gallery of the National Museum of the Philippines. From 1926 to 1972, and
briefly from 1987 to 1997, the building was home to various legislative bodies of the Philippine
government.
The building was originally designed by Bureau of Public Works (precursor of

the Department of Public Works and Highways) Consulting Architect Ralph Harrington Doane
and Antonio Toledo in 1918, and was intended to be the future home of the National Library of
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the Philippines, according to the Plan of Manila
of Daniel H. Burnham.
Luneta Building - The Hotel was completed in 1918 by the Spanish architect-engineer
Salvador Farre. The structure is the only remaining example of the French Renaissance
architecture with Filipino stylized beaux arts in the Philippines to date. This famous landmark fell
gradually into decay. In 2007 the renovation activities have started and it is hoped that this
building will be restored to its old grandeur.
Army And Navy Club - In 1911 the Army Corps of Engineers constructed the Manila Army and
Navy Club at the shore of Manila Bay bordering the Luneta Park. The building consisits of a
Grand entrance and has three stories that housed the various function rooms and the Hotel
rooms. It has been in use far into the eighties however it has fallen into dacay and is in need of
restoration.
De La Sale College - The St. La Salle Hall (also known as the LS Building) is an H-shaped

four-storey structure built in the neoclassical style in the Philippines. It faces Taft Avenue in the
area of Malate in Manila. The building, designed by Tomás Mapúa, was built from 1920 to 1924
to serve as the new campus of De La Salle College (now De La Salle University) due to the lack
of space of the previous campus in Paco, Manila, and to accommodate its increasing student
population. It served as the grade school and high school building back when the college was
still offering those levels.
Originally built as a three-storey structure, a fourth level was added in the 1990s for the
residence of the De La Salle Brothers. The ground floor houses the College of Business.
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Meanwhile, the second floor of the St La Salle Hall houses the Chapel of the Most Blessed
Sacrament, as well as the office of the De La Salle Alumni Association in the south wing.
The structure was severely damaged during the liberation of Manila in World War II.
Numerous civilians took refuge in the building for protection. Restoration of the building after the
war took two years and cost ₱246,883 (US$5,720).
Sta. Isabela College - The Colegio de Santa Isabel was founded on October 24, 1632 with the
primary purpose of educating Spanish orphans in this most distant Spanish colony, and is one
of the oldest girl schools in the world. In later years its doors were opened to Spanish Filipina
girls as well. In 1733, by a royal decree the name of the college was changed to “Real Colegio
de Santa Isabel. The records of its establishment can be found at the Archive of the Indies in
Seville, Spain.
• CLASSIC REVIVAL STYLE

• ART DECO STYLE
• BEAUX ARTS Styles that developed in architecture during the American Colonial Period
COMMONWEALTH PERIOD
-active participation of the Filipino designers
 Crystal Palace, Escolta

 Quezon institute by Juan Nakpil
 Lyric Theatre by Juan Nakpil
 Ideal Theatre by Pablo Antonio
 FEU Main Building - Among the buildings on FEU's campus complex, five by Pablo
Antonio garnered recognition for FEU in 2005 from the United Nations Educational,
Scientific and Cultural Organization (UNESCO), who bestowed the Asia Pacific Heritage
Award for Cultural Heritage on the university for "the outstanding preservation of its Art
Deco structures.
During the 1930s, there was a heavy influence of American culture especially in the field
of technology and construction that was reflected in the lives of the Filipinos. Concrete and steel
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were used by the Americans and was found to be the suitable materials for the tropical
environment. These were materialized by Pablo Antonio, a National Artist, in creating the FEU
campus buildings that reflected both the university's and the country's vision and showed his
personal transition from Art Deco to the International Style. The buildings were constructed
between the years 1939 to 1950.
 Ambassador Hotel - By Fernando Ocampo, 1st

 Syquia Apartments, Malate -By Pablo Antonio
 Natividad Building, Escolta -By Andres Luna y San Pedro
 Regina Building, Escolta - by Andres Luna y San Pedro
 The Meralco Building - a.k.a. Lopez Building, is located at Ortigas Avenue in the City
of Pasig, Metro Manila. It is a fourteen-storey building designed by Architect Jose Maria
Zaragoza and built by Engr. Eduardo A. Santiago. The building houses the offices of
major electric enterprise of the Lopez Clan, the Manila Electric Company or Meralco.
Located at the basement of the building is the Meralco Theater, that has a 1000 sitting
capacity. During the June 16, 1990 earthquake that registered 7.7 on the Richter scale
that hit Metro Manila, the building did not suffer any
damage.
In the building, the architect used the the 1960
architectural medium of brise-soleil. A series of vertical concrete
elements were bordered by monolithic concrete towers.
There was the phalanx of twenty-nine curved vertical
members which were installed as a concave curtain between
solid rectangular masses. The sun baffles which functions as a screen to the sunlight and
deflect the torrential rain also creates brightness in the architecture of the building. The two
towers were designed like two people supporting each other with a bridge that connects
elevators in the service core of the structure, as their hands.
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AMERICAN PERIOD architectural development
1. a “regime” of reinforced concrete and galvanized iron
2. Neo-Classical styles
3. DANIEL BURNHAM – commissioned by Gov. General W.H. Taft to draft the
Master Plan for Manila and government buildings (Agri-Finance Building, Senate
Building, among others)
4. MASTER BUILDERS (“maestro de obras”) acquired title either from practical
experience or completed academic training of Master Builder’s course
5. LICEO DE MANILA – first school to open three year course in architecture
6. TOMAS MAPUA – first licensed architect; established the second school (followed
by UST and Adamson) -
7. MASONIC TEMPLE, Escolta – first multi-storey reinforced concrete building in the
Philippines
8. CHALET – suburban house; simple design with verandah in front or around the
house; middle-class
9. 1930’s – continued urban development; emergence of multi-storey, multi-family

dwellings and commercial structures; distinct simplification of lines, emphasis on
verticality; other architects contradicted the trend by putting horizontal strips of glass
window
3. AMERICAN PERIOD In 1900, the Americans came & had established a School for Master
Builders, “LICEO de Manila” with two classifications :
a. MO - P (practical experience of 5 yrs.)

b. MO- A ( completion of academic training of the Master builder’s course )
Then graduates from Liceo de Manila established school “Escuela de Inginiera y Arqui-
tectura.
Then other schools that offered the course were :
1. Mapua Institute of Technology (1925).

2. University of Sto. Tomas (1930).
3. Adamson University (1931).
Carlos Barreto - First Filipino Architect under the American Pd. w/ Academic title MO- A
Academia de Arquitectura y Agrimensura de Filipinas - First Architectural Society in the

Philippines in 1902
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In 1903, it was amended to Academia de Ingineria Arquitectura y Agrimensura de Filipinas.
In 1933, Juan Nakpil founded the Phil. Architect’s Society and become the President.
In 1945, it was amended to Philippine Institute of Architects. Other societies established, like;
League of Philippine Architects (LPA) & Association of Philippine Government Archtitects
(APGA) and these two merged to become United Architects of the Philippines. (UAP)
ESCUELA PRACTICA y PROFECCIONAL DE ARTES OFICIO DE MANILA - First Training

school to train to be Maestro De Obras
Two Filipino Architects brought to Europe to study Master Builder Course:

1. Felix Roxas y Arroyo
2. Diego Hervas
The American colonial period (1901-1945) and the subsequent contemporary period
(1946-1993) brought about the most extensive array of forms and styles despite being the
shortest era in Philippine architectural history. During the first civil government under William
Howard Taft, Filipino architects flourished beginning with Architect Arcadio Arellano’s
appointment as consultant. After World War II and the declaration of Philippine independence in
1946, there was a building boom led by American-educated Filipino architects who were
inspired by the International style.
As the Americans’ central concern was bound by education, public health, and free enterprise, it
reflected on the new structures that emerged such as government centers, parks, schools,
hospitals, hotels, commercial office buildings, department stores, sports facilities, among others.
The use of reinforced concrete made possible the construction of high-rise buildings and
visually stunning structures. In 1960, Manila’s building ordinance no. 4131 allowed buildings to
reach up to 45 meters (or about 15 stories). By the 90’s, building height had increased to more
than 40 stories.
The Spanish style remained, though mostly for ornamental purposes of the affluent. Filipino
architects were largely influenced by Western culture, evident in their use of Neo-Classic, Art
Deco, International, and Romantic designs.
With large houses becoming more expensive, other residential options arose like apartments,
condominiums, chalets, and bungalows. The lower classes had rowhouses, duplexes, multi-
storey tenements, and prefabricated housing units.
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ACTIVITY 1. Essay
1. What are the contributions of American in the development of Philippine Architecture?
2. How did the plan of Burnham implement in Manila and Baguio?
3. Who are the significant Filipino architects during the American period? What are their great
contributions?
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4. Why did Americans colonize the Philippines?
5. What are the assessment of Americans in the health and sanitation of the country?
6. What is chalet house? Differentiate chalet from bahay na bato.
129
1. _________________ It is the best solution in improving the water supply in the
Philippines during the American period.
2. _________________ He was an American architect and urban designer who planned
Manila and Baguio.
3. _________________ It is a 32.84 hectare urban park located at the heart of the city of
Baguio and named after the American architect and urban planner who laid the plans for
the city.
4. _________________ It is an a style principally derived from the architecture of Classical
antiquity, the Vitruvian principles and the architecture of the Italian architect Andrea
Palladio.
5. _________________ It means sun breaker and in architecture, it refers to a variety of
permanent sun-shading structure.
6. __________________ The hotel was completed in 1918 and designed by the Spanish-
Architect-Engineer Salvador Farre. It is the only remaining example of the French
Renaissance architecture with Filipino stylized beaux arts in the Philippines.
7. __________________ First multi-storey reinforced concrete building in the Philippines
8. __________________ Considered as the first skyscraper in the Philippines by Fernando
Ocampo
9. __________________ The first school to o[pen three year course in Architecture
10. __________________the first Filipino architect under the American Period with
academic title MO-A.
ACTIVITY 3. MATCHING TYPE.

1. William Parsons a. Rizal Monument
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2. Diego Hervas b. Metropolita Theater
3. Richard Kissling c. Nicanor Reyes Hall (FEU)
4. Juan Arellano d. Mapua Institute of Technology
5. Antonio Toledo e. Ateneo De Manila
6. Fernando Ocampo f. Jai Alai Building
7. Pablo Antonio g. Masonic Temple, Escolta
8. Welton Becket h. Capitol Theater
9. Juan Nakpil i. Manila City Hall
10. Tomas Mapua j. The Mansion House, Baguio
ACTIVITY 4. PICTURE IDENTIFICATION
131
Features of Neo-classical features
1.
2.
3.
4.
Characteristics of Art Deco
6.
7.
8.
Three important health complex established during American Period
9.
10.
11.
Objectives of Burnham’s in his Philipine plan
12.
13.
14.
15.
16.
Two classifications of school for master builders during American period
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17.
18.
Two Filipino Architects brought to Europe to study Master Builder Course
19.
20.
First three schools offering Architecture
21.
22.
23.
Two types of house emerged during American Period
24.
25.
CHAPTER 5: POST-WAR AND CONTEMPORARY PERIOD (1946-1993)
OBJECTIVES:
1. Distinguish the Filipino Architects and their contributions for the development of the
nation.
2. Analyze the contribution of Marcosian Era in architecture
3. Describe the effects of war in the architecture of the Philippines
DISCUSSIONS:
At the end of the World War II Manila was in ruins. The irreplaceable treasure that was
Intramuros was reduced to rubble. The once magnificent government buildings were bombed-
out shells. Hasty reconstruction resulted in makeshift structures with false fronts. The atrocities
of war were followed by the atrocities of reconstruction. While the established architects
resumed their practice, new graduates emerged in time for the building boom that followed the
war. The neoclassic government buildings that lay in ruins were rebuilt following their original
plans. New government and commercial buildings departed from the neoclassic and art deco of
the previous decades and sought fresh inspiration in the work of contemporary Western
architects. The sunbreak, made popular by the Brazilian architect Oscar Niemeyer, became the
object of extensive and even irrational imitation
THE POST-WAR PERIOD (1945-1950) LIBERATION
This period of modern architecture in the Philippines began with Andres Luna de San
Pedro, Juan Nakpil, Fernando Ocampo and Pablo Antonio, who like their Forbears of the Neo-
classic period were products of Foreign education. Their works marked the liberation from Neo-
133
classic formulas and the introduction of a new languages of design: clean lines, bold masses,
the imaginative use of materials, the G. I. sheets was rampantly use as roofing, as well as, use
of the cantilever, and a more thoughtful adaptation to local conditions.
During this period two schools of architecture were founded: The MAPUA Institute of
Technology in 1925, and the school of Architecture of the University of Santo Tomas in 1930.
From these and from other schools that opened later came a new generation of architects who
began a new chapter in the evolution of Filipino architecture.
It is interesting to note that in 1933, the Philippine Architects Society (PAS) was
organized. Pertinent historical highlights of the society included the drafting of the Constitution
and by-laws and the adoption of a Code of Ethics and Standard Professional Fees.
Post -War Architectural Characteristics
- Mediocre design, uncontrolled and hasty rebuilding only resurrected old designs
- Commercial building drew inspiration from contemporary architecture in the West
- Development of community planning
- BUNGALOW – introduced in 1948; one-storey house with wide picture windows, a

lanai and a carport for up to three cars
- Modern architecture with a renewed interest in Filipino motifs

a. use of pointed roofs, lattices, screens, wood carvings
b. architecture of LEANDRO LOCSIN and FRANCISCO MANOSA
FILIPINO ARCHITECTS DURING POST WAR PERIOD (1940 – 1960)
The devastation brought by the last World War II, coupled by economic exigencies gave
away to the extension of slowly emerging architectural concept to detach from the bondage of
traditional forms.
• In 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 absense of applied decoration.
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• In 1947 a corps of architects and engineers were tasked to study the modern US and
Latin American capitals and formulate a master plan for Manila.
1. Federico Ilustre - consulting architect from the 1950’s to 1970’s, worked on the
building at the Elliptical Road in Q.C.
• He started his career as a draftsman for Juan Nakpil.

• He graduated from Mapua Institute of Technology.
• He passed his licensure examinations in 1937
Quezon Memorial Monument - The centerpiece is the 65-meter

high Art Deco Quezon Memorial Monument, composed of 3 pylons
topped by winged figures representing the 3 island groups.
• The
1950’s and 60’s staple architectural element were the brise-soleil, glass walls, pierced
screens, and thin concrete shells.
• 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.
135
• "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.
2. 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.
Melchor Hall, University of the Philippines,

Diliman
The
Church of the Risen Lord located at the

University of the Philippines, Diliman, Quezon
City
3. Angel E. Nakpil - (Feb. 20 1914 – Nov. 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.
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The National Press Club building was
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.
4. Alfredo J. Luz
• brother of National Artist for

Sculpture Arturo J. Luz.
• AJ Luz was at the cutting edge of Philippine
modernism in the late ’50s and early ’60s.
• His body of work includes the Menzi Building on
Ayala Avenue, the Amon Trading building on
Buendia, the L & S Building on Roxas Blvd., Dewey
Blvd., Manila, and the Fil-Oil Refinery Service
Building in Limay, Bataan.
• Quisumbing Building World Health Organization located at UN Ave. Manila
5. Otillo Arellano
- Born in Manila on 1916

- He is the son
of Arcadio
Arellano and
the nephew of
Juan Arellano.
- He rose into
the
Architectural
Profession
137
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
National Bureau of Investigation

(Philippines) Formed November 13, 1936
Headquarters Taft Avenue, Ermita, Manila,
Philippines
6. Felipe Mendoza - also a Physical Planner
He formed a partnership with Gabino de Leon and Homero Ingles

but formed his own architectural firm in 1951.
• AWARDS

UAP Likha Award, 1982
PRC Outstanding Architect of the

Year, 1982
• Buildings :
Batasang Pambansa
The Church of Jesus Christ of Latter Day Saints
Development Academy of the Philippines
Philippine Veterans Bank.
Philippine Veterans Bank in Manila
The concept of a bank for veterans of World War II was

conceived in 1956, when a war reparations agreement
138
was signed between Japan and the Philippines. The Philippine Veterans Bank was born on
June 18, 1963 through Republic Act No. 3518.
7. 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.
- AWARDS
PRC Outstanding Architect of the Year, 1979

Republic Cultural Heritage Awards, 1973
United Architects of the Philippines Likha Award, 1990.
Bangko Sentral ng
Pilipinas La Tondena Building
8. Carlos Arguelles
• He studied abroad,
• He served as a professor in Design at the UST College of Architecture and Fine Arts.
• Appointment as Dean of the UST College of Architecture and Fine Arts from 1954 to 1959.
• American Institute of Architects(AIA) and the Philippine Institute of Architects(PIA).
139
Philam Life Building, International Rice Research Institute (IRRI)
U.N Ave. St. Ermita Manila in Los Banos
DURING 1950’S - The 1950’s also witnessed Space Age aesthetics and Soft
modernism, which experimented with the sculptural plasticity of poured concrete to come
up with soft and sinuous organic forms with the use of thin shell technology. Examples
are:
 Space Age- Victor Tiotuycos’s UP International Center and Jose Zaragoza’s Union
Church
 Soft Modernism: Church of the Holy Sacrifice, and Phil Atomic Research Center
In the 1950’s the height of buildings was limited to 30 meters by law. With the amendment of
Manila ordinance No. 4131, a high- rise fever redefined Manila’s skyline:
1. Angel Nakpil’s 12-storey Picache Building - considered as the 1st skyscraper in the
Phils.
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2. Cesar Concio’s Insular Life Building - the 1st office building to surpass the old 30-
meter height restriction
 Contemporary Architecture
Contemporary architecture is definable broadly as the building style of the
present day. Examples do not necessarily have similar or easily recognizable features,
however, because the "style" is really quite varied and has a number of different
influences
Even though a precise definition of the term is difficult to articulate, contemporary
homes typically include an irregular or unusually shaped frame, an open floor plan,
oversized windows, and the use of "green" and repurposed components. Such homes
also often have an organic design, fitting into the surrounding space and meeting an
immediate need in the area.
FAMOUS WORKS OF FILIPINO ARCHITECTS 60’s TO 80’s
1. ANTONIO , PABLO SEBERO

a. FEU Admi, Science Bldg.7 Main Bldg.
b. Philippine National Bank
c. Manila Railroad Co.,
d. Ideal Theater , Rizal Ave.
e. Bel Air Apartments , Roxas Blvd.
f. Manila Polo Club
g. Capt. Luis Gonzaga Bldg.,Rizal Ave., & Carriedo
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2. ARANETA , LUIS MARIA ZARAGOSA
a. Times Theater , Quezon Blvd.,Mla.
b. Manila Doctor’s Hospital , U.N. Ave.
c. Makati Medical Center
d. Santa Catalina College , Legarda , Mla.
3. ARELLANO , JUAN DE GUZMAN

a. Legislative Bldg.(Now Housing Senate & Natl.Museum) on Agrifina Circle –
neoclassicism
b. Post Office Bldg at Liwasang Bonifacio
c. Villamor Hall at the U.P. Taft Ave.
d. Metropolitan Theater ( Restored by Otilio Arellano) -– colorist art deco, considered
as the zenith of Art Deco aesthetics in the Philippines, exterior and interior exhibit
locally mediated approaches such as detailing : tropical fruits and flora motifs,
bamboo banister railings, carved banana and mango ceiling relief, and Batik
mosaic patterns
e. Landscape of Padre Burgos Ave.
f. Landscape of Harrison Park
g. North and South Port Areas
f .Dewey Blbd. (Now roxas Blvd.)
g. Malacanang Grounds
4. ARELLANO, OTILLO A.
a. NBI Nat’l. Bureau of Investigation , Taft Ave.
b. Sining Kayumanggi at the Mehan Gardens
c. Palacio del Governador , Intramuros
d. Restoration of Metropolitan Theater
e. PSBA , Aurora Blvd., Q.C.
f. RCBC Bldg., Buendia Ave., Makati
g. San Juan Municipal Ctr,N.Domingo St., San Juan
5. ARGUELLES , CARLOS D.
a. Ateneo de Manila Campus, Loyola Heights , Q.C.
b. Philam Life Building , U.N. Ave.
c. Manila Pavilion (former Mla.Hilton )U.N.Ave., Mla.
d. Holiday Inn , Roxas Blvd.
e. Philippine Nat’l. Bank , Escolta Mla.
f. Development Bank of the Phil. ,Makati
g. Chronicle Broadcasting Network Studio , Q.C.
h. 600 Units Philam Life Homes , Q.C.
6. BURNHAM , DANIEL HUDSON

a. Baguio City Planning
b. Burnham Park , Baguio City
c. Manila Hotel Landscapie
d. Army-Navy Club Landscapings
e Phil. General Hospital Landscape
f. Post Office Landscape
h. Galaxy Theater , Rizal Ave.
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7. CALMA , LORENZO LICAD
a. Interior of Dev’t. Bank of the Phils., Buendia
b. Interior of Phil. Nat’l. Bank , Escolta, Mla
c. Interior of Silahis Hotel , Roxas Blvd.
d. Intr. of Puerto Azul & Beach Resort,Ternate, Cavite
e. Interior of Benguet Center , Mandaluyong City
f. Intr. of Mla.Midtown Ramada Hote , Pedro Gil Mla.
g. Int.of Dev’t. Academy of the Phils., Tagaytay City
8. CONCIO , CESAR HOMERO

a. U.P. Diliman ‘s Palma & Melchor Halls
b. Protestant Chapel & Fellowship Center , U.P.
c. U.P College of Forestry Bldg. , Los Banos
d. Insular Life ldg. , Makati
e. Childrens memorial Hospital , Q.C.
f. Mother of Perpetual Help, Baclaran
g. Union Church of Manila
9. COSCOLLUELLA , WILLIAM VARGAS

a. Robinsons commercial Complex , Pasig
b. 26 Storey Ayala Twin Towers , Makati
c. 32 Storey One Beverly Place in Greenhills
d. 30 Storey Wackwack Twin Towers , Mandaluyong
e. The Atrium , Makati
f. Quezon City Sports Club , E. Rodriguez
g. Centro Escolar Univ. Complex , Malolos , Bulacan
h. SM City , North Edsa & Sm in Cebu
10. DE CASTRO , CRESENCIANO CRUZ

a. Shoemart Bldgs. In Manila
b. Mindanao State University Bldg., Marawi City
c. Central Luzon State University Bldgs, Nueva Ecija
d. Nat’l. Science Dev’t. Bldg. Complex , Taguig Mla.
e. Atomic Research Center Complex ,Q.C
f. Asian Dev’t.Bank ( Now Dep’t.of Foreign Affairs,P.C.)
g. Colgate Palmolive Phils. ,Inc.
h. Proj.in,Guam, Taipei,Taiwan Vietnam & Saudi
11. LOCSIN LEANDRO VALENCIA - the poet of space, known for his lyrical articulation
of space as defined by stark modernity, spatial purity, expansive strength, distinct
outlines and straightforward geometry
- he produced 71 residences, 81 buildings and sultanate palace
a.Holy Sacrifice Chapel , U.P. Diliman Campus
b.Cultural Cener of the Philippines 1969
c.Folk Arts Center 1974
d.PHILCITE 1976
e. Philippines International Convention Center PICC 1976
f. Phil. Plaza Hotel 1976
g.Hyatt Regency Hotel , Roxas Blvd.
h.Makati Stock Exchange Bldg. 1971
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i. Ayala Museum , Makati 1974
j.Mandarin Oriental Hotel , Makati 1976
k.Ninoy Aquino International Airport 1979
l. National Arts Center , Makiling , Los Banos 1976
m.Istana Nurul Iman ( Palalce of Sultan of Brunei ) or (Palace of Religious Light) –
the palace of the Sultan of Brunei, which reinterprets traditional Islamic
Southeast Asian motifs based on a modernist idiom
n. St. Andrew Church in Bel-Air, Makati
12. LUNA de SAN PEDRO , ANDRES - the son of the great Filipino painter Juan Luna
a. Legarda Elementary School– French renaissance
b. Malacanang Palace , San Miguel , Mla.
c. San Vicente de Paul Chapel , Sn Marcelino ,Mla.
d. Rafael Fernandez House – French renaissance and official residence of Corazon
Aquino during her presidency
e. Perez-Samanillo Building – art deco and modern style
f. Crystal Arcade – art deco and modern style, precursor of the modern-day shopping
mall
g. Perkin’s House – also known as “El Nido” (The Nest), awarded first prize in Manila’s
1925 House Beautiful Contest
13. MANOSA , FRANCISCO TRONQUED

a.San Miguel Corporation Head Office,Mandaluyong
b.Tahanang Filipino at the CCP Complex Roxas blvd. - (Coconut Palace); a luxurious
guesthouse at the CCP Complex. It showcased a double roof reminiscent of the salakot
(a wide brimmed hat) and swing-out (naka-tukod) window borrowed from the bahay kubo
c.Shrine of Our Lady Queen of Peace , EDSA
d.Mary Imaculate Parish Church, Las Pinas , Rizal
e .Quezon Memorial Circle , Q.C.
f. Landscaping of Corregidor Island
14. MAPUA , TOMAS BAUTISTA – the first registered architect in the Philippines
and worked with the Bureau of Public Work
- his most enduring contribution is the Mapua institute of Technology, which is the oldest
architectural school in the country
a. MIT
b. De la Salle university Bldgs., Taft - classical revivalist influences
c. Nurse’s home at the PGH.,Taft - Italian renaissance
d. J.Mapua Memorial hall , Intramuros
15. MENDOZA , FELIPE MARCELINO

a. Batasang Pambansa Bldgs., Q.C.
b. Dev’t. Academy of the Phils.
c. RCBC Bldg., 23 Branches
d.PCI Bank T.M. Kalaw , Mla.
e.Far Eastern University Hospital , Morayta , Mla.
g.San Jose Seminary Bldg., Ateneo de Mla.Univ.Q.C.
h.Asumption School bldgs., Antipolo , Rizal
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i. Mormon Temple , Green Meadows , Q.C.
j. Bldgs., at the Rice Research institute , Los Banos
k.Glorietta , San Fernando , Pampanga
l. 250 Room Suehiro Hotel , GUAM
m.Safeway Supermarket , U.S.A.
16. NAKPIL , ANGEL E. SANCHO

a. Nat’l. press Club Bldg., Magallanes Drive , Mla.
b. Former Head Office of PLDT , Makati
c. Picache Bldg.Plaza Miranda Qpo.(1st HighRise Bldg)
d. Lopez Museum Bldg., Pasay
17. NAKPIL , JUAN FELIPE de JESUS – - the first architect to be conferred the
National Artist award in 1973 for “… his outstanding talents and services in creating
edifices, both private and public, that are conceptually well designed and conscientiously
executed”
- dictum “ less in more”
a. Quezon Institute Administration , E. Rodriguez– superimposed a native touch on
the art deco façade through the high-pitch roof in the central building
b. Quiapo Church
c. Rufino Bdg. Ayala Ave.
d. Commercial bank & Trust Bldg. Quezon Blvd.
e. Ever Theater – the first to use glass as prominent architectural material
18. Ocampo, Fernando Hizon

a. Manila Metropolitan Cathedral
b. Cathl. of Immaculate Concepcion , San Fernando , Pampanga
c. Church of Our lady of Most Holy Rosary, Angeles City
d. Central Seminary Bldg. U.S.T. Campus
19. PARSONS , WILLIAM E.

a. Baguio Plan together w/ Daniel Burnham
b. Phil. General Hospital
c. Philippine Normal Schoo & Womens Dormitory
d. Manila Hotel , Roxas Blvd
e. Army-Navy Club, Roxas Blvd
f. YMCA Bldg.
g. First UP Bldg., 1 Taft and Padre Faura
20. PEREZ , DOLLY QUIMBO

a. Childrens Park in UP , Diliman
b. Taal Vista Lodge in Tagaytay
c. Meralco Compound , Pasig
d. Libingan ng mga bayani , Fort Bonifacio , Mkti
e. Manila Polo Club , Mkti
f. Mirador Shrine, Baguio City
g. Gateway Business park, Cavite
21. ROXAS , FELIX ARROYO

a. Renovation of Sto. Domingo Church
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b. Jesuit Church of San Ignacio , Intramuros
c. Reconstructed Parish Church of Bacoor Cavite
d. Dominican Church, England 1750
22. RUANO , ROQUE

a. UST Main bldg
b. Dominican College , Lingayen
c. Church of our lady of Manaoag
d. Sta. Teresita Church , Yokohama , Japan
23. SANTOS , ILDEFONSO PAEZ

a. Batulao Village Club , Batangas
b .Caliraya Lake Resort , Laguna
c. Eternal Gardens , Caloocan City
d. Loyola Memorial Park , Mla., & Paranaque
e. Rizal Park , Manila
24. SANTOS –VIOLA , CARLOS ANTONIO

a. Iglesia ni Cristo Structures
b. Our Lady of Lourdes , Q.C.
c. Franciscan Church of Singalong , Mandaluyong
d. Nuestra Senora de Guia , Ermita , Mla.
25. SINDIONG , ANTONIO

a. SM Megamall , Mandaluyong
b. Harrison Plaza Shopping Ctr. Manila
c. Farmers Plaza Shopping Center , Cubao
d. ALI MALL II , Cubao
e. 43- Storey Pacific Plaza Condominium , Mkti
f. 28 Storey La Metropole Condominium , Makati
g. 22- Storey Metro Bank Plaza , Makati
h. 20- Storey Cebu Plaza, Hotel , Cebu
26.TOLEDO , ANTONIO MANALAC

a. Phil. Normal School Womens Dormitory ( together with William Parsons)
b. Manila City Hall
c. Department of Tourism
d. Department of Finance
e. UP Padre Faura Campus
f. UP University Library , Padre Faura
PHILIPPINE ARCHITECTURE UNDER MARCOS REGIME
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Ferdinand Emmanuel Edralin Marcos, Sr. (September 11, 1917 – September 28,
1989) was a Filipino lawyer and politician who served as President of the Philippines from 1965
to 1986. He ruled under martial law from 1972 until 1981. Public outrage led to the snap
elections of 1986 and to the making of People Power Revolution in February 1986.
Prior to the presidency, he served as a member of the Philippine House of

Representatives from 1949 to 1959 and of the Philippine Senate from 1959 to 1965, where he
was Senate President from 1963 to 1965.
THE MARCOS ADMINISTRATION (1965–72)
First term
On 1965, Ferdinand Marcos won the Presidential election and became the
10th President of the Philippines. His first term was marked with increased industrialization and
the creation of solid infrastructure nationwide, such as the North Luzon Expressway and
the Maharlika Highway, intensifying tax collection which gave the Philippines a taste of
economic prosperity throughout the 1970's.
Marcos wanted the immediate construction of not only the roads, but of bridges and
public works, which included 16,000 kilometers of feeder roads, some 30,000 lineal meters of
permanent bridges, a generator with an electric power capacity of one million kilowatts, and
water services to aight regions and 38 localities.
Marcos did this by appointing a cabinet composed mostly of technocrats and

intellectuals, by increasing funding to the Armed Forces, and mobilizing them to help in
construction. Marcos also established schools and learning institutions nationwide, more than of
his predecessors combined.
Second term
In 1969, Marcos ran for a second term (allowable under the 1935 constitution then in
effect), and won versus 11 other candidates. Marcos began his second term by creating a
personality cult of sorts around himself, mandating that all public institutions must carry a picture
of the President, and even replacing some billboards with his propaganda messages.
Marcos' second term was marked by economic turmoil brought about by factors both
external and internal, a restless student body who demanded educational reforms, a rising
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crime rate, and a growing Communist insurgency, among other things. Violent protesting
continued over the next few years until the declaration of martial law in 1972.
Martial law (1972–1981)

Marcos declared martial law on September 21, 1972, and did not lift it until January 17,
1981. During this time, he called for self-sacrifice and an end to the old society. However, in the
“New Society” Marcos’s cronies and his wife, former movie actress Imelda Romualdez-Marcos,
wilfully engaged in rampant corruption. With her husband’s support, Imelda Marcos built her
own power base. She became governor of Metropolitan Manila and minister of human
settlements. The previously non-political armed forces became highly politicized, with high-
ranking positions being given to Marcos loyalists. In 1979 the United States reaffirmed
Philippine sovereignty over U.S. military bases and continued to provide military and economic
aid to the Marcos regime.
The Fourth Republic (1981–1986)

When martial law was lifted in 1981 and a “New Republic” proclaimed, little had actually
changed, and Marcos easily won re-election.
The beginning of the end of the Marcos era occurred when his chief political rival, Liberal
Party leader Benigno “Ninoy” Aquino, who had been jailed by Marcos for eight years, was
assassinated as he disembarked from an airplane at the Manila International Airport on August
21, 1983, following medical treatment in the United States. Marcos cronies were charged with
this crime but were acquitted. Aquino, however, became a martyr and his murder the focus of
popular indignation against a corrupt regime.
The Catholic Church, a coalition of old political opposition groups, the business elite, the
left wing, and even factions of the armed forces all began to exert pressure on the regime.
There also was foreign pressure and, feeling confident with the support given by the Reagan
White House, Marcos called a “snap” presidential election for February 7, 1986.
End of the Marcos regime

When the Marco s- dominated National Assembly proclaimed Marcos the winner,
Cardinal Jaime Sin and key military leaders (including Minister of Defense Juan Ponce Enrile
and acting Chief of Staff of the Armed Forces Lieutenant General Fidel V. Ramos) rallied
around the apparent majority vote winner, Aquino’s widow, Corazon Cojuango Aquino. The
People Power Movement—a popular uprising of priests, nuns, ordinary citizens, and children,
supported by defecting military units—ousted Marcos on the day of his inauguration (February
25, 1986) and brought Aquino to power in an almost bloodless revolution.
ARTS AND ARCHITECTURE UNDER MARTIAL LAW
In addition to the Pacific war, the World War II and the Japanese occupation and the
1945 battle for liberation that destroyed Manila, and the transition from American rule to self-
governance, the Philippines had no discernible architectural product to speak of.
Filipino art and culture was institutionalized during the martial law regime when in 1973
the Constitution stated that "Filipino culture shall be preserved and developed for national
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identity"; therefore the "arts and letters shall be under the patronage of the State." Government
support for the arts was shown in the architecture and other cultural institutions commissioned
by the first lady, Imelda R. Marcos
President Marcos nurtured a myth for what historians termed as ‘ palingenesis", a form
of utopianism which evokes the idea of rebirth or spiritual regeneration. They attempted to
create a singular national identity under the catchphrase "isang bansa, isang diwa." Presidential
Decree’s and Proclamations, Executive Orders and alterations in the constitution and other
state-ordained policies facilitated the concretization of all these imaginings. They presented
themselves as parental figures and they have various self-glorifying projects in the form of
sculptural landmarks and allegorical paintings (stone bust, Si Malakas at si Maganda, murals as
Inang Bayan, Sto. Nino shrine in Leyte, San Juanico Bridge, the book Tadhana).
The most distinguished infrastructure under Marcos regime was Cultural Center of the
Philippines complex and it was seen as a symptom of Imelda’s "edifice complex." The "edifice
complex" is a syndrome which plagues an individual, nation, or corporate institution with an
obsession and compulsion to build edifices as a hallmark of greatness, as a signifier of national
prosperity, as a conveyor of an individual’s status or as a projection of a corporate image. The
project was propelled by their desire to impress-- the conjugal dictatorship invested over 19
billions pesos between 1972 and 1977 alone. Several churches, public buildings and parks were
restored and a lot of projects from slum upgrading to monumental edifices using the new
architectural formula called "folk architecture."
DEVELOPMENT OF INFRASTRUCTURES
 Hospitals
The Philippine General Hospital Administration Building is situated along Taft

Avenue in Manila. It was built by architect William E. Parsons in neo-classic style that follows
the Daniel Burnham plan for Manila. In 1981, First Lady Imelda R. Marcos commissioned Arch.
J. Ramos to undertake the master planning of the PGH renovation project.
 Specialty Hospitals
One of the priorities of the Marcos administration was health maintenance. From 1975 to
the mid-eighties, four specialty hospitals were built in succession. The first three institutions
were spearheaded by First Lady Imelda Marcos. The Philippine Heart Center was established
on February 14, 1975 with Dr. Avelino Aventura as director. Second, the Philippine Children’s
Medical Center was built in 1979. Then in 1983, the National Kidney and Transplant Institute
was set up. This was soon followed by the Lung Center of the Philippines, which was
constructed under the guidance of Health Minister Dr. Enrique Garcia.
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Philippine Children’s Medical Center
National Kidney and Trasplant Institute
The Philippine Heart Center in Quezon City was established through Presidential Decree No.
673 issued by President Ferdinand E. Marcos in 1975. Its original name was the Philippine
Heart Center for Asia and was changed to its current form in 1975. Designed by Jorge Ramos
The Lung Center of the Philippines (LCP) is a non-stock and non-profit corporation that was

established on January 16, 1981 by President Ferdinand Marcos under Presidential Decree No.
1823. It was placed under the administration of the Ministry of Health by President Corazon
Aquino on July 29, 1986 under Executive Order No. 34. The purpose of its creation was to
provide health care that specifically targets lung and pulmonary disease. It is located in Quezon
Avenue, Quezon City. Designed by Jorge Ramos
 Power Plants
(20 power plants across the country)
Bataan Nuclear Power Plant. Under a regime of martial law, Philippine President
Ferdinand Marcos in July 1973 announced the decision to build a nuclear power plant. This was
in response to the 1973 oil crisis, as the Middle East oil embargo had put a heavy strain on the
150
Philippine economy, and Marcos believed nuclear power to be the solution to meeting the
country's energy demands and decreasing dependence on imported oil.
Pantabangan Dam is an earth-fill embankment dam on the Pampanga River located

in Pantabangan in Nueva Ecija province of the Philippines. The multi-purpose dam provides
water for irrigation and hydroelectric power generation while its reservoir, Pantabangan Lake,
affords flood control. The reservoir is considered one of the largest in Southeast Asia and also
one of the cleanest in the Philippines. Construction on the dam began in 1971 and it was
complete in 1977.
 Schools
37 National High Schools
108 State Universities and Colleges
 Housing projects
 Restorations of famous landmarks such as the Intramuros and the Luneta Park
 Bridges
9 bridges over 100 meters long
11472 meters in total length
San Juanico Bridge (or the Marcos Bridge) is part of the Pan-Philippine Highway and
stretches from Samar to Leyte across the San Juanico Strait in thePhilippines. Its longest length
is a steel girder viaduct built on reinforced concrete piers, and its main span is of an arch-
shaped truss design. With a total length of 2.16 kilometers (1.34 mi), it is the longest bridge in
the Philippines spanning a body of seawater.
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 Roads and highways
 Marcos highway in Baguio
 Maharlika Highway
 Northern Luzon Expressway and Southern Luzon Expressway (1st in Southeast
Asia)
 Buildings
The National Arts Center is a sanctuary for young and aspiring Filipino artists that is
located in Mount Makiling, Los Baños, Laguna, the Philippines. The Center was established in
1976 by First Lady Imelda Marcos as a haven for young and aspiring artists. Its various
buildings and facilities are scattered over 13.5 hectares of the Makiling Forest Reservation and
also houses the Philippine High School for the Arts, a government-run secondary educational
institution for gifted young Filipino artists. It is currently administered by the Cultural Center of
the Philippines.
The Coconut Palace, also known as Tahanang Pilipino (Filipino Home), is a mansion of

the Philippine Government on the campus of the Cultural Center of the Philippines, in Manila,
the Philippines. It was commissioned in 1978 by former First Lady Imelda Marcosas a
government guest house. It was designed and constructed by Architect Francisco Mañosa.
Malacañang ti Amianan (The Malacañang Palace of the North), a historical house

museum built by the family of former president Ferdinand Marcos
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Nayong Pilipino is a seven village complex near the international airport that showcase
tourist spots all over the country.
Museum for Native Art (Tacloban)
Palace in the Sky (Tagaytay)
Manila International Airport (now called NAIA) - Designed by Leandro Locsin, a National Artist
of the Philippines for Architecture, it breached its 4.5 million annual passenger capacity in 1991.
Improvements to the airport increased its capacity to 6 million passengers yearly.
The 16-gate terminal currently services all international flights coming into Manila, except for
those operated by Cebu Pacific, Air Philippines, Philippine Airlines and All Nippon Air. Its 84
check-in counters and 22 immigration stations process the daily stream of passengers departing
for various worldwide ports, while 20 immigration and 26 customs stations speed up the flow of
arriving travelers
Manila Film Center is a national building located at the southwest end of the Cultural Center of
the Philippines complex inPasay City, Philippines. The structure was designed by architect
153
Froilan Hong where its edifice is supported on more than nine hundred piles[1] which reaches to
the bed-rock about 120 feet below. The Manila Film Center served as the main theater for the
First Manila International Film Festival[2] (MIFF) January 18–29, 1982. The building has also
been the subject of controversies due to an accident that happened during the final stages of its
construction in 1981.
An accident occurred around 3:00 a.m. on November 17, 1981 during the construction of the
Manila Film Center. Its scaffolding collapsed, and at least 169 workers fell and were buried
under quick-drying wet cement. A blanket of security was immediately imposed by the Marcos
administration, and neither rescuers nor ambulances were permitted on the site until an official
statement had been prepared. The rescuers were eventually permitted to go inside the accident
site 9 hours after the collapse.
Masjid al-Dahab (or The Golden Mosque; Filipino: Moskeng Ginto) is situated in the

predominantly Muslim section of the Quiapodistrict in Manila, Philippines, and is considered the
largest mosque in Metro Manila.
The Golden Mosque acquired its name for its gold-painted dome as well as for its
location in Globo de Oro Street. Under the supervision of former Philippine First Lady Imelda
Marcos, construction began on August 4, 1976 for the visit of Libya's PresidentMuammar al-
Gaddafi, although his visit was cancelled. It now serves many in Manila's Muslim community,
and is especially full duringJumuah prayers on a Friday. The mosque can accommodate up to
3,000 worshippers.
The Manila Planetarium, as one of the Rizal Park’s point of interests.
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CULTURAL CENTER OF THE PHILIPPINES COMPLEX
The Cultural Center of the Philippines Complex was built on reclaimed land in Pasay
City as the "sanctuary of the Filipino soul." Cultural events like the Kasaysayan ng Lahi festival,
the 1974 Miss Universe Beauty Pageant, and the 1982 Manila International Film Festival were
all held at the CCP. Today the CCP hosts renowned art companies like Ballet Philippines and
Tanghalang Pilipino. It also produces theater and dance shows, as well as the 13 Artists Awards
for young visual artists.
In the martial law era, other cultural buildings were built within the periphery of the CCP
Complex: the Folk Arts Theater, Design Center Philippines, the Philippine International
Convention Center, the Museum of Philippine Art, the Metropolitan Museum of Manila, and the
Museum of Philippine Costumes. Martial law architecture sought to "express Filipino identity"
with the use of folkloric elements such as the design of the bahay-kubo, or materials from the
coconut used to construct the Tahanang Pilipino or Coconut Palace.
Folk Arts Theater is also known as The Tanghalang Francisco Balagtas. It is one of the
performance venues of the Cultural Center of the Philipines. This covered proscenium
amphitheater is where entertainment such as popular concerts, musicals and plays are usually
staged. It has 8,458 seating capacity in ten sections. The theater takes its name from Francisco
Baltazar also known as Francisco Balagtas, in awe to the country's greatest poet. The theater
was built in 90 days and was designed by Leandro V. Locsin in 1974.
The building was officially authorized by First Lady Imelda Marcos for the Miss Universe Beauty
Pageant in 1974, which was to be held in Manila in the same year.
The Philippine International Convention Center (Filipino: Sentrong Pangkumbensyong

Pandaigdig ng Pilipinas, or PICC) is a convention center located in the Cultural Center of the
Philippines complex in Pasay, Metro Manila, Philippines. This state-of-the-art facility has been
the host of numerous local and foreign conventions, meetings, fairs, and social events.
The construction of the state-of-the-art PICC Complex was undertaken in a short span of
23 months, from November 1974 to September 1976, with Leandro Locsin as architect, who
was subsequently named a National Artist.
155
From its inception to the present, the PICC has also hosted the annual Awards Night of
the Filipino Academy of Movie Arts and Sciences (FAMAS), the Philippine equivalent of
the Oscars, mostly at its Plenary Hall.
Philippine International Convention Center was the venue of Miss Universe 1994.
The Tanghalang Pambansa (English: National Theater), formerly, Theater of Performing

Arts, is the flagship venue and principal offices of the Center. Designed by National Artist for
Architecture Leandro Locsin, its design was based and expanded upon the unconstructed
Philippine-American Friendship Center. The Tangahalan is a primary example of the architect's
signature style known as the floating volume, a trait can be seen in structures indigenous to the
Philippines such as the nipa hut.
Manila Hotel During the dictatorship of Ferdinand Marcos, in accordance with Presidential

Decree no. 645, the old Manila Hotel Company was liquidated and the government took over its
ownership. The Government Service Insurance System (GSIS) was given the mandate to form
a new subsidiary corporation that would restore, renovate, and expand the Manila Hotel. In the
following two decades, Mr. Marcos's wife, Imelda, could frequently be seen at the hotel
restaurants. During her visits, a red carpet and garlands were put out and the air was sprayed
with deodorant. Under Imelda's patronage, the hotel reaped international recognition and
awards. It was the place to go and be seen during the martial law years.
Davao Insular Hotel
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PLDT Building
The Saint Andrew the Apostle Parish is a Roman Catholic Church in Bel-Air Village, Makati

City. It is one of the known Modern Edifices designed by Leandro V. Locsin in Makati City. This
Parish is dedicated to Saint Andrew the Apostle, the patron saint of Metro Manila and Bel-Air
Village.
Chapel of the Holy Sacrifice - Known for its architectural design, the church is recognized as a
National Historical Landmark and a Cultural Treasure by the National Historical Commission of
the Philippines, formerly the National Historical Institute, and the National Museum of the
Philippines respectively. It was designed by the late National Artist for Architecture, Leandro
Locsin, one of four National Artists who collaborated on the project.
Philippine Pavilion of Progress designed by Leandro Locsin for the 1970 Osaka Expo
San Miguel Corporation Head Office Complex at Mandaluyong by Francisco Manosa
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Bamboo Organ Church or Parish Church of St Joseph - The organ, the church and the
surrounding buildings have been restored to their 19th century state by Architect Francisco
"Bobby" Mañosa and associate Ludwig Alvarez, making a trip to the site a popular excursion for
Filipinos and foreign visitors alike.
Our Lady of EDSA, or more popularly, the EDSA Shrine he structure was designed by
Architect Francisco Mañosa, under the preparation of renowned National
Artist Architect Leandro Locsin and Architect William Coscolluela. Open to the public, the shrine
glorifies the image of Our Lady of Peace, sculpted by Virginia Ty-Navarro. It is accessible
through the cascading stairs from both avenues – EDSA and Ortigas, with its main plaza facing
the converging point of the two avenues.
Another feature of the shrine are its many sculptures, one is called the “Flame of
Freedom” created by artist Manny Casal, which depicts three industrious men carrying a
cauldron of flame, each one symbolizing the three main island groups in the Philippines
– Luzon, Visayas and Mindanao. Next are the 14 Stations of the Cross, a bronze sculpture by
national artist Napoleon Abueva. Carillon bells, crafted from bullets and canons retrieved from
the remains of World War II, also adorn the shrine. Aside from this, the entire shrine is divided to
two chapels – the San Lorenzo Ruiz Chapel and the Chapel of Perpetual Adoration – each
housing great paintings and sculptures by renowned Filipino artists.
The Rizal House in the City of Calamba is a reproduction of the original Spanish Colonial-style,
two-storey house where Jose P. Rizal, the national hero of the Philippines was born on June 19,
1861. Designed by Juan Nakpil.
University of the Philippines’ Quezon Hall was designed by Arch. Juan Nakpil
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Philippine Village Hotel, Manila. Designed by Juan Nakpil
SSS Building, Quezon City. Designed by Juan Nakpil
The Batasang Pambansa Complex is the headquarters of the House of Representatives of the

Philippines. It is located at Batasan Road, Batasan Hills, Quezon City. Designed by Felipe M.
Mendoza
The complex was initially the home of the Batasang Pambansa, the former parliament of
the Philippines which was established as an interim assembly in 1978 and finally as an official
body in 1984. Under the 1973 constitution, it replaced the bicameral Congress of the
Philippines established under the 1935 Commonwealth constitution.
When the bicameral Congress was restored in 1987, the complex was set aside as the home of
the House of Representatives. The Main Building of the complex is often referred to as
the Batasang Pambansa.
NOTABLE ARCHITECTS IN MARCOS REGIME
Leandro Valencia Locsin (August 15, 1928 – November 15, 1994) was a

Filipino architect, artist, and interior designer known for his use of concrete, floating volume and
simplistic design in his various projects. An avid collector, he was fond of modern painting
and Chinese ceramics. He was proclaimed a National Artist of the Philippines for Architecture in
1990 by the late President Corazon C. Aquino.
He was in some ways a quintessential Renaissance man. A brilliant architect, interior
designer, artist and classically trained pianist, Locsin was also a keen art collector, amassing a
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sizable collection of fine Chinese art and ceramics during his lifetime. It is for his buildings,
however, that he is remembered; from airport terminals to memorial chapels, arts centers to
stock exchange structures, Locsin left his mark on the urban landscape of the Philippines.
Locsin was determined to reconfigure Western architectural mores for a Filipino audience.His
most substantial contribution to Filipino architecture is the Cultural Center of the Philippines
complex, a collection of five Locsin-designed buildings that demonstrate the architect’s drive to
find a vernacular form of modernist architecture.
Buildings: Church of the Holy Sacrifice,Cultural Center of the Philippines, Philippine

International Convention Center,Istana Nurul Iman, Immaculate Heart of Mary Parish
Francisco Mañosa is a Filipino architect noted for his Filipino inspired architectural
designs. He designed The Coconut Palace. On May, 2008, he built his own Ayala alabang
village Bahay Kubo mansion. With only 3 posts or "haligi", it has 5 one-inch coconut shell doors,
second floor, a "silong", Muslim room, sala, and master's bedroom with a fish pond therein.
ESTABLISHMENT OF UNITED ARCHITECTS OF THE PHILIPPINES (UAP)
The profession of Architecture in the Philippines was given its first separate statute on
17 June 1950 with the enactment of Republic Act 545, "An Act to Regulate the Practice of
Architecture in the Philippines."
From the early 1930's to late 1950's, associations of architects were founded, but only
three survived until the early 1970's ~ the Association of Philippine Government Architects
(APGA), League of Philippine Architects (LPA), and the Philippine Institute of Architects (PIA).
In June 1973, President Ferdinand E. Marcos issued Presidential Decree 223, creating the
Professional Regulation Commission (PRC) regulating all professions and accrediting only one
organization to represent each profession.
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UAP or the United Architects of the Philippines is the Official Voice for Architects
throughout the country. The UAP was formed through the “unification” of three architectural
organizations: the Philippine Institute of Architects, The League of Philippine Architects and the
Association of Philippine Government Architects. It became the Bonafide Professional
Organization of Architects upon receiving Accreditation Number 001 from the Professional
Regulation Commission. Thus, UAP was the first professional organization recognized by the
Republic.
With the passing of the new architecture law or Republic Act No. 9266, UAP becomes
the IAPOA or the Integrated Accredited Professional Organization of Architects.
CONTEMPORARY PERIOD
Modern urban dwellings are typically two-story structures with a concrete ground floor, sides of
brick, concrete blocks, or wooden slats, and an iron roof.
Early modernism
Around 1900 a number of architects and designers around the world began developing new
solutions to integrate traditional precedents (classicism or Gothic, for instance) with new
technological possibilities.
Late 20th-century reactions and movements
High-tech architecture, also known as Late Modernism or Structural Expressionism, is an

architectural style that emerged in the 1970s, incorporating elements of high-tech industry and
technology into building design. High-tech architecture appeared as a revamped modernism, an
extension of those previous ideas helped by even more technological advances.
This category serves as a bridge between modernisms and post-modernism, however there
remain gray areas as to where one category ends and the other begins. In the 1980’s, high-tech
architecture became more difficult to distinguish from post-modern architecture. Some of its
themes and ideas were later absorbed into the style of neo-futurism art and architectural
movement.
Juan Carlos Eugene Soler - the only Filipino to win the prestigious Glass Architectural
Design Competition in Tokyo, Japan
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Examples of Filipino Architecture in the Contemporary Era
 Parish of the Holy Sacrifice is the landmark Catholic chapel in the University of the
Philippines Diliman. Known for its architectural design, the church is recognized as a
National Historical Landmark and a Cultural Treasure by the National Historical Institute
and the National Museum respectively. Five National artists collaborated on the project.
The building was designed by the late National Artist for Architecture,Leandro
Locsin. Alfredo Juinio served as the structural engineer for the project. Around the
chapel are fifteen large murals painted by Vicente Manansala depicting the Stations of
the Cross. The marble altar and the large wooden cross above it were sculpted
by Napoleon Abueva. The mosaic floor mural called the “River of Life” was designed
by Arturo Luz.
 Antipolo Church - The image of "Our Lady of Peace and Good Voyage" has been
venerated in the church of Antipolo for centuries. The old church that housed the virgin
was destroyed in February 1945 when the Americans bombed Antipolo as part of the
liberation campaign of Manila. In 1954, a new church was built designed by the
renowned Filipino architect Jose de Ocampo. This church is of a cupolaed design
centered on the image of the Virgin. It functions as the center point of the pilgrimages to
Antipolo.
 Divine Mercy Shrine

Archdiocesan Shrine of Divine Mercy is a church, Catholic Church located at May silo
Circle, Brgy. Plainiew, Mandaluyong City in Mandaluyong City.
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 Jesus: The way, the truth, the life Church - Church located within the SM Mall of
Asia complex
 Our Lady of Annunciation Parish Church: Shrine of the Incarnation is aparish

church located at St. Dominic III Subdivision, Mindanao Avenue, Barangay Tandang
Sora, Quezon City 1116, Philippines. It is part of the Roman Catholic Church under
the Pope. The parish was founded in 1992 by Jaime Cardinal Sin, who also installed
Jaime M. Zurbano, Jr. as the first parish priest. The name Our Lady of the Annunciation
was suggested by Msgr. Arsenio Bautista.
 The Church of the Gesù is the Roman Catholic church of the Ateneo de Manila

University campus in Quezon City in the Philippines. The landmark was designed
by Jose Pedro Recio and Carmelo Casas. The edifice’s massive triangular structure
symbolizes the Holy Trinity, as well as the three-fold mission and vision of the school. Its
shape and design are also meant to suggest the outstretched arms of the Sacred Heart,
and the traditional Filipinobahay kubo (nipa hut). The site has a total area of 10,200
square metres (110,000 sq ft) and seating capacity for 1,000 persons. The church is
situated on Sacred Heart Hill, a small hill overlooking Bellarmine Field, believed to be the
highest point in Loyola Heights. In its immediate vicinity are the dormitories (Cervini and
Eliazo Halls) and the John Pollock Renewal Center. The peak cross and carillon (see
below) of the church can be seen from Katipunan Avenue, which borders the campus to
the west.One side of the church houses a chapel dedicated to the Virgin Mary as
theImmaculate Conception, patroness of Ateneo de Manila and of the Philippines, while
another side chapel is dedicated to the Sacred Heart of Jesus, a devotion committed to
the Jesuits by Jesus's appearances to Saint Margaret Mary Alacoque at a convent
in Paray-le-Monial in1671.
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 Bahay Kubo Mansion - In May 2008, National artist for architecture Francisco Mañosa,
designer of the Coconut Palace, built his own two-storey Bahay Kubo mansion in Ayala
Alabang Village, a wealthy suburb south of Manila. With only 3 posts or "haligi", it has
five one-inch coconut shell doors, a "silong", Muslim room, sala, and master's bedroom
with a fish pond therein
 The Araneta Coliseum, known as The Big Dome, is an indoor multi-purpose sports

arena located in the Cubao area of Quezon City, Philippines. It is one of the largest
coliseums and indoor facilities in Asia, and it is also one of the largest clear span domes
in the world.
 San Juanico Bridge is part of the Pan-Philippine Highway and stretches

from Samarto Leyte across the San Juanico Strait in the Philippines. Its longest length is
a steel girder viaduct built on reinforced concrete piers, and its main span is of an arch-
shapedtruss design. With a total length of 2.16 kilometers (1.34 mi),[31] it is the longest
bridge in the Philippines spanning a body of seawater. The Smart Araneta Coliseum is
mostly used for sports such as basketball, it is the main venue of the Philippine
Basketball Association.[32] The Big Dome is also used for boxing, cockfighting, local and
international concerts, circuses, religious gatherings, beauty pageants and more.
 Entertainment City (also known as Bagong Nayong Pilipino - Entertainment City) or
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previously Manila Bay Tourism City is Asia's Las Vegas-like gaming and entertainment
complex that is underway by PAGCOR on 8 km² of land on the reclamation area
of Manila Bay, Philippines as envisioned by the Philippine Amusement & Gaming
Corporation in 2002.
It lies the western side of Roxas Boulevard and south of SM Corporate District
(SM Mall of Asia), part of Parañaque City. Investments to the project can reach up to $15
billion, which is scaled down from the more recent $20 billion budget announcement that
had been previously announced in 2007. All investments will come from private
companies.
 Philippine Arena is a multi-purpose indoor arena being constructed at Ciudad de

Victoria, a 75-hectare tourism enterprise zone in Bocaue and Santa
Maria, Bulacan, Philippines. With a capacity of up to 55,000, it is the world's largest
indoor arena once completed. It is the centerpiece of the many centennial projects of
the Iglesia Ni Cristo (INC) for their grand celebration on July 27, 2014. The legal owner
of the arena is the INC's educational institution, New Era University
Sky scrapers – buildings with a height of 500 feet or more
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166
ACTIVITY 1: Essay
1. Who are the masters of architecture in the contemporary period and what are their greatest
contributions?
2. What is Marcosian era and what are the significant contributions during this period?
3. How does World War II affect the architectural development in the Philippines?
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3. Differentiate National Artist Award from Likha Award.
4. What are the post-war architectural characteristics in the Philippines?
5. What are the charcteristics of Contemporary Architecture in the Philippines?
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1. __________________ First university architect of the University of the Philippines
2. __________________ The first architect conferred as the National Artist for Architecture
in 1973
3. __________________ She is the first lady of the president given an honorary
membership of the United Architects of the Philippines
4. __________________ It is part of the Pan-Philippine Highway and the longest bridge in
the Philippines that stretches from Samar to Leyte
5. __________________It is also known as Tahanang Pilipino, a mansion of the Philippine
government in the CCP complex.
6. __________________ It is considered as the largest mosque in Metro Manila located in
Quiapo district
7. __________________ It is also known as Folk Arts Theater where the first Miss
Universe Beauty Pageant hosted by the Philippines took place.
8. __________________ Architect of Edsa Shrine
9. __________________ the first professional organization recognized by the Philippine
Republic
10. __________________ The only Filipino who win the prestigious Glass Architectural
Design Competition in Tokyo, Japan
11. __________________ It is the landmark Catholic chapel in the University of the
Philippines-Diliman
12. __________________ Architect of Our Lady of Peace and Good Voyage or Antipolo
Church
13. __________________ It is the world’s largest indoor arena owned by Iglesia ni Cristo
14. __________________ Tallest building in the Philippines
15. __________________ Filipino architect who designed Istana Nurul Iman in Brunei
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ACTIVITY 3. .MATCHING TYPE
Match architects in Column A with their works in Column B. Write the letters only.
1. LEANDRO LOCSIN A. MAKATI PALACE

2. FRANCISCO MANOSA B. FORUM THEATER
3. WILLIAM PARSON C. LUNG CENTER OF THE PHILIPPINES
4. JUAN NAKPIL D. CHAPEL OF THE HOLY SACRIFICE
5. FR. ROQUE ROANO E. METROPOLITAN THEATER
6. GABRIEL FORMOSO F. CHURCH OF BACOOR
7. CESAR CONCIO G. PHILIPPINE NORMAL COLLEGE
8. GEORGE RAMOS H. SAN BEDA CHAPEL
9. FEDERICO ILLUSTRE I. ROBINSON’S GALLERIA
10. PABLO ANTONIO J. BATASANG PAMBANSA
11. JOSE MARIA ZARAGOZA K. ASEAN INSTITUTE OF TECHNOLOGY
12. CARLOS ARGUELLES L. MAKATI MEDICAL CENTER
13. FELIPE MENDOZA M. OLD CONGRESS BLDG
14. CARLOS SANTOS VIOLA N. ARANETA COLESEUM
15. DOMINADOR LUGTU O. WHO BLDG.
16. WILLIAM COSCOLUELLA P. MERALCO CENTER
17. ALFREDO LUZ
Q. ATOMIC REACTOR CENTER
18. DIEGO HERVAS
R. RED CROSS BLDG.
19. MARCO ANTON
20. RICHARD KISLING S. CHURCH OF THE RISEN LORD, UP
21. LUIS ARANETA T. MANILA STOCK EXCHANGE CENTER
22. DANIEL BURNHAM U. TAAL CHURCH
23. ANDRES LUNA SAN PEDRO V. IGLESIA NI CRISTO, MAIN TEMPLE,
24. ANTONIO TOLEDO COMMONWEALTH, Q.C.
25. JUAN ARELLANO W. CENTRAL BANK OF THE PHILIPPINES
26. FELIX ROXAS X. RIZAL MONUMENT
27. RAMON LICUP Y. ST. PAUL HOSPITAL
28. GILBERT YU Z. PNB, ESCOLTA
29. CC DE CASTRO AA. MANILA CITY HALL
30. SYDNEY ROULANDS BB. UST MAIN BLDG.
CC. UP CONSERVATORY OF MUSIC
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Philippine National Artists for Architecture

1.
2.
3.
4.
5.
Churches declared in the UNESCO heritage list
1.
2.
3.
4.
Buildings designed by Leandro Locsin located in CCP complex
1.
2.
3.
4.
Top 8 tallest buildings in the Philippines
1.
2.
3.
4.
5.
6.
7.
8.
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CHAPTER 6 CONSERVATION, PRESERVATION AND RESTORATION
OBJECTIVES:
1. Apply in architectural design the conservation, preservation and restoration definition

and objectives, laws; issues and concerns.
2. Inculcate the importance of natural and built heritage and its effects on architectural
profession
DISCUSSIONS:
Heritage is a public good, essential for national identity, national cohesion, employment
generation, education, and cultural and religious values. Increasingly, Philippine heritage sites
are threatened with various forms of economic development. The rationale from governments is
always that they must create job opportunities and uplift underdeveloped areas. There is a draft
laws and policies that are designed to mitigate the negative impact of development on heritage
conservation.
 “Conservation" refers to all processes and measures of maintaining the cultural

significance of a cultural property including, but not limited to, physical, social
or legal preservation, restoration, reconstruction, protection, adaptation or any
combination thereof.
 "Preservation" refers to all activities that employ means to control, minimize or
prevent damage or deterioration to cultural property.
 "Restoration" refers to the action taken or the technical intervention to correct
deterioration and alterations and return cultural property to its original state or
condition. It also refers to all activities that employ means to control, minimize
or prevent damage or deterioration to cultural property.
Laws Affecting Philippine Cultural Heritage Conservation, Preservation and Restoration:
 Republic Act No. 4846 : Cultural Properties Preservation and Protection Act
An act to repeal act numbered three hundred seventy four, and to provide for the protection
and preservation of Philippine cultural properties, as amended by Presidential Decree 374.
"All restorations, reconstructions, and preservations of government historical buildings,

shrines, landmarks, monuments, and sites, which have been designated as 'National
Cultural Treasures' and 'important cultural properties' shall only be undertaken with the
written permission of the Director of the National Museum who shall designate the
supervision of the Director".
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 Presidential Decree No. 374 : Cultural Properties Preservation and Protection Act
Amending certain sections of Republic Act No. 4846, otherwise known as the "CULTURAL
PROPERTIES PRESERVATION AND PROTECTION ACT"
"Sec. 2. It is hereby declared to be the policy of the state to preserve and protect the important
cultural properties and National Cultural Treasures of the nation and to safeguard their intrinsic
value."
"Sec. 3.
"a. Cultural properties are old buildings, monuments, shrines, documents, and objects
which may be classified as antiques, relics, or artifacts, landmarks, anthropological and
historical sites, and specimens of natural history which are of cultural, historical,
anthropological or scientific value and significance to the nation; such as physical,
anthropological, archeological and ethnographical materials,
meteorites and tektites; historical objects and manuscripts; household and agricultural
implements; decorative articles or personal adornment; works of art such as paintings,
sculptures, carvings, jewelry, music, architecture, sketches, drawings, or illustrations in
part or in whole; works of industrial and commercial art such as furniture, pottery,
ceramics, wrought iron, gold, bronze, silver, wood or other heraldic items, metals,
coins, medals, badges, insignias, coat of arms, crests, flags, arms, and armor; vehicles
or ships or boats in part or in whole.
"b. Cultural properties which have been singled out from among the innumerable
cultural properties as having exceptional historical and cultural significance to the
Philippines, but are not sufficiently outstanding to merit the classification of "National
Cultural Treasures" are important cultural properties.
Cultural Properties
 Antiques
 Relics
 Artifacts
 Natural history specimen
 Anthropological area
 Archeological sites
"o. For purposes of Republic Act No. 4846 government property covers all lands and
marine areas including those covered by licenses or special permits and those owned
or administered by government-owned or controlled corporations, institutions or
agencies."
"Sec. 4. The National Museum, hereinafter referred to as the Museum shall be the agency of
the government which, shall implement the provisions of this Act."
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 Republic Act No. 7356 Creation of the National Commission for Culture and the
Arts (NCCA)
The National Commission for Culture and the Arts (NCCA) hereby promulgates the
Amended Rules and Regulations of 2007 to implement Republic Act No. 7356, otherwise known
as the “Law Creating the National Commission for Culture and the Arts.”
SECTION 1. Short Title – These rules shall be known as the “Amended Implementing Rules
and Regulations of 2007 of Republic Act No. 7356 entitled, An Act Creating the National
Commission for Culture and the Arts, Establishing a National Endowment Fund for Culture and
the Arts, and for other Purposes.”
 In 1987,Pres. Corazon C. Aquino penned E.O 118 creating the Presidential
Commission on Culture and Arts. Five years later,in February 3, 1992 this
presidential directive was enacted into law.
"SECTION 3. National Identity – Culture reflects and shapes values and beliefs and emulates
the aspirations of the people’s cultural wisdom, thereby defining a people’s national identity. A
Filipino national culture that mirrors Philippine economic, social, and political life shall be
evolved, promoted and conserved."
“SECTION. 7. Preservation of the Filipino Heritage. It is the duty of every citizen to preserve and
conserve the Filipino historical and cultural heritage and resources. The retrieval and
conservation of artifacts of Filipino culture and history shall be vigorously pursued.
SECTION 8. Creation of the National Commission for Culture and the Arts
(NCCA) - The NCCA is hereby created to:
8.1 Formulate policies for the development of culture and arts;
8.2 Implement these policies in coordination with affiliated cultural agencies;
8.3 Coordinate the implementation of programs of these affiliated agencies;
8.4 Administer the National Endowment Fund for Culture and Arts (NEFCA);
8.5 Encourage artistic creation within a climate of artistic freedom;
8.6 Develop and promote the Filipino national culture and arts; and
8.7 Preserve Filipino cultural heritage.
 Republic Act No. 10066 National Cultural Heritage Act of 2009

AN ACT PROVIDING FOR THE PROTECTION AND CONSERVATION OF THE NATIONAL
CULTURAL HERITAGE, STRENGTHENING THE NATIONAL COMMISSION FOR CULTURE
AND THE ARTS (NCCA) AND ITS AFFILIATED CULTURAL AGENCIES, AND FOR OTHER
PURPOSES
 It created the Philippine Registry of Cultural Property and took other steps to preserve
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historic buildings that are over 50 years old. It was signed into law on March 25, 2009.
It was passed in response to the 2000 demolition of the Manila Jai Alai Building
 PURPOSE:"These rules is promulgated to prescribe the procedures and guidelines for the
implementation of RA 10066 in order to facilitate the compliance therewith and to achieve
the objectives thereof."
 SECTION 2. Declaration of Principles and Policies. – Sections 14, 15, 16, and 17, Article
XIV of the 1987 Constitution declare that the State shall foster the preservation, enrichment,
and dynamic evolution of a Filipino culture based on the principle of unity in diversity in a
climate of free artistic and intellectual expression. The Constitution likewise mandates the
State to conserve, develop, promote and popularize the nation’s historical and cultural
heritage and resources, as well as artistic creations. It further provides that, all the country’s
artistic and historic wealth constitutes the cultural treasure of the nation and shall be under
the protection of the State, which may regulate its disposition.
In the pursuit of cultural preservation as a strategy for maintaining Filipino identity, this Act shall
pursue the following objectives:
(a) Protect, preserve, conserve and promote the nation’s cultural heritage, its property
and histories, and the ethnicity of local communities;
(b) Establish and strengthen cultural institutions; and,
(c) Protect cultural workers and ensure their professional development and well-being.
ARTICLE III
CULTURAL PROPERTY
SECTION 4. Categories. - The Cultural Property of the country shall be categorized as follows:
(a) National Cultural Treasures;
(b) Important Cultural Property;
(c) World Heritage Sites;
(d) National historical shrine;
(e) National Historical Monument; and,
(f) National Historical Landmark;
SECTION 5. Cultural Property Considered Important Cultural Property. -For purposes of

protecting a cultural property against exportation, modification or demolition, the following works
shall be considered Important Cultural Property, unless declared otherwise by the pertinent
cultural agency:
Unless declared by the Commission,

(a) Works by a Manlilikha ng Bayan;
(b) Works by a National Artist;
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Unless declared by the National Museum,
(c) Archaeological and traditional ethnographic materials;
Unless declared by the National Historical Institute,

(d) Works of national heroes;
(e) Marked structure;
(f) Structures dating at least fifty (50) years old; and
Unless declared by the National Archives,

(g) Archival material/document dating at least fifty (50) years old
 Republic Act No. 10086 Strengthening Peoples' Nationalism through Philippine

History Act
AN ACT STRENGTHENING PEOPLES' NATIONALISM THROUGH PHILIPPINE HISTORY BY

CHANGING THE NOMENCLATURE OF THE NATIONAL HISTORICAL INSTITUTE INTO THE
NATIONAL HISTORICAL COMMISSION OF THE PHILIPPINES, STRENGTHENING ITS
POWERS AND FUNCTIONS, AND FOR OTHER PURPOSES
July 27, 2009
“Sec.2. Declaration of Policy. _ it is hereby declared to be the policy of the state to conserve,
promote and popularize the nations historical and cultural heritage and resources. Pursuant to
the Constitution, all the country’s artistic and historic wealth constitutes the cultural treasure of
the nation and shall be under the protection of the State which may regulate its disposition.
Towards this end, the State shall provide the means to strengthen people’s nationalism,
love of country, respect for its heroes and pride for the people’s accomplishments by
reinforcing the importance of Philippine national and local history in daily life with the end in
view of raising and social consciousness; reinvigorating government support for historical
research; and sustaining and enhancing programs for the protection, preservation and
conservation of historical relics and memorabilia, monuments, sites and other historical
resources.
The state shall likewise give utmost priority not only to the research on history but also to
the popularization of history. In this way, the State will be able to build a Philippine national
identity based on unity and pride in diversity held together by a common history.
Charters Affecting Philippine Cultural Heritage Conservation, Preservation and

Restoration:
 Venice Charter
INTERNATIONAL CHARTER FOR THE CONSERVATION AND RESTORATION OF
MONUMENTS AND SITES (THE VENICE CHARTER 1964)
IInd International Congress of Architects and Technicians of Historic Monuments, Venice,
1964.
(Adopted by ICOMOS in 1965.)
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Imbued with a message from the past, the historic monuments of generations of people
remain to the present day as living witnesses of their age-old traditions. People are becoming
more and more conscious of the unity of human values and regard ancient monuments as a
common heritage. The common responsibility to safeguard them for future generations is
recognized. It is our duty to hand them on in the full richness of their authenticity.
It is essential that the principles guiding the preservation and restoration of ancient buildings
should be agreed and be laid down on an international basis, with each country being
responsible for applying the plan within the framework of its own culture and traditions.
By defining these basic principles for the first time, the Athens Charter of 1931 contributed
towards the development of an extensive international movement which has assumed concrete
form in national documents, in the work of ICOM and UNESCO and in the establishment by the
latter of the International Centre for the Study of the Preservation and the Restoration of Cultural
Property. Increasing awareness and critical study have been brought to bear on problems which
have continually become more complex and varied; now the time has come to examine the
Charter afresh in order to make a thorough study of the principles involved and to enlarge its
scope in a new document.
Accordingly, the IInd International Congress of Architects and Technicians of Historic
Monuments, which met in Venice from May 25th to 31st 1964, approved the following text:
DEFINITIONS
Article 1. The concept of a historic monument embraces not only the single architectural work
but also the urban or rural setting in which is found the evidence of a particular civilization, a
significant development or a historic event. This applies not only to great works of art but also to
more modest works of the past which have acquired cultural significance with the passing of
time.
Article 2 The conservation and restoration of monuments must have recourse to all the
sciences and techniques which can contribute to the study and safeguarding of the architectural
heritage.
Article 3. The intention in conserving and restoring monuments is to safeguard them no less as
works of art than as historical evidence.
CONSERVATION
Article 4. It is essential to the conservation of monuments that they be maintained on a

permanent basis.
Article 5. The conservation of monuments is always facilitated by making use of them for some
socially useful purpose. Such use is therefore desirable but it must not change the lay-out or
decoration of the building. It is within these limits only that modifications demanded by a change
of function should be envisaged and may be permitted.
Article 6. The conservation of a monument implies preserving a setting which is not out of
scale. Wherever the traditional setting exists, it must be kept. No new construction, demolition or
modification which would alter the relations of mass and colour must be allowed.
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Article 7. A monument is inseparable from the history to which it bears witness and from the
setting in which it occurs. The moving of all or part of a monument cannot be allowed except
where the safeguarding of that monument demands it or where it is justified by national or
international interest of paramount importance.
Article 8. Items of sculpture, painting or decoration which form an integral part of a monument
may only be removed from it if this is the sole means of ensuring their preservation.
RESTORATION
Article 9. The process of restoration is a highly specialized operation. Its aim is to preserve and
reveal the aesthetic and historic value of the monument and is based on respect for original
material and authentic documents. It must stop at the point where conjecture begins, and in this
case moreover any extra work which is indispensable must be distinct from the architectural
composition and must bear a contemporary stamp. The restoration in any case must be
preceded and followed by an archaeological and historical study of the monument.
Article 10. Where traditional techniques prove inadequate, the consolidation of a monument
can be achieved by the use of any modern technique for conservation and construction, the
efficacy of which has been shown by scientific data and proved by experience.
Article 11. The valid contributions of all periods to the building of a monument must be
respected, since unity of style is not the aim of a restoration. When a building includes the
superimposed work of different periods, the revealing of the underlying state can only be
justified in exceptional circumstances and when what is removed is of little interest and the
material which is brought to light is of great historical, archaeological or aesthetic value, and its
state of preservation good enough to justify the action. Evaluation of the importance of the
elements involved and the decision as to what may be destroyed cannot rest solely on the
individual in charge of the work.
Article 12. Replacements of missing parts must integrate harmoniously with the whole, but at
the same time must be distinguishable from the original so that restoration does not falsify the
artistic or historic evidence.
Article 13. Additions cannot be allowed except in so far as they do not detract from the
interesting parts of the building, its traditional setting, the balance of its composition and its
relation with its surroundings.
HISTORIC SITES
Article 14. The sites of monuments must be the object of special care in order to safeguard
their integrity and ensure that they are cleared and presented in a seemly manner. The work of
conservation and restoration carried out in such places should be inspired by the principles set
forth in the foregoing articles.
EXCAVATIONS
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Article 15. Excavations should be carried out in accordance with scientific standards and the
recommendation defining international principles to be applied in the case of archaeological
excavation adopted by UNESCO in 1956.
Ruins must be maintained and measures necessary for the permanent conservation and
protection of architectural features and of objects discovered must be taken. Furthermore, every
means must be taken to facilitate the understanding of the monument and to reveal it without
ever distorting its meaning.
All reconstruction work should however be ruled out "a priori". Only anastylosis, that is to say,
the reassembling of existing but dismembered parts can be permitted. The material used for
integration should always be recognizable and its use should be the least that will ensure the
conservation of a monument and the reinstatement of its form.
 Nara Document on Authenticity

At the Nara Conference on Authenticity, held from 1-6 November 1994, forty five
participants from twenty eight countries discussed the many complex issues associated
with defining and assessing authenticity. It was noted that in some languages of the world,
therein no word to express precisely the concept of authenticity.
The results of the experts' deliberations are contained in the Nara Document on
Authenticity. The World Heritage Committee will note that there was a general consensus that
authenticity is an essential element in defining, assessing, and monitoring cultural heritage. The
experts gave particular attention to exploring the diversity of cultures in the world and the many
expressions of this diversity, ranging from monuments and sites through cultural landscapes to
intangible heritage. Of particular importance is the view that the concept and application of
authenticity as it relates in cultural heritage is rooted in specific cultural contexts and should be
considered accordingly.
The experts considered that an expanded dialogue in different regions of the world and
among specialist groups concerned with the diversity of cultural heritage was essential to
further refine the concept and application of authenticity as it relates to cultural heritage.
Such on-going dialogue will be encouraged by ICOMOS, ICCROM, and the World Heritage
Centre, and will be brought to the Committee's attention as appropriate.
 Recommendation
 The World Heritage Committee is encouraged to take into consideration the principles and
views contained in the Nara Document on Authenticity in its evaluation of properties
nominated for inclusion on the World Heritage List.
PREAMBLE
179
1. We, the experts assembled in Nara (Japan), wish to acknowledge the generous spirit and
intellectual courage of the Japanese authorities in providing a timely forum in which we
could challenge conventional thinking in the conservation field, and debate ways and
means of broadening our horizons to bring greater respect for cultural and heritage diversity
to conservation practice.
2. We also wish to acknowledge the value of the framework for discussion provided by the
World Heritage Committee's desire to apply the test of authenticity in ways which accord full
respect to the social and cultural values of all societies, in examining the outstanding
universal value of cultural properties proposed for the World Heritage List.
3. The Nara Document Authenticity is conceived in the spirit of the Charter of Venice, 1964,
and builds on it and extends it in response to the expanding scope of cultural heritage
concerns and interests in our contemporary world.
4. In a world that is increasingly subject to the forces of globalization and homogenization,

and in a world where the search for cultural identity is sometimes pursued through
aggressive nationalism and the suppression of the cultures of minorities, the essential
contribution made by the consideration of authenticity in conservation practice is to clarify
and illuminate the collective memory of humanity.
CULTURAL DIVERSITY AND HERITAGE DIVERSITY
5. The diversity of cultures and heritage in our world an irreplaceable source of spiritual and
intellectual richness for all humankind. The protection and enhancement of cultural and
heritage diversity in our world should be actively promoted as an essential aspect of human
development.
6. Cultural heritage diversity exists in time and space, and demands respect for other
cultures and all aspects of their belief systems. In cases where cultural values appear to be
in conflict, respect for cultural diversity demands acknowledgement of the legitimacy of the
cultural values of all parties.
7. All cultures and societies are rooted in the particular forms and means of tangible and
intangible expression which constitute their heritage, and these should be respected.
8. It is important to underline a fundamental principle of UNESCO, to the effect that the

cultural heritage of each is the cultural heritage of all. Responsibility for cultural heritage and
the management of it belongs, in the first place, to the cultural community that has
generated it, and subsequently, to that which cares for it. However, to these responsibilities,
adherence to the international charters and conventions developed for conservation of
cultural heritage obliges consideration of the principles and responsibilities flowing from
them. Balancing their own requirements with those of other cultural communities is for each
180
community, highly desirable, provided achieving this balance does not undermine their
fundamental cultural values.
VALUES AND AUTHENTICITY
9. Conservation of cultural heritage in all forms and historical periods is rooted in the values
attributed of the heritage. Our ability to understand these values depends, in part, on the
degree to which information sources about these values may be understood as credible or
truthful. Knowledge and understanding of these sources of information, in relation to original
and subsequent characteristics of the cultural heritage, and their meaning, is a requisite
basis for assessing all aspects of authenticity.
10. Authenticity, considered in this way and affirmed in the Charter of Venice, appears as
the essential qualifying factor concerning values. The understanding of authenticity plays a
fundamental role in all scientific studies of the cultural heritage, in conservation and
restoration planning, as well as within the inscription procedures used for the World
Heritage Convention and other cultural heritage inventories.
11. All judgments about values attributed to cultural properties as well as the credibility of
related information sources may differ from culture to culture, and even within the same
culture. It is thus not possible to base judgements of value and authenticity on fixed criteria.
On the contrary, the respect due to all cultures requires that heritage properties must be
considered and judged within the cultural contexts to which they belong.
12. Therefore, it is of the highest importance and urgency that, within each culture,
recognition be accorded to the specific nature of its heritage values and the credibility and
truthfulness of related information sources.
13. Depending on the nature of the cultural heritage, and its cultural context, authenticity •
judgments may be linked to the worth of a great variety of sources of information. Aspects
of these sources may include form and design, materials and substance, use and function,
traditions and techniques, location and setting, and spirit and feeling, and other internal and
external aspects of information sources. The use of these sources permits elaboration of
the specific artistic, historic, social and scientific dimensions of the cultural being examined.
 The Burra Charter

The Burra Charter provides guidance for the conservation and management of places of
cultural significance (cultural heritage places), and is based on the knowledge and
experience of Australia ICOMOS members. Conservation is an integral part of the
management of places of cultural significance and is an ongoing responsibility.
The Charter sets a standard of practice for those who provide advice, make decisions
about, or undertake works to places of cultural significance, including owners, managers
and custodians.
181
 The Hague Convention for the Protection of Cultural Property in the Event of
Armed Conflict
It is an international treaty that requires its signatories to protect cultural property in war or
armed conflict. It was signed at The Hague, Netherlands on May 14, 1954, and entered into
force August 7, 1956. It has been ratified since by more than 90 countries.
The Convention for the Protection of Cultural Property in the Event of Armed Conflict
adopted at The Hague (Netherlands) in 1954 in the wake of massive destruction of cultural
heritage during the Second World War is the first international treaty with a world-wide vocation
focusing exclusively on the protection of cultural heritage in the event of armed conflict.
It covers immovable and movable cultural heritage, including monuments of architecture, art
or history, archaeological sites, works of art, manuscripts, books and other objects of artistic,
historical or archaeological interest, as well as scientific collections of all kinds regardless of
their origin or ownership.
The States that are party to the Convention benefit from the mutual commitment of more
than 115 States with a view to sparing cultural heritage from consequences of possible armed
conflicts through the implementation of the following measures:
 Adoption of peacetime safeguarding measures such as the preparation of inventories,

the planning of emergency measures for protection against fire or structural collapse, the
preparation for the removal of movable cultural property or the provision for adequate in
situ protection of such property, and the designation of competent authorities
responsible for the safeguarding of cultural property;
 Respect for cultural property situated within their own territory as well as within the
territory of other States Parties by refraining from any use of the property and its
immediate surroundings or of the appliances in use for its protection for purposes likely
to expose it to destruction or damage in the event of armed conflict; and by refraining
from any act of hostility directed against such property;
 Consideration of the possibility of registering a limited number of refuges, monumental
centres and other immovable cultural property of very great importance in the
International Register of Cultural Property under Special Protection in order to obtain
special protection for such property;
 Consideration of the possibility of marking of certain important buildings and monuments
with a distinctive emblem of the Convention;
Different Organizations for Heritage Conservation
 United Nations Educational, Scientific and Cultural Organization (UNESCO)

 ICOMOS
ICOMOS is an international non-governmental organization of professionals, dedicated
to the conservation of the world's historic monuments and sites.
182
ICOMOS works for the conservation and protection of cultural heritage places. It is the only
global non-government organisation of this kind, which is dedicated to promoting the
application of theory, methodology, and scientific techniques to the conservation of the
architectural and archaeological heritage. Its work is based on the principles enshrined in
the 1964 International Charter on the Conservation and Restoration of Monuments and
Sites (the Venice Charter).
 Bakás Pilipinas - Historic Preservation Society(Philippine-based). it is U.S.-based

organization dedicated to ensuring the preservation of historic architecture and sites in
the Philippines for future generations. Bakas Pilipinas is comprised of a diverse group
of professionals committed to preserving and conserving the architectural, landscape
and cultural heritage of the Philippines. Our members include architects, conservators,
architectural historians, artists, photographers, planners, and many others.
 Heritage Conservation Society

The Heritage Conservation Society (HCS) is a non-stock, non-profit organization
advocating the protection and preservation of our built heritage, cultural and historical sites
and settings, thus upholding the Philippine Constitution that heritage and culture should be
developed and preserved for national identity.
VISION
A Filipino society that values and preserves its cultural heritage in order to instill pride of place
and strengthen Philippine national identity.
MISSION
The HCS will be the prime mover and advocate for the preservation of Philippine built heritage
resources in order to contribute towards the establishment of a Society that preserves and
values its cultural heritage through advocacy and volunteerism, project implementation,
education and information.
Why conserve heritage?

Heritage conservation maintains links with our past by preserving significant structures,
historical and cultural sites and settings. Our built heritage is evidence of our political history and
socioeconomic development; it reflects our shared values, and is tangible proof of Filipino
excellence and creativity.
Far from converting anything of our heritage into a museum, the HCS affirms that an efficient
21st century lifestyle can take place in the same urban and architectural envelope created by
earlier generations. Built heritage can be recycled for contemporary, adaptive re-use, thereby
preserving the cultural charm and traditional character of our cities and towns. Heritage
conservation enhances progress and modernization : from urban revitalization and community
housing, to the revival of traditional crafts and the stimulation of entrepreneurial activities. It
awakens our “pride of place,” arousing cultural and historical awareness, which often advances
cultural tourism.
183
 National Historical Commission of the Philippines (NHCP)
The National Historical Commission of the Philippines (NHCP) was created in 1972 initially
as the National Historical Institute to integrate the diverse functions of various historical
agencies. NHCP now, by virtue of R.A.10086, is responsible for the conservation and
preservation of the country's historical legacies. Its major thrusts encompass an ambitious
cultural program on historical studies, curatorial works, architectural conservation, Philippine
heraldry, historical information dissemination activities, restoration and preservation of relics and
memorabilia of heroes and other renowned Filipinos.
The NHCP continues to undertake the commemoration of significant events and personages in
Philippine history and safeguard the blazoning of the national government and its political
divisions and instrumentalities.
 National Commision on Culture and the Arts
In 1987, then President Corazon C. Aquino penned Executive Order No. 118 creating the
Presidential Commission on Culture and Arts. Five years later, in 1992, this presidential
directive was enacted into law-- Republic Act 7356, creating the National Commission for
Culture and the Arts (NCCA). The original bill was jointly authored by Senators Edgardo
Angara, Heherson Alvarez, Leticia Ramos Shahani, and Congressman Carlos Padilla.
The National Commission for Culture and the Arts (NCCA), Philippines is the overall policy
making body, coordinating, and grants giving agency for the preservation, development and
promotion of Philippine arts and culture; an executing agency for the policies it formulates.
 CONSERVATION EFFORTS IN THE PHILIPPINES
World Heritage Sites
The World Heritage Convention defines types of natural, cultural, or mixed properties that may
be inscribed on the World Heritage List. Natural properties are sites of intense beauty that
maintain the environmental balance of a region or of the world, or sites that show a unique
geological origin that was made from the formation of the earth. Cultural properties are man-
made and demonstrate the highest achievements of human thought and creativity. There are
also mixed properties, called “cultural landscapes” on the World Heritage List, that combine
outstanding natural and cultural values resulting from constant interaction between people and
the natural environment.

The World Heritage List includes five Philippines properties: Tubbataha Reef National Marine
Park, the Rice Terraces of the Philippine Cordilleras, the Historic Town of Vigan, the Puerto
Princesa Subterranean River National Park, and the Baroque Churches of the Philippines –
Santo Tomàs de Villanueva in Miag-ao, Iloilo; San Agustin in Paoay, Ilocos Norte; Nuestra
Señora dela Asunción in Santa Maria, Ilocos Sur; and San Agustin in Intramuros, Manila. These
World Heritage properties relate a chapter of the Filipino story. They confirm the abundance of
184
nature in the country and illustrate how Filipino creativity blossomed into a unique national
architectural style. Philippine cultural landscapes in the Cordilleras demonstrate the
resourcefulness of man in adapting to nature and establishing a sustainable method of
coexistence.

All the properties in the World Heritage List represent milestones in the development of life in
the universe. Natural properties record stages in the evolution of the world. Cultural heritage
records the progression of man’s ideas in terms of the built environment. Cultural landscapes
demonstrate how the hand of man can coexist with and enhance its natural surroundings.
Properties on the World Heritage List are the shared patrimony of the world.
1. Baroque Churches of the Philippines
These four churches, the first of which was built by the Spanich in the late 16th century,
are located in Manila, Santa Maria, Paoay, and Miag-ao. Their unique architectural
style is a reinterpretation of European Baroque by Chinese and Philippine craftsmen.
1.1 San Agustin Church in Intramuros, Manila
The San Agustin church is located in nostalgic Intramuros,

Manila. During the 350 years of Spanish rule, Intramuros
was the nerve center of the country. Even if Intramuros
today is a ghost of what it originally was, the aura of Spain
still lingers in its ruins.
The interior of the San Agustin church is superb. Traces of

the original wall painting done in the Mexican style can still
be seen. The existing trompe l’oeil interior painting was done in the late 19th century that
influenced the interior painting of many Philippine churches. The structural design of the
church is extraordinary. It is said that the structure is supported by a raft type foundation that
permits the entire structure to sway during earthquakes. San Agustin church also boasts of the
only examples in the country of a barrel vault, dome, and arched vestibules supporting its choir
loft, all made of stone.
A monastery complex was once linked to the church by a series of cloisters, arcades,
courtyards and gardens. Today the monastery and church are the repository of what is
considered to be the most priceless Philippine collection of religious art, including the earliest
dated retablo, wall paintings, pulpit, choir lectern, choir stalls and an important archive of
books.
1.2 Nuestra Señora dela Asunción in Santa Maria, Ilocos Sur
Not following fully the traditional Spanish urban town plan of situating the church as the focus
of the central town plaza, the location of the Nuesta Señora De La Asunción church and
convent in Sta. Maria, Ilocos Sur standing alone on the crown of a freestanding hill encircled
185
by a stone retaining wall gives it a citadel
appearance. Its appearance evokes a
Mediterranean hill town, the only example of such
in the Philippines.
Evoking a Chinese pagoda, the squat and

massive bell tower of stacked octagonal shapes of
decreasing diameter is crowned by a small dome.
From any angle, the approach to the Santa Maria
ensemble is magnificent. A stairway of 85 stone
steps rises form the town to the small courtyard at
the top of the citadel. On the opposite side of the
courtyard, another equally grand stairway descends to a causeway built up over rice fields
leading to a circular cemetery.
Built of brick, the church has a monumental façade. The thick side walls are without
ornamentation, but have delicately carved side entrances which are bolstered regularly by
huge quadrangular buttresses, these are necessary structural reinforcements for earthquake
protection. The power and simplicity of its geometric forms, and its location, make this an
outstanding example of Peripheral Baroque architecture.
1.3 Church of San Agustin in Paoay, Ilocos Norte
The San Agustin Church in Paoay began its construction in 1604 and finally completed n 1710.
This is one of the most outstanding “earthquake baroque” structure in the Philippines where
186
the primary concern was to design the church for
earthquake protection.
The coral stone bell tower, standing at some distance from

the church for earthquake protection, was finished in the
second half of the 18th century. Philippine bell towers were
constructed at a distance from the main church structure to
avoid its falling on the church during earthquakes.
The most outstanding feature of the church is the phalanx

of buttresses that just out perpendicularly from the sides to
strengthen the walls against earthquake damage. It has the
most massive buttressing in any church in the Philippines.
Fourteen S-shaped buttresses rise in rhythmic cadence
from the ground reaching almost to the roof line. A
pyramidal finial triumphantly tops each buttress. The visual
impact of the San Agustin church in Paoay is unforgettable.
1.4 Santo Tomas de Villanueva Church in Miag-ao, Iloilo
Built of local yellow-orange sandstone, the large fortress-church was completed in 1797. The
church withstood typhoons and earthquakes, but it burned twice: first was during the
revolution against Spain in 1898 and the second was during the Philippine-American War a
few years later.
The church of Santo Tomàs de Villanueva in Miag-ao is among the best examples in the
Philippines of the “fortress baroque” style. The church stands on the highest elevation of the
town. The squatness of the church, the massive pair of bell towers and the angled buttresses
strengthen its fortress image.
The façade of the church is a Filipino masterpiece. Unknown master carvers incised its entire
surface in the high relief. The sumptuous carving on the facade is probably the pinnacle of
Filipino naïf where local craftsmen abandon all restraint to reinterpret western decorative
styles in the local folk idiom. The church of Santo Tomàs de Villanueva is one of the best
examples of the fusion of the western Baroque style embellished with Filipino folk motifs.
2. Historic City of Vigan in Ilocos Sur
187
During the height of the Spanish colonial era in the 18th and 19th centuries, Vigan or Ciudad
Fernandina de Vigan was the third most important city after Manila and Cebu. It was the
center of Spanish colonial power in northern Luzon. The range of structures along the
plazas and streets reveals the story of the town. Large and imposing buildings evoke
political or religious power. Grand homes speak of wealth, while others speak of more
modest means. The architectural ensemble shows that Vigan was the political, economic,
religious, and artistic center of the region. The town is a living testament to the Spanish
colonial era, a place that exerts a strong cultural influence to the modern Philippine nation.
More importantly, the architecture of Vigan relates the story of the Filipino, of how his
constant exposure to foreign influences endowed him with the ability to adapt foreign ideas
and combine them into a style that is uniquely his own. Vigan Survives as a unique
representation of the adaptation process that the multi-cultural Filipino is so good at.
Notable Vigan urban spaces and architecture includes its town plaza, Plaza Salcedo; Saint
Paul’s Cathedral; The Arzopispado, an excellent example of a priest’s residence in an urban
area; Saint Paul’s College; the Provincial Capitol Building; Simbaan a Bassit (Catholic
Cemetery Chapel); Calle Crisologo, an impressive row of houses lining each side of a
cobbled stone street; Burgos Museum; and the numerous Vigan Houses, undoubtedly
Vigan’s treasures.
3. Ifugao or Banaue Rice Terraces in Ifugao
Among the world heritage sites in the Philippines, the Rice Terraces of the Philippines
Cordilleras have such a powerful presence that makes them one of the most outstanding
places in the country. Lying high in the Cordillera mountain range, their setting cannot be
replicated anywhere in the lowland tropical landscape of the Philippines – or even anywhere
in the world, for that matter.
High in the remote areas of the Philippine Cordillera mountain range, scholars believe,
slopes have been terraced and planted with rice as far back as 2,000 years. Mountains
terraced into paddies that still survive in varying states of conservation are spread over most
of the 20,000 square-kilometer land area (7 percent of the total land mass of the Philippine
Archipelago) that is in the Northern Luzon provinces of Kalinga-Apayao, Abra, Benguet and
Ifugao. The improbable site is found at altitudes varying from 700 to 1,500 meters above sea
level, where terraces are sliced into mountain slopes with contours that rise steeply.
Existence in the Cordillera unites man with nature, and the unparalleled view shows how
188
man has shaped the landscape to allow him to grow rice. The sheer majesty of the terraces
communicates uniqueness and strength. Besides wind and rustling leaves, there is also the
constant sound of water flowing downhill on the canals that irrigate the terraces. And there is
nobleness in culture and environment expressed by the timeless tranquillity of the terraces.
Most Filipinos regard the terraces as their greatest national symbol.
4. Puerto Princesa Subterranean River

National Park, Palawan
Puerto Princesa Subterranean River

National Park lies in the Saint Paul Mountain
Range, 81 kilometers from the center of
Puerto Princesa City, but is still within the
city boundaries. The Park is a natural
wonder. Its geological features are unique
and the Subterranean River is said to be among the longest in the world measuring up to
8.2 kilometers.
Puerto Princesa Subterranean River is one of the few in the world that flow out into the sea
from an inland source. It has been the focus of much curiosity and scientific investigation.
The level of the freshwater river rises and falls with the tide up to a point of 4.3 kilometers.
Puerto Princesa Subterranean River National Park consists of various landforms. The most
impressive are the mountainous limestone plateaus, geologically called karsts, that form the
rugged landscape of the Saint Paul Mountain Range with elevations ranging from sea level
to a maximum height of 1,028 meters. The topography of the property varies from flat plains
to rolling hinterlands and hills to mountain peaks.
The extensive rainforest of the Park is the habitat of diverse endemic and endangered
species of flora and fauna. The mouse deer, calamian deer, Palawan bearcat, porcupines,
skunks, wild pigs, flying squirrels, rats, bats, and monkeys are among the animals that
inhabit the Park. Cave-inhabiting forms of reptiles, birds, and mammals dominate the
animals. All of these endemic to Palawan: they exist nowhere else on earth.
5. Tubbataha Reef National Marine Park, South Sulu Sea, Palawan
The country’s first inscription on the UNESCO World Heritage

List in 1993 was the Tubbataha Reef National Marine Park in
Palawan, a distinction so appropriate for an island nation that
traditionally looks towards the sea as a life-giving force, the
traditional center of people’s lives.
189
UNESCO recognized the site primarily for its importance to
regional diversity, an outstanding distinction for the marine
diversity known to exist in the Philippines. The UNESCO
World Heritage Committee cited Tubbataha Reef as one of
the most outstanding coral reefs in Southeast Asia, noting
that in the 33,200 hectares of the Tubbataha Reef National
Marine Park lies an atoll reef with a very high density of
marine species, a phenomenon unique in the world and a
site of irreplaceable universal value.

“Tubbataha” derives from two Samal words meaning “a long
reef exposed only at low tide.” Tubbataha Reef, the only
national marine park in the Philippines, is an underwater site
consisting of two coral atolls with a 100-meter perpendicular
wall covering an area of 10,000 hectares situated at the center of the Sulu Sea, about 150
kilometers southeast of Puerto Princesa City, and located in Cagayancillo. The Reef
harbours a diversity of marine life greater than any other similar area in the world. The
underwater abundance of Tubbataha is staggering. Marine biologists believe that its
underwater gardens harbour a diversity of marine life that surpasses reefs of the same size
in any other part of the world.
STUDY QUESTIONS:
1. Why there is a need to conserve old buildings and structures?

2. Give examples of conservation efforts done by the government throughout the country.
3. Differentiate the charters affecting the conservation in the Philippines.
4. What are the organizations involved in the conservation of heritage in thecountry? in the
world?
5. What are the existing ordinances in your locality about conservation of cultural property?
6. What are the conservation laws existing in the Philippines?
7. How can an old building or site be declared as national landmark or heritage site?
8. Based in your own opinion, which among the UNESCO world heritage sites in the Philippines
is the most preserved? Explain.
ACTIVITY 1
ACTIVITY 2
ACTIVITY 3
ACTIVITY 4
ACTIVITY 5
190

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CHAPTER 1: INTRODUCTION TO PHILIPPINE CIVILIZATIONS AND ARCHITECTURE

At the end of the lesson, the learner will be able to:

1. Other famous name of the Philippines

3. It is known as the Southwest Monsoon in the Philippines.

8. Visayan people who have tattooed in their body.

9. The oldest and largest cave located southwest of Palawan.

10. A type of house occupied only in time of war.

2. Region II : Cagayan Valley

3. Region III : Central Luzon

4. Region IV-A: CALABARZON

5. Region IV-B: MIMAROPA

7. Region VI: Western Visayas

8. Region VII: Central Visayas

10. Region IX: Western Mindanao

11. Region X: Northern Mindanao

12. Region XI: Davao

13. Region XII: SOCCSKSSARGEN

14. Region XIII: CARAGA

15. National Capital Region (NCR)

16. Cordillera Administrative Region (CAR)

17. Autonomous Region of Muslim Mindanao (ARMM)

Social, Cultural, Economic, Political

Three Social Classes:

The Beyer Wave Theory

Philippine languages belong to the Austronesian language family. By the time of

A Word about Orthography

Descriptions of the color of Filipinos by Spaniards in the 16 th century were often

Philippine Architecture is an admixture of the Muslim, Malayan, Chinese and

BALAY – Visayan word for house

Three Types of Houses

HAGDAN – a house ladder or stairway

2. How does religion affect the architectural development in the Philippines?

1. ______________________________ Other famous name of the Philippines

1. Region 1 a. National Capital Region A. Zamboanga Del Sur

2. Region 2 b. Northern Mindanao B. Sulu

10. Region 9 j. CARAGA J. Pangasinan

Region Best Architectural Example Location /Province

2. Compare the physical appearance of Filipinos now and then.

CHAPTER 2: PRE-COLONIAL PERIOD

2. The area of bahay kubo reserved for entertaining guests.

4. The granary of the Bontoc

5. The traditional house of Kankanay.

10. Binayon or Finaryon – the octagonal shaped house of Kalinga

The following are common features of the houses:

1. Plans were square, rectangular or octagonal.

o Lowland structures tended to have a more open, airy interior.

Special Types of Houses Developed

 Sulu archipelago - houses were built over water.

Two Types of Mosques Developed In The Philippines:

Major Classes of Earliest Shelters

Two variations of lean-to dwelling:

2. BAHAY KUBO, NIPA HOUSE, NIPA HUT

Environmental Situation: Lowland all over the Philippines

Parts of bahay kubo:

a. Bulwagan – reserved for entertaining guests, w/ a low table called dulang

Dancalan – a wooden plate with handle used for chopping meat

- A large stove is used as a fireplace and cooking area

Environmental Situations: Mountain area of the Cordillera

Environmental Situation: Lowland of Dumaguete

Environmental Situation: Forested areas along the hilltops of the Cordilleras

Environmental Situation: Lowland of Western Visayas

Environmental Situation: Mountains of Benguet

Environmental Situation: Lowland of Isabela

1. _ 2. 3. _____

4. 5. 6. _____

7. _ 8. 9. _