HISTORY OF

ARCHITECTURE IV
JOHN ALFRED CED SALARSON
BS ARCHITECTURE 3D

MARVIN BELGICA
PROFESSIONAL LECTURER
 Topic3 : SPANISH COLONIAL ARCHITECTURE

PACO PARK Cementerio General de Paco Manila 1870 was

issued due to the outbreak of cholera epidemic in Manila
primarily design as municipal cemetery for established
aristocratic Spanish family who resided in old Manila.
Dr. Jose Rizal was interred at Paco park after his
execution was converted into a National Park in 1966
during the term of Pres. Diosdado Macapagal. It was
restored after the war and since then it remained as a
public part for the community.
 It's designed a circular
shape, with inner circular
fort that stood as the
original cemetery. Its walls
were made hollow to serve as
niches. A small, domed roman
catholic chapel was built
inside the park and it was
dedicated St. Pancratius.

CEMENTERIO DE BINONDO (LA LOMA CEMETERY),

Sta.Cruz, Manila
Spanish officials warned
Filipinos rebels that once
they joined the uprising,
they can no longer be buried
in catholic cemeteries on the
consecrated ground like La
Loma. It is one of the few
sites that wasn’t ruined
during world war II 1945.
NAGCARLAN UNDERGROUND
CEMETERY, Laguna

It is a public burial site and its underground crypt

exclusively for Spanish friars, prominent citizens, and
members of elite catholic families. Dibbed as the only
underground cemetery in the Philippines. It’s in Baroque
style, declared as historical landmark in 1978, since then
no more burials were allowed.
FOUR TYPESOF SOCIAL CLASSES THAT AFFECTED THE
EVOLUTION OF BAHAY NA BATO
PRINCIPALIA
Privileged natives PENINSULARES
who were landowners
Spanish or Mexicans
that migrated to the
MESTIZAJES Philippines.
Heirs of three
different cultures
INSULARES
MESTIZO Full-blooded Spanish
Half breed from born in the
intermarriages Philippines.
between local and
Chinese

ILLUSTRADOS
Highly educated
members of the
comfortable class,
entrepreneurs and
professionals
BAHAY NA BATO
A permanent house made of stone for
ground floor and wood for 2 nd floor.
It is an improvised version of Bahay
Kubo in terms of material and space
allocation.
PIEDRA CHINA
Granite stone originally used
by the Chinese traders as
ballast for ships and galleons

BODEGA
Storage space for produce
ESCALERA
GRAND STAIRCASE
CAIDA/ANTE SALA
Foyer of the second floor

SALA MAYOR
Main living area
 VENTANILLA
Small window, usually
protected by barandillas or
railings.

CALLADO
Lattice works to
allow air flow

CUARTO
BEDROOM
ORATORIO
Prayer room COMEDOR
Dining Area

PUNKAH
Suspended fabric used as
fan
COCINA
Kitchen
AZOTEA
Open-air balcony beside the
kitchen that housed a cistern
(aljibe) and the bathroom and
was usually a work area.

ALJIBE
Cistern that collects
rainwater for domestic use
VOLADA
Covered gallery or pathway
surrounding the structure used
by the servants to avoid
passing through the main areas
of the house.
SABUNGAN
Cock fighting arena/ cock
pit

TEATRO
THEATER HOUSE

UNIVERSITY OF STO. TOMAS (1611)

COLEGIO/UNIVERSIDAD ESCUELA PRIMARIA HOSPITAL ADE SAN JUAN DE DIOS

HOSPITAL DE SAN LAZARO AYUNTAMIENTO (CITY HALL)

 ADUANA (CUSTOMS HOUSE)

FORT SAN PEDRO/ FUERTE DE SAN PERDO

CEBU CITY
 PALACIO DEL GOBERNDOR
(GOVERNOR GENERAL’S RESIDENCE)
 INTRAMUROS “Within the walls”

FORT PILAR / REAL FUERTE DEL NUESTRA SENIORA

DEL PILAR
Zamboanga Del Sur
 FORT SAN FELIPE/
FORTALEZA DE SAN FELIPE
Cavite
 FORT SANTIAGO/
FUERTA DE SANTIAGO
Intramuros, Manila

CORTINAS
Curtain wall fortification BALUARTES/ BASTONS
Bulwark
GARITA
turrets

CASAMATAS
Stone platform where
cannons are placed
 FALSA BRAGA

FOSO
Moat
REVELLIN ALMACENES
Detached outer Warehouse for gun
defense of a gate powder and
or puerta ammunitions
WATCH TOWERS
A typical wooden watchtower
in a Bicol coastal town.
Similar watchtower were
constructed in various
parts of Bacacay in the
18th century as a measure
of defense against Moro
raids.
LOAOY WATCHTOWER,
Bohol
DAUIS WATCHTOWER
Bohol
MARIBOJOC WATCHTOWER
Bohol
NARVACAN WATCHTOWER
Ilocos Sur
FAROLA (LIGHT HOUSE)
FARO Y LUCES DE RIO DE PASIG
 AYUSANPAOA BRIDGE
PUENTE DE CARMEN
Vigan, Ilocos Sur
General Trias, Cavite

PUENTE DE MALAGONLONG
Tayabas, Quezon
 Topic4 : AMERICAN COLONIAL ARCHITECTURE

AN AMERICAN-ERA HIGH SCHOOL

HISTORY BUILDING IN CEBU

History The 1896 Philippine Revolution paved the way to the

country’s independence from Spain. However, it became a
short-lived liberty when the Americans became the country’s
new invaders. There was a drastic change on the architectural
design which was introduced by the Americans as they
establish the civil government. A lot of structures were
built to serve as government buildings from cities to
municipalities. The design and style of the establishments
were akin to Greek or Roman constructions.
Famous American architects such as William Parsons and Edgar
Bourne started the proto-modernist way of designing
constructions and they were commonly unadorned facades
together with large windows. Another prestigious master
designer during that time was American architect and urban
planner Daniel Burnham. He was the one responsible for
creating the master plans for Manila and Baguio.

The Manila Central Post Office

is a neoclassical building
built during the American
period.

The Normal School on Taft Avenue

was the first American teacher's
college in the Philippines
American architecture influence in the Philippines can be
classified in two types; the so-called first-generation Filipino
architects who studied architecture and engineering in the
United States who were sponsored by the colonial masters and the
Second-generation architects who emerged in the late 1920s and
1930s. The first generation exemplifies combined Beaux Arts
elements with a touch of modernism promoting the ideas of
utility in architecture

DANIEL H. BURNHAM AMERICAN

ARCHITECT AND URBAN PLANNER
He was the one responsible for
creating the master plans for
Manila and Baguio. His
contributions to the local
architecture together with
Parsons were the Kahn system of
concrete reinforcements and the
introduction of hollow blocks,
the use of anti-termite hardwood
and the mass fabrication of
building types.

In 1905, Burnham presented his plan for Manila,

which was patterned after Paris, Venice, and
Naples.
"Possessing the bay of Naples, the
winding river of Paris, and the
canals of Venice, Manila has
before it an opportunity unique in
history of modern times, the
opportunity to create a unified
city equal to the greatest of the
Western world with the
unparalleled and priceless
addition of a tropical setting,"
Burnham wrote.

Burnham's plan features wide

radial avenues, plenty of
greenery, and a government
center.
American Colonial Architecture
After the Spanish–American War in 1898, the Americans took control of the
Philippines until after the World War II. During this period, the Americans
constructed many Neoclassical buildings in Manila. 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 first civilian
Governor-General of the Philippines, decided that Manila, the capital, should
be a planned city. He hired as his architect and city planner Daniel Burnham,
who had built Union Station and the post office in Washington, D.C.. 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 would be the Manila Hotel Taft hired
William E. Parsons, a New York architect, who
envisioned an impressive, but comfortable hotel, along
the lines of a grander California mission. The original
design was an Hshaped plan that focused on well-
ventilated rooms on two wings, providing grand vistas
of the harbor, the Luneta Park, and Intramuros. The top
floor was a large viewing deck that was used for
various functions, including watching the United States
Navy steam into the harbor. Many of these buildings
were heavily damaged during the Battle of Manila in
1945. After the Second World War, many were rebuilt.
Many buildings in Manila were later designed by the
Filipino architect Juan M. Arellano.
Characteristics of American Colonial Architecture
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, tsalets, and bungalows. The lower
classes had rowhouses, duplexes, multistory tenements, and
prefabricated housing units.
Manila Army and Navy Club, Manila, 1911

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 consists of a grand entrance and has
three stories that Daniel Burnham housed the
various function rooms and the hotel rooms.
Together with its sister, the Elks Club, it was the
center of social life for many Americans for
decades. The building was designed by William E.
Parsons and has his characteristic trademark of the
generous use of arches. It was built by the US Army
Corps of Engineers. It was completed on April 17,
1911.
Luneta Hotel, 1919
Aerial photo of the Luneta hotel in
1930, to the left of the no-longer
existing University Apartment

Designed by Spanish architect Salvador Farre, the

Luneta Hotel on Kalaw Avenue was built in 1919. The
six-storey building towered at an undefined T.M.
Kalaw street upon its completion. It faced an
unfenced Bermuda plane of the Luneta. Its neighbors
were blocks of "stone houses" (Bahay na bato) and
"storerooms" (bodegas). It stood out because of its
distinct architectural style. It symbolized the new
influence that the Americans brought to the country.
As once described by cultural writer and
conservationist Bambi Harper, its "Mansard roof,
French windows, carved details, attractive grilles
and studied proportions" are reminiscent of French
Renaissance architecture.
AmericanColonial Period
01
In 1902, Americans introduced
the use of toilet via pail
conservancy system, or cubeta
in Manila.
02
In 1908, the concept of a
wall-planned neighbourhood
called Sanitary Barrio was
introduced and led to tsalet,
a crossbreed of the tropical
features of vernacular
buildings with hygienic
structural principles and
modern materials.
03
In 1992, The Bureau of Health
endorsed several variations
of tsalet.
04
American architects Edgar K.
Bourne and William E.
Parsons, steered Philippines
Architecture to the proto-
modernist route. Their works
were characterized by
unembellished facades with
large windows.

05
Daniel H. Burnham, father of
the City Beautiful Movement,
was commissioned to design
master plans for Manila and
Baguio.
06
In 1906, the construction of
the Asylum for the Insane in
San Lazaro instigated the use
of reinforced concrete as the
standard construction material
for all government structures.

07
Birth of “first generation” Filipino architects
who were sponsored by colonial officials to
study architecture and engineering in the United
States. Together with the maestros de obras like
Arcadia Arellano and Tomas Arguelles, they
combined Beaux Arts elements-aesthetic
proportions, optical corrections-with the
influence of modernism and the concepts of
utility and honesty of architecture.
08
The “second generation” architects, namely,
Andres Luna de San Pedro, Fernando Ocampo, Pablo
Antonio, Juan F. Nakpil, emerged in the late
1920s and 1930s and introduced the Art Deco,
characterized by exuberant exoticism and
ornamentation, as evident in the following
facades of buildings: ELPO Building,
BautistaNakpil Pylon, Metropolitan Theatre,
Santos House, and the Mapua House.
Pail Closet Cubeta, 1902

In 1902, the American colonizers introduced the

use of the toilet via a pail conservancy
system. This was known as the cubeta. Some
articles say that the word began as one of the
euphemisms for the toilet, along with ‘night
soil’ for collected excreta and ‘outhouse’ for
the outdoor small structure that became the
bathroom. A pail closet or pail privy was a
room used for the disposal of human excreta,
under the “pail system” (or Rochdale system) of
waste removal. The “closet” (another euphemism
for “toilet”) was a small outhouse (privy)
which contained a seat, underneath which a
portable receptacle was placed. This bucket,
into which the user would relieve themselves,
was removed and emptied by local authorities
every night. The contents, known as night soil,
would either be incinerated or composted into
fertilizer.
Sanitary Barrios,1908

As a measure against overcrowding,

filth, bad ventilation and fire, the
Americans introduced in 1908 the
neighborhood concept known as Sanitary
Barrios which permitted nipa houses to
be built on highly regulated blocks of
subdivided lots.

Each sanitary block had a built-in

system of surface drainage, public
latrine, public bath houses and
laundry, and public water hydrants,
which could be availed by the residents
free of charge. Imprints of these
barrios could still be seen in
Sampaloc, San Lazaro, and Vito Cruz.
Tsalet, 1992
The Filipino Chalet or
“Tsalet” is one of the
remarkable features of the
American Architecture
influences here in the
Philippines during the early
American Colonial era.

Though this structure is not that grandeur, but,

typically, it rose from scratch up to its
recognition and beyond that competes the unbeatable
aura of Post-Spanish relics of the “Bahay na Bato”
and the “Arquitectura Mestiza”. This type of
dwelling by its had arrive due to concerns such as
hygiene and health awareness protocols, that
Spanish houses never gain strength and popularity.
Even if the former Spanish houses were very iconic
during these times, the American Chalet in the
Philippines disregard the Spanish design threat
which was established by the former colonizers for
the past centuries. Therefore, “Tsalet” is a house
to be remembered.
 Manila Army and Navy Club
Building, Manila William E.
Parsons

The Insular Ice Plant, Manila

circa 1900s Edgar K. Bourne
 SanLazaroHospital
In 1906, the construction of
the Asylum for the Insane in
San Lazaro instigated the use
of reinforced concrete as the
standard construction material
for all government structures.

The hospital has earned a reputation of being a

hospital of last resort, owing to the centuries of it
being the refuge of people dying from highly
contagious diseases. Its namesake propagated its
almost mythical status: St. Lazarus, the man who had
risen from the dead before Jesus Christ. The Americans
took over the hospital’s administration. For practical
purposes, they used the hospital as a facility that
specializes in contagious diseases including leprosy.
From 1898 to 1917, the Americans managed the hospital.
They turned over the administration to Filipinos in
1918. In the 1930s, the Filipinos moved the hospital’s
patients suffering from insanity to the National
Mental Hospital.
BeauxArts

El Hogar Building
The iconic El Hogar Filipino
building is one of the few
remaining early American-
colonial era structures
located in Binondo, Manila.

Its Beaux-Arts architecture was

designed by Ramon Irureta-Goyena
and Francisco Perez-Muñoz with
elements of Neoclassical and
Renaissance styles
BeauxArts
In French, the term beaux arts means fine arts or
beautiful arts. Based on ideas taught at the legendary
École des Beaux-Arts in Paris, the Beaux Arts style
flourished between 1885 and 1920. Historical and eclectic
design on a monumental scale, as taught at the École des
Beaux Arts in Paris in the 19th century. The Beaux Arts
style originated in the École des Beaux Arts in Paris.
Many American architects studied at this legendary
architectural school, where they learned about the
aesthetic principles of classical design and brought them
to the United States. The Beaux-Arts style heavily
influenced the architecture of the United States in the
period from 1880 to 1920. Non-French European architects
of the period 1860–1914 tended to gravitate toward their
own national academic centers rather than fixating on
Paris. In the United States, the Beaux Arts style led to
planned neighborhoods with large, showy houses, wide
boulevards, and vast parks. Due to the size and
grandiosity of the buildings, the Beaux Arts style is
most commonly used for public buildings like museums,
railway stations, libraries, banks, courthouses, and
government buildings.
•The popularity of the Beaux Arts style waned
in the 1920's, and within 25 years the
buildings were considered ostentatious. Later
in the 20th century, postmodernists
rediscovered an appreciation of the Beaux Arts
ideals. Beaux Arts buildings have many of these
features: Massive and grandiose
•Constructed with stone
•Balustrades
•Balconies
•Columns
• Cornices
•Pilasters
• Triangular pediments
•Lavish decorations: swags, medallions,
flowers, and shields
• Grand stairway
•Large arches
•Symmetrical façade
El Hogar Building

located along Calle Muelle

dela Industria This structure
by the Pasig River near the
corner of the Binondo District
and Escolta Street is
considered a skyscraper (at
five storeys) back in the day.
Ramon Irureta-Goyena and
Francisco Perez-Muñoz designed
this building in the Beaux
Arts Style that reflects the
elements of neoclassical and
Renaissance style. Intricate
grillwork, arched window, and
heavily ornamented elements
add opulence to this beautiful
building
The Regina Building
(formerly knownasRoxasBuilding)

This building was a

collaboration between Andres
Luna de San Pedro, son of Juan
Luna, and architect Fernando
H. Ocampo. Designed in a
neoclassical and Beaux Arts
style, it has pediment
windows, balusters, bas-
reliefs, and sculptural
groups. Now awash in white, it
still remains a queenly sight
on this famed street.
Capitol Theater

The Capitol Theater was

designed by Juan Nakpil (who
also designed the Quiapo
Church) and was laden in Art
Deco Elements and friezes by
Italian sculptor Francesco
Riccardo Monti. Back in the
day, this theater can
accommodate up to 800 people
in the double balcony theater.
Its interior spaces show an
underlying motif of
sampaguita, the country’s
national flower, as seen in
wrought-iron grills on the
stairs, the lobby, and foyer.
CalvoBuilding
With its deep basreliefs,
cartouches, and ornaments, the
Calvo Building provides many
details to gawk at on its
façade.

It’s a great example of the

Beaux Arts architecture style
designed by architect Fernando
H. Ocampo. It now houses the
Calvo Museum filled with
memorabilia, items, and
photographs of Manila and
various offices.
Perez SamanilloBuilding
Now named First United
Building, this structure was
designed by Andres Luna de San
Pedro (the same architect who
designed the Regina Building).
Art Deco elements pepper the
building, as seen in the
façade, architectural motifs,
and even the elevator.
It used to house Berg’s
Department Store on the ground
floor. Now, the HUB| MakeLAB,
which is home to 22 creative
brands, occupies the ground
floor, while various offices
occupy the rest of the
building.
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 colours,
bold geometric shapes and lavish ornamentation. Deco
emerged from the interwar period when rapid
industrialisation was transforming culture. One of
its major attributes is an embrace of technology.
This distinguishes Deco from the organic motifs favoured 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". During its heyday, Art Deco represented
luxury, glamour, exuberance and faith in social and
technological progress. Art Deco was most popular from the
1920s to the 1930s (though in the Philippines, its
popularity extended to the early 1950s), and used simple,
stylized forms, linear motifs, zig-zags, lightning bolts,
and geometrical patterns—it was meant to represent the
era’s machine age, and an increasingly liberal outlook in
life. The style was also essentially a reaction to its
predecessor, the heavily ornamented Art Nouveau, and a
precursor to mid-century Modernism.
Far EasternUniversity
At the Far Eastern University
(FEU) in Quiapo, Manila, five
Art Deco structures on the
campus were designed by
National Artist Pablo Antonio.
Three were built before World
War II and two, after.

Although FEU buildings were

totally damaged during the war,
the university was restored to
its original Art Deco design
immediately after. The
university was given a UNESCO
Asia PacificHeritage Award for
Cultural Heritage in 2005 for
the outstanding preservation of
its Art Deco structures.
Art DecoTheatersinThe Philippines
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 the City of 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. Unfortunately, some of these
theaters have since been closed and
several of them demolished.
The Silliman Hall of
Silliman University
The Silliman Hall is a
building constructed in the
Stick Style of American
architecture in Dumaguete,
Negros Oriental, Philippines.
It was built in the early
1900s. It was converted to a
museum in 1970. It is located
in Dumaguete, Negros Oriental,
Philippines. The Silliman Hall
of Silliman University, is the
oldest standing American
structure in the Philippines.
The Central Philippine
University Church
The Central Philippine University Church
(officially University Church, Central
Philippine University), commonly referred as
University Church, UC or CPU Church, is a
Protestant church located on the campus of the
Central Philippine University in Jaro District,
Iloilo City, Philippines. Founded in 1913 by the
missionaries under the auspices of the American
Baptist Foreign Mission Society, the present
church structure was built and completed in 1970
under the chaplaincy of Kenneth Losh, an
American Baptist missionary. The church which is
notable for its Malay architectural style, is a
famous landmark in Iloilo City. A distinct unit
of the university, it is independent from it and
is a member of the Convention of Philippine
Baptist Churches (CPBC), the oldest Baptist
churches union in the Philippines.
EmilioAguinaldoShrine
The shrine is the ancestral
home of Emilio Aguinaldo,
officially the first President
of the Philippines, the only
president of the First
Philippine Republic. The house
was built in 1845 made from
wood and thatch and
reconstructed in 1849. Here,
Aguinaldo was born on March 22
, 1869.a Emilio Aguinaldo's
house in Kawit , Cavite,
renovations designed by
Aguinaldo himself.
1st GENERATION FILIPINO ARCHITECTS
Prior to American colonization, the architectural
profession was essentially embodied by the maestro de
obras (literally translated as “master builder”). There
was no actual title of “architect.” Instead, the maestro
de obras was responsible for the construction and
supervision over the erection of public and private
structures. The nearest form of architectural education
during the Spanish period was the Escuela Practica y
Profesional de Artes y Oficios de Manila, which was
established by the Spanish government in 1890. Among the
first graduates of this school were Arcadio Arellano,
Juan Carreon, Julio Hernandez, and Isidro Medina. Later,
private schools, such as the Liceo de Manila, were
established in 1900, granting the academic title of
maestro de obras. Francisco Agraran, Carlos Diaz, Antonio
Goguico, Angel Tampinco, and Zoilo Villanueva were among
the first graduates of the Liceo.
The Liceo, together with the Academia de Arquitectura y
Agrimensura de Filipinas, the first professional organization
of architects, engineers, and surveyors, founded in 1902,
offered a four-year course in civil engineering and
architecture in 1904 . Beginning in 1903, the Insular
government had launched a scholarship program that allowed
Filipino students to pursue university education in the
United States known as the pensionado program The first
recipient of the (pensionado program) scholarship for
architecture was Carlos A. Barretto, who received academic
training at the Drexel Institute of Philadelphia. These
pensionados, (Carlos A. Bretto, Antonio Toledo, Tomas Mapua,
Juan Arellano) together with the maestro de obras Arcadio
Arellano and Tomas Arguelles, formed the first generation of
Filipino architects. All six had individual distinctions to
claim.
CARLOSBRETTO
holds the distinction as the first
pensionado architect , having
graduated three years earlier than
Mapua , earning his degree in 1908
from the prestigious Drexel University
in Philadelphia. He was the second
(after Mapua ) to be officially
registered as an architect in 1921 ,
as required by law that was passed by
the National Assembly that year, one
of 22 Filipinos.

Barretto designed the Carnival infrastructures of

1935 , built on exuberant Art Deco motif that was
the prevailing style of the Commonwealth years.
After the Liberation , a group of Filipino
architects that included Barretto , organized
themselves into the Philippine Institute of
Architects which proved to be of great help to the
Philippines’ post -war recovery.
MANILA CARNIVAL

He was also a renowned

carnival architect who
designed ephemeral set -piece
buildings for the Manila
Carnival. His design for the
1936 Manila Carnival as shown
here was a grand concoction of
Beaux Arts fantasy well suited
for the colonial spectacle and
escapism.
ANTONIO M.TOLEDO
Antonio Toledo was the
architect responsible for the
design of the current Manila
City Hall which exhibits a
Neoclassical style. Juan
Arellano's design, which had
an Art Deco style, was MANILA CITY HALL CLOCK TOWER
supposed to be used for the
city hall but Arellano quit
the project and was replaced
by Toledo. The clock tower,
also designed by Antonio
Toledo which was completed
during the 1930s is the
largest clock tower in the
Philippines, reaching close to
100 feet (30 m) in elevation.
It stands out during nighttime
when the whole of the tower
lights up. Every hour, they
rung the bell three times
continued by a melody. It has
now become the icon for the
city of Manila.
• Along with Carlos Baretto, Juan Arellano, and Tomas
Mapua, Antonio Toledo was one of the first
Pensionados for Architecture
• Antonio Toledo stood out as the youngest pensionado
when he was sent to the United States to study
architecture at the age of sixteen
• Being educated in the US East Coast, he was
influenced in the Neoclassical and Beaux Arts styles
and his outputs leaned towards these architectural
designs, which are evident in all of his major works
for the Bureau of Public Works
• He was promoted to supervising Architect in 1915
and became the Consulting Architect in 1938 until his
retirement in 1954
• He made buildings for the Burnham Plan that evokes
the Manifest Destiny maxim of America in its colony
in the Orient
Designed by Architect Antonio Toledo,
the old Department of Finance
building was very much a product of
its time. Neo-classical and proud, it
had a port-cochére or a welcomespace
for guests. Massive wooden doors
opened to the Marble Hall where state
functions and presidential dinners
were held. As befit a proper state
building, the DOF was all decked out
with chandeliers, stained glass
windows, and arches.
Started as a private initiative to promote the Philippines as a major
travel destination, the Philippine Tourist & Travel Association was
organized in 1950. In 1956, the Board of Travel and Tourist Industry
was created by Philippine Congress. As stipulated in the Integrated
Reorganization Plan in 1972 sanctioned as a law under Presidential
Decree No. 1, as amended, the Department of Trade and Tourism was
established, reorganizing the then Department of Commerce and Industry.
A Philippine Tourism Commission was created under the unified Trade and
Tourism Department to oversee the growth of the tourism industry as a
source of economic benefit for the country. Then in 1973, President
Ferdinand Marcos created a new cabinet-level Department of Tourism
(DOT) by splitting the Department of Trade and Tourism into two
separate departments. Included in the new Department of Tourism, the
agency Philippine Tourism Authority (PTA) and the Philippine Convention
Bureau (PCB) were created. The Department of Tourism was then renamed
Ministry of Tourism as result of the shift in the form of government as
enshrined in the amendments to the 1973 Constitution.
 LEYTE PROVINCIAL CAPITOL

Once the seat of the Philippine Commonwealth

Government on 1944 under President Sergio
Osmeña, Sr. Construction of the Capitol started
in 1917 during the administration of Governor
Salvador K. Demetrio, completed and inaugurated
in 1924 during the administration of Governor
Honorio Lopez. The original edifice was
renovated, expanded and beautified 40 years
after upon assumption to office of Governor
Norberto B. Romualdez, Jr. in 1964. Historic
viewing of two murals depicting the MacArthur
Landing was unveiled on October 20, 1964 by
President Diosdado Macapagal while the First
Mass was unveiled on March 31, 1965 by
Ambassador Fernando Lobao de Carvalho of
Portugal and the Marquis de Aumon representing
the Government of Spain.
TOMASMAPUA (1888-1965)
• Tomas Mapua holds the distinction of
being the first registered Architect of
the Philippines.
• He was sent to the United States to
study in Boone’s Preparatory School and
finally finishing Architecture in
Cornell University in 1911
• He was one of the four pensionados in
Architecture with Juan Arellano, Carlos
Barreto and Antonio Toledo

• He started his career as a draftsman in the Bureau of

Public Works
• He practiced privately in 1916 and formed his own
construction firm. Two years later he was recalled to
the BPW and stayed there as a supervising architect
until 1927. He retired from practice after that
• He was a known civic leader in Manila. He once became
a councilor of Manila
• He founded what is to become the Philippines’ top
Architecture and Engineering school, the Mapua
Institute of Technology.
• MIT is arguably Tomas Mapua's greatest
contribution to Philippine Architecture, whose
famous alumni includes Federico Ilustre, Lor Calma,
and other luminaries of Modern Filipino Architecture
• He also founded the first Architectural
Association in the Philippines, the Philippine
Institute of Architects
• Trained in the Beaux Arts maxim like his fellow
pensionados, he practiced to fulfill Daniel
Burnham’s plans of Manila in the neoclassical design
• In his later years, he mixed the details of
Neoclassical designs with Art Deco like his design
for the Centro Escolar University
• He also mixed Neoclassical with Modernist
principles in the design of the Intramuros Campus of
Mapua Institute of Technology
 DE LA SALLE UNIVERSITY
ST. LA SALLE HALL

• This outstanding structure is the epitome of

institutional architecture in the Philippines,
mainly because of its classical ornaments such as
its whitewashed walls and spacious halls.
• A competition for the design of the new school
building was initiated by the Lasallian brothers.
Tomás Mapúa, a pensionado architect, won the
competition against nine other entries and was
awarded with a prize of P5,000.00. Mapúa is the
country's first registered architect who was one of
the first-generation pensionado architects who
studied abroad. Educated in Cornell University in
New York, he became one of the country's leading
architects during the pre-war years, with projects
such as the De La Salle University's St. La Salle
Hall and the Philippine General Hospital.
 Philippine
General Hospital
Administration
Building

The Philippine General Hospital Administration Building

is situated along Taft Avenue in Manila. It was built
by architect Tomas Mapua 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.
JUAN 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 Cebu
Provincial Capitol (1937), the Bank of
the Philippine Islands Cebu Main Branch
(1940), and the Jones Bridge.
• nativist phase of Philippine
architecture
• Other Buildings were the Manila Central Post
Office (1926), Old Jaro Municipal Building
Center for West Visayan Studies and Museum
(1935), UP Visayas, Cebu Provincial Capitol
(1937 ) , Jones Bridge( pre -war era), Malcolm
Hall, University of the Philippines, Diliman,
the Bank of the Philippine Islands Cebu Main
Branch (1940), Misamis Occidental Provincial
Capitol Building (1935), Cotabato Municipal
Hall (1940 )
 METROPOLITAN THEATER, MANILA CENTRAL POST-
MANILA OFFICE PRE-WORLD WAR II

LEGISLATIVE BUILDING, RIZAL MEMORIAL STADIUM,

MANILA MANILA
NATIONAL MUSEUM, SUPREME COURT OF THE
LEGISLATIVE BUILDING PHILIPPINES

CEBU PROVINCIAL CAPITOL

JONES BRIDGE
ARCADIO ARELLANO
(1872 -1920)

• First Filipino to be employed by the

Americans as one of their architectural
advisors
• first licensed Filipino architect
• Employed in 1901 by Gov. Gen. Taft as
adviser in Bureau of Architecture and
Construction of Buildings

• He built the Mausoleum of the Veterans of the

Revolution and the Legarda crypt in Cementerio del
Norte.
• He created and erected the buildings of Gota de
Leche on Lepanto Street and the Casino Espanol on
Taft Avenue in collaboration with his brother, Juan
Arellano.
MOUSOLEO DE LOS GOTA DE LECHE, MANILA
VETERANOS, MANILA

BAHAY NAKPIL-BAUTISTA
TOMAS ARGUELLES
(1860-1950)
• was known as a public administrator who
advocated the enforcement of the Building
Code of Manila.
• Tomas is the father of Carlos
Arguelles, himself a pillar of Philippine
modern architecture. Arguelles started
work as an inspector for the Streetcar
and Manila Railroad companies from 1884
to 1896, agrimensor (land surveyor and
assessor) for the Recollects in 1897, and
maestro de obras in 1898 to 1924.

• Arguelles’ career spanned the Spanish, American and

post-war periods. He received academic training in
surveying at San Juan de Letran, and in architecture
at the Escuela de Artes y Oficios (School of Arts and
Trade).
Left: Botica Boie Building by Arguelles, 1919.
It housed the Philippine American Drug Company,
one of the major drugstores of the period.
Right: Burke Building, corner of Escolta and
David Streets, was the location of Heacock’s, a
major department store in Manila.
2nd GENERATION FILIPINO ARCHITECTS

ANDRES LUNA DE SAN PEDRO

• Andrés Pardo de Tavera Luna
FPIA was a Filipino architect
who built the first air -
conditioned building in the
Philippines, the Crystal
Arcade one of the popular
tenant of Manila Stock
Exchange Building that was
once located on No. 71 Escolta
Street, Binondo ,
• introduced new architectural
forms in the philippines by
incorporating modern and
exotic design motifs through
the grammar of art deco
• the son of the great
Filipino painter Juan Luna
WORKS:
•Regina Building
•Natalio Enriquez Ancestral
House in Sariaya , Quezon, 1931
•Legarda Elementary School,
1922
•First United Building, 1928
•Crystal Arcade Building, 1932
•Alfonso Zobel Mansion
•Manila Hotel, (renovated in
1935)
•St. Cecilia's Hall, St.
Scholastica's College, 1932
•Lizares Mansion, Iloilo City
CRYSTAL ARCADE LEGARDA ELEMENTARY SCHOOL,
MANILA

REGINA BUILDING, MANILA LIZARES MANSION, JARO, ILOILO

PABLO ANTONIO
(1902- 1975)
• Second National Artist Award for Architecture
• National Artist for Architecture Pablo Sebero
Antonio pioneered modern Philippine architecture.
His basic design is grounded on simplicity, no
clutter. The lines are clean and smooth, and
where there are curves, these are made integral
to the structure. Pablo Jr. points out, “For our
father, every line must have a meaning, a
purpose. For him, function comes first before
elegance or form“.

The other thing that characterizes an Antonio structure

is the maximum use of natural light and cross
ventilation. Antonio believes that buildings “should be
planned with austerity in mind and its stability forever
as the aim of true architecture, that buildings must be
progressive, simple in design but dignified, true to a
purpose without resorting to an applied set of aesthetics
and should eternally recreate truth.”
WORKS:
• Far Eastern University, Philippine
National Bank, Manila
• Manila Railroad Company
• Philippine National Bank
• Ideal Theater in Rizal, Manila
• FEU Building in Quezon Boulevard
• Apartments in Roxas Boulevard
• Ramon Roces Publications Building
• White Cross Preventorium
• Manila Polo Club
• Capitan Luis Gonzaga Building on
Rizal Avenue, Carriedo
• FEU Administration and Science
Buildings
• Galaxy Theater in Rizal Avenue
 FAR EASTERN UNIVERSITY,
MANILA

GALAXY THEATER

PHILIPPINE
NATIONAL BANK
FERNANDO OCAMPO
• straightforward, simplicity, synthesizing
traditional designs with art deco ornaments
• Fernando Hizon Ocampo, Sr., A.B., B.S.C.E.,
B.S. Arch., was born on August 7 , 1897 , in San
Fernando , Pampanga.
• Returning to Manila he was for four years an
assistant architect in the Bureau of Public
Works. In 1927 he became associated with
architect Tomas Arguelles and established
Arguelles & Ocampo Architects.
WORKS:
• Designed the Manila Metropolitan Cathedral
• Paterno Building, Sta. Cruz, Manila
• Oriental Club • Cu Un Jieng Building, Escolta
• Central Seminary Building, UST
• Arguelles Building, Rizal Avenue
• Sacred Heart Novitiate Building, Novaliches
• Admiral Apartments, Roxas Boulevard
• Cathedral of the Immaculate Concepcion
restoration
• Church of Our Lady of the Most Holy Rosary
 ANGELA APARTMENTS,
MANILA CATHEDRAL NEO MALATE
ROMANESQUE

UNIVERSITY OF STO. TOMAS CENTRAL SEMINARY

JUAN FELIPE DE JESUS NAKPIL
• National Artist for Architecture. Art Deco
style combining stylized flora and angular forms.
• Nakpil worked at Andres Luna de San Pedro's
architectural firm (1928) and at Don Gonzalo
Puyat & Sons, opening his own architectural firm
in 1930.
• Among Nakpil's works are San Carlos Seminary,
Geronimo de los Reyes Building, Iglesia ni Cristo
Riverside Locale (Now F. Manalo, San Juan),
Magsaysay Building, Rizal Theater, Capitol
Theater, Captain Pepe Building, Manila Jockey
Club, Rufino Building, Philippine Village Hotel,
University of the Philippines Administration and
University Library, and the Rizal Shrine in
Calamba, Laguna.
• He also designed the International Eucharistic
Congress altar and improved the Quiapo Church in 1930 by
erecting a dome and a second belfry.
• The church burned down in 1929 prior to Nakpil's
redesign of the building.In the 1930s to the 1940s,
Nakpil and his fellow architects Andres Luna de San
Pedro, Fernando Ocampo and Pablo Antonio started the
period of modern architecture in the Philippines.
WORKS:
• Geronimo de los Reyes
Building
• Capitan Pepe Building
• Quezon Institute
Administration Building and
Pavilions (1930)
• Manila Jockery Club (1936)
• Avenue Hotel and Theater
 CAPITOL THEATER,
MANILA

MANILA JOCKEY CLUB

QUEZON INSTITUTE,
QUEZON CITY
RUFINO TOWER OR RUFINO PLAZA
IS AN OFFICE SKYSCRAPER AND IS
ONE OF THE TALLEST IN THE
PHILIPPINES. IT REMAINS AS THE
TALLEST STEEL-FRAMED BUILDING
IN THE COUNTRY.
Topic5 : POST-WAR PERIOD ARCHITECTURE
Vernacular Renaissance and the Architecture of the New Society
The Marcos Regime and the Promise of National Rebirth
The presidency of Ferdinand Marcos (1965 -1986 ) was a
period of great political unrest, transgression of human
rights, and great economic instability. Yet at the
outset of his governance, the promise of national
rebirth and resurrection of old Filipino traditions was
its principal preoccupation. The cultural and
architectural agenda of the regime was placed under the
auspices of the First Lady Imelda Marcos, who tended the
cultural renaissance of the nation under the aesthetic
maxim: “the true, the good, and the beautiful.”

The regime’s manipulation of the art and architecture

entails the reincarnation of vernacular civilization,
fashioned from a synthesis of indigenous and
cosmopolitan aspirations of modernity.
 The monumental Cultural Center
of the Philippines and its
reflecting pool

The Cultural Center of the

Philippines Complex in the
early 1980s
 Architecture for the
New Society
As the state became the new patron of arts, the First
Lady involved herself in all matters relating to art and
culture. The Marcos regime took the nexus of
architecture and society more seriously than any other
administration in promoting the aesthetics of power in
built form. The regime’s sonorous flirtation with
monumental modern architectural imagery signified the
modernizing thrust of the government. To assert the
nativist identity and promote the image of the nation as
a progressive economy in the Third World, the First Lady
built the Cultural Center of the Philippines complex, a
cultural-convention facility on land reclaimed from the
historic Manila Bay.
The center was built with money from the Cultural
Development Fund, which was nourished by the Special
Fund for Education, which in turn originated from the
Philippine War claims from the United States. The
success of her first architectural venture, under 7.4
The monumental Cultural Center of the Philippines and
its reflecting pool VERNACULAR RENAISSANCE 461 the
guardianship of architect Leandro Locsin, would later
inspire her to expand the reclaimed area of the Cultural
Center with more edifices of modernity
CULTURAL CENTER OF
THE PHILIPPINES
The grandiose long-term plan for this part of
Manila Bay was to reclaim about ten kilometers of
land along the foreshore and on it build The
Cultural Center of the Philippines, huge block of
cantilevered building for performance and art,
marked the commencement of Mrs. Marcos’
extravagant, long-standing intoxication with
megalithic construction, symptomatic of the
edifice complex.
The reclaimed land of CCP was a site that conveyed
state power, modern progress, national identity
and most of all the aesthetics of development. It
served as a launching pad for the First Lady’s
extravagant folk festivals and spectacular state
rituals, like the Kasaysayan ng Lahi (History of
the Race) and the Miss Universe Pageant in 1974,
and the Manila International Film Festival (MIFF)
in 1982. It was in the same venue that the
government enshrined National Artists, whose body
of work approximates the highest standards of
artistry that “reflect the essence and mystique of
the Filipino soul” (I. Marcos 1981, 129).
 The pre-fabricated structural
components of BLISS in the
University of the Philippines

Kapitbahayan housing
project in Tondo, Manila

To bring down the cost of housing,

the Imelda Marcos as Minister of
Human Settlements encouraged the
research and development of
prefabricated building components
made entirely or partly of
indigenous building material. In
this process, she hopes to discover
“the true, the good and the
beautiful” in Filipino Architecture.
Immediately after the declaration of Martial Law, the
government attempted to craft a singular national
identity under the slogan “Isang Bansa, Isang Diwa” (One
Nation, One Soul), with a backward-looking cultural
development agenda. In consonance with the “invented”
homogenous identity, a singular “national architectural
style” was formulated to symbolize the “nation”
undergoing the palingenetic process of social reformation
of the Bagong Lipunan (New Society).
The Marcoses apparently believed that architecture was at
the heart of the Philippine cultural recuperation and
construction of national identity. In 1975, Imelda
convinced all competing architectural organization, the
Philippine Institute of Architects (PIA), the League of
Philippine Architects (LPA), and the Association of
Philippine Government Architects (AGPA), to coalesce
under one omnibus organization, the United Architects of
the Philippines (UAP). Her successful effort to unite all
architects in the Philippines under a single organization
and her fervent advocacy of architecture as an important
constituent in nation building made her an “honorary
architect.” In December 9, 1979, Mrs. Imelda Marcos was
conferred with the title the first Honorary Member of the
United Architects of the Philippines. She was awarded
with a gold medal as recognition to her contribution to
the enhancement of architecture in the Philippines.
Her ideals of Bagong Lipunan architecture were inscribed in
buildings such as the Malay-roofed Batasang Pambansa Complex
and in her nativestyle housing project such as Bagong
Lipunan Condominiums, the Maharlika Village and the
Kapitbahayan in Tondo. While her advocacy of building with
indigenous material reached its pinnacle at the P18 million
Tahanang Filipino (now popularly known as the Coconut
Palace), designed by Francisco Mañosa. A total of 2,450
coconut trees were felled to build this state guesthouse by
the bay. This was also in consonance with her Coconut
Utilization Program, a project funded by the UNIDO (United
Nations Industrial Development Organization).
The product of the project was the coconut-based Imelda
madera, a new kind of lumber product especially suited for
construction purposes. It was a versatile timber which can
be used as structural piers, post, bridging and electrical
post. The Imelda Madera was produced using a special breed
of coconut created by the Philippine Coconut Authority and
was undoubtedly named in her honor. After successfully
establishing the Cultural Center of the Philippines, the
First Lady had the Folk Arts Theater built in 1974, just a
stone’s throw from the CCP. The Folk Arts Theater, an arena-
type 10,000-seat theater constructed within an incredible
seventy-seven days, was intended to host the Miss Universe
Pageant. By virtue of Presidential Decree 279 (signed 24
August, 1973), she also undertook the conception and
construction of the Design Center Philippines also at the
CCP Complex
FOLK ARTS THEATER PHILIPPINE INTERNATIONAL
CONVENTION CENTER

PHILCITE
RECREATED TRADITIONAL BUILDINGS FOR PHILIPPINE
CULTURAL THEME PARK CALLED NAYONG PILIPINO

THE TRUNCATED
PYRAMIDAL FORM OF THE
NATIONAL ARTS CENTER
AT MT. MAKILING
Imelda, being an architectural demigoddess, managed to
recreate an entire archipelago in one Filipino theme park.
The Nayong Pilipino, a miniature village simulating the folk
art and architecture drawn from different Philippine
regions, was created near the Manila International Airport
at the behest of Presidential Decree 37 on 6 Nov. 1972. The
Nayong Pilipino was also the first cultural park established
in Asia and the world. It was said to have inspired Madame
Suharto and Queen Sirikit to replicate Imelda’s idea in
Indonesia and Thailand, respectively.

For the Metropolitan Theater, Manila’s foremost prewar art

deco landmark, the First Lady allocated P30 million in
August 1979. The bulk of the renovation budget came from a
loan granted by the Government Service Insurance System
(GSIS) through her Metro Manila Commission. The project went
on at incredible speed with about 1,600 workers toiling in
three shifts. The building was reopened on 11 December 1979,
barely four months in the making. The rationale for speedy
restoration was that Mrs. Marcos wanted the project finished
before Christmas so that the building would look as if it
was a symbolic multimillion-peso “Aguinaldo,” or gift, to
the people of Manila
THE BEAUTIFICATION OF THE THE RESTORATION OF
RIZAL PARK AND THE CREATIN OF THE WAR-TORN GATE
AN OPEN-AIR VENUE FOR THE OF INTRAMUROS
“CONCERT AT THE PARK”
Also in 1979, by virtue of Decree No. 1277, the President
ordered owners and administrators of buildings encroaching
on the walls of Intramuros to vacate the area within three
months. The historic Intramuros had become one of Manila’s
major slum areas after the Pacific war. A brute eviction
process and demolition of encroachments took place,
enforced through the military corps of engineers. The
clearing was a success and the Intramuros Administration
was created through a presidential decree. The agency was
tasked to preserve and revive the culture of Old Manila to
feed the market for heritage tourism and to coincide with
Imelda’s vision of a pedigreed city to be commodified as a
tourist attraction.
 THE MANILA FILM CENTER WAS
IMELDA MAROS’ GRAND VISON TO
MAKE MANILA THE CANNES OF ASIA

The First Lady’s idea to transform Manila

into a film capital in Asia similar to Cannes
made world headlines as she rushed to
complete the Manila Film Center for the 1982
international film event. Tragedy struck when
the sixth floor slab collapsed, killing an
unknown number of laborers beneath the
gigantic slump of quick - drying cement. The
unaccounted dead bodies of construction
workers persists to this day as a subject of
urban legend and ghost haunting.
 THE PARTHENON-LIKE PROPORTION
OF THE MANILA FILM CENTER WAS
GENERATED FROM SCALING
ANALYSIS THAT EMPLOYED THE
GOLDEN SECTION

Aesthetically, the Manila Film Center, designed

by Froilan L. Hong, approximated the mathematical
proportions of the Parthenon to satisfy the First
Lady’s claim to classical antiquity in the modern
era. It was not uncommon to link Marcos state
architecture with classical architecture of
western civilization to give it pedigree
The First Lady, through
architect Jorge Ramos, also
took up renovation and
expansion of the Philippine
General Hospital (originally
designed by American architect
William Parsons) in Manila to
upgrade the facilities of
public medical institutions.
The first phase of the PGH was
constructed within the
Imeldific timetable to reach
its inauguration day, 2 July
1985 , which coincided with
the birthday of Mrs. Marcos,
the chairman of the PGH
Foundation

THE PHILIPPINE HEART SCALE MODEL OF THE

CENTER FOR ASIA LUNG CENTER
DEVELOPMENT OF MULTI-LEVEL URBAN HOUSING AND COMMUNITIES THROUGH THE BLISS
(BAGONG LIPUNAN IMPROVEMENT OF SITES AND SERVICES) PROJECT

A simultaneous solution, Mrs. Marcos endorsed, to decongest

Metropolitan Manila and remove Manila from its historic but
disaster-prone cradle was a plan that required the extension
of Metropolitan Manila eastward, in what would be known as
“Lungsod Silangan” or eastern city. She envisioned a more
rationally planned Manila to be repositioned farther inland,
up in the virtually unscathed Sierra Madre foothills east of
Manila Bay. The precise location, she pointed out in her
speech (Earth: The City of Humanity) delivered at the United
Nations Conference on Human Settlements in Vancouver on June
7, 1976, was a conclusion arrived at by Filipino scientists
headed by Dr. Celso Roque using an “ecological information
decision system,” which used a computer-generated land use map
that took into account the preservation of the ecological
attributes of the area.
 Lungsod Silangan would sprawl
over 20,300 hectares of prime
agricultural and forested land
in Antipolo. The pilot
community named Bagong Nayon
(New Town), whose master plan
was attributed to Planning
Resources Operations Systems
(PROS), was inaugurated in
1977.

Bagong Nayon was foreseen as a model habitat to

catalyze the movement of Manila eastward via newly
built East-West highway linking Manila to Infanta.
The satellite city that boasted of its ability to
absorb 200,000 families, was meant to be “a
staging ground for expanding the boundaries of
Metro Manila towards Infanta-Real in Quezon
Province, right of the edge of the Pacific Ocean.”
(Nells-Lim June 1981, 59)
Bagong Lipunan Modernism and the Invention of
National Architecture
The desire for national self-assertion in built form
had a profound repercussion on both designed space and
architectural discourse. Encouraged by Imelda Marcos,
a wave of nostalgia in architecture emerged in this
postcolonial society, valorizing the primordial and
colonial lifestyle and rekindling the fire of the
golden past in contemporary built environments. This
sentimental longing for the primeval is rooted in the
notion that these archetypes are the true
fountainheads of identity, of which the citizenry can
share a collective memory, and from which the
“national essence” can be distilled.

During the 1970s and 1980s the neovernacularism was

highly encouraged with the launching of the Bahay
Filipino Awards by the First Lady when she became
minister of Human Settlements. Through this award, she
gave recognition and cash incentives to homeowners who
built houses that measured up to the criterion of
being “Filipino,” that would serve as models in
developing designs for the government housing program.
 Assembly of modernist cubic
mass constituting the
Architecture of the
Philippine International
Convention Center

The Coconut Palace also

known as Tahanang
Filipino

Model of the Batasang Pambansa
Complex
Baguio Convention Center
Model of the Batasang Pambansa
Complex showing the unbuilt
monumental landmark at the
rear of the complex known as
the monument to the bagong
lipunan.
The prominent steeply sloping roof borrowed
from traditional Philippine architecture was
strategically chosen to reinforce vernacular
identity.

Baguio Convention Center Zamboanga Convention

in Baguio City Center in Pasonanca Park
Jorge Ramos’ Zamboanga Convention Center
utilized the stylized rendition of
Austronesian outward-soaring gables blown-up
on a preposterous scale. The building is
dominated by roof, whose ridge creates a
subtle saddleback profile derived from the
extant vernacular house form from the South.
An ornamented gable end in the form of a naga
(a mythical Southeast Asian serpent) rendered
in okir fashion completes the designer’s
claim to regional character. A variant of the
same aesthetic cliché resurfaced in the
design of the Zamboanga International
Airport.
Topic6 : ARCHITECTURAL HERITAGE CONSERVATION
Culture, heritage, and conservation have always struggled with the
issue of relevance. In the context of developing countries, this
struggle is doubly difficult to justify, especially when you pit it
against the concept of development. A heritage-driven development
proposes that heritage be positioned in the context of contemporary
issues such as: poverty, tourism, migration, terrorism etc. Heritage
in this perspective now becomes an understanding of heritage in
relation to bigger processes of development.

NEW TERMINOLOGIES
• CONGESTED HERITAGE
• HERITAGE OF SHAME
• HERITAGE OF MARGINS
• CRITICAL HERITAGE
• PHANTASMAL HERITAGE
• PENDULAR HERITAGE
• SHARED HERITAGE
• HERITAGE OF EVERYDAY
• HERITAGE OF INVISIBLE
THEMES OF DEVELOPMENT
THEORIES
50s – 60s
Transition from underdevelopment to
development passed through stages.
60s – 70s
Development process was structural
change (changes in agriculture,
industry, service, international trade,
etc.)
70s – 80s
Development process was an open system
–international dependence or political
approach.
80s – 90s
Development process is capability
approach – knowledge, information,
partnership coordination.
“Development” is a complex,
comprehensive and
multidimensional process which
extends beyond mere economic
growth, incorporate all
dimensions of life and all the
energies of a community, all
of whose members are called
upon to make a contribution
and expect to share in the
benefits”.

(UNESCO World Conference on

Cultural Policies, Mexico,
1982)
UNPD Poverty Reduction Strategy Paper
(PRSP):

Under the New institutional Economics (NIEs)

(Institutions are set of rules structuring
behavior), key is good governance (combination of
donor harmonization and self-monitoring/ self-
discipline) – recognizes relational/
transactional market imperfections (imperfect
knowledge) and institutional change for capacity
building, Good governance is necessary for
understanding how heritage is developed for
poverty reduction because I acts as the specific
institutional strategy and focal point of
discourse for mobilizing heritage in development
projects.
HERITAGE
Is anything valuable or
meaningful from the past that
gives identity and community
to the present and that would
inspire future generations.

HERITAGE
CONSERVATION
Is action taken to sustain the
value, meaning and
significance of cultural
resources from the past for
the use of present and
inspiration of future
generations.
• Heritage should be the three
dimensions: past (memory),
present (identity), and future
(continuity)
• URBICIDE – Urban suicide
(killing the city)
• MEMORYCIDE – to kill the
entire memory
HERITAGE MAPPING
Is the process of identifying natural and cultural
heritage resources of a specific locality of the
purpose of conservation and development (Commonwealth
Department of Communication and the Arts, 1995 ). The
objective of the heritage mapping is as follows:

1. To identify distinct resources of community vis a

vis another community.
2. To through understand and properly record a heritage
resource for future reference.
3. To generate interest on heritage resources among
users and nonusers of heritage.
4. To develop necessary heritage conservation charters,
legislation, bills, and guidelines.