d8 Chapter 3 Final Draft Saragina de Leon

DE LEON, BILL BRYAN
SARAGINA, ALLAN DOMINIQUE NOVEMBER 9, 2021

AR 421S4 – ARCHITECTURAL DESIGN 8
PROPOSAL TITLE: HIMIG-BALANGAW: THE PARAGON OF PHILIPPINE MUSIC EONS

(THE NATIONAL MUSEUM OF PHILIPPINE MUSIC HISTORY MANIFESTING
ICONIC, FUTURISTIC, INTERNATIONAL AND CULTURAL
EXEMPLIFICATION)
III. DESIGN INPUTS

A. DESIGN STANDARDS AND PERTINENT LAWS
A.1. SPECIFIC DESIGN STANDARD

A heritage centre, center, or heritage museum is a public facility – typically
a museum, monument, visitor centre, or park – that is primarily dedicated to the
presentation of historical and cultural information about a place and its people, and often
also including, to some degree, the area's natural history. Heritage centres typically differ
from most traditional museums in featuring a high proportion of "hands-on" exhibits and live
or lifelike specimens and practical artifacts.
Its standard can elevate greater potential for the proposed National Museum of
Philippine Music History to be one of the acclaimed United Nations Educational, Scientific
and Cultural Organization (UNESCO) World Heritage Sites, and helps in redefining the
standards of Philippine national museums from its predecessor sites.
A.2. RELATIVE PROJECTS
1. Solomon R. Guggenheim Museum, Manhattan, New York City
Brief synthesis
The property includes a series of eight buildings

designed and built over the first half of the 20th century;
each component has specific characteristics, representing new solutions to the needs
for housing, worship, work, education and leisure. The diversity of functions, scale and
setting of the components of the series fully illustrate the architectural principles of
“organic architecture”.
ARCHITECTURAL DESIGN 8 | CHAPTER 3 DRAFT

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The buildings employ geometric abstraction and spatial manipulation as a

response to functional and emotional needs and are based literally or figuratively on
nature’s forms and principles. In adapting inspirations from global cultures, they break
free of traditional forms and facilitate modern life. Wright’s solutions would go on to
influence architecture and design throughout the world, and continue to do so to this
day.
Criterion (ii): The 20th-Century Architecture of Frank Lloyd Wright

demonstrates an important interchange in the discourse that changed architecture on
a global scale during the first half of the 20th century. The eight components illustrate
different aspects of Wright’s new approach to architecture consciously developed for
an American context; the resulting buildings, however, were in fact suited to modern
life in many countries, and in their fusion of spirit and form they evoked emotional
responses that were universal in their appeal. Reacting against prevailing styles in the
United States, this approach took advantage of new materials and technologies, but
was also inspired by principles of the natural world and was nurtured by other cultures
and eras. These innovative ideas and the resulting unified architectural works were
noted in European architectural and critical circles early in the century and influenced
several of the trends and architects of the European Modern Movement in architecture.
Wright’s influence is also noticeable in the work of some architects in Latin America,
Australia and Japan.
Integrity
The serial property contains all the elements necessary to express its Outstanding
Universal Value since it encompasses the works generally understood by critics and
other architects to have been most influential. Each component highlights a different
aspect of the attributes that demonstrate this influence and contributes to illustrating
different aspects of the Outstanding Universal Value in a defined and discernible way,
and reflects clear cultural and architectural links. As an ensemble, they prove to have
exerted an influence on architecture over the first half of the 20th century.
The boundaries of each of the components include all the key elements to express
their significance, although a minor boundaries modification in Taliesin, to include all
the structures and gardens designed by Wright, would allow a better understanding of
the whole property. The boundaries in components located in relation to wider natural
settings allow an accurate representation of the relationships between the buildings
and their surroundings. The components of the serial property include the buildings
and interior furniture and all are overall adequately protected; none suffers from
adverse effects of development or neglect. Each building has benefited from careful
and comprehensive conservation studies and expert technical advice to ensure a high
level of preservation.
Authenticity

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Most of the components of the serial property have remained remarkably

unchanged since their construction in their form and design, use and function,
materials and substance, spirit and feeling. Conservation of each of the buildings,
when needed to correct long-term structural issues or repair deterioration, has been in
accordance with high standards of professional practice, ensuring the long-term
conservation of original fabric wherever possible, and the significant features of each
site; in all cases work has been based on exceptionally complete documentation. Very
few features have been modified; the changes and replacements of material
component parts must be understood as a means of retaining their forms and uses. In
cases where the original function has changed, the current use is fully consistent with
the original design.
The relationship between the sites and their settings is in general acceptable; the
residential low-density areas where some of the buildings are located have not
experienced drastic changes in scale over time, although this is an aspect that must
be considered in the protection and management systems. In the case of buildings
located in natural settings, only Taliesin West poses some problems because of the
expansion of the city of Scottsdale.
Protection and management requirements
Each property has been designated by the United States Department of the Interior
as an individual National Historic Landmark, which gives it, under federal law, the
highest level of protection. One of the components of the series is owned by a local
government; the others are privately owned by non-profit organizations, foundations
and an individual. Each building is protected from alterations, demolitions, and other
inappropriate changes through deed restrictions, local preservation ordinances and
zoning laws, private conservation easements, and state law. Active conservation
measures have been carried out for all of the components.
Each site has an effective management system that makes use of a suite of
planning and conservation guidance. The management coordination body is the Frank
Lloyd Wright World Heritage Council, established in 2012 via a Memorandum of
Agreement between the Frank Lloyd Wright Building Conservancy and the owners
and/or representatives of the owners of the individual component properties. The
Frank Lloyd Wright Building Conservancy, an NGO with offices in Chicago organized
for the purpose of preserving and protecting the remaining works of Frank Lloyd
Wright, coordinates the work of the Council. Since the Council has an advisory
capacity, its role in the decision-making process should be strengthened.
The development and implementation of management plans for those components

which do not already have them is recommended; risk preparedness and visitor
management must be considered for all of the components of the serial property.

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Key indicators to monitor the state of conservation of the buildings according

to their specific characteristics have been identified; they are mostly related to building
materials and, in the cases of Fallingwater and Taliesin West, to landscape features.
The indicators, though, are not directly related to the attributes proposed by the State
Party to convey the Outstanding Universal Value of the serial property.””’
2. National Museum of Cambodia, Phnom Penh, Cambodia
The National Museum of Cambodia,

founded in 1920, possesses one of the
world's greatest collections of Khmer
artifacts. They include sculpture, ceramics
and ethnographic objects from the
prehistoric, pre-Angkorian, Angkorian and
post-Angkorian periods.
As an active member of the
UNESCO/Japanese-Funds-in-Trust
project “Revitalising World Heritage Site
Museums in Cambodia, Laos and Viet
Nam”, the Museum will open the joint sub-
regional exhibition dedicated to the
interconnection of the World Heritage Sites
(Angkor, Preah Vihear, Vat Phou, My Son,
Thang Long Citadel and Ho Citadel) on 19
February 2013 and will host education
programmes related to this exhibition until
June 2013 for young people’s appreciation
of their history and heritage.
The exhibition of the National Museum
will also present a particular aspect of
Khmer culture which is still alive: Kbach.
They are the ornamentation motifs of
flower, vine, flame, lotus petals, bamboo-shoot or water-buffalo teeth, used to decorate
objects and architectural elements throughout Cambodia, and people have long drawn
these motifs from the environment and social life - from the Angkorian period to today.
3. Museumsinsel (Museum Island) Berlin, Berlin, Germany

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Situated in the very heart of the

city, the Museumsinsel Berlin is one of
the country’s major sights, attracting
hundreds of thousands of guests from
all over the world each year. This
unparalleled museum ensemble was
the cradle of today’s Staatliche
Museen zu Berlin and is where it
showcases its magnificent collections
of art and cultural artefacts spanning
several millennia from Europe and the
wider Mediterranean region. In 1999
UNESCO announced that it
recognized the Museumsinsel Berlin
as a place of world cultural heritage for
being 'a unique ensemble of museum
buildings illustrating the development
of modern museum design over the
course of more than a century'.
The initial plans for the

construction of the Museumsinsel Berlin were driven by the humanistic ideals of the
Enlightenment that prevailed in the early 19th century. Various ‘star’ architects of their
day, such as Karl Friedrich Schinkel and Friedrich August Stüler, were instrumental in
shaping the island in the river Spree, the city’s historical birthplace and its current
urban heart. Their masterworks of Neo-classical architecture continue to lend the
Museumsinsel Berlin its unmistakable character. The opening of what is now known
as the Altes Museum in 1830 under the reign of Friedrich Wilhelm IV, marked the start
of the Museumsinsel Berlin becoming a 'sanctuary of art and science'. Thereafter
followed a succession of new buildings: the Neues Museum (1843–1855) the (Alte)
Nationalgalerie (1867–1876), the Bode-Museum (1897–1904, known originally as the
Kaiser Friedrich-Museum) and finally the Pergamonmuseum (1910–1930).
After the Second World War, the thousands of objects in the collections belonging
to the state of Prussia were either strewn over countless sites, many of them unknown,
or had been destroyed; the buildings themselves were severely damaged. Following
the reunification of Germany, the collections of former East and West Berlin were
merged, and work gradually began on the renovation of the museum buildings to meet
the demands of modern, visitor-oriented standards, which lie behind
today’s 'Masterplan Museumsinsel', which forms the overarching framework for the
redesign of the Museumsinsel Berlin as a whole.*

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The overarching significance of the Museumsinsel Berlin was reflected in its

recognition by UNESCO as a place of World Cultural Heritage in 1999. In the same
year the Stiftung Preussischer Kulturbesitz’s trustees decided on a master plan for the
buildings’ renovation and for the modern development of the museum complex as a
whole. This master plan was a crucial part of the island’s application to be officially
recognized as a World Cultural Heritage Site. The plan views the ensemble of five
historical buildings as forming a thematic whole, while at the same time respecting the
architectural autonomy of each separate museum. Responsibility for the actual
implementation of the master plan lies with the Museumsinsel planning group formed
in 1998, which is composed of the architectural firms responsible for the renovation of
the individual museums, under the general coordination of David Chipperfield
Architects.**
A.3. INCLUSIVE MANDATES AND REGULATIONS
1. Regulations from the National Commission for Culture and the Arts (NCCA)
PRECUP (The Philippine Registry of Cultural Property)

The Philippine Registry of Cultural Property (PRECUP) is the repository of all
information pertaining to cultural properties in the Philippines deemed significant to our
cultural heritage. It was established through Article V Section 4 of the National Heritage
Act of 2009 Republic Act 10066.
It plays a crucial role in identifying and providing information on all available
cultural resources in the country which can be used by the public, land use planners,
property owners, developers, the tourism industry, and educators; increasing
awareness and the understanding of cultural heritage especially in local communities;
and facilitating the protection, preservation, and conservation of cultural property.
CONTENTS OF THE PRECUP
1. National Cultural Treasures or unique cultural property found locally which has
outstanding historical, cultural, artistic, and/or scientific value. It is highly significant
and important to the country and is officially declared by a cultural agency like the
National Museum (NM).
2. Important Cultural Property or cultural property having exceptional cultural,
artistic, and historical significance to the Philippines determined by the NM, the
National Historical Commission of the Philippines (NHCP), the National Library of
the Philippines (NLP), and/or the National Archives of the Philippines (NAP).
3. National Historical Shrines or cultural property which are hallowed and revered
for their history or association as declared by the NHCP and/or other previous
iterations of that cultural agency.

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4. National Historical Landmarks or sites or structures that are associated with

events or achievements significant to Philippine history as declared by the NHCP
and/or other previous iterations of that cultural agency.
5. National Historical Monuments or structures that honor illustrious persons or
commemorate events of historical value as declared by the NHCP and/or other
previous iterations of that cultural agency.
6. UNESCO World Heritage Sites or places listed by the United Nations
Educational, Scientific, and Cultural Organization (UNESCO) as having
outstanding universal value.
7. Presumed Important Cultural Property or cultural property which are not
declared as National Cultural Treasure, UNESCO World Heritage Site, National
Historical Shrine, National Historical Landmark, National Historical Monument, or
Important Cultural Property but still possesses the characteristic of an Important
Cultural Property. This may be:
- Works of Manlilikha ng Bayan
- Works of National Artists (unless declared by the Commission)
- Archeological and traditional ethnographic materials (unless declared by the
National Museum)
- Works of national heroes
- Marked structures (unless declared by the NHCP)
- Structures dating at least 50 years old
- Archival materials or old documents dating at least 50 years old (unless
declared by the National Archives).
8. Local Important Cultural Properties declared by the Sanggunian as such.
These are cultural properties which are significant to local culture and history. ***
2. Regulations from Republic Act 11333 (RA 11333 – AN ACT STRENGTHENING

THE NATIONAL MUSEUM OF THE PHILIPPINES, REPEALING FOR THE
PURPOSE REP. ACT NO. 8492N OTHERWISE KNOWN AS THE “NATIONAL
MUSEUM ACT OF 1998”)
This mandate had been the foothold of the proposal to establish greater extent
regarding the purpose and nature, duly signed by current Philippine President, His
Excellency Rodrigo R. Duterte, approved: April 26, 2019

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Sec. 3. Renaming of the National Museum. – The

National Museum is hereby
renamed as the “National Museum of the Philippines”, or,
alternatively in Filipino, “Pambansang Museo ng Pilipinas”.
The shortened name “National Museum” or “Pambansang
Museo” shall be understood as exclusively referring to the
same, and its use in any manner or part of any name with
respect to any institution within the Philippines shall be
reserved exclusively to the Agency.
Hereinafter in this Act, the National Museum of the

Philippines shall be referred to as the “National Museum”.
Sec. 4. Mandate, Duties and Functions. – The
National Museum shall be the primary institution of the State
for the management and development of museums and
collections of national scope or significance in the areas of
arts, cultural heritage and natural history, for purposes of
protecting, preserving, studying and promoting the national
patrimony for the benefit of current and future generations,
supporting education and social progress, and contributing
to economic development through tourism and educational,
scientific, cultural and leisure services and industries. It
shall be a permanent institution in the service of the entire
national community and its development, accessible to the
public, and not intended for profit.
The National Museum shall:
(a) Function as an educational, cultural and scientific institution that,
through its operations, projects and programs, documents, acquires,
preserves, exhibits, and fosters scholarly study and public
appreciation of works of art, specimens, and cultural and historical
artifacts representative of or unique to the artistic and cultural
heritage of the Filipino people and the natural history of the
Philippines, as well as their significance to the nation: Provided, That
such mandate shall be carried out in coordination with that of the
National Historical Commission of the Philippines, the National
Library of the Philippines, and the National Archives of the
Philippines relative to important historical documents, collections,
memorabilia and other objects that have significant historical value;
(b) Establish, manage and develop the National Museum Complex at

the Rizal Park, Manila, as well as central museums, regional
museums and other facilities, and promote the principles of universal

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access; Provided, that such mandate shall be carried out in

coordination with that of the National Historical Commission of the
Philippines to operate historical museums and shrines in various
parts of the country;
(d) Carry out permanent research programs combining integrated
laboratory and field work in biodiversity, geological history, human
origins, pre-historical and historical archaeology, maritime and
underwater cultural heritage, ethnology, art history, immovable, movable
and intangible cultural properties, and similar or associated fields;’
Sec. 10. Central Museums. – The central museums of the National Museum shall
include the existing National Museum of Fine Arts, National Museum of
Anthropology, National Museum of Natural History and the National
Planetarium. The National Museum shall also take steps towards the
establishment of central museums dedicated to archaeology, maritime
and underwater cultural heritage, architectural arts and built heritage, and
political and social history, which may be established within its National
Museum Complex or elsewhere within the National Capital Region as
appropriate, together with an institute for professional education, training
and development in museology and allied fields, and a conservation
center for movable cultural properties of national significance.’
3. Regulations from the International Council of Museums (ICOM)

2.a. The ICOM
The International Council of Museums is an

international organization of museums and museum
professionals which is committed to the research,
conservation, continuation and communication to society
of the world’s natural and cultural heritage, present and
future, tangible and intangible.
2.b. The CIMCIM
CIMCIM is the acronym for Comité

international pour les musées et collections

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d’instruments et de musique (International Committee for Museums and Collections

of Instruments and Music; Comité internacional para museos y colecciones de
instrumentos y de música).
CIMCIM is one of 32 international committees of ICOM, the International

Council of Museums, and was established in 1960.
CIMCIM aims to promote high professional standards in the use and

conservation of musical instruments in museums and collections.
MISSION OF CIMCIM
As an international committee, CIMCIM works within the framework of

ICOM in fostering connections amongst, advocating for and advising museums
and collections of musical instruments and music of all kinds.
As an organization that promotes high-professional standards, CIMCIM
supports ICOM’s Code of Ethics in providing a global platform to discuss state-of-
the-art, best-practice solutions related to tangible and intangible musical heritage,
particularly in the context of museums.
As a worldwide and inclusive committee, CIMCIM aims at a mutual
understanding of different cultural practices and viewpoints with respect to musical
instruments and music in supporting active dialogue and exchange between all
stakeholders.
ARTICLE: VOICES FOR THE SILENCED: Guidelines for Interpreting Musical
Instruments in Museum Collections by Margaret Birley, Heidrun
Eichler, and Arnold Myers, with the CIMCIM Working Group for Education
and Exhibitions (Co-ordinator Jos Gansemans)
1. INTRODUCTION

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Many museums house collections of musical

instruments, objects that have been created in order to generate
sounds. These guidelines are intended for museum educators
and guides who are not specialists in music or in organology, the
study of musical instruments, and whose role it is to interpret
museum collections for groups of children and adults of all ages.
Outlined below are suggestions as to different ways in which the
interpretation of musical instrument collections may be
approached. A diagram (Example 1) represents a summary of the
interconnected themes. Museum educators and guides are
invited to select a number or just a few of these different options,
depending on their area of expertise and the requirements of the
visiting group. The aim of the guidelines is to empower
interpreters to formulate their own approaches to the study of the
musical instrument collection in their own museum.
Example 1, formatted electronically by the Canadian Museum of

Civilisation
2. PRE-TOUR TRAINING OF "NON-SPECIALIST" INTERPRETERS

It is recommended that the specialist staff in the museum should provide
the interpreter with a written and/or oral outline of the exhibition's concepts and
contents. Supplementary interpretative material, such as catalogues, should be
made available. Reading material and recordings can also be suggested.
3. THE NATURE, TIME AND PLACE OF THE INTERPRETATIVE
SESSION
The "non-specialist" educator or guide will be interpreting the musical
instrument collection to audiences of both adults and children. In most museums
talks to such groups last from forty-five minutes to one hour. The talk should be
informative, entertaining and not over theoretical; listeners should be participants
as well as observers. If the visiting group is small enough most members should,
ideally, be given an opportunity to make a verbal contribution. Where possible the
talk should begin at the entrance to the museum, since this creates a special
rapport between the guide and the visitors, who will feel that they are guests at the
museum. The educator or guide should be informed of any particular interest which
the non-specialist group may have, so that s/he may have the opportunity to link
this to the talk.
4. GENERAL AIMS FOR THE INTERPRETATIVE SESSION

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The talk or tour can help to further the understanding of the relationship
between abstracted facts and material objects. It can also enhance the audiences'
investigative and perceptive abilities, by offering not only a variety of different
theoretical perspectives, but also different modes of learning about musical
instruments. Examples of musical instruments in showcases may be duplicated or
replicated by a handling collection of instruments that can be played, an important
interpretative resource. Handling, and even playing such instruments will
strengthen the impression of the visit. Research in the field of education has
demonstrated that the more senses are involved in the learning experience, the
greater the retention for adults and children alike (Davidson, Heald and Hein 1994,
p.193).
The interpretation of musical instruments lends itself to interdisciplinary studies
bringing in the sciences, design and technology, the arts, history, geography,
anthropology and sociology. An extensive exploration of these different subject
areas, from the specific to the general, can be aided by the application of the
interrogatives how?, where?, for/by whom? when? and why? (see example 1). For
many people, a visit to a musical instrument museum will represent their first
encounter with the music of another temporal period or cultural area. The
interpretative session can represent an opportunity to teach science empirically,
through the instruments' world of sound, its production and transmission.
5. HOW MUSICAL INSTRUMENTS WORK
A musical instrument acts as a transformer, converting the energy from
an outside source into a series of sound waves. It is the sound of a musical
instrument which we can hear and appreciate. All sound is the result of vibration.
A drum skin, for example, vibrates when it is hit. Its movement causes the air
around it to vibrate in a series of push-and-pull vibrations travelling outwards from
the drum head. The vibrations in the air, on reaching the human ear, cause the
ear-drum to vibrate in sympathy. These vibrations pass to the inner ear and are
there converted into nerve impulses which are sent to the brain to be interpreted
as a note.
A pure musical note, such as that produced by a tuning fork, consists of
a simple vibration of the air at equal intervals. Normally, however, a fundamental
note is heard together with other notes, called overtones. With some instruments
there is a simple mathematical relation between the frequencies of the overtones,
in which case they are said to be harmonics. The length of the waves of the
harmonic overtones is half, a third, a quarter, etc. of the wavelength of the basic
(fundamental) pure note. Any note produced on any instrument is in fact
accompanied by a varying number of attendant notes called overtones.
The study of sound is called acoustics, and acousticians try to understand
how sounds are produced, modified, transmitted, affected by buildings, and heard.
The acoustics of musical instruments are extremely complicated, but always relate

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the sound-producing mechanisms of instruments and the voice to the hearing

characteristics of our ears and brains. Instruments can be divided into two classes,
those which produce sounds in the air in a tube, or other container partially open
to the outside air, and those which produce vibrations in a solid such as a string,
drum skin, or the moving parts of a loudspeaker which are subsequently
transmitted to the air. Instruments which produce sounds in the air include those
usually called wind instruments (and the human voice). Most wind instruments use
one or more tubes, such as those of flutes, trumpets and pipe organs, because
tubes can be made to produce patterns of sound which relate closely to the
recognition capabilities of the human ear and brain.
Similarly, many instruments use vibrating strings because the vibrations
of the strings also closely correspond to the human capacity to recognise sounds.
Every object has natural frequencies of vibration, but because strings do not
produce much sound directly, there is usually some device, such as the body of a
violin or guitar, which modifies the vibrations and transmits them to the air as
sound. Resonance is the enormous increase in the strength of the vibration that
occurs when the frequency generated by the applied force, which is used to make
the instrument sound, happens to equal the natural frequency of the object. The
resonance makes certain overtones louder than others, and this is a significant
factor in the characteristic tonal quality of different instruments.
6. DEMONSTRATING THE SCIENCE OF SOUNDS
The interpreter can introduce some basic concepts relating to the
physical acoustics of instruments into the talk or tour, using the museum's handling
collection of instruments:
Sounds are made when objects, e.g. strings on musical instruments,
vibrate. Vibrations from sound sources can travel through a variety of materials.
The sound source: the primary vibrating agent can usually be identified, as can
the means by which it is made to vibrate.
The pitch and loudness of sounds produced by some vibrating objects
e.g. a drum skin or a plucked string can be changed. Concepts relating to pitch
levels can be explored. The different levels of pitches may be correlated with
aspects such as the length of a string/column of air in a tube.
7. TECHNOLOGY
The technology involved in the manufacture of musical instruments
involves a diverse range of subjects for consideration. Among those directly
related to an instrument's structure are the materials used (and there may be
environmental or other reasons for selecting one material rather than another), the
specific techniques for manufacturing both its internal its external components, the
pattern or model adopted for the instrument, and the specialist tools required. The
finishes used in an instrument's manufacture should also be considered.

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Instruments may have some components which are purely decorative, with distinct
stylistic traits, or other features which have some function that is not directly related
to the instrument's sound.
Some museums are located in cities or regions that have a long tradition
of musical instrument building, which should be of interest to visiting groups.
8. MUSIC
While handling collections make museum objects more accessible, an
audience can sometimes gain from them a false impression as to how instruments
should be played, and how they should sound. Some museums will be able to
employ musicians who can demonstrate professional performance practice in
musical instruments, and close observation of such performances should be
encouraged. Video and audio recordings are also important media for
interpretation. The following very basic elements of musical cognition are
suggested as subjects for discussion with children by the museum educator or
guide:
• Duration of notes - long/short
• Dynamics - loud/quiet/silence
• Tempo - fast/slow
• Timbre - quality of sound e.g. tinkling, rattling, smooth, ringing
• Texture - several sounds played or sung at the same time/one sound on its
own
• Pitch - high/low
In museums in areas where music is a strong feature of general
education the "nonspecialist" guide/educator's fundamental knowledge of music
will be quite extensive, and interpretative sessions conducted by such individuals
can encompass related subjects in some depth. These might include:
• Groups of musical instruments e.g. within the European orchestral tradition
(woodwind, brass wind, strings, percussion)
• Families of instruments e.g. violin, viola, violoncello ('cello), double bass, and
the correlation between the size of an instrument and its sound
• The history of musical instruments; their development and diffusion
• The influence of materials on the sound of instruments (e.g. the use of plastics
in woodwind instruments)
• The correlation between the construction of musical instruments and their
sound (e.g. the difference between instruments of the viol and violin families)
The scales obtainable on different instruments (e.g. chromatic/diatonic)
9. USES AND FUNCTIONS
The uses and functions of musical instruments provide an inexhaustible
line of enquiry. The place of musical instruments within the cycle of human life,

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their significance within a culture, or to particular individuals is infinitely varied.

Suggestions for aspects to be considered are as follows:
• the cultural contexts in which instruments are played
• the people for whom they are made and/or played
• the place of instruments in the cycle of human life; in daily life, social life,
political life, religious life
• the status conferred on individuals through the ownership or performance of
different types of instruments
• the ways in which instruments are suited to the locations where they are
played (e.g. indoors, out of doors etc.)
• the association of instruments with religious or other types of ritual when they
are played or made
- the use of musical instruments as media for communication
- the use of musical instruments for imitating animals and birds
- the local names of the different components of musical instruments
- the symbolism of instruments
- musical instruments as objets d'art
- the relationship between musical instruments and other museum
objects
• the history of the museum's collections, and how instruments are cared for
within the museum.
10. CLASSIFICATION
Not all cultures have an inclusive term for "music", as distinct from other
elements of secular or sacred performance, and this is one of the reasons why
"sound-producing objects" rather than "musical instruments" is often the preferred
term in museums which present a diverse range of traditions. A number of
everyday objects such as spoons or glasses can have a musical function, should
the occasion demand it, but they are not primarily musical instruments.
There are many ways of classifying musical instruments. Any
classification system should be considered in its totality, since it is culture-specific,
and encodes many covert cultural values. The Chinese classification system, the
bayin, in which eight different materials were identified as different sources of
sound, is thought to have originated in the 23rd century BC and it was used for
three millennia. In essence it reflected ideas of cosmology, food production, the
dependence of the human race on the forces of Nature, which could be controlled,
to some extent, by sympathetic magic. Instruments may be considered as
extensions of the human body; and many classification systems performance
technique, the actions of the body, constitutes one of the principle factors
relegating an instrument to one category or another. In the classification system
developed by the `Are `Are people in Malaita (Solomon Islands) a distinction is

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EXEMPLIFICATION)
made between bamboo instruments which are blown and those which are struck
(Zemp 1978).
In 1914, E.M. Hornbostel and Curt Sachs devised a classification system
for musical instruments from all parts of the world, in order to ensure a consistent
taxonomy for music historians and museum curators. This system was particularly
suited to the purposes of information storage and retrieval, since it utilised a
version of the Dewey decimal system, a hierarchical numerical system used for
organising information in libraries. There are four primary divisions in the
Hornbostel Sachs system:
• idiophones: "the primary vibrating agent is the substance of the instrument
itself, owing to its solidity and elasticity ... without requiring stretched
membranes or strings" (Hornbostel and Sachs, tr. Baines and Wachsmann
1961: whole text, pp.3-
29). Examples include the gong, the xylophone and the mbira (lamellaphone)
• membranophones: the vibration of stretched membranes generates the
sound. Most drums fall into this category
• chordophones: instruments with one or more stretched strings. Zithers, which
include pianos in the Hornbostel and Sachs system, violins and harps all
belong in this group
• aerophones: "the air itself is the vibrator in the primary sense" (Hornbostel
and Sachs, translated Wachsmann and Baines, 1961, p.24). Bullroarers,
flutes and trumpets are included in this group.
It has been demonstrated (Jairazbhoy 1990) that this scheme was almost
certainly based on the Indian classification dating back to the Natyasastra treatise,
with chapters on music written around the 4th to the 5th centuries CE (Powers
1980, p.77), which included the following categories of instruments: tata vadya
(stretched instruments) - instruments whose principle element of sound are
stretched strings; annaddha or avanaddah vadya, (covered instruments) - drums;
susira vadya ("hollow" instruments) - such as flutes; and ghana vadya ("solid"
instruments).
The Hornbostel Sachs system has been adopted by many writers and
musical instrument museums. In their Introduction to the classification the authors
foresaw that their system would require updating in the future. In 1940 a fifth group,
"Electrophones", was added by Sachs. Research in the field of acoustic physics
has now demonstrated that one or two musical instruments belong in groups other
than those to which they were assigned by Hornbostel and Sachs (see for example
Adkins, Williamson, Flowers and Picken, 1981).
The classification has been extended by some authors, notably Dräger
(1948), and Hood (1982) who incorporated aspects such as performance
technique and instruments' status among the categories. It has been revised by

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EXEMPLIFICATION)
others, including the CIMCIM Study Group for Classification which published its
work in the Committee's Newsletters in the 1980s (No. XI, 1983-4; No. XII, 1985;
No. XIII, 1987) and more recently by Geneviève Dournon, a member of the group,
in (1992, pp.260-286) and (1996). André Schaeffner's logical classification system
(Davies 1984), (Wachsmann 1984), (Kartomi 1990), as are the other
comprehensive systems devised by scholars since Hornbostel and Sachs.
The imperative for a Typology of folk musical instruments, identified by
Oskár Elschek and Erich Stockmann (1969, p.30), is one of the informing themes
of the series Studia instrumentorum musicae (Stockmann 1969-85). Symbolic
taxonomies in the form of ideograms which could be used to represent structural
details, such as the shape of duct flute mouthpieces, were advocated by Elschek
(1969, p.25) as an aid to comparative analysis and the establishment of types and
variants of instruments; such sketches were also used by other authors in this
series (Stockmann 1969-85; i, 1969 and iii, 1974). The instruments under
consideration are closely related and are from a specific area, e.g. bagpipes from
Slovakia (Macák 1969). In the field of organology over the past century there has
been a general movement away from the comparative study of instruments from
many parts of the world to the investigation of instruments from a specific area,
and of the work of individual makers.
4. Regulations from Dolby Laboratories, Inc. (Dolby) – Auditory Regulations
https://professional.dolby.com/siteassets/cinema-products---documents/dolby-atmos-
specifications.pdf?fbclid=IwAR0NesvtpqZx-hNBf-
hYrvXImfPTEODRt9sj0rGLAJ17ysL3IZUuP3ZskfQ
Above: File of Specifications for attaining Dolby Atmos Sound Engineering Technology
for the proposed National Museum of Philippine Music History. The file contains
graphical and analytical methodologies and anthropometrics in the aspect of sound
design.
5. Regulations from United Nations Educational, Scientific and Cultural

Organization (UNESCO)
UNESCO is the United Nations Educational, Scientific and Cultural Organization.
It seeks to build peace through international cooperation in Education, the Sciences
and Culture. UNESCO's programmes contribute to the achievement of the Sustainable
Development Goals defined in Agenda 2030, adopted by the UN General Assembly in
2015.

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In this spirit, UNESCO develops educational tools to help people live as

global citizens free of hate and intolerance. UNESCO works so that each
child and citizen has access to quality education. By promoting cultural
heritage and the equal dignity of all cultures, UNESCO strengthens bonds
among nations. UNESCO fosters scientific programmes and policies as
platforms for development and cooperation. UNESCO stands up for freedom
of expression, as a fundamental right and a key condition for democracy and
development. Serving as a laboratory of ideas, UNESCO helps countries
adopt international standards and manages programmes that foster the
free flow of ideas and knowledge sharing.”’
Museums foster an integrated approach to cultural heritage as well as the

links of continuity between creation and heritage. They also enable various
publics, notably local communities and disadvantaged groups, to rediscover
their roots and approach other cultures.
Nevertheless, many museum staff lack—often severely—the technical knowledge
that meets international professional standards. Moreover, movable cultural objects are
particularly threatened, due to their value both as commercial goods and as
components of cultural identity, by illicit trafficking.
Therefore, UNESCO’s strategy focuses on: Least Developed Countries (LDC) and
countries in emergency situations (post-conflict or post-natural disaster), particularly in
Africa; and the museums and collections that best contribute to an integrated
understanding of heritage and their potential contribution to the economic, social and
human development of local communities and disadvantaged groups.
This strategy is implemented through: training activities involving simple and
efficient techniques for safeguarding objects, with a special emphasis on the creation
of pedagogical tools; museum development by strengthening professional networks
and partnerships; improving educational content and access to knowledge through
awareness-raising and educational activities; promoting the return, restitution and
improved access to cultural objects by means of awareness-raising and advisory
activities and innovative partnerships; and finally, through the joint implementation of
normative and operational activities, particularly in regard to the fight against illicit
trafficking and the protection of underwater heritage.****

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EXEMPLIFICATION)
6. Regulations on Implementing Rules and Regulations (IRR) – Rule VII and VIII of
PD 1096 (National Building Code of the Philippines)
B. DESIGN CONCEPTS

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EXEMPLIFICATION)

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EXEMPLIFICATION)
C. SPECIALIZED ALLIED SERVICES
In line with the proposal, the essential attributes brought by its nearby facilities / spaces
are being considered by the designers as part of the Specialized Allied Services (Reference
from the SPP Document 203, otherwise known as the SPP on specialized Architectural
Services et al), and these are:
1. Acoustic Design.
1.1 SPP 203 Definition: Acoustic Design services involves the detailed planning and
design to control sound transmission for compatibility with the architectural design
concept.
Attached Images: Top: A particular auditorium with plain appearance before

applied with acoustic design; Bottom: The same auditorium after applying acoustic
design, and has remarkable aesthetics.
Room acoustic design involves the development of aural environments in order to
meet the needs and functions of a space. Methods include achieving suitable

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DE LEON, BILL BRYAN

EXEMPLIFICATION)
reverberation time, enhancing desirable sound reflections and maintaining or

controlling loudness levels throughout spaces. Design aspects range from room
volume and geometry to the selection and placement of finish materials for walls,
floors and ceilings.
Whether it is a performing arts center, museum, commercial space, house of
worship, or academic learning environment, our firm’s work typically begins with
the preparation of an acoustic design concept that evolves with input from the
design team and our client. Our expertise continues through construction to the
opening of the project, and often beyond, to ensure that the acoustic quality best
fits the needs of the facility. *****
2. Architectural Lighting Layout and Design.

2.1 SPP 203 Definition: Architectural Lighting Layout and Design Services
involves the detailed planning and design of light transmission, timing and control
for compatibility with the architectural concept.
Lighting design is based in both science and the visual arts. The basic aim of
lighting within the built environment is to enable occupants to see clearly and without
discomfort. The objective of architectural lighting design is to balance the art and the
science of lighting to create mood, visual interest and enhance the experience of a
space or place whilst still meeting the technical and safety requirements.
Image, at Left: an interior applied with Architectural Lighting.
The technical requirements include the amount of light needed to perform a task,
the energy consumed by the lighting within the space and the relative distribution and
direction of travel for the light so as not to cause unnecessary glare and discomfort.
The visual aspects of the light are those that are concerned with the aesthetics and
the narrative of the space (e.g. the mood of a restaurant, the experience of an
exhibition within a museum, the promotion of goods within a retail space, the
reinforcement of corporate brand) and the non-visual aspects are those concerned
with human health and well-being.
3. Structural Conceptualization.
3.1 SPP 203 Definition: The Architect in this area of practice conceives, chooses and
develops the type, disposition, arrangement and proportioning of the structural
elements of an architectural work, giving due considerations to safety, cost-
effectiveness, functionality and aesthetics.

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Conceptual Structural Design explores the

platform between structural engineering and
architectural design. Conceptual structural design
is about structural design aiming for more than
solely carrying loads; it is about carrying loads in
ways that, in addition to being structurally sound,
appear meaningful, beautiful or otherwise
interesting. Applied on work across the
professions of architecture and structural
engineering, the term conceptual structural design
is about developing structures that unite structural
functionality and visual form into a meaningful and
interesting whole.
Image: roofing applied with Structural Conceptualization (resembling possibly, a

geodesic dome or a frame roof for a pavilion.)
Functionality, form and visual expression are, in addition to traditional structural

design, important factors when developing new constructions in a society under
constant change. Among architects, engineers as well as the construction
industry, there are huge potential for knowledge development and innovation
related to conceptual structural design bridging the professions. ******
REFERENCE WITH AFFIXED SYMBOLS:

‘: https://www.officialgazette.gov.ph/downloads/2019/04apr/20190426-RA-11333-RRD.pdf
“: https://cimcim.mini.icom.museum/wp-content/uploads/sites/7/2019/01/Voices_for_the_Silenced.pdf
“’ : https://en.unesco.org/themes/museums
“” : http://www.unesco.org/new/en/culture/themes/museums/world-heritage-site-museums/heritage
museums-and-education/
“”’: https://whc.unesco.org/en/list/1496 (The Solomon R. Guggenheim Museum – UNESCO Heritage List,
UNESCO Official Website)
“”” : http://www.unesco.org/new/en/culture/themes/museums/world-heritage-site-museums/heritage-
museums-and-education/national-museum-of-cambodia/ (The National Museum of Cambodia -
UNESCO Heritage List, UNESCO Official Website)

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EXEMPLIFICATION)
*: https://www.smb.museum/en/museums-institutions/museumsinsel-berlin/about-us/profile/ (The
Museumsinsel Berlin – Profile; Official Website)
** : https://www.smb.museum/en/museums-institutions/museumsinsel-berlin/about-us/masterplan-
museumsinsel/ (The Museumsinsel Berlin – Master Plan; Official Website)
*** : https://ncca.gov.ph/philippine-registry-cultural-property-precup/ (The Philippine Registry of Cultural
Property – NCCA Official Website)
**** : http://www.unesco.org/new/en/culture/themes/museums/ (Museums – Article; UNESCO Official Website)
***** : https://www.jaffeholden.com/what-we-do/room-acoustic-design/ (Acoustic Design – Jaffe Holden Design
Website)
****** : https://www.ntnu.edu/kt/research/csdg (The Conceptual Structural Design – Article; NTNU Department of
Structural Engineering Official Website)

Revised: --

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DE LEON, BILL BRYAN

SARAGINA, ALLAN DOMINIQUE NOVEMBER 9, 2021

PROPOSAL TITLE: HIMIG-BALANGAW: THE PARAGON OF PHILIPPINE MUSIC EONS

III. DESIGN INPUTS

A.1. SPECIFIC DESIGN STANDARD

A.2. RELATIVE PROJECTS

1. Solomon R. Guggenheim Museum, Manhattan, New York City

The property includes a series of eight buildings

ARCHITECTURAL DESIGN 8 | CHAPTER 3 DRAFT

PROPOSAL TITLE: HIMIG-BALANGAW: THE PARAGON OF PHILIPPINE MUSIC EONS

The buildings employ geometric abstraction and spatial manipulation as a

Criterion (ii): The 20th-Century Architecture of Frank Lloyd Wright

ARCHITECTURAL DESIGN 8 | CHAPTER 3 DRAFT

PROPOSAL TITLE: HIMIG-BALANGAW: THE PARAGON OF PHILIPPINE MUSIC EONS

Most of the components of the serial property have remained remarkably

Protection and management requirements

The development and implementation of management plans for those components

ARCHITECTURAL DESIGN 8 | CHAPTER 3 DRAFT

PROPOSAL TITLE: HIMIG-BALANGAW: THE PARAGON OF PHILIPPINE MUSIC EONS

Key indicators to monitor the state of conservation of the buildings according

2. National Museum of Cambodia, Phnom Penh, Cambodia

The National Museum of Cambodia,

3. Museumsinsel (Museum Island) Berlin, Berlin, Germany

ARCHITECTURAL DESIGN 8 | CHAPTER 3 DRAFT

PROPOSAL TITLE: HIMIG-BALANGAW: THE PARAGON OF PHILIPPINE MUSIC EONS

Situated in the very heart of the

The initial plans for the

ARCHITECTURAL DESIGN 8 | CHAPTER 3 DRAFT

PROPOSAL TITLE: HIMIG-BALANGAW: THE PARAGON OF PHILIPPINE MUSIC EONS

The overarching significance of the Museumsinsel Berlin was reflected in its

A.3. INCLUSIVE MANDATES AND REGULATIONS

PRECUP (The Philippine Registry of Cultural Property)

ARCHITECTURAL DESIGN 8 | CHAPTER 3 DRAFT

PROPOSAL TITLE: HIMIG-BALANGAW: THE PARAGON OF PHILIPPINE MUSIC EONS

4. National Historical Landmarks or sites or structures that are associated with

2. Regulations from Republic Act 11333 (RA 11333 – AN ACT STRENGTHENING

ARCHITECTURAL DESIGN 8 | CHAPTER 3 DRAFT

PROPOSAL TITLE: HIMIG-BALANGAW: THE PARAGON OF PHILIPPINE MUSIC EONS

Sec. 3. Renaming of the National Museum. – The

Hereinafter in this Act, the National Museum of the

(b) Establish, manage and develop the National Museum Complex at

ARCHITECTURAL DESIGN 8 | CHAPTER 3 DRAFT

PROPOSAL TITLE: HIMIG-BALANGAW: THE PARAGON OF PHILIPPINE MUSIC EONS

access; Provided, that such mandate shall be carried out in

3. Regulations from the International Council of Museums (ICOM)

The International Council of Museums is an

2.b. The CIMCIM

CIMCIM is the acronym for Comité

ARCHITECTURAL DESIGN 8 | CHAPTER 3 DRAFT

PROPOSAL TITLE: HIMIG-BALANGAW: THE PARAGON OF PHILIPPINE MUSIC EONS

d’instruments et de musique (International Committee for Museums and Collections

CIMCIM is one of 32 international committees of ICOM, the International

CIMCIM aims to promote high professional standards in the use and

As an international committee, CIMCIM works within the framework of

ARCHITECTURAL DESIGN 8 | CHAPTER 3 DRAFT

PROPOSAL TITLE: HIMIG-BALANGAW: THE PARAGON OF PHILIPPINE MUSIC EONS

Many museums house collections of musical

Example 1, formatted electronically by the Canadian Museum of

2. PRE-TOUR TRAINING OF "NON-SPECIALIST" INTERPRETERS

ARCHITECTURAL DESIGN 8 | CHAPTER 3 DRAFT

PROPOSAL TITLE: HIMIG-BALANGAW: THE PARAGON OF PHILIPPINE MUSIC EONS

ARCHITECTURAL DESIGN 8 | CHAPTER 3 DRAFT

PROPOSAL TITLE: HIMIG-BALANGAW: THE PARAGON OF PHILIPPINE MUSIC EONS

the sound-producing mechanisms of instruments and the voice to the hearing