Republic of the Philippines

Northwest Samar State University

Rueda St., Calbayog City 6710
Website: http//www.nwssu.edu.ph
Email: main@nwssu.edu.ph
Telefax: (055) 2093657

A THESIS PROPOSAL PRESENTED TO THE

COLLEGE OF ENGINEERING AND ARCHITECTURE

THESIS TITLE: ARENA DEL CENTRO CULTURAL

A PROPOSED THEATRE, ARTS & TRAINING FACILITY

A SYNTHESIS OF HISTORICAL & ARTISTIC ARCHITECTURE IN DEVELOPING

AND INNOVATING A CULTURAL ACCOLADE AND FOSTER ART VENUES,

PERFORMANCES, ENGAGEMENT IN CULTURAL IDENTITY PRODUCTIONS AND

ACTIVIST- RUN THROUGH APPLYING VERNACULAR ARCHITECTURE

IN PARTIAL FULFILLMENT REQUIREMENT FOR THE

DEGREE OF BACHELOR OF SCIENCE IN ARCHITECTURE

PROPOSED BY:

RHEAN JOY S. DOROJA

JERICO N. CATAMORA

AY 2021-2022
RATIONALE

   THIS 21ST CENTURY, CULTURAL CENTER SET OUT AS BUILDING OR

COMPLEX THAT PROMOTES CULTURE AND ARTS. WHEREIN, CULTURAL CENTERS

ARE PARTICULAR COMMUNITY OF ART ORGANIZATIONS, PRIVATE

FACILITIES, AND GOVERNMENT SPONSORED. TO ESTABLISH A GOOD

REPRESENTATION OF CULTURAL INSTITUTION EMBRACES A WIDE COVERAGE

OF COMMUNITY THAT TRIBUTE, PRESERVE, DEVELOP AND PROMOTE ITS

NORMS AND VALUES. IT’S HIGHLY AIMED TO HAVE IMPRESSIVE ACCENT,

PRECISE DETAIL AND, IMPRESSIVE AESTHETIC AS IT EMBODY.

HERE IN PROGRESSIVE CITY OF CALBAYOG, CULTURE AND ARTS ARE

HIGHLY APPRECIATED AND SUPPORTED BY THE GOVERNMENT GIVING SOME

FINANCIAL SUPPORT AND ACKNOWLEDGE THE PEOPLE SPEARHEADING TO

PRESERVE THE CULTURE OF CITY. MANY TALENTED ARTIST PERFORM WELL

KNOWN AS CULTURAL ARTS TO PRESERVE HISTORICAL FEATURES THAT

DEFINES THE TOWN LIKE FESTIVALS, FOLK DANCES, THEATRE AND ARTS.

RATHER, THERE IS AN ORGANIZATION WHICH USUALLY EXERCISES THE

CULTURAL PRACTICES NAMELY “CULTURE AND ARTS CITY OFFICE” (CACO)

THAT CATER ALL TALENTED CALBAYOGNON TO BECOME A SCHOLAR AND AT

THE SAME TIME PERFORM WELL.

THROUGH THIS PROPOSED STUDY, WE AIM THREE FUNDAMENTAL

PURPOSES. FIRST, TO PRESERVE THE NOBLE ROLE OF EVERY CALBAYOGNON

TO PRESERVE TRADITIONAL ACTIVITIES AND RITUALS. SECONDLY, TO

RECREATE AND ENHANCE STAGE VENUE INTO A SUBSTANTIAL SPACE.

LASTLY, TO COVERGE THE IDEA OF IDENTIFIED UNIQUE STRUCTURE OF

COMMUNITY DERIVING OF CITY’S CULTURE MAIN IDEA INTO AESTHETICALLY

BEAUTIFUL ENTITY STRUCTURE.

CREATING AND SHOWCASING A UNIFIED CULTURAL CENTER IN THE

CITY OF CALBAYOG MAY ABLE TO PRESERVE THE HISTORICAL FEATURES

THROUGH PERFORMING ARTS WITH SPACES LIKE THEATRE, GALLERY,

TRAINING FACILITIES, PAVILLION AND AMENITIES ALL IN ONE PLACE.

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EVERY PROPOSED STUDY HAS ITS IMPORTANCE AND SIGNIFICANCE AS IT

ABLE TO STATE ITS FUNCTIONAL PURPOSES, AS FOLLOWS;

 THE CULTURAL HUB IS A GREAT WAY TO UNDERSTAND UNIQUE CULTURE

RATHER THIS SHOULD COME WITH A GREAT DESIGN CONCEPT.

 CULTURAL CENTER OR HUB SERVES AS CORNERSTONE FOR EVERY

COMMUNITY THAT PROMOTES COMMUNITY ARTS AND CULTURE.

 THIS TYPE OF STRUCTURE TELLS A LOT ABOUT A COMMUNITY WAY OF

LIFE SO IT MUST BE DETAILED WITH ITS ACCENT.

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CHAPTER 2 REVIEW OF RELATED LITERATURE

2 GENERAL

IN THIS CHAPTER, PREVIOUSLY RELATED STUDIES CONDUCTED BY

OTHER RESEARCHERS WHICH HAVE SIGNIFICANT INFORMATION FROM THEIR

TEST RESULTS ARE PRESENTED. ALL DATA FROM THE PROCEEDING

ARTICLES BELOW SHOWS STUDIES ABOUT THE CULTURAL CENTER

SIGNIFICANCE.

2.1 COMPONENT OF CULTURE

PITMAN (1995) STATED THAT CULTURE HAS THREE COMPONENTS:

IDEOLOGY, TECHNOLOGY AND SOCIAL ORGANIZATION. THE IDEOLOGY

COMPOSES IDEAS, BELIEFS AND VALUES SHARED BY THE SOCIETY;

TECHNOLOGY INVOLVES THE SKILLS AND MATERIAL ITEMS FOR THE

SATISFACTION OF FOOD, CLOTHING AND SHELTER REQUIREMENTS OF THE

PEOPLE; WHILE THE SOCIAL ORGANIZATION IS THE NETWORK OF RULES,

ROLES AND RELATIONSHIPS THAT CREATE A PATTERNED WAY OF LIFE

WITHIN THE ENVIRONMENT.

2.2 CULTURE IN CALBAYOG CITY

ACCORDING TO ELMER V. RECUERDO (2012) CALBAYOG CITY, SAMAR

MATTERS OF THE ARTS AND CULTURE ARE SERIOUS BUSINESS IN THIS CITY

SO SERIOUS THAT THE CITY GOVERNMENT IS SPENDING GOOD MONEY FOR

ITS PRESERVATION, POPULARIZATION AND SUSTAINABILITY. NO OTHER

LOCAL GOVERNMENT IN THE COUNTRY CAN MATCH.

WHILE OTHER CITIES AND TOWNS IN THE COUNTRY WOULD ONLY TAKE

TIME TO NOTICE CULTURE AND THE ARTS DURING FIESTAS TO ATTRACT AND

ENTERTAIN VISITORS, CULTURAL AND ARTISTIC ACTIVITIES HERE GO

YEAR-ROUND ALBEIT IN LESS SCALE ON ORDINARY DAYS.

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 THE CITY GOVERNMENT HAS CREATED A SEPARATE DEPARTMENT FOR

CULTURE AND THE ARTS—THE CALBAYOG CITY ARTS AND CULTURE OFFICE

(CACO)—PERHAPS, THE ONLY LOCAL GOVERNMENT UNIT IN THE COUNTRY TO

HAVE SUCH A DEPARTMENT.

ARTISTS, WRITERS, MUSICIANS AND OTHER GROUPS HAVE ALSO

EMERGED OUTSIDE OF THE GOVERNMENT AND ARE ACTIVE ON MANY

ACTIVITIES IN THEIR RESPECTIVE ART FORM. THERE ARE THE CALBAYOG

ARTS ASSOCIATION; CALBAYOG CITY VISUAL ARTS ASSOCIATION; LAMIRAW

WRITERS ORGANIZATION; CALBAYOG LITERARY ARTS ORGANIZATION;

CHOIRS, LIKE THE CECILIAN CULTURAL GROUP KITA CHOIR AND CALBAYOG

CONCERT CHORUS; AND THEATER GROUP SAMARENO TEATRO MAKABUGWAS.

THE YOUNGER GENERATIONS CAN EASILY RELATE TO YOUNG MUSICIANS

OF THE SCHOOL-BASED CHRIST THE KING COLLEGE YOUTH SYMPHONY

ORCHESTRA, THE ASPIRING RAPPERS GROUP CALBA RHYME MUSIC AND

SAMARAK, FORMED BY DIFFERENT LOCAL BANDS AND MUSICIANS TO PROMOTE

THE ROCK-MUSIC SCENE OF SAMAR.

VIBRANT,” SAID CALBAYOG CITY MAYOR RONALDO AQUINO, A BIG

SUPPORTER OF CULTURAL PRESERVATION LIKE HIS PREDECESSORS, FORMER

MAYORS REYNALDO UY AND MEL SENEN SARMIENTO. “THIS ALSO HELPS IN

PROMOTING TOURISM NOT ONLY FOR THE CITY, BUT ALSO FOR THE WHOLE

REGION.”

AQUINO SAID THE MONEY THE CITY GOVERNMENT SPENDS ON CULTURE

AND THE ARTS IS A “WORTHY INVESTMENT”, ESPECIALLY WHEN THE CITY

IS MAKING A SERIOUS BID TO BECOME AN IMPORTANT TOURIST

DESTINATION.

THE CITY HAS ALSO EARMARKED A BUDGET TO IMPROVE FACILITIES

AND ACCESS TO ITS 11 NATURAL WATERFALLS, PRISTINE RIVERS AND

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TOURIST COME-ONS, LIKE THE ZIPLINE THAT STARTS FROM A HILL AND

CROSSES A SEA DOWN TO AN ISLAND.

LIKE IN BIG COSMOPOLITAN CITIES, THERE ARE NOOKS WHERE

ARTISTS CONVERGE TO SHARE THEIR WORK AND CHAT AMONG THEMSELVES

ABOUT THEIR PLANS ON ONGOING PROJECTS. ARTIST GROUPS ARE AS

DIVERSE AS THE ART FORMS THERE ARE. BUT THIS IS SAMAR—NOT SOME

HIGHLY URBANIZED CITIES IN THE COUNTRY—WHERE “NORMAL” NEWS

STORIES THAT LAND ON THE NATIONAL NEWSPAPERS ARE ON INSURGENCY,

KILLINGS AND POVERTY.

2.3 A 2002 QUANTITATIVE RESEARCH REPORT ON PARTICIPATION IN AND

ATTITUDES TOWARDS THE ARTS IN SCOTLAND7 , DEMONSTRATED THAT THE

VAST MAJORITY OF THE POPULATION – OVER 2000 PEOPLE WERE

INTERVIEWED IN A REPRESENTATIVE SAMPLE OF SCOTLAND – WERE

POSITIVE ABOUT THE CONTRIBUTION THAT CULTURE AND THE ARTS CAN

MAKE TO SOCIETY. • NINE OUT OF TEN PEOPLE AGREED THAT ARTS AND

CULTURAL ACTIVITIES GIVE A LOT OF PLEASURE, THE SUCCESS OF

SCOTTISH ARTISTS, PERFORMERS AND WRITERS GIVE PEOPLE A SENSE OF

PRIDE, THAT ARTISTS, PERFORMERS AND WRITERS ARE IMPORTANT PEOPLE

WHO CONTRIBUTE TO SOCIETY, AND THE ARTS AND CULTURAL ACTIVITIES

HELP BRING COMMUNITIES TOGETHER AND HELP ENRICH THE QUALITY OF

PEOPLE’S LIVES. • 85% OF RESPONDENTS INDICATED ATTENDING CULTURAL

ACTIVITY OF SOME FORM (A DECREASE FROM 89% IN 1998) AND THE MOST

FREQUENTLY ATTENDED ACTIVITIES WERE CINEMA, MUSEUMS,

PANTOMIMES/VARIETY SHOWS AND VISITING ART GALLERIES. OVERALL

LEVELS OF PARTICIPATION IN SOME CULTURAL ACTIVITY ALSO DECREASED

FROM 85% IN 1998 TO 78% IN 2001/02. • HOWEVER, WHILST OVERALL 45%

OF THOSE INTERVIEWED STATED THEY WERE INTERESTED IN ARTS AND

CULTURAL EVENTS, 46% INDICATED THEY WERE ‘NOT VERY’ OR ‘NOT AT

ALL’ INTERESTED. THIS GROUP (ALMOST HALF OF THOSE INTERVIEWED)

WERE MOST LIKELY TO RESIDE IN LANARKSHIRE OR AYRSHIRE, AND

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BELONGED TO THE SOCIO-ECONOMIC GROUP C2 AND DE. CLEARLY, THOSE

WHO WERE THE POOREST IN SOCIETY HAD LEAST INTEREST IN ART AND

CULTURAL ACTIVITIES. 7 ‘ATTENDANCE AT, PARTICIPATION IN AND

ATTITUDES TOWARDS THE ARTS IN SCOTLAND 2001/02’, NFO SYSTEM

THREE, 2002 18 1.11 HOWEVER, ALTHOUGH THE RESEARCH PROVIDED

ROBUST DATA ON LEVELS OF ATTENDANCE AND PARTICIPATION IN CULTURAL

EVENTS, IT DID NOT EXPLORE THE BARRIERS TO PARTICIPATION OF LOWER

SOCIOECONOMIC GROUPS, REASONS WHY THEY DID NOT PARTICIPATE OR

WERE DISINTERESTED IN THE ARTS OR CULTURAL EVENTS, AND WHAT WOULD

ENCOURAGE THEM TO PARTICIPATE IN THE FUTURE.

2.4 THE IMPORTANCE OF SUPPORTING ART IN A COMMUNITY

KUNAL MATHUR (2008) STATED IT’S NO DOUBT THAT ARTS ORGANIZATIONS

WOULD NOT BE ABLE TO EXIST WITHOUT THE SUPPORT THEY RECEIVE FROM

THEIR COMMUNITY. FOR NONPROFIT ORGANIZATIONS, LOCAL SUPPORT IS

THE MOST IMPORTANT. WHEN YOU SUPPORT YOUR LOCAL ART CENTERS,

MUSEUMS, GALLERIES AND THE LIKE, HERE’S WHAT YOU ARE DOING FOR

YOUR COMMUNITY:

CREATING CULTURE

WHEN YOU THINK OF SOME OF THE MOST CULTURALLY DIVERSE AND

RENOWNED CITIES ON EARTH, THEY ALL HAVE AT LEAST ONE THING IN

COMMON: ART. FROM LOCAL GALLERIES TO LIFE-SIZE WALL MURALS, A

COMMUNITY FULL OF ART IS A COMMUNITY FULL OF CULTURE. RESEARCH

HAS EVEN SHOWN THAT CITIES THAT EMPHASIZE ART HAVE MORE CIVIC AND

SOCIAL ENGAGEMENT, BETTER CHILD WELFARE AND EVEN LOWER POVERTY

RATES.

STIMULATING BUSINESS

ARTS ORGANIZATIONS STIMULATE BUSINESS AND ECONOMIC GROWTH IN

A COMMUNITY. THE CREATIVE INDUSTRIES THROUGHOUT THE UNITED STATES

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EMPLOY NEARLY 3 MILLION PEOPLE AND MAKE UP AROUND 4 PERCENT OF

THE NATION’S BUSINESSES. THESE BUSINESSES AND THE CREATIVE PEOPLE

THEY EMPLOY, EMPOWER AND SUPPORT ENCOURAGE INNOVATION WHILE

PLAYING A VITAL PART IN BUILDING AND SUSTAINING A LOCAL ECONOMY.

EACH YEAR, NON-PROFIT ARTS AND CULTURE ORGANIZATIONS ALONE PUMP

AN ESTIMATED $60 BILLION INTO THE NATIONAL ECONOMY.

DRIVING TOURISM

ONE OF THE MOST EXTRAORDINARY THINGS ABOUT ART IS ITS

CAPABILITY OF TURNING ANY REGION INTO A CHOICE TOURISM

DESTINATION. PART OF THIS ABILITY COMES FROM ART’S WIDE APPEAL.

FROM SENIORS TO CHILDREN, THERE ARE WAYS FOR EVERYONE TO ENGAGE

IN AND LEARN FROM ART. EVERY DAY, MORE THAN 100,000 NONPROFIT

ARTS AND CULTURE ORGANIZATIONS SERVE AS THE FOUNDATION OF OUR

NATION’S TOURISM INDUSTRY.

INSPIRING YOUNG MINDS

FOR ART TO REMAIN A SIGNIFICANT PART OF OUR SOCIETY, WE MUST

PASS IT ALONG TO THE YOUNGER GENERATIONS. ART CENTERS ACROSS THE

COUNTRY DO THIS BY PROVIDING CLASSES, PROGRAMS AND SUMMER CAMPS

WHERE YOUTH GO TO LEARN, GROW AND CREATE? IT HAS EVEN BEEN FOUND

THAT CHILDREN WHO RECEIVE EDUCATION IN THE ARTS HAVE HIGHER GPAS,

BETTER TEST SCORES AND LOWER DROPOUT RATES. BY INSPIRING AND

ENCOURAGING CHILDREN TO EMBRACE THEIR INDIVIDUAL CREATIVITY, WE

GIVE THE RESOURCES THEY NEED TO SUCCEED IN LIFE.

2.5 THE CONCEPT OF CULTURE

SOCIOLOGIST, ANTHROPOLOGIST AND SOCIAL PSYCHOLOGISTS HOLD

DIFFERENT VIEWS AND DEFINITIONS OF CULTURE. IN WHICHEVER WAY IT

IS VIEWED OR DEFINED, WHEN ANALYZED, MAINTAINED THE ELEMENTS OF

ITS ORIGINAL LATIN MEANING OF SOIL CULTIVATION. CULTURE AS

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DEFINED BY THE OXFORD ADVANCE LEARNER’S DICTIONARY IS THE

ADVANCED DEVELOPMENT OF THE HUMAN POWERS; DEVELOPMENT OF THE

BODY, MIND AND SPIRIT BY TRAINING AND EXPERIENCE. OR EVIDENCE OF

INTELLECTUAL DEVELOPMENT (OF ARTS, SCIENCE ETC.). OR ALL THE

ARTS, BELIEFS, SOCIAL INSTITUTIONS ETC. EXHIBITING THE

CHARACTERISTICS OF A COMMUNITY OR RACE. SIMILARLY, AYANGAOR

(2003) DEFINED CULTURE AS A PATTERN OF LIFE, WAYS THAT MAN HAS

EVOLVED IN HIS ATTEMPTS TO UNDERSTAND, USE AND CONTROL HIS SOCIAL

AND NATURAL ENVIRONMENT. THE VARIETY OF CULTURES SEEN ALL OVER

THE WORLD IS THE RESULT OF MAN'S VARIED CREATIVE EFFORTS IN

TAMING NATURE. IT IS, THEREFORE WHAT MAN ADD TO GOD-GIVEN NATURE.

IT IS, THEREFORE WHAT REALLY MAKES MAN-THE-ANIMAL HUMAN.

MOREOVER, TAYLOR (2003) STATED THAT CULTURE IS THAT COMPLEX WHOLE

WHICH INCLUDES KNOWLEDGE, BELIEF, ARTS, MORALS CUSTOMS AND ANY

OTHER CAPABILITIES AND HABITS ACQUIRED BY MAN AS A MEMBER OF

SOCIETY. FURTHERMORE, LIMAN (2001) DEFINED CULTURE AS THE SUM

TOTAL OF EVERYTHING THAT CONTRIBUTES TOWARDS THE FORMATION OF

PRACTICAL, PHYSICAL AND MENTAL DIMENSIONS OF A PEOPLE'S WAY OF

LIFE. IT IS CLEAR FROM THIS DEFINITION THUS, THAT CULTURAL

CONSIDERATIONS DO NOT STOP AT SOCIAL GATHERINGS, DANCING AND

SINGING.

ANY MEANINGFUL CONSIDERATION OF CULTURE MUST SERIOUSLY

INCLUDE THE ECONOMIC, SOCIAL AND RELIGIOUS ASPECTS OF THE SOCIETY

IN QUESTION. ONE COULD GO ON, WITH VARIED DEFINITIONS AS VIEWED

BY INDIVIDUALS. THOUGH IN WHICHEVER WAY, IT IS MEANING THE SAME

THING. A MORE RELATED DEFINITION TO THIS THESIS OF CULTURE IS

THAT BY MALINOWSKI (1945) WHICH SAYS CULTURE IS AN ORGANIC UNITY

WITH FOUR DIMENSIONS OF SOCIAL ORGANIZATION, BELIEF, MATERIAL,

OUTFIT AND LANGUAGE. THIS MEANING VIEWS SOCIETY AS DYNAMIC YET

HARMONIOUS. THE CHANGE IS OF TRANSFORMATION OF THE EXISTING

ORDER, IN TERMS OF SOCIAL, SPIRITUAL AND MATERIAL CIVILIZATION

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FROM ONE TYPE TO ANOTHER. IT CAN BE WITHIN THE COMMUNITY

(EVOLUTION) OR THROUGH CONTACT OF DIFFERENT CULTURES (DIFFUSION).

SIMILARLY, THE UNCONTAMINATED NATIVE OF ANY PLACE DOES NOT EXIST.

CULTURE IS THERE TRANSMITTED TO GENERATIONS THROUGH SOCIALIZATION

AS THEIR BEHAVIORS INTERNALIZED.

2.6 THE IMPACT OF CULTURE CENTER ACTIVITIES ON THE COMMUNITY

LEISURE ORGANIZATION

DALIA PERKUMIENĖ, DANUTĖ KLEINIENKAUN

KAUNAS UNIVERSITY OF APPLIED SCIENCES, LITHUANIA 2006

CULTURE IS A SPHERE REVEALING THE HUMAN EVOLUTION. A HUMAN

BEING CANNOT EXIST IN AN UNCULTURED ENVIRONMENT. CULTURE AS AN

EFFECTIVE SOCIAL POWER HAS ALWAYS COME UNDER THE SPOTLIGHT. IN

SPECIFIC AREAS OF RESEARCH THE CULTURAL STATUS IS MOSTLY RELATED

TO CREATIVE ACTIVITIES; HOWEVER IT MAY ALSO BE RESEARCHED IN THE

SPHERE OF EDUCATION, PROMOTION AND EXPRESSION OF SOCIALITY. ONE

OF THE MOST IMPORTANT ROLES OF COMMUNITY CENTERS IS DEVELOPING

SOCIAL INTELLECTUALITY OF INDIVIDUALS. CULTURE CENTERS ARE NOT

FORMAL CENTERS OF COMMUNITY EDUCATION, BUT AT AN INFORMAL LEVEL

THEY CAN FULFILL THEIR FUNCTIONS SUCCESSFULLY. THE ACTIVITIES OF

THE CULTURE CENTERS ARE NEEDED FOR COMMUNITIES.  THE AIM OF THE

PRESENT ARTICLE IS TO DISCLOSE THE IMPORTANCE OF CULTURE

CENTERS AS A VENUE OF CONTINUOUS EDUCATION OF THE COMMUNITY

MEMBERS BY ANALYZING HOW FULLY THE CULTURE CENTERS REALIZE THEIR

FUNCTIONS WHEN IMPLEMENTING THE GOALS PUT FORWARD BY THE

COMMUNITY. THE RESEARCH METHODS INCLUDE THE ANALYSIS OF

SCIENTIFIC LITERATURE AND LEGAL REGULATIONS, QUANTITATIVE

RESEARCH METHOD, STATISTICAL ANALYSIS OF THE DATA OBTAINED,

GRAPHICAL MODELLING, DETAILING AND GENERALIZATION, AS WELL AS

LOGICAL ABSTRACTION.  THE RESULTS OF THE RESEARCH ALLOW TO

CONCLUDE THAT THE ACTIVITIES OF CULTURE CENTERS ARE NOT

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MISCELLANEOUS. GENERALLY, SUCH FORMS OF CULTURAL ACTIVITIES

DOMINATE WHICH ARE RELATED TO MUSIC, THEATRE, SINGING AND

DANCING. ‘MATURE’ FORMS – MEETING SCIENTISTS OR ARTISTS,

ARTISTIC ENTERTAINING EVENTS, DISCUSSION CLUBS AND EVENTS RANGED

ACCORDING TO THE AGE GROUPS, ARE MISSING. THE SPREAD OF

PROFESSIONAL ART IN CULTURE CENTERS HARDLY COMPRISES 30 PERCENT

WHICH MAKES ONE THINK ABOUT THE TRUE POTENTIAL OF SUCH CENTERS.

CULTURAL INSTITUTIONS SHOULD CONSIDER THE BALANCE BETWEEN THE

PEOPLE’S LIKES AND THEIR REAL CURRENT NEEDS.

THE RESEARCHERS CONCLUDE AS UNIVERSITY OF APPLIED

SCIENCES (LITHUANIA 2006) ONE OF THE MOST IMPORTANT ROLES OF

COMMUNITY CENTERS IS DEVELOPING SOCIAL INTELLECTUALITY OF

INDIVIDUALS. THE CULTURE CENTERS ARE NOT FORMAL CENTERS OF

COMMUNITIES, BUT AT AN INFORMAL LEVEL THEY MAY FULFILL THEIR

FUNCTIONS. THE ACTIVITIES OF THE CULTURE CENTER ARE NECESSARY FOR

THE COMMUNITY. THE LACK OF THE COLLABORATION AMONG THE REGIONS

ALSO IMPACTS THEIR CULTURAL INSTITUTIONS; IT HINDERS JOINT

CULTURAL ACTIVITIES. PROFESSIONAL ART BECOMES HARDLY AVAILABLE

DUE TO THE LOW FINANCIAL POTENTIAL OF THE PERIPHERAL AREA

INHABITANTS; AND THEIR MAJORITY ARE STILL UNPREPARED FOR THAT IN

CULTURE CENTERS.

THE ACTIVITY OF CULTURE CENTERS IS NOT MISCELLANEOUS.

GENERALLY, SUCH FORMS OF CULTURAL ACTIVITIES PREVAIL WHICH ARE

RELATED TO MUSIC, THEATRE, SINGING AND DANCING. ‘MATURE’ FORMS –

MEETING SCIENTISTS OR ARTISTS, ARTISTIC ENTERTAINING EVENTS,

DISCUSSION CLUBS AND EVENTS RANGED ACCORDING TO THE AGE GROUPS,

ARE MISSING.

THE RESULTS OF THE EMPIRICAL RESEARCH INDICATE THAT CULTURE

CENTERS ARE IMPORTANT FOR LOCAL COMMUNITIES AS A VENUE OF

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ORGANIZING THEIR LEISURE, PROVIDING OPPORTUNITIES FOR SELF-

EXPRESSION, INITIATIVES AND CULTURAL EDUCATION. THE CULTURE

CENTERS ARE BEING VISITED AND CARED FOR. AT THE MUNICIPAL LEVEL

THE CULTURE CENTER MAY REALIZE ITS FUNCTIONS AND TASKS, PROMOTE

VITALITY OF LOCAL COMMUNITY, INITIATIVES AND, THUS, CONTRIBUTE TO

THE CULTURAL EDUCATION. THE HYPOTHESIS THAT SUCCESSFUL

REALIZATION OF THE CULTURE CENTER FUNCTIONS IS RELATED TO THE

SOCIAL AND ECONOMIC STATUS, NEEDS OF THE COMMUNITY MEMBERS, THE

ESTABLISHED TRADITIONS AND THE ENVIRONMENT WAS PROVED. THE

CULTURE CENTERS SHOULD CONTINUOUSLY ANALYZE THE NEEDS OF THE

INHABITANTS AND LOOK FOR NEW POSSIBILITIES TO PROVIDE MORE VARIED

CULTURAL SERVICES.

2.7 SOCIAL INTERACTION AND CULTURAL–ENVIRONMENT CENTER DESIGN

ALI ASSAR (APRIL 16, 2018) STATED ON HIS STUDY TO REACH

FAVORABLE CONDITIONS IN ANY SOCIETY, THE FIRST STEP IS TO KNOW

THE EXISTING SITUATION THAT STATES PROBLEMS OF ANY SOCIETY. THIS

IS PARTICULARLY IMPORTANT IN SOCIAL INTERACTION BETWEEN PEOPLE

AND ARTISTS BECAUSE INCREASING THE PROPORTION OF CINEMA,

CULTURAL, AND ARTISTIC PRODUCTS HAVE BEEN UNDERLINED IN THE URBAN

SPIRIT TO THE CITY LIKE TEHRAN. SO, THE SOCIETY AND FAMILIES NEED

A SPACE THAT CAN SEPARATE THEM FROM THEIR DAILY LIFE AND ATTRACT

THEM TO A SOCIAL AND CULTURAL ENVIRONMENT. INCREASING THE

PROPORTION OF THEATRE, CULTURAL, AND PERFORMING ARTS IN THE

HOBBIES OF FAMILIES AND DIFFERENT CLASSES OF THE SOCIETY

PARTICULARLY YOUTH, WOMEN, AND WORKERS, MAKE THEM HAPPINESS AND

AWARENESS TO EDUCATE THE FUTURE GENERATION. AS PER AS THE RESULT

OF THE STUDY CREATE THE SPACE IN FRONT OF THE ENTRY IN THE AREA

OF CULTURAL CENTER HELP THE PEOPLE AND ARTISTS TO INCREASE SOCIAL

INTERACTION, AND PUBLIC SPACE SUCH AS LOBBIES, CAFES AND

RESTAURANTS, MEETING PLACE, ATTRACTIVE AND DIVERSE SPACES, SAFETY

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AND SECURITY ,USE OF NATURAL ELEMENTS, COMMON PATHWAYS, TREATMENT

STATION, OPEN SPACE AND PAUSE SPACES IN FRONT OF THE CULTURAL

CENTER HAS GOT THE LOWEST RANK RESPECTIVELY THESE ELEMENTS THAT

RISING FROM PUBLIC OPINION IS INCREASING MANY EVENTS FOR SOCIAL

INTERACTION. THE DESIGNER THAT CONTROL USE OF SPACE FOR CREATING

PROPER LAND USES CAN EASILY PROGRESS IN THE BRILLIANT PLANNING

AND USE THE LOGIC OF CHARACTER IN THEIR SPACES. IN GENERAL, THE

CULTURAL CENTER SITE MUST BE DESIGNED IN A WAY THAT EMBRACES BOTH

CLIMATE AND PHYSICAL CONDITIONS OF THE REGION AND A PROMINENT

BUILDING WITH GOOD CONDITIONS MUST BE DESIGNED SO THAT IT EMERGES

IN THE CITY AS A SYMBOL

2.8 CULTURAL CENTRE

THE OXFORD ADVANCED LEARNERS DICTIONARY (2005) CULTURE

MEANS THE CUSTOMS AND BELIEFS, ART, WAY OF LIFE AND SOCIAL

ORGANIZATION OF A PARTICULAR COUNTRY OR GROUP. A CULTURAL CENTER

THEREFORE IS GATHERING PLACE WHERE PEOPLE MEET TO ENJOY OR

PARTAKE IN CULTURAL ACTIVITIES OFTEN WITH A SPECIFIC CULTURAL

DESIGNATION BELONGING TO A PARTICULAR NATIONALITY OR REGIONAL

CULTURE. CULTURE, ALWAYS SEEN AS A COMPLEX ISSUE AND SOCIALLY AND

POLITICALLY HIGHLY SENSITIVE, HAS NOWADAYS BECOME A CLICHÉ, USED

ABUNDANTLY IN ALMOST ALL CONTEXTS OF OUR REALITY (POLITICAL,

SOCIAL, EDUCATIONAL, ECONOMIC, ETC.). THE WORD CULTURE IS,

ACCORDING TO GELI (2011) AN ALL-ENCOMPASSING WORD, WHICH TOGETHER

WITH

CULTURAL CENTERS PLAY AN IMPORTANT ROLE IN REPRESENTING

CULTURAL HERITAGE BY PRESERVING OBJECTS AND RELATED INFORMATION

BY PROVIDING ACCESS TO THESE THROUGH EXHIBITIONS, PUBLIC

PROGRAMMERS, PUBLICATION AND RESEARCH RESOURCES. OBJECTS PLAY

WITNESS TO HISTORY AND PLAY A SIGNIFICANT ROLE IN UNDERSTANDING,

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APPRECIATION AND PRESENTATION OF CULTURAL HERITAGE AND IDENTITY

(GELI, ET AL). A CULTURAL CENTER IS ANORGANISATION, BUILDING OR

COMPLEX THAT PROMOTES CULTURE AND ARTS. THEY COULD BE

NEIGHBOURHOODCOMMUNITY ART ORGANIZATIONS, PRIVATE FACILITIES,

GOVERNMENT SPONSORED OR ACTIVIST-RUN. EXAMPLES INCLUDE BELEM

CULTURAL CENTER IN LISBON, PORTUGAL, SYDNEY OPERA HOUSE, AUSTRIA,

SPAIN, CHICAGO CULTURAL CENTER IN CHICAGO, OBA AKENNUZUA CULTURAL

CENTER, BENIN, EDO STATE ETC.

2.9 THE CULTURAL CENTER OF THE PHILIPPINES, HOME OF FILIPINO

CULTURE AND ARTS

LEANNE ALVAREZ  (JULY 14, 2011) WHEN IN MANILA, THE CULTURAL

CENTER OF THE PHILIPPINES OR THE SENTRONG PANGKULTURA NG

PILIPINAS IS JUST ONE OF THE BUILDINGS YOU GET TO SEE WHEN YOU

VISIT THE CULTURAL CENTER COMPLEX WHICH IS FOUND NEAR ROXAS

BOULEVARD. THIS IS BASICALLY THE PLACE WHERE

EVERY FILIPINO DANCER WOULD WANT TO PERFORM, WHERE EVERY FILIPINO

INDIE MOVIE DIRECTOR WOULD WANT TO SHOWCASE HIS FILM, AND WHERE

EVERY FILIPINO OPERA SINGER WOULD WANT TO SING HIS HEART OUT. IN

SHORT IF YOU WANT TO GO BIG LOCALLY, YOU MUST PERFORM AT THE CCP.

DURING THE DAY, THE CCP IS SWARMED WITH JOGGERS AND EARLY MORNING

EXERCISE JUNKIES, AND AT NIGHT IF YOU’RE LUCKY YOU CAN GET TO SEE

THE BEAUTIFUL FOUNTAIN DISPLAY.

A LITTLE HISTORY LESSON ON THE CCP. THIS GIGANTIC BUILDING

TOOK 3 YEARS TO BUILD, FROM 1966-1969. DESIGNED BY PREMIERE

ARCHITECTS DURING THAT TIME, LEANDRO LOCSIN AND ILDEFONSO SANTOS

JR., AND WAS THE BRAINCHILD OF FORMER PRESIDENT MARCOS THROUGH

EXECUTIVE ORDER NO. 30 WITH THE SOLE PURPOSE OF PROMOTING AND

PRESERVING FILIPINO ARTS AND CULTURE. FORMER FIRST LADY IMELDA

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MARCOS WAS ALSO HIGHLY INVOLVED IN THIS PROJECT AND IT REMAINS AS

HER MOST AMBITIOUS FUND RAISING VENTURE TO DATE. IMELDA

MARCOS COLLECTED $50,000 FROM TICKET SALES ALONE FROM A

PERFORMANCE OF “THE FLOWER DRUM SONG,” SHE WAS ALSO ABLE TO

PERSUADE PRESIDENT JOHNSON DURING THEIR FAMILY’S STATE VISIT TO

COMMIT $3.5 MILLION FROM A $28 MILLION SPECIAL EDUCATION FUND.

ASIDE FROM THIS, BEFORE ANY OF HER PARTIES, MAY IT BE AN

ANNIVERSARY, A BIRTHDAY OR A SIMPLE HOLIDAY, SHE ALWAYS TOLD HER

GUESTS TO BRING THEIR CHECKBOOKS, EXPECTING EACH TO MAKE

DONATIONS NOT JUST FOR THE CULTURAL CENTER OF THE PHILIPPINES,

BUT FOR HER OTHER PROJECTS AS WELL.

ITS INAUGURATION IN SEPTEMBER 8, 1969 LASTED 3 MONTHS WITH

AN OPENING BY THE MUSICAL THE GOLDEN SALAKOT: ISANG DULARAWAN.

THE INAUGURATION WAS ALSO ATTENDED BY THE THEN CALIFORNIA

GOVERNOR AND MRS. REAGAN WHO REPRESENTED PRESIDENT NIXON.

THAT CENTER MAKES OUR KENNEDY LOOK CHEAP. THE FILIPINO ARCHITECTS

DID A GOOD JOB” – HENRY BYROADE, U.S. AMBASSADOR TO THE

PHILIPPINES, 1969-1973

THAT STATEMENT SAYS IT ALL. THE CCP STILL LOOKS GRAND EVEN

AFTER 30 YEARS. THE WONDERS OF THE CULTURAL CENTER OF THE

PHILIPPINES DOES NOT END OUTSIDE. AS I ENTERED THE CCP, I WAS

LITERALLY IN AWE. A GIANT CHANDELIER WILL GREET YOU AS YOU ENTER

THE MAIN ENTRANCE, AND INSIDE THERE ARE 6 PERFORMANCE VENUES

(TANGHALANG PAMBANSA, TANGHALANG NICANOR ABELARDO, TANGHALANG

AURELIO TOLENTINO, TANGHALANG HUSENG BATUTE, TANGHALANG FRANCISCO

BALAGTAS, TANGHALANG MANUEL CONDE), 6 EXHIBIT HALLS (BULWAGANG

JUAN LUNA, BULWAGANG FERNANDO AMORSOLO, BULWAGANG CARLOS V.

FRANCISCO, PASILYO VICTORIA EDADES, PASILYO GUILLERMO TOLENTINO,

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PASOLYO VICENTE MANANSALA), THE NATIONAL ARTS CENTER AND 2

SATELLITE VENUES.

 2.10 CALBAYOG CITY FESTIVALS: AN ORAL HISTORY

IN PART OF THE CULTURE OF CALBAYOG THE RESEARCHERS FROM

SENIOR HIGH STUDENTS IN CALBAYOG CITY NATIONAL HIGH SCHOOL (2017)

FIND OUT THAT THE CITY OF CALBAYOG HAS FOUR FESTIVALS NAMELY:

SARAKIKI- HADANG FESTIVAL, SOLEDA IN BRGY. MATOBATO, PATAMAK SA

TINAMBACAN AND PATRON SASALOG THAT CAN BE FOUND IN OQUENDO

POBLACION. THESE FOUR FESTIVALS ARE RICH IN HISTORY WHICH

MANIFESTED CULTURES AND TRADITIONS. THESE FESTIVALS HAVE

DIFFERENT PATRON SAINTS. THE SARAKIKI-HADANG FESTIVAL IS

CELEBRATED IN HONOR OF OUR LADY’S NATIVITY

  DURING FIESTA CELEBRATION OF CALBAYOGNON ON THE MONTH OF

SEPTEMBER; PATRON SA SALOG FOR STO. NINO ON JANUARY; PATAMAK SA

TINAMBACAN FOR ST. VINCENT FERRER ON MAY; WHILE SOLEDA IS

INTENDED FOR THE PATRON OF LA SOLEDAD DE PORTA VAGA CELEBRATED ON

THE SECOND SUNDAY OF NOVEMBER. IN ADDITION, THESE FESTIVALS

DEPICTING

MULTIFARIOUS PRESENTATIONS INCLUDING THE MANNER OF PRESENTING AND 

RECOGNIZING THE PATRON SAINT. THERE AREDANCES AND PROCESSIONS IN

EVERY FESTIVAL. THE RESEARCHERS KNEW THE INFLUENCE OF THESE

FESTIVALS TO THE LOCALS WHERE IT DEPICTS THAT THESE FESTIVALS ARE

OF BIG HELP FOR THEIR STRONG FAITH WITH THEIR RESPECTIVE SAINTS

IN DIFFERENT BARANGAYS. IT GIVES THEM A STRONG DEVOTION THE WAY

THEY CELEBRATE SUCH KIND OF FESTIVALS

  IT IS ALSO AN EMBODIMENT OF ARTISTIC AND BRILLIANT

REALIZATION COUPLED WITH HIGHLY APPRECIATED CREATIVITY OF SOME

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CALBAYOGNON ESPECIALLY WHEN THEY ARE CELEBRATING ONE OF THESE

FESTIVALS. WITH ALL OF THESE, CALBAYOGNON PEOPLE BECOME UNITED.

AS TO THE ANSWERS GIVEN BY THE RESPONDENTS, 65% PERCENT OF

THEM ANSWERED THE SAME WHILE THE 35% OF THE RESPONDENTS ARE NOT

SURE WITH THEIR ANSWERS BECAUSE SOME OF THEM DON’T HAVE ENOUGH

IDEA ABOUT THEIR FESTIVAL CALBAYOG. THE RESEARCHER’S ENTAILS NOT

ALL CALBAYOGNON KNOWS ITS CULTURES AND HISTORY SPECIFICALLY THE

NEW GENERATIONS OF THE CITY.

Literature Analysis

IN THIS CHAPTER, THESE RELATED LITERATURES TO THE THESIS

STUDY ENTITLED “ARENA DEL CENTRO CULTURAL” HAVE SIGNIFICANT

INFORMATION AND STATEMENTS FROM THEIR RESPECTIVE TEST RESULTS

PRESENTED. THE DATA FROM THE EXECEEDING ARTICLES HAVE BEEN DEEPLY

ANALYZED.

UPON THE LITERATURE COLLECTED. THE RESEARCHER ENTAILS THAT

CULTURAL CENTER HAS A GOOD EFFECT IN A COMMUNITY.TO THE OXFORD

ADVANCED LEARNERS DICTIONARY (2005) CULTURAL CENTERS PLAY AN

IMPORTANT ROLE IN REPRESENTING CULTURAL HERITAGE BY PRESERVING

OBJECTS AND RELATED INFORMATION BY PROVIDING ACCESS TO THESE

THROUGH EXHIBITIONS, PUBLIC PROGRAMMERS, PUBLICATION AND RESEARCH

RESOURCES. OBJECTS PLAY WITNESS TO HISTORY AND PLAY A SIGNIFICANT

ROLE IN UNDERSTANDING, APPRECIATION AND PRESENTATION OF CULTURAL

HERITAGE AND IDENTITY (GELI, ET AL).

PROPOSED SITE LOCATION

LOCATION: CALBAYOG CITY ALONG MAGSAYSAY ST PHILIPPINES

TOPOGRAPHY: RELATIVELY FLAT

CALBAYOG CITY CLIMATE

SUMMER SOLITACE

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SUNRISE: 5:22 ^ 5:38 SUNSET: 17:52 ^ 17:55

WINTER SOLITICE

SUNRISE: 6:01 ^ SUNSET 17:27

HUMIDITY

HIGHEST: JUNE 92%

LOWEST: FEBRUARY 40%

N SOUND SOUND

WIND DIRECTION

WIND DIRECTION SUN PATH

SITE DETAILS

FOR THE PROPOSED ARCHITECTURAL THESIS, THE RESEARCHERS PLAN

TO HAVE A PARTNERSHIP WITH THE LAND OWNER FOR A FUTURE POSSIBLE

APPLICATION OF THE STUDY.

THE RESEARCHERS WILL COMMUNICATE WITH THE CITY PLANNING

CREATING A FORMAL COMMUNICATION LETTER IN A REQUEST FOR THE

PROPER DETAIL OF THE LOT.

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 THE CHOSEN SITE WAS BEST FOR THE APPLICATION OF THE CULTURAL

CENTER TO BE BUILT IN THE REASON OF:

 IT IS WITHIN THE CITY PROPER BUILT ENVIRONMENT

 MORE SUFFICIENT ACCESSIBLE IN TERMS OF TRANSPORTATION

 IMPORTANTLY, THE WIND DIRECTION, FREQUENCY AND SPEED WILL

INFLUENCE THE BUILDING DESIGN INCLUDING WEATHER TIGHTNESS

DETAILING.

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