ART

APPRECIATION
ARCHITECTURE

“EXPLORING THE FIELD

OF ARCHITECTS”

PRESENTATION BY:
MARLYN Q. OBANOS
Prayer
Dear Lord,
Teach me the things that are important:
To be generous with Your gifts,
Compassionate to those who have less,
Just in the face of unfair circumstances,
True when the world's values contradict my own,
Gracious when things don't go my way,
And magnanimous when they do.
May nothing else matter
Except Faith in Your goodness, my neighbor's, and mine,
Hope that things can get better,
And Charity that always sets things right.
May Your special Love for the Poor,
The mark of my uniquely Vincentian education,
Be the work I excel in,
The standard I constantly refer to,
And my courage when I meet You someday.
O Mary conceived without sin,
Pray for us who have recourse to thee.
St. Vincent de Paul,
Pray for us.
 LET’S
RECALL!
Let’s have an interactive game!
 DIRECTION:

Go to www.menti.com and use the code 94 15 4241

or visit this link:

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 LET’S
BEGIN!
Are you ready for today’s discussion?
“Even a BRICK
wants to be
SOMETHING.”
-Louis Khan
PICTURE
ANALYSIS
Let’s check out these pictures. Share to the class what you could infer from each slides.
PICTURE ANALYSIS #1
Share to the class what you could infer from each slides.
PICTURE ANALYSIS #2
Share to the class what you could infer from each slides.
NATIONAL
ARTISTS FOR
ACHITECTURE
in the
PHILIPPINES
and their works
 ORDER OF NATIONAL ARTIST
(Orden ng mga Pambansang Alagad ng Sining)

It is the highest national recognition given to Filipino

individuals who have made significant contributions to the
development of Philippine arts; namely, Music, Dance,
Theater, Visual Arts, Literature, Film, Broadcast Arts, and
Architecture and Allied Arts. The order is jointly
administered by the National Commission for Culture and
the Arts (NCCA) and the Cultural Center of the Philippines
(CCP) and conferred by the President of the Philippines
upon recommendation by both institutions.
 JUAN F. NAKPIL
NATIONAL ARTIST FOR ARCHITECTURE (1973)
May 26, 1899 – May 7, 1986

For the first part of our series on famous Filipino

architects, we feature the “Father of Philippine
Architecture” (and the very first National Artist for
Architecture) Juan Nakpil. Born on May 26, 1899, Nakpil
was the offspring of two Katipuneros—his father was Julio
Nakpil, a composer and general in the Katipunan, and his
mother was Gregoria De Jesus, the widow of Katipunan
Supremo Andres Bonifacio. Juan was a gifted visual artist,
and honed his talent with lessons from artistic
masters Fabian dela Rosa and Fernando Amorsolo.
 JUAN F. NAKPIL
NATIONAL ARTIST FOR ARCHITECTURE (1973)
May 26, 1899 – May 7, 1986

Nakpil founded the “Philippine Architects Society” in 1933,

now called the Philippine Institute of
Architects. He believed that there is indeed such a thing as
“Philippine Architecture”—a style that works with our local
climate, seismological conditions, and natural environment.
Nakpil also developed a design principle based on the
structure of our local houses and indigenous materials
MAJOR WORKS:

The Quiapo Church

The University of the Philippines-Diliman
Administration Building Architectural Style: Baroque Style with neo classical
facade
Architectural Style: Eclectic Architecture
Materials: Stones
Materials: Stones, Bricks
MAJOR WORKS:

Rizal Shrine in Calamba, Laguna.

Capitol Theater in Manila.
Architectural Style: Bahay-na-Bato
Architectural Style: Art Deco
Materials: Stones, Bricks, and Woods
Materials: Concrete
 PABLO S. ANTONIO
NATIONAL ARTIST FOR ARCHITECTURE (1976)

Born at the turn of the century, 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”.
MAJOR WORKS:

White Cross Orphanage in San Juan.

Life Theater (later known as
Architectural Style: Art Deco
Teofilo Villonco Bldg.) in Quiapo, Manila
Materials: Concrete
Architectural Style: Art Deco
Materials: Concrete
 LEANDRO V. LOCSIN
NATIONAL ARTIST FOR ARCHITECTURE (1990)
August 15, 1928 – November 15, 1994

Leandro V. Locsin reshaped the urban landscape with a

distinctive architecture reflective of Philippine Art and
Culture. He believes that the true Philippine Architecture
is “the product of two great streams of culture, the
oriental and the occidental… to produce a new object of
profound harmony.” It is this synthesis that underlies all
his works, with his achievements in concrete reflecting
his mastery of space and scale. Every Locsin Building is an
original, and identifiable as a Locsin with themes of
floating volume, the duality of light and heavy, buoyant
and massive running in his major works. From 1955 to
1994, Locsin has produced 75 residences and 88
buildings, including 11 churches and chapels, 23 public
buildings, 48 commercial buildings, six major hotels, and
an airport terminal building.
MAJOR WORKS:

Istana Nurul Iman (Light of Faith Palace)

CCP Complex in Pasay City
Brunei’s Sultan Official Residence in
Architectural Style: Brutalism
Bandar Seri Begawan
Materials: Concrete,Wood, Glass, Steel
Architectural Style: Melayu Islam Beraja
Materials: marble, granite, Golden silk(interior)
 ILDEFONSO P. SANTOS, JR.
NATIONAL ARTIST FOR ARCHITECTURE (2006)
September 5, 1929 – January 29, 2014

Ildefonso Paez Santos, Jr., distinguished himself by

pioneering the practice of landscape architecture–an
allied field of architecture–in the Philippines and then
producing four decades of exemplary and engaging work
that has included hundreds of parks, plazas, gardens, and
a wide range of outdoor settings that have enhanced
contemporary Filipino life.

Santos, Jr., who grew up in Malabon, made his first mark

with the Makati Commercial Center where he introduced
a new concept of outdoor shopping with landscaped
walks, fountains and sculptures as accents. Santos, Jr.’s
contribution to modern Filipino landscape architecture
was the seminal public landscape in Paco Park.
MAJOR WORKS:

Tagaytay Highlands Resort in Cavite

Mt. Malarayat Golf and Country Club
)
in Batangas
 JOSÉ MARÍA V. ZARAGOZA
NATIONAL ARTIST FOR ARCHITECTURE (2014)
1912-1994
José María V. Zaragoza’s place in Philippine architecture history is defined
by a significant body of modern edifices that address spiritual and secular
requirements. Zaragoza’s name is synonymous to modern ecclesiastical
architecture. Notwithstanding his affinity to liturgical structures, he
greatly excelled in secular works: 36 office buildings, 4 hotels, 2, hospitals, 5
low-cost and middle-income housing projects; and more than 270
residences – all demonstrating his typological versatility and his mastery of
modernist architectural vocabulary.

Zaragoza puretime graduated from the University of Santo Tomas in Manila

in 1936, passing the licensure examinations in 1938 to become the 82nd
architect of the Philippines. With growing interest in specializing in
religious architecture, Zaragoza also studied at International Institute of
Liturgical Art (IILA) in Rome in the late 1950s, where he obtained a diploma
in liturgical art and architecture. His training in Rome resulted in innovative
approaches, setting new standards for the design of mid-century Catholic
churches in the Philippines. His prolificacy in designing religious edifices
was reflected in his body of work that was predominated by about 45
churches and religious centers,
MAJOR WORKS:

Sto. Domingo Church in Quezon City

Quiapo Church in City of Manila
Architectural Style: Art Deco
Architectural Style: Mexican Baroque
 FRANCISCO T. MANOSA
NATIONAL ARTIST FOR ARCHITECTURE (2018)
February 12, 1931

Born in Manila on 12 February 1931 to Manuel Mañosa, Sr., a Harvard-

educated Sanitary Engineer who was instrumental in designing
Manila’s waterworks system, and Maria Tronqued, film and stage
actress, “Bobby” was the seventh in a brood of eight. He spent his
childhood in Calle Azcarraga (now C.M. Recto Ave,), where the family
first resided before moving to suburban San Juan. After finishing his
high school studies at San Beda College, Mañosa enrolled at the U.S.T.
College of Architecture, graduating with a B.S. Architecture degree in
1953. With two of his brothers, Jose and Manuel, both B.S. Architecture
graduates from the same school, they founded the architectural firm,
Mañosa Brothers in 1954. Some of the group’s significant works were
the Sulô Restaurant at the Makati Commercial Center (1962), the
Hidden Valley Springs Resort, the Makiling Conference Center, the
restoration of the Guadalupe Ruins, Colegio San Agustin in Makati,
the Murray & Herminia Lopez Otstott Residence in Forbes Park,
Makati, and the San Miguel Corporation Corporate Headquarters in
Ortigas Center, Pasig City (1979).
 FRANCISCO T. MANOSA
NATIONAL ARTIST FOR ARCHITECTURE (2018)
February 12, 1931
n 1976, Francisco established his own firm, Francisco Mañosa &
Partners. Here, he had more freedom to put into realization his vision
of Philippine Architecture inspired by the bahay kubo and the bahay
na bato, When asked what makes architecture truly Filipino, he once
answered: “Filipino values, Philippine climate, and the use of
indigenous materials.” As discussed in Eric Caruncho’s monograph,
Designing Filipino, The Architecture of Francisco Mañosa, foremost of
Filipino values which influenced his work were love for family, the
extended family, and its place in the wider social network, not to
mention the Filipino’s baroque sensibility and love for ornamentation.
He believed Philippine climate calls for tropical architecture whose
features include accommodations to the wet and dry seasons. These
features include high ceilings, large windows, low eaves and
overhangs to provide both shade and protection from the sun and
rain. Filipino structures need to breathe, with free interchange
between interior and exterior spaces. And lastly, it’s about the use of
indigenous materials such as bamboo, rattan, coconut shells and
trunks, dried anahaw leaves, capiz shells, and volcanic rock.
MAJOR WORKS:

Tahanang Pilipino (Cocounut Palace) and ManilaLRT Train Stations

 Question to Ponder:

What do you think is the

importance of Art
Appreciation in Architectural
Education?
 “ The idea of beauty is the
fundamental idea of everything.
In the world, we see only
distortions of the fundamental
idea, but art, by imagination, may
lift itself to the height of this idea.
Art is therefore a kin to creation.”

― Leo Tolstoy, writer.

 THANKS
FOR
LISTENING!
PRESENTATION BY:
MS. MARLYN Q. OBANOS