Philippine Architecture History

The architecture of the Philippines (Filipino: Arkitekturang Pilipino) reflects the

historical and cultural traditions in the country. Most prominent historic structures in the
archipelago are influenced by Austronesian, Chinese, Spanish,
and American architectures.
During three hundred thirty years of Spanish colonialization, the Philippine
architecture was dominated by the Spanish influences. The Augustinian friars, along
with other religious orders, built many grand churches and cathedrals all over the
Philippine Islands. During this period the traditional Filipino Bahay na bató (Filipino for
"house of stone") style for the large houses emerged. These were large houses built of
stone and wood combining Filipino, Spanish and Chinese style elements.
After the Philippines was ceded to the United States as a consequence of
the Spanish–American War in 1898, the architecture of the Philippines was dominated
by American aesthetics. In this period, the plan for the modern City of Manila was
designed, with many neoclassical architecture and art deco buildings by famous
American and Filipino architects. During World War II, large portions of Intramuros and
Manila were destroyed. Many heritage districts in the provinces were burned down by
the Japanese before the end of the war. In the reconstruction period after the Second
World War, many of the destroyed buildings were rebuilt, however, a majority of
heritage structures, especially in the provinces, were lost and never rebuilt. Most of the
structures that were lost are considered focal properties of former heritage towns.
In the late 20th century, modern architecture with straight lines and functional
aspects was introduced, particularly in the Brutalist architecture that characterized
government-built structures done in the Marcos period. During this period many of the
older structures fell into decay due to the imposition of martial law. After the return of
democracy in 1986, a new age of Philippine architecture came into focus through
modernism. Early in the 21st century, a revival of the respect for the traditional Filipino
elements in the architecture returned.
There have been proposals to establish a policy where each municipality and city
will have an ordinance mandating all constructions and reconstructions within such
territory to be inclined with the municipality or city's architecture and landscaping styles
to preserve and conserve the country's dying heritage sites, which have been
demolished one at a time in a fast pace due to urbanization, culturally-irresponsible
development, and lack of towns-cape architectural vision. Such policies are used by
countries that have preserved their architectural marvels, and entire cities as a whole,
for hundreds of years, such as Italy, France, Romania, Germany and Spain.
The proposal advocates for the usage and reinterpretations of indigenous,
colonial, and modern architectural and landscaping styles that are prevalent or used to
be prevalent in a given city or municipality. The proposal aims to foster a renaissance in
Philippine landscaping and town scaping, especially in rural areas which can easily be
transformed into new architectural heritage towns within a 50-year time frame.
Unfortunately, many Philippine-based architecture and engineering experts lack the
sense of preserving heritage townscapes, such as the case in Manila, where business
proposals to construct structures that are not inclined with Manila's architectural styles
have been continuously accepted and constructed by such experts, effectively
destroying Manila's architectural townscape one building at a time. Only the city
of Vigan has an ordinance on architectural policy, which led to its declaration as
a UNESCO World Heritage Site in 1999 and awarding of various recognition for the
conservation and preservation of its unique architectural and landscaping styles.’

Characteristics
The Philippine’s architectural landscape is a contrast among small traditional
huts built of wood, bamboo, nipa, grass, and other native materials; the massive
Spanish colonial churches, convents and fortifications, with their heavy “earthquake
baroque” style; the American mission style architecture as well as the buildings of
commerce with their modern 20th century styles; and today’s contemporary, albeit
“modern mundane” concrete structures of the cities.

Classical early modern

 Palaces
 Villages
 Fortifications
 Bahay kubo

Maranao torogan
The torogan (lit. 'resting place' or 'sleeping place') is the traditional palace of
the Maranao royalty in Lanao, Mindanao.[12] A torogan was a symbol of high social
status. Such a residence was once a home to a sultan or datu in the Maranao
community. Nowadays, concrete houses are found all over Maranao communities, but
there remain torogans a hundred years old. The best-known are in Dayawan
and Marawi. A torogan is elevated above the ground by columns cut from trees of huge
girth. Its walls are covered with plywood sticks and the roof thatched with dried coconut
leaves. There is no interior partition, so it appears as a huge hall. Apart from the basic
elements of this structure, it is intricately engraved with flowing okir geometrical and
foliage motifs. A torogan is not complete without the legendary bird sarimanok being
displayed inside. Furniture is also common among Maranaws.
 The bahay kubo is the term for huts built out of nipa. These types of edifices
were characteristic of the way that indigenous people of the Philippines built homes
prior to the arrival of the Spanish colonizers. They are still in use today, especially in
rural areas. Different architectural designs are present among the different
ethnolinguistic groups in the country, although most homes built along the shorelines
conform to being stilt houses, similar to those found in neighboring countries such
as Indonesia, Malaysia, and other countries of Southeast Asia.
Bahay kubo

Spanish era
 Bahay na bato
 Churches
 Colonial fortifications

Bahay na bato

Bahay na Bato are Filipino colonial houses during the Spanish period.
The arrival of the Spaniards in 1571 brought in European colonial architecture to
the Philippines. Though not specifically suited for the hot tropics, European architecture
was transposed via Acapulco, Mexico into a uniquely Filipino style.
 In this era, the nipa hut or bahay kubo gave way to the bahay na bato (stone
house) and became the typical house of noble Filipinos. The bahay na bato, the colonial
Filipino house, followed the nipa hut's arrangements such as open ventilation and
elevated apartments. The most obvious difference between the two houses would be
the materials that was used to build them.

Churches

Paoay Church, an example of Philippine earthquake baroque architecture.

The order of the Augustinians, Augustinian Province of the Most Holy Name of
Jesus of the Philippines, built many churches all over the Philippines. These magnificent
structures can still be found throughout the Philippine Islands. The Paoay
Church in Ilocos Norte is one of the most prominent types of these churches. This
unique specimen of Filipino architecture called Filipino Baroque from the Spanish era
has been included in the World Heritage Sites List of the UNESCO. The church was
built by the Augustinian friars from 1694 until 1710. It shows the earthquake-proof
baroque style architecture. The bell tower served as an observation post in 1896 for the
Katipuneros during the Philippine revolution against the Spaniards, and again by the
Filipino guerillas during the Japanese occupation in World War II.

Colonial fortifications
Spanish colonial fortifications in the Philippines Intramuros
Fort Santiago in Intramuros, Manila.
Intramuros was the walled city of Manila along the south bank of the Pasig River.
It was established to replace Kota Seludong, the seat of the power of the Kingdom of
Maynila that was protected by a rammed earth fortress equipped with stockades,
battlements and cannons.
The historic city was once home to many colonial churches, schools, convents,
government buildings and residences. Many of these products of Spanish architecture
were destroyed during World War II. Of all the buildings within the 67-acre city, only
one, the San Agustin Church, survived the war.

American and Commonwealth Period (1898-1-1946)

 Art Deco buildings
 Revival period
With the arrival of the Americans in 1898 came a new breed of architectural
structures in the Philippines. Foremost of the American contributions to the country was
the establishment of civil government. This led to the erection of government buildings
from the city all the way to the municipal level. Designed in the most respectable
manner, these government houses resembled Greek or Roman architecture
The revival period, popular at the turn of the century, became the foremost
architectural parlance of the era as seen in such buildings particularly in Manila under
the Philippine Commission. Education of the masses also became the thrust of
the American occupation, as such, public education was established, foremost of which
is the University of the Philippines. With American rule firmly established in
the Philippines, the military government at the time invited the well-known architect
and urban planner Daniel Burnham together with William Pierce Anderson (a Chicago
architect) to develop Manila. Burnham's arrival led to the formation of the Burnham Plan
which identifies the city of Manila as a uniquely European city in the tropics and as such
opposed to develop its architecture in line with the existing style. The style of
architecture, as suggested, varies little from existing architecture at the time as typified
by the Manila Hotel. New structures continued the use of conventional motifs but were
made of more durable materials such as concrete. This style of architecture prevailed
even after the turn of the century.

Art Deco buildings

See also: Art Deco theaters of Manila
First United Building
During the rise of cinema in the Philippines as a form of recreation, several theaters
were constructed in the 1930s to 1950s in the Art Deco style designed by prominent
architects now recognized as National Artists. The Manila Metropolitan Theater is an Art
Deco building designed by the Filipino architect Juan M. Arellano, and built in 1935.
Another fine example of Art Deco is the Old Jaro Municipal Hall in Iloilo built in 1934 by
Filipino architect Juan M. Arellano. It later became the Jaro District Police Station and
after the full restoration is now the regional branch office of the National Museum.
During the liberation of Manila by the combined American and Filipino troops in 1945,
the theatre was totally destroyed. After reconstruction by the Americans it gradually fell
into disuse in the 1960s. In the following decade it was meticulously restored but again
fell into decay. The sculptures upon the façade of the theater are by Italian sculptor
Francesco Riccardo Monti, who lived in Manila from 1930 until his death in 1958, and
worked closely with Juan M. Arellano. Highly stylized relief carving of Philippine plants
executed by the artist Isabelo Tampingco decorate the lobby walls and interior surfaces
of the building. The Far Eastern University Manila campus is a living art museum with
United Nations Educational, Scientific and Cultural Organisation-Asia Pacific Heritage
buildings and auditorium done in the Art Deco style.
The following are the Philippine architects who contributed and lead to the design of the
classic Philippine theaters:

 Juan Nakpil, a Philippine national artist for Architecture

 Pablo Antonio
 Juan M. Arellano

Contemporary period
 Cultural Center of the Philippines Complex
 Antipolo Church
 Iloilo Convention Center
 Cebu–Cordova Link Expressway

The aftermath of World War II brought major destruction especially in the capital city
of Manila and a time of rebuilding ensued. The modern era dawned on Philippine
architecture using the simple straight lines of the International Modern Style as a chief
mode of expression. By the 1970s, a new form of Philippine architecture emerged with
the filipinization of architecture. The Filipino style found its way in the re-emergence of
traditional motifs, the bahay kubo and the bahay na bato became popular forms to be
copied and modernized such as the Batasang Pambansa and the National Theater. By
the 1980s the country's architectural idiom was swept by the tide of Post Modernism, a
hearkening back of some sort to classical architecture. Today, architecture in the
Philippines continue to be vibrant and with the country opening up to the world, more
first-rate architecture is pouring in.

Cultural Center of the Philippines Complex

Cultural Center of the Philippines.

The Cultural Center of the Philippines Complex is home to the National Theater
(Tanghalang Pambansa). The theater is the centerpiece of the 77 hectare (190 acres)
arts and culture complex located along Roxas Boulevard in Manila. Designed
by Leandro V. Locsin, the construction of the National Theater began in 1966 and was
completed in 1969. The theater is a primary example of the architect's signature style
known as the floating volume, a trait can be seen in structures indigenous to
the Philippines such as the nipa hut. It houses three performing arts venues, one
theater for film screenings, galleries, a museum and the center's library and archives.
Antipolo Church
 The image of "Our Lady of Peace and Good Voyage" has been venerated in the
church of Antipolo for centuries. The old church that housed the virgin was destroyed in
February 1945 when the combined American and Filipino forces bombed Antipolo as
part of the liberation campaign of Manila. In 1954, a new church was built designed by
the renowned Filipino architect Jose de Ocampo. The Antipolo Church is of
a cupolaed design centered around the image of the Virgin. It functions as the center
point of the pilgrimages to Antipolo.
Iloilo Convention Center
The Iloilo Convention Center (also known as I-Con) is a state-of-the-art
convention center in the Iloilo Business Park in Mandurriao, Iloilo City, Philippines. Its
construction was completed in September 2015 in time for the APEC 2015 hosting. It is
built on a 1.7-hectare of lot in the district of Mandurriao donated by the Megaworld
Corporation.[31] The Tourism Infrastructure and Enterprise Zone Authority
(TIEZA) allocated P200 million for the construction of the convention center, while
another P250 million was sourced from the Priority Development Assistance Fund of
Senator Franklin Drilon.
The state-of-the-art convention center designed by Ilonggo architect, William
Coscolluela. The design was inspired by Iloilo's Dinagyang and Paraw Regatta festivals.
The paraw is a native double outrigger sailboat in the Visayas region, used in the
annual Paraw Regatta Festival sailboat race. Abstract designs of the
[33]
famous Dinagyang Festival are featured on the glass walls of the center. It is a two-
storey structure with a total floor area of 11,832 square meters. The main hall on the
ground floor has a 3,700-seat capacity and 500-seat function rooms on the second
floor. A rooftop of 1,500 sqm is available for outdoor functions.
Cebu–Cordova Link Expressway
The Cebu–Cordova Link Expressway, also known as the Cebu–Cordova Bridge,
is a toll bridge expressway in Metro Cebu which links Cebu City and Cordova, Cebu. It
opened on April 27, 2022, to the public, becoming the longest bridge in the
Philippines at 8.9 kilometers, surpassing the Candaba Viaduct in Luzon.[34] The bridge
was first proposed by Cordova mayor Adelino Sitoy, to connect his municipality and
mainland Cebu in Cebu City. After numerous studies conducted, the local government
units of Cordova and Cebu City entered into a public-private partnership with Metro
Pacific Tollways Development Corp. (MPTDC).
Vernacular Styles By Region
 Ivatan

Lowland and coastal regions roughly divide into Christian and Muslim, and highland
regions are largely indigenous.
Christian lowland architecture, encompassing a vast majority of the archipelago from
northern Luzon to coastal Mindanao, have several ubiquitous characteristics: towns
(colonial pueblos) follow a grid plan centered around a public square (plaza)
accompanying a city hall (tribunal), church (simbahan, less common iglesia), convent,
school, and other public facilities alongside concentrated clusters of large houses of the
wealthy landowning elite (bahay na bato). Spanish colonial policies introduced private
land ownership (tbe). Forts (fuerza or kuta) were commonly built especially among
coastal towns to defend from seasonal raids of marauding fleets from Sulu and
Maguindanao (generalized as moros) prevalent in most of the colonial period, and
sometimes combined with the church which served as refuge. Many towns and cities,
especially along bodies of water like rivers, lakes, and channels were built on preceding
precolonial settlements - Manila and Tondo are famous examples.
Ivatan
Ivatan architecture is found in both the northernmost islands
of Batanes and Babuyan, and a subset of its vernacular common house (sinadumparan)
architecture are unique within the country for its predominantly stone structure - a
protective, durable element from the particularly storm and earthquake-wrought
landscape of the region.
Nonetheless, many other Ivatan houses and other structures are still built entirely
of cogon like in precolonial times. Mayhurahed is the general term for such houses,
though Itbayat particularly has niriñdiñ which uses sliding panels. Commonly used as
temporary shelters are chivuvuhung, or jinjin for fishermen - they may become houses
depending on availability of plank flooring. Rahaung are temporary, well-less shelters
that serve either as open-air storage or other activity, while lagatiti are simple two-slope
roofed lean-tos.
Formerly, precolonial Ivatan society was clan-based and was divided by small,
tightly knit settlements of cogon houses, and were protected by terraced citadels of
stone and earth called ijang, typically on hilltops and ridges for defense during clan
wars. The Spanish period introduced stonemasonry and imported large quantities
of lime, ushering much of the stone architecture the region is known for today.

Sinadumparan in Sabtang

Basco Cathedral