LIKHA: Proposed Creative Hub For Filipino Artists Through Neo-Vernacular Approach

Focusing On Modernizing The Filipino Architecture

Chapter 1
Introduction

1.1 The Project

Creative hub is a safe place which brings creative people together. It is a convener, providing space and
support for networking, sustainability, and community engagement within the creative, cultural and tech sectors.
Creative hubs provide a space, venue, platform for the artists, central market-place for exposure and opportunities,
skills training, mentorship and talent development, job creation, endorse and promote new products, provide quality
of life enhancement, cultural preservation and talent retention. LIKHA project aims to support and provide a space for
the different kinds of Philippines artists and freelancers.

1.1.1 Background of the Study

Art is an all-embracing notion that plays the most important role in the development of mankind. Art is a
diverse range of human activities and the products of those activities. It is a diverse field and includes artistic imprints
in many forms which may include the creation of images or objects in fields including painting, sculpture, printmaking,
photography, and other visual media. The word ‘Art’ is, however, most commonly associated with pieces of work in a
gallery or museum, whether it’s a painting from the Renaissance or a modern sculpture. It has much more diverse
forms than this classification. However, there is so much more to art than what we see displayed in galleries. The
truth is, without being aware of it, we are surrounded by art and use it on a continual basis. Most people don’t realize
how much of a role art plays in our lives and just how much we rely on art in all of its forms in our everyday lives
(TargetStudy, “Importance of Art in Human Life”). Art plays an important role in our lives; (a) It has the power to
educate people about almost anything. It can create awareness and present information in a way that could be
absorbed by many quickly. In a world where some don’t even have access to good education, art makes education
an even greater equalizer of society. (b) It promotes cultural appreciation among a generation that’s currently
preoccupied with their technology. It can be said that if it weren’t for art, our history, culture, and traditions would be in
more danger of being forgotten than they already are. (c) It breaks cultural, social, and economic barriers and the
reason why everyone can relate to art is that everyone has emotions and personal experiences. Therefore, anyone
can learn to appreciate art regardless of social background, economic standing, or political affiliation (Afzal Ibrahim,
October 23, 2023, “What is Art? Why is Art Important?).

The Philippines has a long and rich history of art, with influences from various cultures and traditions. From
the pre-colonial era to modern times, painting has been a prominent art form in the country. The use of natural
materials such as bamboo, wood, and leaves for painting has been prevalent in the Philippines for centuries (Francis
B., n.d., “The Importance of Painting in the Philippines''). The history of Philippine art traverses a vibrant terrain of
artistic practices that delicately and urgently mediate the modernity of art history, institutions, exhibition-making, and
the expansive activity of curatorial work. It performs this range of gestures to speak to and intervene in the
ever-changing political milieu and the vast ecology, as well as ethnicity, of the archipelago (Patrick D Flores and
Carlos Quijon, Jr., n.d. “Philippine Art: Contexts of the Contemporary ''). Philippine art is an umbrella term for the local
art produced today and in recent times because of its definition leveraging more on the time-conscious side rather
than a specific style or genre, this makes Philippine contemporary art more diverse than ever (Imahica, n.d.,
“Contemplating the Contemporary: What makes Philippine contemporary art truly Filipino”). The Filipino national
identity is also to speak of the Filipino cultural identity. It is the close relation between our national and cultural identity
and our arts is seen in the way we express or portray our core values, belief systems, practices and traditions in
artworks. Even our history is usually expressed through our arts. Core values of personalism, loyalty and hospitality,
closed family ties and solidarity, social cohesion, gratitude and shame, spirituality and religiosity, hard work and
perseverance, patriotism and respect for elders are usually portrayed or are the subject of our arts; fine arts,
performance arts, literature arts and even contemporary arts. Our songs,music and dances express our core values
and belief systems. It is usually portrayed or are the subject of our arts; fine arts like painting, graphic arts,
performance arts like songs, music, dances, theater express our traditions, literature arts like novels and poems
contain expressions of our core values and beliefs (Aguas Jove, 2018, The Role of Arts in Preserving/Transforming
National Identity in Times of Change: Filipino Context). The genre used to be a major consideration in determining
the “Filipino-ness” of a work of art, at least in painting. The idea was that the depiction of scenes of everyday life and
the surroundings without idealizing them was closest in spirit to the Filipino soul and native soil. (Leo Benesa,
November 18, 2021, “What is Philippine About Philippine Art?”). Global Artists shared their struggles with the “curse
of representation” of having to deal with feelings of the constant responsibility to educate people on their Filipino
roots and the nation. “As artists, you are de facto ambassadors of where you come from. So they expect your works
to represent being Filipino.” As their audiences look for what is Filipino in their artworks, both artists say that these
are Filipino and that Filipino-ness is not lost due to a variance of styles. In arts and for artists, there is no restricted
form to which their identity must definitely be expressed as, “Identity is plural we do not have to adhere to one” (Xyza
Cruz Bacani, Wawi Navarroza, August 30, 2023, “What it Means to be a Filipino Artist in the Diaspora'').

The creative economy comprises industries that are based on individual skill and creativity, which have the
potential to generate income and jobs through the generation of intellectual property. Some of the wonderful creative
industries include advertising, film, animation, music, architecture, crafts, design, literature, new media, and culinary
arts (Future Learn, February 18, 2022, “The Creative Economy in the Philippines”). The creative economy has the
potential to not only strengthen the expansion of global value chains, increase digital adoption among creative small
and medium-sized enterprises (SMEs), fuel the export of cultural goods and creative services, and foster ownership
through local engagement, but also contribute to the overarching goal of sustainable development. The Philippines’
creative economy has continued to grow, with the industry comprising 6.5%–7 % of the country’s GDP in terms of the
copyright-based formal sector and reproducing $3.2 billion in creative services, comprised mainly of software and IT
services, animation, game development, digital marketing, and design services, making it number 1 in the ASEAN
region. Despite this success, there is no creative economy center or government agency in the Philippines yet. A
huge segment of the industry relies on freelancers, who are estimated to number around 2–4 times as many as those
in the formal sector but are unaccounted for in official statistics, making it more difficult to assist them during the
COVID-19 pandemic (Sirivunnabood P. and Alegre H.G., September 3, 2021, Supporting the creative economy for
sustainable development in Southeast Asia). On the whole, Filipinos are a creative people. Filipino musicians and
singers are seen as global troubadours, entertaining luxury cruise guests and performing in West End and Broadway
productions. Filipino designers and craftspeople have contributed to the country’s reputation as a leading design
center in Asia. The once-thriving Philippine film industry, however, has lost market share to Hollywood imports, and
Filipino movies have failed to earn the international acclaim that East and South Asian movies have. With such a
diverse pool of creative talent, the Philippines should use the potential of its creative industries, increasing its
competitive edge while also improving its image (Future Learn, February 18, 2022).
 According to the Philippine Statistics Authority (PSA) released in 2023 the creative economy in 2022
amounted to PhP 1.60 trillion, contributing 7.3 percent to the country’s Gross Domestic Product (GDP). This
represents an increase of 12.1 percent from the PhP 1.43 trillion recorded value in 2021. The creative economy is
composed of the following industries: Audio and audiovisual media activities; Digital interactive goods and service
activities; Advertising, research and development, and other artistic service activities; Symbols and images and other
related activities; Media publishing and printing activities; Music, arts and entertainment activities; Visual arts
activities; Traditional cultural expression activities; and Art galleries, museums, ballrooms, conventions and trade
shows, and related activities. Of the creative industries, Symbols and images and other related activities had the
highest share of 32.9 percent or PhP 528.35 billion to the total creative economy in 2022. This is higher by 10.0
percent than the PhP 480.41 billion value of the creative economy in 2021.

Figure 1. Gross Value Added (GVA) and Percent Share

of Creative Economy to GDP at Current Prices, 2018 to 2022

Advertising, research and development, and other artistic service activities contributed 20.8 percent, while
Digital interactive goods and service activities shared 20.3 percent in 2022. In 2022, there were 6.98 million Filipinos
employed in creative industries, increasing by 10.5 percent from 6.32 million persons in 2021. Employment in
Traditional cultural expression activities recorded the highest share in 2022 of 42.5 percent. This was followed by
Symbols and images and other related activities (24.8%) and Advertising, research and development, and other
artistic service activities (18.0%).

Filipino artists have used their art to depict the beauty of the country’s landscapes, the struggles of its
people, and the richness of its culture. Many paintings depict scenes from daily life, historical events, and folklore.
These paintings serve as a window into the country’s past and present and are a source of national pride (Francis B.,
n.d., “The Importance of Painting in the Philippines”). Unfortunately, there is a general lack of knowledge and
enthusiasm for creative sectors in the Philippines. This is partly because the creative economy spans numerous
sectors and lacks cohesivity. It is critical to recognise the overall environment of the creative industries in order to
develop it. Several Philippine constitutional constraints also act against the economy’s full development.
 Figure 2. Percent Share of Employment in Creative Economy
by industry, 2018 to 2022

According to a study, a variety of factors influence Filipinos' awareness of Philippine culture and arts. Such
factors include foreign cultures that are easily accessible through the use of social media, the internet, and television.
Lack of knowledge, first-hand experience, participation in arts and cultural-related activities, and curricular inclusion
are also factors that led to the underappreciation of Philippine arts and culture among Filipinos particularly the Filipino
youth (Catinding A. Jr., January 18, 2023, “i-Sining: An Online Platform for Filipino Artists”). Many people consider art
as a hobby or a collection for the rich to hang on their walls. That art does not cure the sick, build a great wall, or
divide a sea. The kind of appreciation that some people have for art also rises from a distance. This is why art
becomes a hostage to stereotypes and a shock to traditional systems (Cristobal, Len, July 12, 2018, “Why creative
work is constantly undervalued”).

With the creative economy growing, the

Philippines still lack art and creative establishments.
According to the Philippine Statistics Authority (PSA), the
2021 Annual Survey of Philippine Business and Industry
(ASPBI) final results showed that a total of 2,845
establishments in the formal sector of the economy were
engaged in arts, entertainment and recreation activities.
This indicates an increase of 63.7 percent from the 1,738
establishments reported in 2020. Among industry groups,
gambling and betting activities reported the highest
number of 1,668 establishments or 58.6 percent of the
total establishments for the section in 2021. This was
followed by other amusement and recreation activities with 886 establishments (31.1%) and sports activities with 191
establishments (6.7%). On the Art side spectrum of establishments it is the least compared to gambling and betting
activities which Filipinos appreciated more. By region, CALABARZON led the section in terms of number of
establishments with 364 establishments or 12.8 percent of the total number of establishments in 2021. National
Capital Region (NCR) and Davao Region ranked second and third with 344 establishments (12.1%) and 332
establishments (11.7%), respectively.

The creative economy has much potential, challenges remain, especially due to the lack of appropriate
policies to support the industries. Insufficient financing and financial sustainability and a lack of standard valuation for
creative work could stagnate its growth. Losses in revenue in these industries in 2020 could be in the range of
20%–40% across different economies, possibly resulting in 10 million job losses for creative workers globally,
especially freelancers. The Philippines’ creative industries, for example, could be affected severely due to the
country’s significant reliance on creative freelancers. Artists fall under the category of freelancers since they are not
bound by the traditional employer-employee relationships or the normal work arrangements. They work freely and are
paid on the basis of their results, which usually are short-term or project-based. The Philippines is said to be the
fastest growing freelancing countries in the world, with year-on-year revenue growing by nearly 210 percent. But due
to the nature of their work, many freelancers become victims of abuse, be it by delayed payments, unfair contracts, or
in some cases outright professional “ghosting” (Sen. Sonny Angara, April 17 2022 “Recognizing the talent of Filipino
artists”). The potential for higher income is another reason why Filipinos turn to gigs to supplement income from their
primary jobs. Moreover, because of Filipinos’ high English proficiency, low cost and hard-working attitude, many
successfully get freelance work from employers overseas and earn a higher pay. Finally, some Filipinos enjoy the
added freedom and flexibility that comes with not having a full-time job. There are also drawbacks in being a
freelancer in the Philippines. Most workers focused on gigs have no job security. They also don’t enjoy
company-sponsored benefits. Filipinos who are focused on freelance work need to manage their finances more
carefully so that they can stay protected in case they suffer from a dry spell or encounter emergencies. Freelance
workers can also be abused since the ability of regulators to validate the legitimacy of employers is limited and there
aren’t enough regulations focused on protecting the rights of freelancers. The absence of social interaction with
fellow employees might also take a toll on Filipinos who work solely on gigs (April Lee Tan, May 15, 2023, “The
growing number of Filipino freelancers”).

The Republic act. 11904, also known as the Creative Industries Development Act, Implemented on July 28,
2022, aims to make the Philippines the top creative economy in ASEAN (Association of Southeast Asian Nations) by
2030. The Act aims to establish a council to develop and implement a plan to promote the growth of the creative
industries. The Act intends to encourage individual artists and creative professionals to join organizations by
providing tax incentive grants and loans to Filipino creatives. It also mandates that the Department of Education and
Commission on Higher Education must develop creative education in order to foster new generations of talent. In
addition, the measure establishes the Creative Industries Development Council, which will serve as a coordinating
body. This will be spearheaded by the Department of Trade and Industry, with key agencies such as the National
Commission for Culture and the Arts. The Department of Education and the Department of Science and Technology
are also involved (Future Learn, February 18, 2022). Secretary Alfredo Pascual said the DTI would launch various
programs and projects under the banner “Malikhaing Pinoy” or Creative Philippines, in a bid to start the
implementation of the Philippine Creative Industries Development Act (PCIDA). He also stated they are looking to
pilot the establishment of Creative Innovation Centers, such as studios, co-working spaces, and pilot laboratories,
where the application of cutting-edge technologies demonstrated, advanced research and development can be
performed, and co-creation programs can be implemented (Catherine Talavera, March 9, 2023 “DTI crafts action plan
to grow creative industries”). The Chairman of the Philippine Creative Industries Development Council, Secretary
Fred Pascual is optimistic that the creative economy, as a priority industry, will create more stable and better-paying
jobs for Filipino artists, artisans, creators, content providers, and creative workers, and contribute to the country’s
pursuit of inclusive and sustainable economic growth and development. “The development of the creative economy is
central to DTI’s industrialization and industrial transformation agenda, which is driven by science, technology, and
innovation. We at DTI endeavor to uplift the skills of Filipino artists and the quality of their outputs to be able to
compete in the larger international market,” Secretary Pascual said. DTI will focus on building Creative Learning
Academies where creative professionals and aspiring creators can collaborate and conduct networking and access
new technologies. (DTI web team, 2023, April 20,. Trade chief: Malikhaing pinoy program elevates Filipino creativity.
Department of Trade and Industry Philippines).

This research aims to provide a facility for the artist’s to support and provide them a facility to aid them with
proper clients, networking, and promotions.

1.2 Statement of the Problem

The main problem is the lack of creative coworking spaces, workshops, and client opportunities for artists
and creatives despite its growing creative economy. These challenges artists to become freelancers to work on their
own with no support, promotion, collaboration and opportunities from the government.

1.3 Project Objectives

● Provide art establishment that will aid Filipino freelancers, professional artists, emerging artists and
creatives with security, networking, collaboration and client opportunities.
● Provide venues or spaces that will aid the users such as upcoming and emerging creatives with workshops,
training center, recitals and exhibitions.
● Embracing new technological innovations that can aid both traditional and modern creatives.

1.4 Client

Department of Trade and Industry

The Department of Trade and Industry (DTI) serves as the primary coordinating, promotive, facilitative, and
regulatory arm of government for the country’s trade, industry, and investment activities. It acts as catalyst for
intensified private sector activity to accelerate and sustain economic growth through a comprehensive industrial
growth strategy, a progressive and socially responsible liberalization and deregulation program, and policies
designed for the expansion and diversification of both domestic and foreign trade.
DTI Philippines aims to achieve a global position for the country’s export sector, develop micro, small, and medium
enterprises (MSMEs), and create a harmonized investment facilitation to identify priority investments. This aligns with
the Philippine Development Plan (PDP) 2023-2028, based on the Marcos administration’s vision towards Bagong
Pilipinas (New Philippines). A country where Filipinos can thrive in a secure and comfortable environment, with equal
opportunities to participate in a globally competitive economy.

Integrated Industry Development for Creative Industries

This program is prepared and crafted to provide a strategic direction for the development of the Philippine
Creative Industries, which will lead to improved competitiveness, enhanced capability, increased productivity, export
promotion and development, and compliance to global standards for greater market access. Components of creative
Industries covered in this project include live entertainment and performing arts; audio visual sector specifically film;
animation; game development; marketing services; creative process outsourcing; and creative freelancers.

The Chairman of the Philippine Creative Industries Development Council, Secretary Alfredo Pascual said
the DTI would launch various programs and projects under the banner “Malikhaing Pinoy” or Creative Philippines, in
a bid to start the implementation of the Philippine Creative Industries Development Act (PCIDA). Alfredo Pascual
Stated, “Malikhaing Pinoy is our holistic approach to addressing the constraints and barriers to the growth of the
creative industries. It is a flagship initiative well-informed by the various sector-specific industry studies and roadmaps
carried out by the DTI with support from our champions in Congress”. He also stated they are looking to pilot the
establishment of Creative Innovation Centers, such as studios, co-working spaces, and pilot laboratories, where the
application of cutting-edge technologies demonstrated, advanced research and development can be performed, and
co-creation programs can be implemented (Catherine Talavera, March 9, 2023 “DTI crafts action plan to grow
creative industries”).

According to Secretary Fred Pascual, the creative economy, as a priority industry, will create more stable
and better-paying jobs for Filipino artists, artisans, creators, content providers, and creative workers, and contribute
to the country’s pursuit of inclusive and sustainable economic growth and development. “The development of the
creative economy is central to DTI’s industrialization and industrial transformation agenda, which is driven by science,
technology, and innovation. We at DTI endeavor to uplift the skills of Filipino artists and the quality of their outputs to
be able to compete in the larger international market,” Secretary Pascual said. DTI will focus on building Creative
Learning Academies where creative professionals and aspiring creators can collaborate and conduct networking and
access new technologies (DTIwebteam, 2023, April 20,. Trade chief: Malikhaing pinoy program elevates Filipino
creativity. Department of Trade and Industry Philippines).

According to RA 11904, Chapter 5, Section 16, Access to Credit and Financial Instruments.
Government-owned, -controlled, or -supported financial institutions shall give priority to creative industries in
providing credit assistance and guarantee schemes, subject to the rules and regulations of the concerned financial
institutions.
National Economic Development Authority

The National Economic and Development Authority is the country’s premier socioeconomic planning body, highly
regarded as the authority in macroeconomic forecasting and policy analysis and research. It provides high-level
advice to policymakers in Congress and the Executive Branch which includes:

● Coordination of activities such as the formulation of policies, plans, and programs to efficiently set the broad
parameters for national and sub-national (area-wide, regional, and local development);
● Review, evaluation, and monitoring of infrastructure projects identified under the Comprehensive and
Integrated Infrastructure Program consistent with the government’s thrust of increasing investment spending
for the growing demand on quality infrastructure facilities; and
● Undertaking of short-term policy reviews to provide critical analyses of development issues and policy
alternatives to decision-makers.

According to the National Economic and Development Authority (NEDA) The establishment of more hubs for creative
industries can strengthen the sector in line with goals under the Philippine Development Plan. “We need more
creative hubs where we can develop pools of creative talents and create opportunities for them,” said NEDA
Undersecretary Jose Miguel De la Rosa. He also added “While Filipino creativity seems to be an intangible concept,
its development has a huge contribution to the Philippine economy.” De la Rosa noted that Chapter 7 of the
Philippine Development Plan 2017-2022 recognizes Filipino creativity as a tool for social cohesion and an impetus for
a culture-based creative economy.The creative economy comprises several disciplines including music, performing
arts, handicraft, architecture, visual arts, graphic arts, cartoon animation, literature, fashion, furniture and interior
design, film, digital invention, television production, publishing and advertising. (Valencia, 2019m PhilStar).

1.5 Project Scope and Limitations

This study will only focus and is limited to Architectural planning and design on proposing a Creative Hub. It
will focus on implementing innovative designs for better co-working spaces, workshops, and spaces for both
traditional and cultural artists, and modern creatives. The target of this study are Filipino artists who are freelancers
and modern creatives. Methodology of data is gathered through online surveys for convenience of access for the
people and its inclusivity of users such as people who want to visit and shop . The target place of the study is
Angono, Cebu and Marikina.
 Chapter 2
Design Foundations

2.1 Design Process

The Philippine creative economy’s significant increase and an act will aid the Filipino creatives and
freelancers with benefits as the Philippines aim to be the top creative economy in 2030. With the support of the
Philippine creative agencies, the country still lacks establishments that provide the artists and creative with security
and opportunities. Artists and creatives fall under the freelancer category, most of them have no job security, and
don't have company-sponsored benefits. Freelancers focus more to manage their finances more carefully to stay
protected in case of emergency. Freelance workers can also be abused since the ability of regulators to validate the
legitimacy of employers is limited and there aren’t enough regulations focused on protecting the rights of freelancers.

As stated by Secretary Alfredo Pascual, DTI is looking to pilot the establishment of Creative Innovation
Centers, such as studios, co-working spaces, and pilot laboratories, where the application of cutting-edge
technologies demonstrated, advanced research and development can be performed, and co-creation programs can
be implemented. The Creative Industries Development Act aims to establish a council to develop and implement a
plan to promote the growth of the creative industries. Encouraging individual artists and creative professionals to join
organizations by providing tax incentive grants and loans to Filipino creatives. It also mandates that the Department
of Education and Commission on Higher Education must develop creative education in order to foster new
generations of talent.

With these findings and research, the researcher aims to provide the needs of the problems and thus the
Creative Hub was implemented. As defined by the British Council of the Philippines, Creative hub is a safe place
which brings creative people together. It is a convener, providing space and support for networking, sustainability, and
community engagement within the creative, cultural and tech sectors. Creative hubs provide a space, venue,
platform for the artists, central market-place for exposure and opportunities, skills training, mentorship and talent
development, job creation, endorse and promote new products, provide quality of life enhancement, cultural
preservation and talent retention. The British council also stated, Hubs provide a wide range of services including
business start-up and development support in the shape of workshops and mentoring, prototyping and fabrication
space, networking and events, research and development. They also have an impact on their external environment,
regenerating urban and rural areas, while acting as lighthouses for invisible communities. Being part of a hub makes
freelancers and micro SMEs (Small and medium sized enterprises) feel part of a larger picture, without it necessarily
meaning that they have to be part of an organization. Freelancers and micro SMEs, who would normally work from
home, are able to connect, collaborate and share with other like-minded people. Being part of a community increases
freelancers' confidence, experimentation, collaboration and growth. Together they can pitch for work, access
resources and tools, inspire one another and attract investment as a collective of disciplines. Hubs can be more than
a home for creatives, they can also be a voice for the sector or political landscape.

The design process is to provide a large-scale creative hub for artists in the Philippines that can house them
and their specialization. According to Senator Sonny Angara, Artists fall under the category of freelancers since they
are not bound by the traditional employer-employee relationships or the normal work arrangements. According to the
Creative Industries Development Act, Creative industries include the following domains listed:
Traditional Arts

● Folk Performing Arts - including dances, music , plays, and dramas.

● Folk Graphic/Plastic Arts - including calligraphy, tattooing, writing, drawing, and painting
● Sculpting/Carving - including wood carving and folk non-clay sculpture.
● Pottery - including ceramics, clay pots and sculpture
● Weaving and Textile - including back-strap loom weaving and other, headgear weaving, basketry, and
fishing gear related forms of weaving.

Non-Traditional Arts

● Visual Arts - including painting, non-folk sculpture, printmaking, photography, installation art, mixed-media
works, illustration, and graphic arts
● Animators, Film and Cinema - including direction, writing, production design, cinematography, editing,
animation, performance, and new media
● Designers - fashion design
● Theater, Musicians, and Dancers - including composition, choreography, direction, and performance

Providing these artists with their own spaces such as co-working spaces, studios, workshops, exhibits to
place their work, conventions to hold events and development centers. As the researcher’s purpose for the creative
hub to be flexible, the hub’s inclusivity for other spaces for comfort for the users such as parks and coffee shops shall
be also included. According to Marlen Komorowski, Researcher for Connect for creativity in 2019, Identified ten
creative hubs in our survey, most of which are located in Athens. Creative hubs in Thessaloniki and Mytilini. Of these,
the majority are centers with large scale buildings which include assets such as a cafe, bar, cinema, maker space,
shop, or exhibition space (40 per cent). There are also studios, networks and alternative models of creative hubs in
Greece. Half of the creative hubs identified in Greece are privately organized, for-profit organizations and half are
privately organized non-profits. The hubs focus on a variety of different creative and cultural sectors including
advertising, technology, arts, music, theater, and culture in general.

The early concept of the design is the interconnection of all things and this can relate to the project with
different types of artists. They can coexist and collaborate with each other and promote one’s creativity. The concept
is Weaving, this represents the interconnection of all things with the warp and weft are like the threads of life that are
woven together to create a beautiful tapestry. This symbolizes the unity of all things and the importance of working
together to create something greater than ourselves. Filipino weaving and textiles are a testament to the country’s
rich culture and heritage. Each piece tells a unique story, featuring intricate designs and vibrant colors that reflect the
country’s natural beauty. In the Philippines, Weaving is often used to symbolize celebrations, create pieces of art, and
express devotion. Weaving in the Philippine archipelago is more than just a function of necessity; it’s also an art form,
a tangible expression of culture (Fabella, Narra Studio and Secret Philippines). Weaving has a pattern called Warp
and Weft it refers to the direction of the threads. Warp is the lengthwise threads on the fabric loom, it supports the
weft and lies parallel to the selvage or edge of fabric. Weft is the horizontal thread, threaded over and under the warp
threads (Luisa, Treasurie 2023). Using this style will create a unique form and shape to accommodate different kinds
of spaces.
Design Concept and Approach

Source: GETTY Images

The designer’s concept shows the Filipino roots and its culture, to carry on the Filipino concept the
Neo-Vernacular Architecture was implemented for the design process.
Neo-Vernacular Architecture is a way of asserting the distinctiveness of Filipino architecture by dominating
an architectural design with Filipino architectural features. The architecture of the Philippines mirrors the country's
complex cultural identity. It's a fascinating blend of indigenous design, colonial influences, and modern trends as the
past can blend with the present to create stunning and functional designs.

Architect Francisco “Bobby” Mañosa emerged as one of the most influential voices who rallied for
uniquely-Filipino designs. His quest to define Filipino architecture, through incorporating indigenous elements and
materials in his works, rightfully positioned him among the country’s greats as he was conferred as a National Artist
for Architecture and Allied Arts in 2018. Mañosa pioneered the art of Philippine Neo Vernacular Architecture that
represents true Filipino culture and environment in his works. Mañosa stated, “Architecture must be true to itself,
its land, and its people”, He emphasized the need for the Philippines to develop its own architecture and to stop
copying other cultures and build from and for home. His works are built for the Philippines’ tropical and monsoon
seasons and promotes the use of indigenous materials such as coconut, bamboo, rattan, and capiz. Mañosa
combines indigenous materials with technological processes to showcase Philippine vernacular architectures in
modern structures that reveal Filipino virtues in its tropical context.

Key takeaways:

● Fusion of Old and New - One of the key characteristics of modern architecture in the Philippines is the
seamless fusion of traditional and contemporary elements. This unique blend creates structures that feel
both familiar and innovative.
● Use of Local Materials - Modern Filipino architecture uses local materials in fresh and exciting ways. From
bamboo and rattan to adobe and coconut, these natural materials add a unique Filipino flavor to the
buildings, while also promoting sustainability.
● Adaptability to Climate - In a country with a tropical climate, designing a building that can withstand high
temperatures, heavy rain, and occasional typhoons. This results in designs with high ceilings for better
ventilation, wide windows for natural light, and slanted roofs for rainwater runoff.
● Functionality and Aesthetics - Modern architecture in the Philippines strikes a balance between form and
function. Creating structures that aren't just visually appealing, but also practical and suited to the Filipino
way of life.
● Community-Centric Designs - Filipino architecture often puts community at the forefront. Public spaces are
designed to be inviting and inclusive, promoting social interaction and community bonding.
2.2 Review of Related Literature

2.2.1 Literature Review

What is Filipino art and its Significance?

Art is an all-embracing notion that plays the most important role in the development of mankind. Art is a
diverse range of human activities and the products of those activities. It is a diverse field and includes artistic imprints
in many forms which may include the creation of images or objects in fields including painting, sculpture, printmaking,
photography, and other visual media. The word ‘Art’ is, however, most commonly associated with pieces of work in a
gallery or museum, whether it’s a painting from the Renaissance or a modern sculpture. It has much more diverse
forms than this classification. However, there is so much more to art than what we see displayed in galleries. The
truth is, without being aware of it, we are surrounded by art and use it on a continual basis. Most people don’t realize
how much of a role art plays in our lives and just how much we rely on art in all of its forms in our everyday lives
(TargetStudy, “Importance of Art in Human Life”). According to Afzal Ibrahim (2023) “What is Art? Why is Art
Important?”, Art plays an important role in our lives; (a) It has the power to educate people about almost anything. It
can create awareness and present information in a way that could be absorbed by many quickly. In a world where
some don’t even have access to good education, art makes education an even greater equalizer of society. (b) It
promotes cultural appreciation among a generation that’s currently preoccupied with their technology. It can be said
that if it weren’t for art, our history, culture, and traditions would be in more danger of being forgotten than they
already are. (c) It breaks cultural, social, and economic barriers and the reason why everyone can relate to art is that
everyone has emotions and personal experiences. Therefore, anyone can learn to appreciate art regardless of social
background, economic standing, or political affiliation.

Arts in the Philippines refer to all the various forms of the arts that have developed and accumulated in the
Philippines from the beginning of civilization in the country up to the present era. They reflect the range of artistic
influences on the country’s culture, including indigenous forms of the arts, and how these influences have honed the
country’s arts. These arts are divided into two distinct branches, namely, traditional arts and non-traditional arts
(Wisdomanswer, July 23, 2019 “What Is the role of Filipino artist?”). The Philippines has a long and rich history of art,
with influences from various cultures and traditions. From the pre-colonial era to modern times, painting has been a
prominent art form in the country. The use of natural materials such as bamboo, wood, and leaves for painting has
been prevalent in the Philippines for centuries (Francis B., n.d., “The Importance of Painting in the Philippines''). The
history of Philippine art traverses a vibrant terrain of artistic practices that delicately and urgently mediate the
modernity of art history, institutions, exhibition-making, and the expansive activity of curatorial work. It performs this
range of gestures to speak to and intervene in the ever-changing political milieu and the vast ecology, as well as
ethnicity, of the archipelago (Patrick D Flores and Carlos Quijon, Jr., n.d. “Philippine Art: Contexts of the
Contemporary ''). Philippine art is an umbrella term for the local art produced today and in recent times because of its
definition leveraging more on the time-conscious side rather than a specific style or genre, this makes Philippine
contemporary art more diverse than ever (Imahica, n.d., “Contemplating the Contemporary: What makes Philippine
contemporary art truly Filipino”).

The Filipino national identity is also to speak of the Filipino cultural identity. It is the close relation between
our national and cultural identity and our arts is seen in the way we express or portray our core values, belief
systems, practices and traditions in artworks. Even our history is usually expressed through our arts. Core values of
personalism, loyalty and hospitality, closed family ties and solidarity, social cohesion, gratitude and shame, spirituality
and religiosity, hard work and perseverance, patriotism and respect for elders are usually portrayed or are the subject
of our arts; fine arts, performance arts, literature arts and even contemporary arts. Our songs,music and dances
express our core values and belief systems. It is usually portrayed or are the subject of our arts; fine arts like
painting, graphic arts, performance arts like songs, music, dances, theater express our traditions, literature arts like
novels and poems contain expressions of our core values and beliefs (Aguas Jove, 2018, The Role of Arts in
Preserving/Transforming National Identity in Times of Change: Filipino Context). The genre used to be a major
consideration in determining the “Filipino-ness” of a work of art, at least in painting. The idea was that the depiction of
scenes of everyday life and the surroundings without idealizing them was closest in spirit to the Filipino soul and
native soil. (Leo Benesa, November 18, 2021, “What is Philippine About Philippine Art?”). Global Artists shared their
struggles with the “curse of representation” of having to deal with feelings of the constant responsibility to educate
people on their Filipino roots and the nation. “As artists, you are de facto ambassadors of where you come from. So
they expect your works to represent being Filipino.” As their audiences look for what is Filipino in their artworks, both
artists say that these are Filipino and that Filipino-ness is not lost due to a variance of styles. In arts and for artists,
there is no restricted form to which their identity must definitely be expressed as, “Identity is plural we do not have to
adhere to one” (Xyza Cruz Bacani, Wawi Navarroza, August 30, 2023, “What it Means to be a Filipino Artist in the
Diaspora'').

Creative Economy and Industry in the Philippines

The creative economy comprises industries that are based on individual skill and creativity, which have the
potential to generate income and jobs through the generation of intellectual property. Some of the wonderful creative
industries include advertising, film, animation, music, architecture, crafts, design, literature, new media, and culinary
arts (Future Learn, February 18, 2022, “The Creative Economy in the Philippines”). The creative economy has the
potential to not only strengthen the expansion of global value chains, increase digital adoption among creative small
and medium-sized enterprises (SMEs), fuel the export of cultural goods and creative services, and foster ownership
through local engagement, but also contribute to the overarching goal of sustainable development. The Philippines’
creative economy has continued to grow, with the industry comprising 6.5%–7 % of the country’s GDP in terms of the
copyright-based formal sector and reproducing $3.2 billion in creative services, comprised mainly of software and IT
services, animation, game development, digital marketing, and design services, making it number 1 in the ASEAN
region. Despite this success, there is no creative economy center or government agency in the Philippines yet. A
huge segment of the industry relies on freelancers, who are estimated to number around 2–4 times as many as those
in the formal sector but are unaccounted for in official statistics, making it more difficult to assist them during the
COVID-19 pandemic (Sirivunnabood P. and Alegre H.G., September 3, 2021, Supporting the creative economy for
sustainable development in Southeast Asia). On the whole, Filipinos are a creative people. Filipino musicians and
singers are seen as global troubadours, entertaining luxury cruise guests and performing in West End and Broadway
productions. Filipino designers and craftspeople have contributed to the country’s reputation as a leading design
center in Asia. The once-thriving Philippine film industry, however, has lost market share to Hollywood imports, and
Filipino movies have failed to earn the international acclaim that East and South Asian movies have. With such a
diverse pool of creative talent, the Philippines should use the potential of its creative industries, increasing its
competitive edge while also improving its image (Future Learn, February 18, 2022).
 According to the Republic Act 11904, also known as “The Philippine Creative Industries Development Act.”,
It mandates the promotion and development of the country's creative industries by protecting and strengthening the
rights and capacities of creative firms, artists, artisans, creators, workers, indigenous cultural communities, content
providers and other stakeholders in the creative industries. Creative industries are trades involving persons, whether
natural or juridical, that produce cultural, artistic, and innovative goods and services originating in human creativity,
skill, and talent and having a potential to create wealth and livelihood through the generation and utilization of
intellectual property. Creative industries include those directly or indirectly involved in the creation, production and
manufacturing, performance, broadcasting, communication and exhibition, or distribution and sale of works and other
subject matter, in accordance with existing laws, rules and regulations on intellectual property rights protection. Under
the law, creative industries include audiovisual media (vlogs, films, television, animatronics, broadcasts, music);
digital interactive media (software and mobile apps, video games, digitalized creative content); creative services
(creative research, development, and real-time artistic performances); design (fashion, toy making, footwear making,
textile development, urban landscaping, jewelry making); publishing and printed media (comics, blogs, magazines,
published media); performing arts (musical theater, circus, opera, puppetry); visual arts (drawings, sculptors,
paintings, photographs); traditional cultural expressions (arts and crafts, gastronomy); and cultural sites (museums,
cultural exhibitions).

In 2018, the UNCTAD released its Creative Economy Outlook and estimated that in the Philippines, creative
goods account for roughly $3.23 million in exports and $915 million in terms of creative services. While the values
look encouraging, the Philippines lags behind in the Asia-Pacific cluster and accounts for only 2% of the regional pile.
The contribution of creative industries to the gross domestic product (GDP) and gross national income (GNI) is small,
only at 2% to 5% respectively, far less compared to other emerging economies. For a service-oriented economy, the
Philippines cannot afford to leave a major driver of economic growth, such as the creative industries,
underdeveloped. The Philippines showed growth in the creative economy since 2018, according to the Philippine
Statistics Authority (PSA) released in 2023 the creative economy in 2022 amounted to PhP 1.60 trillion, contributing
7.3 percent to the country’s Gross Domestic Product (GDP). This represents an increase of 12.1 percent from the
PhP 1.43 trillion recorded value in 2021. An increase within only a 5 year timespan shows that the Philippines and its
creatives are emerging more and more. The industry currently employs more than millions of Filipinos. There were
6.98 million Filipinos employed in creative industries, increasing by 10.5 percent from 6.32 million persons in 2021.
Employment in Traditional cultural expression activities recorded the highest share in 2022 of 42.5 percent. This was
followed by Symbols and images and other related activities (24.8%) and Advertising, research and development,
and other artistic service activities (18.0%). According to Kristeen Francisco (2021) “ImagineNation: Philippine
creative industries for economic growth and social cohesion” Now, more than ever, is the time to develop the
potential of Philippine creative industries, and harness the potential of culture, indigenous knowledge, and innovation
as economic resources. Along with the tourism industry, cultural and creative sectors are among the most affected by
the COVID-19 crisis and yet, cultural and creative content are necessary in cultivating a sense of community and
well-being to individuals locked down in their own homes. It’s time for strategic policy interventions to strengthen the
creative industries value chain and rebuild our nation upon the backbone of creative work.

Following the UNCTAD creative industry value-chain analysis, the Philippines can strengthen each vertical
or stage of creative goods and services production and sale to build an operational model of the Philippines Creative
Economy. (1) In terms of creation or the conception stage, the Philippines needs to build creative capabilities by
embedding arts, design, and media in various levels of education. Creative industries should also be made part of the
nation’s investment priorities plan and interested businesses, accorded investment incentives. (2) In terms of
production, the Philippines needs infrastructure support or shared service facilities to be made available to small
enterprises to subsidize production costs. Funding flows for small and micro-creative entrepreneurs should likewise
be made accessible to ensure continued capacity for production. (3) Digitization efforts should be improved so that
creative industries can take advantage of online platforms to distribute their content digitally. Technical assistance
and training on digital service distribution will also aid in the sale and export of creative goods and services. (4)
Export promotion for creative goods and services can be made a topline executive policy direction. New brands,
markets, and products should also be included in an industry development strategy. Trade facilitation issues, such as
slow clearance of goods, should be addressed and handled.

The Philippine creative economy strategy, containing targets that improve on the creative value-chain, can
be the subject of policy action at the national level. This was the aim in the drafting and filing of House Bill No. 8101
or the “Philippine Creative Industries Act” an endeavor headed by Representative Christopher de Venecia and
supported by all members of the House of Representatives Committee on the Creative Industry and Performing Arts.
Its passage, funding, and continued support is something that the Philippines urgently needs if it aims to return to the
country’s economic growth level. It is a necessity and can be a reality. Much of the Philippines’ pride as a nation was
decimated because of the onslaught of joblessness and business closures brought on by the pandemic. However,
the distribution of creative goods and services have the soft power to bolster mental health and national pride. The
generation of new resources for economic development, such as creative goods and services, can open markets,
opportunities, bring about cultural expression, and even strengthen institutional partnerships between the public and
private sector.

According to Christopher de Venecia, Pangasinan’s 4th District Representative, the Philippines is number
one in ASEAN in terms of exporting creative services. He also added "Our creative goods are sort of middling
because of so many different problems. Of course, high power rates, a weak or struggling manufacturing base, we
have logistics concerns.” De Venencia also stated "This creative industry law is an enabling mechanism for a whole
of government approach to developing the sector and addressing the many different pain points that have been
plaguing the different creative industry sectors for decades," To spur the growth of the industry, the need to amp up
investment promotions and educate the country's investment promotion agencies on the different opportunities that
await investors when they come to the Philippines to support the creative ecosystem. "This is something that we're
looking forward to materializing to see how we can encourage more cooperation not just within the bilateral
relationship of Philippines and Indonesia but also how to mainstream creative economy in the ASEAN through
creating a technical working group because this is really something that is an emerging economic sector within
ASEAN," stated by De Venecia. The lawmaker said the government is working on increasing the budget for the
Malikhaing Pinoy Program which aims to harness Filipino creativity as a key driver of economic growth and recovery
through the development of a robust and all-inclusive creative ecosystem in the Philippines.

Artists’ role in the Philippines

The art of the Philippines refers to the works of art that have developed and accumulated in the Philippines
from the beginning of civilization in the country up to the present era. The art of the Philippines can be divided into
two distinct branches, namely, traditional arts, and non-traditional arts. Artists' role is to produce a record of their
surroundings; to express emotions in a tangible or visible manner; to reveal truths that are either universal or hidden;
and to help people view the world from a different or novel perspective. The role of an artist in society is to present
and educate the public about Philippine history and identity. Creative thinkers and makers provide their communities
with joy, interaction, and inspiration, but they also give thoughtful critique to our political, economic and social
systems pushing communities to engage thoughtfully and make steps toward social progress.(Wisdomanswer, July
23, 2019 “What Is the role of a Filipino artist?”). According to Holly Dafurn (2023) “Times have changed: the evolving
role of an artist”. Art from a given time in history or a distinct geographical location can offer insights into a culture
that we would otherwise have no knowledge of but sometimes art tells us more about the artist than the society and
culture that surrounds them. Art reflects the very core of humanity and other times it is purely aesthetic, a luxury, a
rare indulgence. Art can portray the rich complex beauty of the natural world, it can also make bold, ugly, raw
statements that are unsettling, challenging and far from beautiful. It is clear that artists have many different roles, but
no matter what medium they use or style they explore, they all share the same purpose: to create art. Art that is
beautiful, art that is political, art that is accessible, art that challenges, art that is expressive, art that is cryptic. The
very basic idea is that artists reflect themselves and their surroundings. This could be factual and realistic or surreal,
symbolic and expressive. From the days when cave walls were daubed with rich mud to show animals and primitive
people, artists have used their medium to show things to others. The role of the artists is in part to describe life, but
also to shed light on aspects that may otherwise be missed.

According to Juliet Dubla (2017) “The Evolution of the Filipino Artist: Exploring the Roles, Contributions, and
Impact of Artists in Shaping Philippine Society” the artist was very much part of community life. Through time, the
artist’s role has come to mean creating something that uplift spirit, something aesthetically pleasing and entertaining.
The painter Fernando Amorsolo romanticized life, reminding Filipinos of tranquil rural landscapes. Carlos “Botong”
Francisco drew and painted genre paintings inspired by the life of his town, Angono, in Rizal. As a rule, the Filipino
artist’s role is four-fold: the personal, thesocial, the physical, and the immaterial. The artist expresses what they feel.
Artists express what they see around them and find a need to create something useful but also pleasing to look at.
The burnay or clay pottery of the Ilocos region and the banig or woven mats of the Visayas and Mindanao regions.
The artist gives form to the immaterial, the hidden truths of the universe and the spiritual force that inhabits the world.
Because of these roles, the artist is able to refine us and to elevate our sense of what is beautiful and sublime. An
artist reflects the time and culture of his period but seen in a different light. In this way, he or she gets to influence his
reader, viewer, listener, intentionally or unintentionally.

The late Nick Joaquin, a Manileno novelist, playwright, journalist, historian, and essayist is a good example.
He started writing under the pen name of Quijano de Manila for the Philippine Free Press Magazine, chronicled the
diverse heritage of the Philippines, and gave his opinion about the culture of his time for decades.The artist is a
crusader, attempting to sway the viewer to his or her side. In the past decades, there has been a rise in national
fervor. The Filipino artist has become a social critic,exposing the inequalities of life, the effects of urbanization,
globalization, and neocolonialism,evident in most contemporary works today. The artist has also become an advocate
for what he or she believes in. He or she creates an artistic controversy, thereby becoming an agent of change.The
Filipino artist is versatile. They create, not only to realize his or her personal fulfillment, but also to express a point of
view. He or she is a storyteller, narrating everyday life or extraordinary events; presenting cultures in different lights;
and recording and preserving history for future generations to see.
Organization that Supports Different Types of Artists

Artist-Run Alliance (ARA), A non-profit, artist-led global network of independent artist-run initiatives,
promoting direct communication between artists, artist-run groups and alternative art lovers in their localities and
around the world. Artist-run initiatives include artist co-operatives, independent galleries and art spaces. ARA
community coordinates the activities of an artist-run initiative that extends through a broader context, in effect
cultivating a collaborative ecosystem of creative professionals. ARA purpose is to help satisfy specific needs
particular to collective groups of artists and curators and is infused with a do-it-yourself ethos, fostered by a
community working outside of the established art economy and committed to putting creative ideas into action. ARA
supports and promotes a creative hub in the Philippines, 98B COLLABoratory, an artist-run initiative and space in
Manila, Philippines. 98B’s purpose is to have a setting where artists and creative individuals from other disciplines
can interact and work together while presenting art, design and creativity in different ways; be it a talk, a bazaar, a
publication, a meal or a simple gathering. It is a multi-disciplinary art laboratory that seeks to establish a
convergence with artists, designers, curators, writers, musicians, film makers, activists, educators, researchers,
cultural workers, performers, architects and students together with the general public (Artist-Run Alliance
Organization, 2020).

Art Fair Philippines is the platform for exhibition and selling the best in modern and contemporary Philippine
visual art. It aims to mirror the vibrant local scene and continues to generate support for Filipino art practitioners and
it is committed to expanding the local audience for visual arts. One of their programs is the ArtFairPH/Residencies,
an artist residency program project of Art Fair Philippines in partnership with Bleeding Heart Rum Co., the makers of
Don Papa Rum. Financial support will be awarded to five residency programs around the Philippines to support one
artist in each residency. This project gives time and space for artists to create their work (Art Fair Philippines and
Dante Remoto, Manila Bulletin 2023). Another organization is the Butanding Barrio Art Residency in Palawan, A
three-week free-flowing program that involves the artist and the community. Butanding Barrio and the artist can
collaborate together to tailor the program according to the artist's needs. The artist can also collaborate with local
artisans and craftsmen (Dante Remoto, Manila Bulletin 2023).

Challenges that Artists Faced in the Philippines and How Co-working Spaces Helps them

Filipino artists have used their art to depict the beauty of the country’s landscapes, the struggles of its
people, and the richness of its culture. Many paintings depict scenes from daily life, historical events, and folklore.
These paintings serve as a window into the country’s past and present and are a source of national pride (Francis B.,
n.d., “The Importance of Painting in the Philippines”). Unfortunately, there is a general lack of knowledge and
enthusiasm for creative sectors in the Philippines. This is partly because the creative economy spans numerous
sectors and lacks cohesivity. It is critical to recognise the overall environment of the creative industries in order to
develop it. Several Philippine constitutional constraints also act against the economy’s full development. According to
a study, a variety of factors influence Filipinos' awareness of Philippine culture and arts. Such factors include foreign
cultures that are easily accessible through the use of social media, the internet, and television. Lack of knowledge,
first-hand experience, participation in arts and cultural-related activities, and curricular inclusion are also factors that
led to the underappreciation of Philippine arts and culture among Filipinos particularly the Filipino youth (Catinding A.
Jr., January 18, 2023, “i-Sining: An Online Platform for Filipino Artists”). Many people consider art as a hobby or a
collection for the rich to hang on their walls. That art does not cure the sick, build a great wall, or divide a sea. The
kind of appreciation that some people have for art also rises from a distance. This is why art becomes a hostage to
stereotypes and a shock to traditional systems (Cristobal, Len, July 12, 2018, “Why creative work is constantly
undervalued”).

According to Jen San Antonio (2022), The freelance economy in the Philippines has shown rapid growth for
the past few years. In Payoneer’s 2019 Global Gig Economy Index, the Philippines placed sixth in the world as the
fastest-growing market, with a 35 % growth in freelance earnings. The pandemic accelerated this trend and
increased the ranks of freelancers in 2020-21. 55% of freelancers are between the ages of (21 to 35 years old).
However, a sizable (28%) composition of freelancers who’re aged 36-45 years as well, indicating a big proportion of
Gen X and Boomers entering the gig economy. The latter prioritize building their income to support their families and
often juggle freelance work and business opportunities.69% of freelancers run their own business while taking on
gigs simultaneously, while 18% take on multiple jobs from various clients. While 60% still engage in traditional
freelance work, working on a per-project basis, or are bound by a contract with a client, we see the arrival of a new
kind of freelancer. The content creators comprises 35% of all freelancers, and they publish or upload and distribute
their work on social media platforms. While freelancers love the opportunity and flexibility that comes with freelancing,
they are still concerned about the lack of company-sponsored benefits, uncertainty about future income, and isolation
from working alone, amongst other reasons.

Artists fall under the category of freelancers since they are not bound by the traditional employer-employee
relationships or the normal work arrangements. They work freely and are paid on the basis of their results, which
usually are short-term or project-based. The Philippines is said to be the fastest growing freelancing countries in the
world, with year-on-year revenue growing by nearly 210 percent. But due to the nature of their work, many
freelancers become victims of abuse, be it by delayed payments, unfair contracts, or in some cases outright
professional “ghosting” (Sen. Sonny Angara, April 17 2022 “Recognizing the talent of Filipino artists”). The potential
for higher income is another reason why Filipinos turn to gigs to supplement income from their primary jobs. Filipinos’
high English proficiency, low cost and hard-working attitude, many successfully get freelance work from employers
overseas and earn a higher pay. Filipinos enjoy the added freedom and flexibility that comes with not having a
full-time job. There are also drawbacks in being a freelancer in the Philippines. Most workers focused on gigs have
no job security. Freelancing is a contract-based job, whether you’re in the Philippines or abroad. This means if your
project is done, you have no assurance that the client will renew your contract. They also don’t enjoy
company-sponsored benefits (Filweb Asia, 2021). Filipinos who are focused on freelance work need to manage their
finances more carefully so that they can stay protected in case they suffer from a dry spell or encounter emergencies.
Freelance workers can also be abused since the ability of regulators to validate the legitimacy of employers is limited
and there aren’t enough regulations focused on protecting the rights of freelancers. The absence of social interaction
with fellow employees might also take a toll on Filipinos who work solely on gigs (April Lee Tan, May 15, 2023, “The
growing number of Filipino freelancers”).

One of the main challenges for freelancers in the Philippines is the lack of reliable internet access. Many
areas of the country still do not have quality internet service, which can make it difficult to complete projects on time
or communicate with clients effectively. The high cost of data plans can be prohibitive for some freelancers. Another
challenge is cultural barriers. Many people are not used to the idea of freelancing, and they often think that
freelancers are lazy or do not have jobs. There is a lot of competition for freelance work, and it can be difficult to find
clients. In order to be successful as a freelancer in the Philippines, you need to be able to market yourself well and
be persistent in finding work. You also need to be prepared to work for low pay rates, as most clients are willing to
pay only a little bit more than what they would pay an employee. Filipino freelancers sometimes won't get their pay on
time, especially when external factors come into play. The delay may take weeks or even months, which can be
exacerbated when they experience technical issues with their chosen payment method. Lack of clients has created
several challenges for freelancers in the Philippines. One challenge is that many freelancers are forced to compete
with each other for limited work opportunities. This can lead to lower wages and less work stability. Another challenge
is that many freelancers struggle to find quality clients who are willing to pay fair rates for their services. This can be
due to the fact that many businesses in the Philippines are still new and have limited budgets (Ruth Pintacasi, 2022).
The freedom is too much, Filipino freelancers are hardworking individuals by nature, we also know how temptation
and distraction come to derail their productivity every day. Given the loose structure, you might have more time for
breaks and relaxation and less for actual work. Creating a positive work environment to boost productivity (Filweb
Asia, 2021). Another challenge that freelancers face is loneliness and isolation, which significantly impacts mental
health and productivity. In remote and freelance work, the lack of physical interaction with colleagues and the
absence of a communal workspace can exacerbate this feeling (David Anderson, n.d.).

Coworking spaces offer a flexible, low-cost way to reap all the benefits of permanent office space. It’s a
shared office space, with desks, reliable internet, conference rooms, and basic office supplies that can be rented out
by companies, teams, or individuals (Fiverr, 2022). A good co-working space should foster a sense of community
among its members through regular events, networking opportunities, and other activities that bring people together.
Coworking space may help freelancers feel less lonely, enhance productivity by reducing distractions, give a
professional atmosphere to meet customers, and networking possibilities, and help to separate work and leisure
(Muhammad Firhat, 2023).

Impact of Creative Hubs in the Philippines

The creative industry in the Philippines is rising rapidly but with the lack of establishments for artists and
creatives are a hindrance to them. Providing a place for creatives and artists that can also help the creative economy
grow in the Philippines, The implementation of creative hubs is the target of the National Economic and Development
Authority (NEDA). Stated by Undersecretary Jose Miguel Dela Rosa, “We need more creative hubs where we can
develop pools of creative talents and create opportunities for them. While Filipino creativity seems to be an intangible
concept, its development has a huge contribution to the Philippine economy,” NEDA sees the potential of establishing
more “creative hubs” as a way to boost creative industries and to support the country’s economic growth (National
Economic and Development Authority, 2019). The Department of Trade and Industry (DTI) also sees the potential of
developing more projects under the banner “Malikhaing Pinoy” or Creative Philippines, in a bid to start the
implementation of the Philippine Creative Industries Development Act (PCIDA) (Catherine Talavera, 2023). According
to RA 11904, Chapter 4, Section 11, Infrastructure Support. Entities from the creative industries may avail of shared
service facilities from the DTI and the infrastructure support programs under Republic Act No. 11293, otherwise
known as the "Philippine Innovation Act." The Council shall create subsidized rental schemes for studios and venues
and provide co-working spaces and other similar facilities and hardware that may be utilized by multiple creative
industry stakeholders towards the creation, cultivation, and promotion of their goods or services.

Defined by the British Council of the Philippines, Creative hub is a place which brings creative people
together. It is a convenor, providing space and support for networking, sustainability, and community engagement
within the creative, cultural and tech sectors. The British Council of the Philippines provided studies on how creative
hubs impact the individual and community and nation, derived from the work on self-worth (halaga) and community
impact (pakikipagkapwa tao) of F. Landa Jocano, a Filipino anthropologist and educator.
 Impact on the individual

(1) ASpace first introduced the concept of co-working to the Philippines in 2011 and operates a co-working
programme, and provides space for events such as pop-up art galleries, craft workshops and film screenings.
(2) Husay Co. works to empower communities in and through the performing arts, organizing its work into impact
programmes, workshops and a creative agency. (3) HUB:MakeLab is an artist-run initiative rooted in Escolta, Manila
that provides space for a new wave of Filipino creative entrepreneurs, enabling individuals to make the shift from
‘making a living’ to ‘making as living’. (4) PURVEYR is a multi-dimensional media brand that fosters the creative spirit
through stories, objects and experiences from the Philippines, shifting Filipino perspectives of their creative culture by
engaging audiences and communities through digital, print, events and retail. (4) Toon City Academy is an effective
pipeline for skilled animators for the industry, offering opportunities to people, who might have minimal education and
skills, and for students with special needs and from provinces where access to animation is limited.

Impact on the community

(1) MATIC is a haven for product developers, designers, and students to touch, feel and experiment with
materials, and is an enabling space for creators with a focus on events, training and workshops for young artists
including cooperation with the University of Cebu. (2) HoliCOW (Holistic Coalition of the Willing, Inc) supports the
sustainability of the furniture sector. Activity is based on the ‘kalibutan way’ to emphasize the need to be concerned
about the environment and giving value to every natural material they utilize. (3) Co.lab was founded as a co-working
space in 2011 to develop an active community of practice and support for pioneers, start-ups, freelancers, innovators
and change makers. (4) CraftMNL is a multidisciplinary artist-run creative hub aiming to empower local makers and
crafters by providing them with resources and showcasing platforms and supporting entrepreneurs, particularly those
in the provinces and rural areas.

Impact on a National Level

The Design Centre of the Philippines is an internationally recognised center for design excellence and has
collaborated with a wide range of creative hubs. It organizes a multi-design festival across a number of cities
involving around 60 hubs.

Creative hubs impact on the Individual focus on the value of the local artists through enhancing their livelihood by
providing safe spaces and mentorships. These hubs help individuals to figure out their passion and abilities which
can be aligned to the available opportunities in the world. They promote inclusivity and inclusive learning such as
connecting, training, mediating, inspiring and empowering are their key tenets. Creative hubs impact on the
community (local community or artist community), focus on building community identity. This involves recognising the
ecosystem of makers, innovators and growers that make the industry flourish. Some of these hubs aim to provide
sustainable livelihoods among talented or skilled indigenous tribes. In essence, their thrust is collaboration and
seamless community building. Creative hubs impact on the Nation focuses on valuing Filipino culture and identity.
Creative hubs can be an effective resource for municipalities to deliver on their obligations to formulate cultural
strategy, and provide guidance on standard terms and indicators to support the aggregation of data and
benchmarking between local authorities. Creative hubs are well placed to take on responsibilities for strategy
direction and support in the creative sector working in partnership with municipalities.

Creative Hubs Profiles

According to the British Council of the Philippines 2020, Provides it can house different creative domains
such as Cultural and natural heritage, Performance and celebration, visual arts and artisans, books and press, audio
,visual and interactive media and creative services. Most of the creative hubs in the British Council’s Creative
Innovators Program fall under the Creative Services Domain. The main focus of the Creative Services Domain is
providing incubator/co-working space (spaces for rent/meeting rooms/studios). The creative hubs under this domain
provide the following activities such as business support, collaborative opportunities, knowledge exchange,
consultation, networking and mentoring. The average age of creative hubs is 1-5 years which is 68%, 6-10 years
being second with 23%, 10 years being 5% while the least is less than 1 year with 4%. The size of creative hubs with
the number of employees with 1-3 and 4-6 being the same as 40%, 7-9 employees at 13%, 10-12 employees at 4%,
and more than 12 employees at 3%. Most of the creative hubs are located in Metro Manila and specifically in Makati
area where 23% of the offices are located followed by Quezon City which has 8%. Cebu is the second region with the
most creative hubs. Majority of the creative hubs in the innovators programme have physical space or office space.

Challenges of Creative Hubs

In 2020, The British Council of the Philippines conducted a survey and studies on different creative hubs in
the Philippines. These surveys revealed a wide range of challenges experienced by creative hubs such as:

● Funding and financial management is a concern for all hubs in the different domains, as is public awareness
and mindset. “The biggest challenge is funding. We use our own personal funds to jumpstart projects. There
are also times when we partner with organizations who can fund the projects for us. Another challenge is
access to information and exposure.”
● Mentorship and access to education is a common need. Lack of knowledge and skills constrains hubs from
all domains. The biggest need is for business and management knowledge and skills, followed by technical
knowledge, skills and technology resources. Creative skills development is considered least important.
● The lack of institutional support, especially from the government, is a challenge for all hubs except for those
in the literary and press domain. “Creating a long-term partnership with the local government and Philippine
cultural institutions to aid in the funding of Fringe Manila’s programming.”
● Sustainability is a challenge for hubs that focus on Creative Services, Performance and Celebration, Visual
Arts and Artisan Products, and Audio, Visual, Broadcast and Interactive Media.
● Networking is a concern for those in Creative Services, Visual Arts and Artisan Products, Audio, Visual,
Broadcast and Interactive media, and Cultural and Natural Heritage domains.
● The need for venues and accessibility was raised by hubs in the Performance and Celebration, Visual Arts
and Artisan Products, and Creative Services.

According to the research of Koen Boswinkel & Edwin van Meerkerk (2022), Creative hubs: an anomaly in
cultural policy, creative hubs challenges such as the life cycle of it. The Community-driven initiative in an area that
has been more or less abandoned by local policy, a building or area comes into being that attracts visitors through
cultural activities such as exhibitions, performances, and small festivals. The municipal government sanctifies the
initiative by formal recognition and possibly subsidies. The area becomes an attractive asset for the entire town or
city, attracting new inhabitants, companies, and tourists. The process shifts from a real-estate driven change to a
consumer-focused development. Small catering companies, micro-breweries, food shops, bars, and restaurants
conform more to tourist standards or are taken over by larger brands (though often invisible to the customer). As
prices continue to rise, the original occupants are forced to leave, being no longer able to afford the rent. New groups
move in, attracted by the artistic image, but soon complain about the nuisance caused by performances, thus putting
a cap on the nature of the cultural initiatives. The gentrification process is completed and the artists start over at a
different location, so the general narrative of the life of a hub goes.

Many hubs can be characterized as a commons, as they have less recourse to the well- established funding
routes for cultural work and must therefore resort to their own networks and forms of crowdsourcing to support their
work. Creative hubs are characterized by a culture of trial and error that flourishes when the artists and cultural
makers are given space for experimentation and can communicate directly with each other and their audience. The
idealistic nature and affinity for, or even close association with, forms of counterculture, such as squatting is an
important reason that hubs tend to start without government support.

2.2.2 Case Studies

Case Studies for Creative Hubs

HUB: Make Lab

Location: 413 Escolta Street, First United Building, Manila
Source: British Council of the Philippines

HUB Make Lab is a pioneering creative hub that is artist and

maker-led which experiments in art, cultural programming, community
activation, and creative sustainability establishing individuals . In 2012, Hub:
Make Lab brought together art and social entrepreneurship, and stimulated
lively neighborhood participation, developing from a small market for artists
based in a garage, and providing an alternative development option to the
gentrification that was anticipated for the area. In 2016, Hub:MakeLab moved
to Escolta Street, providing artists with a multi- functional space (at affordable
rates) and providing creative programmes with the local community and with a
range of institutional support. The city government has taken notice of the
renewed interest in the neighborhood, and Hub:MakeLab has made a major
contribution to local people and businesses seeing the potential of more
community oriented regeneration. In 2024, February 3, the researcher went to
Escolta, Manila for an interview with Jodinand Aguillon, one of the managers
of HUB: Make lab. The hub is a privately owned organization and it holds
events once every few months. Estimated 100 daily visitors are said to
frequent the hub for the freelance artists and artisans with handmade
products. HUB: Make Lab use the First United Building as an adaptive reuse.
Office and independent shops can be found inside the hub, with the adaptive
reuse it can have its challenges as it is already built such as limited spaces and improper placement of coworking
spaces and shops that may be a hindrance to the users flow. Interior design uses glass and steel as partitions for
offices and independent shops, this provides a welcoming atmosphere and open-ness in the hub. (Photos taken by
the researcher and theurbanroamer).

Baguio City Creative Hub and Pavilion

Location: Malcolm Square, Baguio City
Architects: 90 Design Studio
Source: 90 Design Studio Projects

Baguio City has a strong, unique, and rich heritage and culture as its foundation. To celebrate Baguio’s
designation by UNESCO as a Creative city in the field of crafts and folk arts. The creative council saw that there was
a need to communicate and showcase the City’s best creative outputs to promote Baguio’s creative community. The
project aims to showcase more of what it was expected to deliver by attempting to promote creativity that goes
beyond artistry. The creative hub placed in the context of the event, acts as an exhibition space and stands as an
installation itself. Within the short time frame, the design and conceptualization was made within a week. The hub
was set in Malcolm Square, a public open space surrounded by commercial establishments and located within the
bounds of the city center. To maintain the open characteristic of the park, it was needed to maintain the permeability
and explore negotiations between programs, people, and architecture. Establishing a space that fosters community
and connectedness, a space that encourages different arts and crafts meld together to create an experience. A loop
was established to create interaction between artists and the people. The pavilion has the same narrative as the
exhibition itself. The creative hub aims to contribute a new thought rather than dictate a new creative direction. It
aims to question existing parameters and conditions in hopes to create a catalyst that could help the City and its
people to further evolve within and eventually, beyond the sphere of creativity.
(Photos and Design Concept by 90 Design Studio)
 Baguio’s Creative hub study is temporary but with the idea itself of being an exhibition itself shows the
innovative ideas of creative hubs. Bringing the community together by providing an open space and proper circulation
for users and artists to interact with one another. The creative hub being in the center of the city and surrounded by
commercial establishments helps maintain the permeability and explore negotiations between the people.

Bogor Creative Hub

Location: Bogor, Indonesia
Architects: Local Architecture Bureau
Area: 1600 sqm
Year finished: 2021
Source: ArchDaily

The creative hub aims as a collective space of activities that acts as an open platform for exchange,
spontaneous, informal exercise and inspiring spaces for the creative people in Bogor. The building stands in 1.3
hectares of land with 200 years old existing buildings, leaving an open space that can be utilized as casual and
extension activity. The creative hub is a single building with porous accessibility from all directions, smooth
connection for all open space in the complex for open-air activities and extends to the park. The programs inside
consist of auditorium, classrooms, and gallery. The “C” form faces existing trees and old buildings as its covering and
fills out the edge of the complex. Occupying different geometries under a single curvy roof that reflects as a dominant
expression of tropical design. The programs are surrounded by open terraces that enlarge the space as communal
space and accessibility.
Gemawang Swaribathoro, One of the Architects of Bogor Creative hub, explains his approach “We try to
respect as much as we could in order to harmonize between historical building & massive green forest by designing a
simple, quite, non-provocative yet flexible for creative spirit”. The concept is to maintain the building as a blank
canvas for creative spirits to fill in and activate it with their color and soul. The park in between old buildings becomes
an outdoor stage for performance that can face a large public plaza or an extensive room from the program inside.
The grand design organized the whole complex as a catalyst as public and open for visitors. Bogar's creative hub
used tropical design can be seen with the open area and spaces that connect to the park that can be used for larger
events and outdoor performances. The building is limited by the spaces because of its compact site.
(Photos and concept are taken in ArchDaily)
The Gantry
Location: East London
Architects: Hawkins\Brown Architects
Area: 10,000 sqm
Year finished: 2018
Source: ArchDaily

A former part of the broadcast center and HVAC gantry structure has been reused as a creative hub. The
gantry is located in a former industrial district called Hackney Wick now colonized by artists and creatives. According
to the Architects Hawkins\Brown, “IIt was almost a ready-made ‘cabinet” and “That’s what we saw the gantry
structure as. It’s a shelf to put interesting and exciting objects on.” The idea for the design is that the gantry would
become a Victorian “cabinet of curiosities”, which the Architects modeled with collaged images of steam engines,
airplane, and old metronome. Adding images of toy bird, toy camera, RV trailer, Ferris wheel and red tin robot added
exuberant juxtaposition.
The sense of fun and experimentation is on display in the structure which houses 21 studios for artists and
creative business. The steel structure is divided by 26 by 26 ft bays, one for each studio space, arranged in a
checkerboard pattern to balance their weight in the cantilevered structure. Two-story studios at the rear offer more
muted facades; one-story units in the front are more flamboyant, adorned in artificial grass and shimmering
polycarbonate panels. Textures and geometries are postmodern and antic, inspired by the inside-out structural
expression of the Centre Georges Pompidou museum in Paris, France. Cris Robertson of the Tampery, offered 80%
of the units to local creative businesses that will manage the “vertical village of sustainable studios''. Robertson stated
“At a time when less-traditional space is becoming available and rising rent is pushing out creatives, this
demonstrates how innovative architectural techniques can bring previously unused spaces to life”. According to Peter
Smisek (2018), the studios are built by computer numerically control (CNC) cut from sheets of plywood and
assembled on site. The Gantry’s potential as a large-scale creative hub houses many different creatives with its
flexibility of space and size for private offices and an open design.
(Photos taken by Rory Gardiner, Design Curial and The Gantry)
Tasik Creative and Innovation Center
Location: Tasikmalaya, Indonesia
Architects: SHAU Indonesia
Area:1994 sqm
Year Finished: 2023
Source: ArchDaily

Tasik creative and innovation center designed by SHAU, an example of “socio-climatic” design strategy
specifically tailored to the context of West Java, Indonesia. Commissioned by the former Governor Ridwan Kamil to
support emerging creative communities and individual artists in Tasikmalaya, a city known for weaving craftsmanship.
One of the design requirements was to keep the existing parking lot. As a design decision, the auditorium and
exhibition spaces are elevated to allow parking at the ground level. This creates an opportunity for a grand seating
staircase that overlooks a public plaza. The plaza is designed at the Southwestern side of the main entrance and will
showcase a selection of contemporary, local, and outdoor sculptures. The staircase also serves as a covered,
semi-outdoor seating area that can be used for various activities, such as gatherings, live music, and discussions.
Designed as a tropical cultural building, Tasik Creative and Innovation Center incorporates balconies, terraces, and
semi-outdoor spaces, inviting visitors to enter and explore. To emphasize the public character of the building, a route
through the building, passing by the exhibition area, was introduced. This route is accessible during all times of the
day, making it possible to see parts of the exhibited works or an art workshop in the making at any time. The building
further contains co-working spaces and an auditorium for events and movie screenings. The volume is wrapped by
woven façade elements, which reduce solar heat gain and shade the interior. The woven panels and densities are
chosen according to the corresponding program behind the façade and the view to the outside. To conserve energy,
the building uses air conditioning only in the auditorium and the main exhibition hall. During workshop events and
other functions, the exhibition area can be cross-ventilated by opening the sliding glass wall, allowing for the air
conditioning to be turned off.
(Photos are taken from ArchDailiy)
Case Studies for Neo Vernacular Architecture

Santiago Project by ALUMINAK A Collaborative Platform to Support Tourism and Remote Communities through
Sustainable Co-living
Location - Ilocos Sur, Philippines
Source: An Aluminak Development

ALUMINAK is the first company of its kind to develop co-living accommodations for mid-to-long term stays in
the rural area. Its elements and organically artistic architecture represent a return to humanity’s roots from
pre-colonial times where people's values and culture have not been influenced and colonized. The Project caters to
modern visitors who can bring their work, passions, art, and zest for life in a nourishing, eco friendly and holistic
setting within a community of doers, makers, and shakers to create a social impact in its locality. The Project lets
creatives, artists and nomadic communities find solace in a humanized, new hospitality concept for co-living that
caters to their individual pressing needs. It provides them the opportunity to live the way they want and a platform for
collaboration and creation of social impact and a living legacy. The foundation for ALUMINAK’s four interconnecting
pillars are (1) Art, Culture and Community, (2) Holistic Wellness (emotional, occupational, social, intellectual, and
spiritual), (3) Entrepreneurship (remote-based, agricultural, circular, and artisanal), and (4) Sustainability,
Conservation and Environment.

(Photos taken from homepage of An Aluminak Development)

Notable Spaces

A'gubra - Co-working spaces around the property are built according

to the principles of sustainability, conservation and environment. The
amenities specifically for co-working needs with the latest, sustainable
technology infrastructure in hospitality. From phone booths for quiet
conference calls to workshop spaces with black boards that allow
people to brainstorm and collaborate. A highly productive, mingle and
network with like-minded people and thrive.

U'may Ka - Umay Ka is an integrally experiential art and cultural

museum which tells the story of Ilocos, its cultural heritage and
ancestral spirits. It follows the natural contour of the Project’s ground
and its natural surroundings, honoring the forms of the soil and
coexisting with the trees.The architecture at Umay Ka is inspired by the
shapes of nature: dynamic, irregular, asymmetrical and harmonious.
The ceramics, the work with clay and macramé unite what was
separated, bringing humanity back into harmony with nature.
The Coconut Palace
Location -CCP Complex, Manila
Architect: Francisco Mañosa
Year Finished: 1978 and Renovated in 2010
Source: Lamudi: Architect Francisco Mañosa: Defining Philippine Architecture Through the Lens of a National Artist

Hailed as one of his most iconic works, the Coconut Palace or “Tahanang Pilipino” was drawn from the tree of life.
The palace used indigenous materials such as bamboo, coconut, rattan, cogon, shell, adobe, including ash straight
from the Mt. Pinatubo eruption. About 70 percent of this work by Architect Francisco Mañosa is made out of coconut
trees such as coconut lumber, shells, and husks. Even furniture is made from coconut products, such as the coconut
chandelier made out of 101 coconut shells and a dining table with over 40,000 pieces of crushed coconut shells. By
using coconuts, Mañosa wanted to show that indigenous materials in the country can be transformed into materials
suitable for luxurious purposes. Coconut Palace, a grand reinterpretation of the bahay kubo, is also Architect Bobby
Mañosa’s work that reflects the warm hospitality of the Filipinos. If you look at the structure from the top, its
hexagonal domes resemble the shape of a salakot or a farmer’s hat

(Photos taken from Lamudi And Esquire)

 2.2.3 Summary of Findings

The researcher proceeds with the key findings from the case studies that will aid with the research. The key
takeaways listed are:

Creative Hubs studies

Tasik Creative and Innovation Center

● Incorporating Parking
● Auditorium, Exhibitions and Plaza to house activities
● Semi open spaces and Terraces
● Woven panels to conserve energy
The Gantry
● Flexible size of site area for more artists and creatives to house and accommodate
● Open space planning
● Modular Office spaces and size
Bogor Creative Hub
● Inclusions of auditorium, classrooms, and gallery
● Tropical Design implementation
● Smooth connections and accessibility for each space
Baguio City Creative Hub
● Open planning and circulation
● Innovative approach
● Relevance to the city center and establishments
HUB: Make Lab
● Glass partitions of offices and shops for welcoming atmosphere

Neo Vernacular Studies

Santiago Project by ALUMINAK

● Use of vernacular materials that represents the locations
● Co working space with latest and sustainable technologies
Coconut Palace
● Use of indigenous materials
● Concept is close to Filipino Culture

With the key finds of the researcher, combining the elements of each creative hub studies to put together a
large creative hub that will accommodate different types of artists such as traditional and non traditional. Uniting also
offices and coworking spaces, shops, auditoriums, classrooms, workshops, open spaces for performances and
galleries while using elements such as passive design and proper planning and circulation for ease of interaction of
artists and people. Applying the Neo Vernacular approach would complete the designers’ idea of the Creative Hub.
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