Garcia ImaheNasyon Park Manuscript

ImaheNasyon Park: A Proposed Historical and Cultural Complex
“Evoking the Evolving Identity of The Philippines”
Garcia, Louisse Allyza A.
Technological Institute of the Philippines

Manila
November 2023
APPROVAL SHEET
This is to certify that I have supervised the presentation of and read the project study prepared by Louisse
Allyza A. Garcia entitled ImaheNasyon Park: A Proposed Historical and Cultural Complex “Evoking
the Evolving Identity of The Philippines” and that the said capstone project has been submitted for
final examination by the Advisory Committee.
AR. T-JAY DENMARK CADETE

Project Adviser
As a member of the Advisory Committee, we certify that we have examined this capstone project
presented before the committee on November 2023 and hereby recommend that it should be accepted
as partial fulfillment of the capstone requirement for the Degree of Bachelor of Science in Architecture.
PANEL OF JURORS
AR. LYNDON REGALARIO AR. EDJUANA NOMA-DELACRUZ
Panel Member 1 Panel Member 2
AR. LYNDON REGALARIO

Member, Head Jury
This capstone project is hereby approved and accepted by the College as partial requirement for the
Degree in Bachelor of Science in Architecture.
ARCH. PRIMALYN HIPONA

Capstone Coordinator
ARCH. JOSEFINA S. DE ASIS

Program Chair, Department of Architecture
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List of Tables
Chapter 1: Project Background
Table 1.1. The Development Process……………………………………………………………………….…14
Chapter 2: Site Justification

Table 2.1. Evaluation Ranking and Description…………………………………………………………..17 - 19
Table 2.2. Site Evaluation Criteria …………………………………………………………….…………..19 - 20
Table 2.3. Site Evaluation Criteria Percentage Result…………………………………………………..……20
Table 2.4. Area Distribution of Taguig…………………………………………………….……………………25
Table 2.5. Taguig Slope Distribution……………………………………………………………………………29
Table 2.6. Telecommunication Providers………………………………………………………………………37
Table 2.7. S.W.O.T. Analysis……………………………………………………………………………………46
Chapter 3: Design Inputs

Table 3.1. Standards for Philippines Libraries…………………………………………………………..70 - 74
Table 3.2. National Building Code of the Philippines (PD 1096)………………………………………..74 - 75
Table 3.3. Other Pertinent Laws related to PD 1096, RA 9541, and BP 344……………...………….76 - 79
Table 3.4. Minimum Plumbing Facilities……………………………………………………………..…………79
Chapter 4: Architectural Programming

Table 4.1. Developmental Controls (Vision Square Zone) …………………………………………………81
Table 4.2. Developmental Controls (Epoch Echo Zone) …………………………………………………..…81
Table 4.3. Developmental Controls (Lore Zone) …………………...…………………………………………82
Table 4.4. PWD Parking Slot Ratio………………………………………………..……………………………82
Table 4.5. Workshop and Auditorium Parking ratio……………………………………………………………82
Table 4.6. Museum and Library Parking ratio……………………………………….…………………………83
Table 4.7. User Analysis…………………………………………………………………………………………83
Table 4.8. Taguig Vision Analysis…………………………………………………………………...………….86
Table 4.9. Population Projection of Taguig (2020 – 2029) ……………………………………..….…………86
Table 4.10. School-Going Age Population Projection of Taguig (2020-2029) …………………..…………87
Table 4.11. Expected Visitors from School-Going Age Population of Taguig Computation…….…………87
Table 4.12. Working Age Population Projection of Taguig (2020-2029) ……………………………………87
Table 4.13. Expected Visitors from Working Age Population of Taguig Computation……………..………88
Table 4.14. 2020 National Museum Visitor Arrivals……………………………………………………...……88
Table 4.15. National Museum Visitor Arrivals Growth Rate…………………………..………………………88
Table 4.16. Population Projection of National Museum (2022-2023) ……………….………………………89
Table 4.17. Expected Visitors from The National Museum Computation……………………………………89
Table 4.18. Annual library usage in nearby City Libraries Computation……………………………………90
Table 4.19. Projection of City Libraries Visitor Arrival…………………………………………………………90
Table 4.20. Expected Visitors from annual library usage in nearby City Libraries Computation…………..90
Table 4.21. Foreign Visitors to Rizal and Paco Park …………………………….…………………….……91
Table 4.22. Visitor Arrivals to Rizal Park………………………………………………………………………91
Table 4.23. Museum Building Space Analysis…………………………………………..………………92 - 93
Table 4.24. Library Building Space Analysis…………………………………………….………………93 - 94
Table 4.25. Workshop Building Space Analysis…………………………………………………………94 - 95
Table 4.26. Auditorium Building Space Analysis………………………………………..………………95 - 96
Table 4.27. Recreational Park Space Analysis………………………………………….……………………96
Table 4.28. Museum Building list of Galleries, Exhibitions, and Inventories…………..………………97 - 99
Table 4.29. Library Building list of Exhibitions and Inventories……………………………….………………99
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Table 4.30. Workshop Building list of Workshops and Inventories……………………………………99 – 100

Table 4.31. Calendar of Events………………………………………………...………………………100 - 102
Table 4.32. Museum Building Space Programming Matrix………………….………………………108 - 112
Table 4.33. Library Building Space Programming Matrix……………………………………………113 - 117
Table 4.34. Workshop Building Space Programming Matrix……………………..…………………118 - 122
Table 4.35. Auditorium Building Space Programming Matrix…………………………………...…123 – 124
Table 4.36. Design Constraints Analysis……………………………………………….……………………131
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List of Figures
Chapter 1: Project Background
Figure 1.1. Taguig City Seal………………………………………………………………………………..……11
Figure 1.2. Department of Tourism Seal……………………………………………………………………….11
Figure 1.3. Department of Tourism Organizational Chart…………………………………………….………12
Figure 1.4. Nayong Pilipino Foundation Logo…………………………………………………………….……12
Figure 1.5. The Design Process……………………………………………………………………...…………13
Chapter 2: Site Justification

Figure 2.1. Site Selection Map……………………………………………………………………………..……15
Figure 2.2. Proposed Sites………………………………………………………………………………………21
Figure 2.3. Selected Site Map…………………………………………………………………………...………22
Figure 2.4. Location Map of Taguig City…………………………………………………….…………………23
Figure 2.5. Barangay Map of Taguig……………………………………………………………………………24
Figure 2.6. Taguig City Map…………………………………………………………………………………..…26
Figure 2.7. Population in Taguig……………………………………………………………………………...…27
Figure 2.8. Slope map of Taguig……………………………………………………………………………..…28
Figure 2.9. Land Classification Map……………………………………………………………….……………29
Figure 2.10. Climate chart of Taguig……………………………………………………………………………30
Figure 2.11. Average temperature in Taguig……………………………………………………………..……30
Figure 2.12. Cloud cover categories in Taguig……………………………………………………………...…31
Figure 2.13. Average Monthly Rainfall in Taguig………………………………………………………………31
Figure 2.14. Average Wind Speed in Taguig………………………………………………………………..…32
Figure 2.15. Flood Hazard Map…………………………………………………………………………………32
Figure 2.16. Earthquake Faultline Map…………………………………………………………………………33
Figure 2.17. Earthquake Faultline Map…………………………………………………………………………34
Figure 2.18. Taguig Road network…………………………………………………………………………...…35
Figure 2.19. Manila Water Logo…………………………………………………………………………………36
Figure 2.20. Manila Electric Company……………………………………………………………………….…37
Figure 2.21. Globe Telecom Logo………………………………………………………………………………37
Figure 2.22. Smart Communications Logo……………………………………………………………………37
Figure 2.23. DITO Telecommunity Logo…………………………………………………………………….…37
Figure 2.24. Site Analysis…………………………………………………………………………………..……38
Figure 2.25. Road Network Analysis……………………………………………………………………………38
Figure 2.26. Vehicular Traffic Analysis (Weekdays Morning) ……………………………………………..…39
Figure 2.27. Vehicular Traffic Analysis (Weekdays Evening) ……………………………………………..…39
Figure 2.28. Vehicular Traffic Analysis (Weekends Morning) ……………………………………………..…40
Figure 2.29. Vehicular Traffic Analysis (Weekends Evening) ……………………………………………..…40
Figure 2.30. Water Bodies Analysis………………………………………………………………………….…41
Figure 2.31. Natural Vegetation Analysis………………………………………………………………………41
Figure 2.32. Site Slope Analysis………………………………………………………………………………...42
Figure 2.33. Near Land Use Zoning………………………………………………………………………….…43
Figure 2.34. Site Bearing…………………………………………………………………………...……………43
Figure 2.35. Actual Site Photographs………………………………………………………………………..…44
Figure 2.36. Vicinity Map……………………………………………………………………………………...…45
Figure 3.37. S.W.O.T Analysis………………………………………………………………………………….46
Figure 2.38. Initial Site Schematic Diagram……………………………………………………………………47
Figure 2.39. Initial Site Schematic Diagram (Vehicular Flow) ………………………………………………48
Figure 2.40. Initial Site Schematic Diagram (User Flow) ……………………………………………………48
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Chapter 3: Design Inputs

Figure 3.1. Nayong Pilipino Theme Park Map…………………………………………………………………49
Figure 3.2. Spaces inside the Nayong Pilipino Theme Park……………………………………….…………50
Figure 3.3. Tales of Illumina Map………………………………………….……………………………………51
Figure 3.4. Tales of Illumina Interiors………………………………………………...…………………………52
Figure 3.5. Art in Island Front View………………………………………..……………………………………53
Figure 3.6. Art in Island Interiors…………………………………………...……………………………………54
Figure 3.7. Mind Museum Arial View……………………………………………………………………………55
Figure 3.8. Mind Museum Interiors & Exterior…………………………………………………………………56
Figure 3.9. Junshan Cultural Center Front View………………………………………………………………57
Figure 3.10. Junshan Cultural Center Interiors & Exterior………………………………….…………………58
Figure 3.11. Tennessee State Museum………………………………………………………………..………59
Figure 3.12. Tennessee State Museum Interiors………………………………………………………...……60
Figure 1.13. Singapore Art Museum……………………………………………………………………………60
Figure 3.14. Colored Holograms Installed by teamlab……………………………………………………..…61
Figure 1.15. Palais de Tokyo Front View………………………………….……………………………………62
Figure 3.16. Flooded Museum………………………………………………………………..…………………63
Figure 3.17. National Museum of Qatar Front & Aerial View…………………………………………………64
Figure 3.18. National Museum of Qatar Interiors……………………………………………...………………65
Figure 3.19. The Luchrsingel……………………………………………………………………...…………….66
Figure 3.20. The Luchtsingel…………………………………………………………………………………….67
Chapter 4: Architectural Programming

Figure 4.1. Organizational Chart………………………………………………………………………………102
Figure 4.2. Museum Building User Flow Analysis……………………………………………………………103
Figure 4.3. Library Building User Flow Analysis…………………………………………………...…………104
Figure 4.4. Workshop Building User Flow Analysis………………………………………………….………105
Figure 4.5. Auditorium Building User Flow Analysis…………………………………………………………107
Figure 4.6. Museum Building Space Adjacency Matrix…………………………………...…………………125
Figure 4.7. Library Building Space Adjacency Matrix………………………………………..………………125
Figure 4.8. Workshop Building Space Adjacency Matrix……………………………………………………126
Figure 4.9. Auditorium Building Space Adjacency Matrix………………………………………...…………126
Figure 4.10. Museum Building Bubble Diagram…………………………………………………..…………128
Figure 4.11. Library Building Bubble Diagram……………………………………………………..…………129
Figure 4.12. Workshop Building Bubble Diagram……………………………………………………………130
Figure 4.13. Auditorium Building Bubble Diagram……………………………………………………...……130
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TABLE OF CONTENTS
Contents
Project Title………………………………………………………………………..…………………………………
Approval Sheet…………………………………………………………………………………….………...…....2
List of Tables…………………………………………………………………………………………………...3 - 4
List of Figures…………………………………………………………………………………………………5 - 6
Table of Contents………………………………………………………...……………………………………7 - 8
Chapter 1: Project Background……………………………………………………………………………………
A. The Project…………………………………….……………………………………………………9 - 10
B. Project Objectives………………………………………………………………………………………10
C. The Client…………………………………………………………………………………………11 - 13
D. Project Scope and Limitations………………………………………………………………………13
E. Project Development……………………………………………………………………………13 - 14
Chapter 2: Site Justification…………………………………………………………..……………………………
A. Site Selection Criteria…………………………………………………………………….………15 - 22
B. Macro-Meso Site Analysis: Region/Province/Town………………………………………...………23
B.1. City Map…………………………………………………………………………………………23 - 25
B.2. Land Use…………………………………………………………………………………………26 - 27
B.3. Demography……………………………………………………………………………………………27
B.4. Topography and Slope…………………………………………………………………………28 - 29
B.5. Soil Type…………………………………………………………………..………………………29 - 30
B.6. Climate and Weather……………………………………………………………………………30 - 32
B.7. Natural Hazards and Constraints………………………………………………………………32 - 34
B.8. Road Networks……………………………………………………………….…………………35 - 36
B.9. Service Utilities……………………………………………………………………………………36 - 37
C. Micro Site Analysis: The Site and Its Immediate Environs……………………...…………………38
C.1. Site Inventory and Analysis……………………………………………………………………38 - 43
C.2. Actual Site Photos………………………………………………………………..……………………44
C.3. Vicinity Map/ Nearby Establishments…………………………………………..……………………45
C.4. S.W.O.T. Analysis……………………………………………………………………………..………46
D. Initial Site Schematic Diagram………………………………………………………………..…47 - 48
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Chapter 3: Design Inputs…………………………………………………………………………………………..

A.1. Design Standards…………………………………………………………………………………….49
A.1.1. Review of Related Local Literature and Case Studies………………..……………………49 - 56
A.1.2. Review of Related Foreign Literature and Case Studies…………………………………56 - 67
A.2. Review of Pertinent Laws and Regulations……………………………………………………68 - 79
B. Specialized Allied Services……………………………………………………………………………80
Chapter 4: Architectural Programming……………………………………………………………………………
A. Architectural Design Development………………………………...…………………………………81
A.1. Site Planning and Site Programming…………………………………………………………………81
A.1.1. Developmental Controls……………………………………………………….……………………81
A.2. Building Space Program…………………………………………….……………………………81 - 83
A.2.1. User Analysis…………………………………………………………………………………………83
A.2.2. Demand Analysis……………………………………………………………………….………84 - 91
A.2.3. Space Analysis………………………………………………………………………...………92 - 102
A.2.4. Organizational Chart……………………………………………………………….………………102
A.2.5. User Flow Analysis…………………………………………………..………………………103 - 107
A.2.6. Space Programming Matrix…………………………………………………………………108 - 124
A.2.7. Space Adjacency Matrix Diagram……………………………………….…………………125 - 126
A.2.8. Bubble Diagrams……………………………………………………………………………127 - 130
A.3. Design Constraints……………………………………………………………………………………131
References…………………………………………………………………….…………………………132 - 133
Appendices A……………………………………………………………………………………………………134
Appendices B…………………………………………………………………….………………………134 - 135
Appendices A……………………………………………………………………………………………………136
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CHAPTER I: PROJECT BACKGROUND

A. THE PROJECT
The Philippines embodies deep customs, ancient traditions, and a rich tapestry of culture
coalescing to assemble a distinctive identity, despite this abundance of cultural riches, it is a
contradictory reality that the country often struggles to find the platform it deserves to showcase
its unparalleled cultural assets. Even up to this day, there is still a lack of cultural coordinators
and art centers to keep up with the growing demand of cultural focus within the country. (Dulay,
2021)
In February 2022, urging the government to extend its efforts in promoting art forms that can
have a substantial impact on driving culture and tourism growth increases as arts have direct
economic benefits, including the creation of jobs for marginalized individuals, which, for instance,
can enhance the quality of various Filipino products and services as stated by Camarines Sur
2nd District Rep. Gabriel Bordado Jr. And by the end of the year 2022, the Government extends
its support in creating and presenting initiatives that bring focus and development centered
around the core values of Philippine Identity, Sustainability, and Global Competitiveness.
Government concrete plans began to emerge as Tourism Secretary Christina Garcia Frasco has
confirmed the full support of the Department of Tourism for the endeavors of national parks and
affiliated agencies in nurturing the tourism culture. Emphasizing that one of their goals is to
ensure the continual expansion of tourism offerings nationwide by leveraging the expertise of the
DOT and its affiliated agencies to assist in educating and enhancing the capabilities of local
government units (LGUs) and private individuals who may wish to collaborate with them for the
development of tourism offerings.
To fully implement the initiatives and supply the demand, the Department of Tourism is
committed to the following goal aligned with the National Tourism Development Plan 2023-2028,
which is to establish a Philippine tourism industry firmly rooted in Filipino culture, heritage, and
identity. The pursuit expands not only to deliver and reach out to the local communities but to
also extend the country's vision into the global market. This system aims to be sustainable,
resilient, and competitive, with the ultimate objective of elevating the Philippines to a leading
tourism destination in Asia by utilizing its cultural resources.
ImaheNasyon Park is a Proposed Historical and Cultural Complex that visualizes itself to be the
core of cultural recognition in the Philippines, it strives to impart the country’s identity to the users
by delivering high quality immersive experience as the complex will consist of an Interactive
Museum, Workshop building, Library, Auditorium, and Elevated recreational park. The
Interactive Museum, Library, and Auditorium will incorporate exhibits intended to highlight
history, arts and culture that originated from the country.
While the workshop building will provide platforms for local artists and aspiring artists through
providing workshop spaces to introduce traditional crafts, the development will also incorporate
recreational park to form as a linkage or connection between spaces which also strengthens
cross-cultural relationship through the concept of placemaking revolving on the areas for
relaxation, spaces that features local businesses, playground that highlights traditional games,
intended paths designated for street/ festive dances, and such spaces designed with a purpose
to provide diverse experiences to its users.
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The proposed complex will be situated at Taguig in accordance with the city’s vision of
establishing a recreational attraction that can be a convenient destination for Entrepreneurs in
Bonifacio, entertainment area for residents, event venue for both Taguig communities and its
neighboring cities/municipalities, as well as be a linkage to support recreational attractions
developed along Laguna de Baya and elsewhere within the vicinity of Taguig City.
The Bonifacio Global City is continuously becoming one of the focal points for the surrounding
region, this strategy can also distribute local and foreign tourist traffic more evenly throughout
NCR which can extend visitors' stay durations and encourage repeat visits, contributing both to
the city and the nation’s growth. In line with this, the project will be feasible with the collaboration
of the Department of Tourism, Local Government of Taguig, Nayong Pilipino Foundation, Local
artist organizations, and agencies that provide priority to culture and arts in the Philippines.
The ImaheNasyon Park will be an outlet for expanding tourism, enabling local and foreign visitors
to be exposed to the country’s cultural resources through application of innovative architectural
strategy within the complex. The purpose of the development is to summarize the origin of the
Philippines, the present it's facing, and what the future holds for it, as it continuously broadens
the symbol of the national identity to let the world seek more about what the Philippines has yet
to offer through the proposed Historical and Cultural Complex.
B. PROJECT OBJECTIVES
The Main objective of ImaheNasyon Park is to intend itself to be the core of cultural recognition
in the Philippines. It assists in expanding the availability of historical and cultural platforms in the
country to showcase its remarkable cultural assets and boost livelihood through providing high-
quality services for the local communities to utilize.
Through combination of both Contemporary and Filipino architecture in the design process, the
objective expands to reach the global market by providing an immersive experience to
international visitors. The complex delivers innovatory mediums that reflect the national identity
to enable the rest of the world discover more about perspectives that revolve around the
Philippines all located within one complex.
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C. THE CLIENT
C.1. City of Taguig
Figure 1.1. Taguig City Seal
C.1.1. Background of the Client

The local government enthusiastically welcomes the execution of projects and initiatives that
enhance and strengthen the understanding, affection, and reverence of each resident of Taguig for
their cultural heritage. Through the promotion of these efforts, the city intends to cultivate a feeling of
pride and gratitude for the customs that have been handed down through the ages.
C.1.2. Mission and Vision
Mission - The mission of a city is not accomplished by simply maintaining peace and order, creating
wealth, and providing social services. It is truly accomplished when the city inspires and empower its
citizens to dream, develop their potentials and lead meaningful lives, as one created in God’s image.
Vision - Taguig in the 21st Century, the municipality’s documents, is thoughtful and specific. It begins
with a plausible premise and proceeds logically and efficiently through the municipal actions
necessary to achieve goals. It declares Taguig’s intent to become “one of the premiere cities in Asia”
over the next quarter-century.
C.2. Department of Tourism
Figure 1.2. Department of Tourism Seal

The Department of Tourism wholeheartedly backs the endeavors of national parks and affiliated
organizations in nurturing the tourism culture. The aim is to guarantee sustained chances for tourism
product advancement throughout the Philippines, the department intend to achieve this by sharing
the knowledge and skills of the DOT and its affiliated agencies, engaging in educational initiatives,
and enhancing the capabilities of local government units (LGUs) and private individuals interested in
collaborating with DOT for the development of tourism offerings.
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Mission - The Department of Tourism (DOT) shall be the primary government agency charged with
the responsibility to encourage, promote, and develop tourism as a major socio-economic activity to
generate foreign currency and employment and to spread the benefits of tourism to both the private
and public sector.
Vision - To develop a globally competitive, environmentally sustainable and socially responsible
tourism industry that promotes inclusive growth through employment generation and equitable
distribution of income thereby contributing to building a foundation for a high trusted society.
C.2.3. Organizational Chart
Figure 1.3. Department of Tourism Organizational Chart
C.3. Nayong Pilipino Foundation
Figure 1.4. Nayong Pilipino Foundation Logo
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The Nayong Pilipino Foundation (NPF), officially known as the Ang Nayong Pilipino Foundation Inc.
(NPFI), is a nonprofit organization located in Manila, Philippines. It operates independently as a
government corporation under the Department of Tourism. The main goals and aims of Nayong
Pilipino are to create parks and recreational facilities to boost tourism in the nation. Additionally, they
aim to build, enhance, expand, or equip structures like libraries, labs, workshops, and educational
resources necessary for scientific research.
Mission - Celebrating cultural heritage, Filipino diversity, and creativity as a social and economic
force for national development.
Vision - By 2029, Nayong Pilipino Foundation is a recognized hub for research, innovation, and
training on cultural heritage through the creation of spaces and platforms for creativity, development,
and recreation.
D. PROJECT SCOPE AND LIMITATIONS

This capstone project is solely concerned with the construction of a museum, livelihood and
training center, library, auditorium, and recreational park within the historical and cultural
complex. Moreover, the scope will concentrate on the planning of the building’s design and how
it considers the surrounding environment. Therefore, the contents will not involve any topic
related to non-architectural contexts unless it is somehow related to the major focus of the study
as the scope is limited to the following:
• Shall focus but not limit itself to creating spaces for two types of arts: Traditional Arts such as
weaving, fabric arts, pottery/clay pot making, traditional cuisine, music, and dance, as well as
Non-Traditional Arts such as visual arts, film, modern music, and dance.
• The study was limited to more comprehensive and technical engineering/structural, electrical,
and plumbing, aspects.
• The study limits to a more extensive knowledge of the process of acquiring inventories/
collections for the future development of the complex.
• The study is constrained to providing areas related to exhibitions, art events, and competitions.
• Shall focus only on developing commercial or income-generating spaces and facilities for Local
Businesses
• Shall focus but not limit itself to creating spaces intended for street dances, festive events, and
multigenerational playgrounds within the recreational park.
E. PROJECT DEVELOPMENT
Figure 1.5. The Design Process
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PROJECT DEVELOPMENT
Inputs (Data Needed) Process Outputs
Problem-Based approach Choose a location, identify • Effectivity of the design
problems, develop ideas and approach
possible solutions, create • Project development
programs, and profiling of users importance
News Articles Research the list of priorities • Gathered information’s
and identify interesting projects. are acceptable and
Research thoroughly about that based on facts.
project • Data comparison and
Comprehensive Land Use Plan Research the list of priorities preciseness of
of Taguig City and identify interesting projects. projection
Research thoroughly about that
project
Local, School-going age, and Compare growth rates of
working-age population of different populations in Taguig
Taguig (2015 – 2020) every year and create a
projection base on the data
gathered
Data on National Museum and Identify visitor arrivals and
Parks Arrivals compare growth rate every year
Review of Related Existing Site visitation and on-site • Adherence to building
Facilities in Taguig observation to related laws and regulations.
developments in Taguig • Comprehensive plan
Standards and Guidelines of Review and analyze standards and layout
NCCA for museums and guidelines created by the • Site and accessible
NCAA development
Local Ordinances and Building Evaluation and application of • Realistic planning
codes local ordinances, pertinent
Pertinent Laws and Regulations laws, and regulations related to
related to the project the project
Case Studies Analyzing and applying same • Effective application
approaches based on case and translation of
studies design inspirations
Building Systems Familiarization on the • Appropriateness of
application and operation of building systems
related building systems in the
proposed project
Architectural Design inputs and Evaluate and relate • Feasibility of the
concepts, architectural architectural concepts to the proposed project
programming proposed project. Development • Comprehensive plan
of space and user analysis, and layout
bubble and matrix diagram,
space programming, and
development process
Table 1.1. The Development Process
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CHAPTER II: SITE JUSTIFICATION

A. SITE SELECTION CRITERIA
Figure 2.1. Site Selection Map
In the site selection process, the researcher first coordinated with the accessor’s office in Taguig city hall
to get guidance and acquire information about possible sites for the proposed Historical and Cultural
Complex. The office suggested 3 possible sites to be evaluated by the researcher and further assessment
of the possible and best sites in Taguig City has been conducted through discussion with the accessor’s
office and site visitations. It's important to follow and assess the site selection criteria of each site critically
for the feasibility of the proposed project.
These are the three (3) potential sites for the proposed ImaheNasyon Park: A Proposed Historical and
Cultural Complex
Site A
Location: McKinley Parkway, Fort Bonifacio, Taguig City
Estimated Land Area: 28,257.24 square meters
Zoning Classification: Urban Core Zone (UCZ)
Accessible Roads: Mckinley Parkway, 25th street, 9th street, 10th, street, and 11th street
Landmarks near the site: SM Aura premier, BGC arts center, Market market, and Manila American
Cemetery
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Located at the center of McKinley Parkway, this prime 28,257.24 square meter lot epitomizes the epitome
of urban living. Zoned within the Urban Core Zone (UCZ), the site boasts accessibility from multiple entry
points, including McKinley Parkway, 25th Street, 9th Street, 10th Street, and 11th Street. It is surrounded
by iconic landmarks; the location provides a seamless blend of convenience and cultural richness. From
the sleek shopping experience at SM Aura Premier to the vibrant expressions of art at BGC Arts Center,
and the bustling energy of Market Market, residents and visitors alike are immersed in a tapestry of
modern living while its proximity to the solemnity of the Manila American Cemetery adds a touch of history
and reverence to the dynamic urban landscape. This site represents urban sophistication that meets with
cultural resonance. Its strategic location, coupled with its expansive dimensions and diverse accessibility,
positions it as a potential focal point for urban development, offering a unique opportunity for a
harmonious blend of residential, commercial, and cultural endeavors.
Site B
Location: Levi Mariano Ave, Palingon, Taguig City
Estimated Land Area: 43,910.00 square meters
Zoning Classification: Socialized Housing Zone (SHZ)
Accessible Roads: Levi Mariano Avenue and Bantayan Road
Landmarks near the site: Vista mall, Taguig City hall, Garden of memories and Factories
Situated along Levi Mariano Avenue in the thriving Barangay of Palingon, this expansive site
encompasses an estimated land area of 43,910.00 square meters, poised to contribute significantly to
the discourse surrounding socialized housing. Embraced by the Socialized Housing Zone (SHZ), the
location serves as a testament to the commitment to providing accessible and sustainable housing
solutions in the city. The site benefits from its strategic connectivity, with easy access facilitated by Levi
Mariano Avenue and Bantayan Road, ensuring seamless integration into the surrounding urban
communities. Noteworthy landmarks in the vicinity include Vista Mall, Taguig City Hall, the contemplative
Garden of Memories, and the industrial pulse of nearby factories. Within this context, the site emerges
as a focal point for intertwining elements of convenience, community, and functionality.
Site C
Location: C6 Road, Santa Ana, Taguig City
Estimated Land Area: 50,930.00 square meters.
Zoning Classification: Tourism Development Zone (TDZ)
Accessible Roads: C6 road
Landmarks near the site: Garden by the lake, Laguna de Bay, and construction/ trading corp
Nestled along the scenic stretch of C6 Road in the district of Santa Ana, lies a sprawling expanse of
50,930.00 square meters awaiting vast land. Enveloped by the tranquility of the Garden by the Lake and
the vast beauty of Laguna de Bay, this site holds the promise of becoming a future contribution in the
Tourism Development Zone (TDZ). With its sole access point through the well-traversed C6 Road, the
site maintains a sense of exclusivity while ensuring connectivity to the bustling city beyond. In the
backdrop of this promising canvas, the presence of a construction/trading corp signals a nexus between
development and commerce. This juxtaposition of natural beauty and commercial vitality positions the
site as a canvas for innovative and sustainable tourism endeavors. With its vast land area and strategic
classification within the Tourism Development Zone, the future of the site awaits to become a testament
to the harmonious coexistence of urban development, environmental preservation, and economic vitality.
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This part of the study is the site selection process wherein a site is chosen based on the natural, aesthetic,
and cultural factors affecting the proposed sites. The site factors are ranked and classified with the scores
one (1) to five (5), with one (1) being the lowest and five (5) being the highest.
SITE EVALUTATION CRITERIA

Criteria Evaluation Ranking and Description
Natural, Environmental, and Physical Factors
Land Area/ Lot 1 – The lot size falls short of meeting the recommended minimum lot size set in
Size the national building code.
2 – The lot size meets the recommended minimum lot size requirement set in the
national building code.
3 – Surpasses 50% of the suggested minimum lot size requirement specified in the
national building code, allowing for additional expansion or provision of adjacent
amenities and activities.
4 – Surpasses 75% of the suggested minimum lot size requirement set in the
national building code, providing space for further expansion or provision of
adjacent amenities and activities.
5 – Exceeds 100% of the suggested minimum lot size requirement in the national
building code, offering ample space for additional expansion or provision of
adjacent amenities and activities.
Accessibility 1 – Accessible by taxis and private vehicles.
(Modes of 2 – Accessible by public utility vehicles (PUVs), taxis, and private vehicles.
Transportation) 3 – Accessible by jeepneys, PUVs, taxis, and private vehicles.
4 – Accessible by public buses, jeepneys, PUVs, taxis, and private vehicles.
5 – Nearest to the Airport and accessible through public buses, jeepneys, PUVs,
and private vehicles.
Soil 1 – Unstable overall, with soil mostly consisting of made ground or fill.
Characteristics 2 – Unstable for most parts of the site, mostly consisting of peat and organic soil.
and Condition 3 – Some remote areas of the site have unstable soils, mostly consisting of
cohesive soils (hard, firm, and soft clays).
4 – Most areas of the site have stable soils, mostly consisting of non-cohesive soils
(hard clays, gravel, and sand).
5 – Soils are stable and mostly consist of rocks (igneous, gneissic, limestone,
sandstone, schist, slate, mudstone).
Accessibility of 1 – No existing utilities/ services and have difficulties with service access on-site.
Utility and 2 – There are available existing utilities and services but are far from the site.
Service Needs 3 – There are limited existing utilities and services but accessible near the site.
4 – Existing utilities and services are available, adjacent to or near the site.
5 – Existing utilities and services available within the site.
Vulnerabilities to 1 – Site is situated to a hazard and natural risk
Natural Hazard 2 – In proximity to three or more hazards.
3 – In proximity to two hazards.
4 – In proximity to one hazard.
5 – Site is free of any potential damage or risk from natural hazards.
Site Drainage 1 – Mostly low and the neighboring areas drain into it
2 – Drains into the neighboring areas
3 – Drains in some portion of the site
4 – Has definite drainage however there are water coming from adjacent and
neighboring properties but can merely be accommodated
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5 – Has definite drainage with no unnecessary water coming from adjacent and
neighboring properties
Topography 1 – contains major topographic irregularity and cannot hold possible uses
2 – site is not even, and can only hold certain possible use
3 – site is not even, but can still hold all possible uses
4 – chiefly even and can hold possible uses
5 – relatively flat and can hold all possible use
Climate 1 – has irregular dry and wet season
2 – site experiences a greater wet season than the dry season
3 – site experiences a greater dry season than the wet season
4 – has fair climate and weather condition
5 – has good climate and weather condition
Orientation 1 – does not have a good sun and wind orientation
2 – has satisfactory sun and wind orientation
3 – has good sun orientation but satisfactory wind orientation
4 – has both good sun and wind orientation
5 – has both excellent sun and wind orientation
Existing 1 – has no existing vegetation
Vegetation 2 – has 10% existing vegetation
3 – has 20% existing vegetation
Legal, Institutional, Administrative, and Aesthetic Factors
Proper Land- 1 – the land’s present/future zoning does not allow the use of an institutional
Use Zoning development
2 – the land’s current zoning does not allow institutional development, but
exemption can be appealed
3 – the land’s current zoning permits institutional development with provision for
the usage
4 – land is currently within a general institutional zone but will probably change
5 – land is within a general institutional classification set in the National Building
Code or and present/future zoning permits institutional development, or no zoning
restrictions exist
Land Cost 1 – site is high-priced
2 – site is above the reasonable value
3 – site is slightly above the reasonable value but is still affordable
4 – site is a reasonable value
5 – site is below the reasonable value
Compatibility 1 – incompatible with the adjacent land use and the surrounding context
with Adjacent 2 – considerable differences with the adjacent land use and surrounding context
Land Use 3 – certain differences with the adjacent land use and surrounding context
4 – relatively fit with the adjacent land use and surrounding context
5 – perfectly relates with the adjacent land use and surrounding context
Socio-Economic and Cultural Factors
Site Potential 1 – potential for job opportunities and rationalized residential plan
2 – is potential for local business sectors and agencies, job opportunities, and a
rationalized residential plan
3 – is potential for local and international business sectors and agencies, job
opportunities, and a rationalized residential plan
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4 – is potential for local and international business sectors and agencies, tourism
development, job opportunities, and a rationalized residential plan
Accessibility to 1 – is more than 5km away or 1-hour vehicle ride
Major Roads 2 – is within 4km away or a 1-hour vehicle ride
3 – is within 3km away or 30 minutes vehicle ride
4 – is within 2km away or 10 minutes vehicle ride
5 – is within reasonable walking distance or 1km and less
Proximity to 1 – is not within proximity to school population
School 2 – is within 3-5k proximity to school population
Population 3 – is within 3km proximity to school population
4 – is within 1-2km proximity to school population
5 – is within a less kilometer proximity to school population
Proximity to 1 – is not within proximity to working population
Working 2 – is within 3-5k proximity to working population
Population 3 – is within 3km proximity to working population
4 – is within 1-2km proximity to working population
5 – is within a less kilometer proximity to working population
Proximity to 1 – necessary tourist spots are within 5km and above
Vicinity Tourist 2 – necessary tourist spots are within 3-5km from the site
Spots 3 – necessary tourist spots are within 3km from the site
4 – necessary tourist spots are within 1-2km from the site
5 – necessary tourist spots are within less than a kilometer from the site
Pedestrian 1 – no existing pedestrian access is available that can reasonably be constructed
Access and 2 – pedestrian access can be constructed, but pathway work is required, and a
Circulation traffic control system should be provided
3 – pedestrian access can be constructed without major road work
4 – has existing pedestrian access that is suitable for 1/2-kilometer travel and has
existing traffic system
5 – has existing pedestrian access that is suitable for 1/4-kilometer travel and has
existing traffic system
Table 2.1. Site Evaluation Criteria
Natural, Environmental. And Physical Factors

Criteria Sites
% Site A Site B Site C
McKinley Parkway Levi Mariano Ave, C6 Road, Santa Ana
Palingon
Criteria Equivalent Criteria Equivalent Criteria Equivalent
Ranking Percentage Ranking Percentage Ranking Percentage
Land Area/ Lot 20 5 20% 5 20% 5 20%
Size
Accessibility 10 4 8% 4 8% 2 4%
(Modes of
Transportation)
Soil 10 4 8% 4 8% 4 8%
Characteristics
and Condition
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Accessibility of 10 4 8% 4 8% 3 6%
Utility and
Service Needs
Vulnerabilities to 10 4 8% 3 6% 2 4%
Natural Hazard
Site Drainage 5 4 5% 2 2% 1 1%
Topography 10 4 8% 3 6% 4 8%
Climate 10 4 8% 4 8% 5 10%
Orientation 5 4 4% 3 3% 5 5%
Existing 10 1 2% 4 8% 4 8%
Vegetations
TOTAL 100 79% 77% 74%
Legal, Institutional, Administrative, and Aesthetic Factors
Proper Land- 30 4 24% 3 18% 4 24%
Use Zoning
Land Cost 40 3 24% 3 24% 3 24%
Compatibility 30 4 24% 4 24% 2 12%
with Adjacent
Land Use
TOTAL 100 72% 66% 60%
Socio-Economic and Cultural Factors
Site Potential 20 4 20% 3 15% 4 20%
Accessibility to 30 5 30% 4 24% 3 18%
Major Roads
Proximity to 10 4 8% 5 10% 3 6%
School
Population
Proximity to 10 5 10% 5 10% 3 6%
Working
Population
Proximity to 15 5 15% 4 12% 3 9%
Vicinity Tourist
Spots
Pedestrian 15 5 15% 5 15% 2 6%
Access and
Circulation
TOTAL 100 98% 86% 65%
Selection Elements A B C
Natural, Environmental. And Physical Factors 79% 77% 74%
Legal, Institutional, Administrative, and Aesthetic Factors 72% 66% 60%
Socio-Economic and Cultural Factors 98% 86% 65%
TOTAL 83% 76.33% 66.33%
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Comparative Analysis of Sites
In comparing the three sites, Site A, situated in McKinley Parkway, Fort

Bonifacio, Taguig City, with its 28,257.24 square meters of prime land
in the Urban Core Zone (UCZ), stands out for its urban sophistication
despite of it being the smallest area between the presented three
possible sites. Surrounded by landmarks like SM Aura Premier and
BGC Arts Center, it offers a blend of institutional, commercial and
cultural vibrancy. Accessibility through McKinley Parkway, 25th Street,
9th Street, 10th Street, and 11th Street ensures seamless connectivity.
Site B, located on Levi Mariano Ave, Palingon, Taguig City,

encompasses a larger land area of 43,910.00 square meters but is
designated as a Socialized Housing Zone (SHZ) and is prone to
flooding hazard. With accessibility through Levi Mariano Avenue and
Bantayan Road, this site caters to a different demographic but is still
open to spaces that caters the community that surrounds it. Proximity
to Vista Mall and Taguig City Hall highlights its community-oriented
focus, while landmarks like the Garden of Memories and nearby
factories add an industrial touch.
Site C, positioned along C6 Road in Santa Ana, Taguig City, boasts the
largest land area at 50,930.00 square meters and falls within the
Tourism Development Zone (TDZ). Despite it having a lack of several
access points and it being prone to flooding, the site still shows
potential in becoming a tourism hub. Surrounded by natural beauty like
the Garden by the Lake and Laguna de Bay, coupled with the presence
of a construction/trading corp, Site C presents an intriguing mix of
environmental allure and commercial vitality.
Figure 2.2. Proposed Sites
In summary, while Site A leans towards urban sophistication with a mix of commercial, institutional, and
cultural amenities, Site B caters to community needs since it is near housing developments and the
Taguig city hall. Site C, on the other hand, takes a unique stance as a potential tourism hub, offering a
blend of natural beauty and commercial opportunities. Each site presents distinct opportunities and
challenges, catering to diverse development visions and objectives.
Site Selection and Description

The selected site which has the highest total percentage in the Site Selection Criteria is Site A. It is
located at McKinley Parkway, Fort Bonifacio, Taguig City and has a total combined lot area of 28,257.24
square meters, zoned and classified as an Urban Core Zone (UCZ). Based on the scores given in the
Site Selection Criteria, the selected site which has the highest total percentage among all the sites, shows
feasibility for the location of the Proposed Historical and Cultural Complex.
Garcia - 2023 21
Figure 2.3. Selected Site Map
The site can be accessed by public buses, jeepneys, PUVs, taxis, and private vehicles. There are also
existing utilities and services available that are adjacent to or near the site and there is no potential hazard
that might occur. The site's topography is also even and can accommodate all possible uses. The site
also has good climate and weather conditions as well as excellent sun and wind orientation.
The site is divided into 3 lots, yet the land cost is at a reasonable value. It is relatively fit with adjacent
land use and surrounding context and has a potential for local and international business sectors and
agencies, tourism development, job, and opportunities. The site is within reasonable walking distance
from the major road, and it is within 1-2km proximity to school population It is also near necessary vicinity
tourist spots within 2 km from the site.
It is walkable from the major road and can be accessible by public transportation. The site is also within
the Commercial Business District (CBD) which can heighten exposure to tourists and business sectors.
Even though size of the site is quite small compared to Site b and c, it can still hold possible uses and
will not limit the design of the researcher as it can also be an opportunity to create a design approach
taking advantage of the previously mentioned site issue.
Danger from Natural Hazards is unlikely to be seen at the site and it has a good climate and weather
conditions as well as sun and wind orientation, which is very important. The site is also accessible for
utility and service needs. Land Zoning is allowed for General Institutional use by the Local Government
Unit of Taguig. The site shows feasibility for the proposed project highlighting the feature of safety and
convenience from its environment.
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B. MACRO-MESO SITE ANALYSIS: REGION/ PROVINCE/ TOWN

1. City Map
Figure 2.4. Location Map of Taguig City
The city of Taguig is situated at approximately 14 degrees latitude and 120 degrees longitude in the
southern part of Metro Manila, along the northeastern shoreline of Laguna de Bay. It shares its borders
with various areas: Laguna de Bay to the east, Pateros, Pasig, and Taytay to the north, Makati and Pasay
to the west, Paranaque to the southwest, and Muntinlupa to the south.
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The establishment of historical and cultural complex in Taguig can contribute to the preservation and
promotion of the region's cultural diversity. It can serve as a model for neighboring areas to showcase
unique histories and traditions, fostering a sense of unity and shared heritage among the various
municipalities and cities in the region.
Taguig encompasses 18 barangays, which also include approximately 1,626.2 hectares of land that was
previously part of the Fort Bonifacio Military Reservation.
Figure 2.5. Barangay Map of Taguig
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AREA DISTRIBUTION OF TAGUIG

Barangays Area in sq.km. Percent (%)
1. Bagumbayan 3,620 7.98
2. Bagong Tanyag 2,170 4.78
3. Upper Bicutan 1,440 3.17
4. Lower Bicutan 2,350 5.18
5. Maharlika Village 510 1.112
6. Western Bicutan 3,550 7.82
7. Signal Village 1,100 2.42
8. Hagonoy 1,620 3.57
9. Wawa 1,980 4.36
10. Bambang 920 2.03
11. Ususan 1,450 3.20
12. Tuktukan 310 0.68
13. Sta. Ana 220 0.48
14. Calzada 1,770 3.90
15. Ligid-Tipas 680 1.50
16. Ibayo-Tipas 1,560 3.44
17. Palingon 1,170 2.58
18. Napindan 2,700 5.95
Fort Bonifacio Military Reservation 16,262 35.83
TOTAL 45,382 100.00
Table 2.4. Area Distribution of Taguig
The proposed complex will be situated at Bonifacio Global City, Metro Manila, Philippines, and it is located
near several other barangays in the city. Surrounding BGC are vibrant barangays that contribute to the
dynamic character of this urban hub, including Barangay Fort Bonifacio, Barangay Western Bicutan, and
Barangay Pinagsama, among others.
Additionally, the proposed historical and cultural project is set to stimulate local economies, generate
employment opportunities, and provide a platform for cultural exchange and education. As BGC takes
the lead in embracing its historical roots, this ambitious endeavor is poised to leave an indelible mark on
the landscape of Manila, inviting residents and visitors alike to connect with the city's past while
embracing its future.
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2. Land Use
Figure 2.7. Taguig City Map
Per Taguig's zoning ordinance, the Municipality of Taguig is divided into eleven fundamental zones,
including the Urban Core Zone, General Residential Development Zone – 1, General Residential Zone-
2, Light Industrial Zone, Socialized Housing Zone, Low-Density Residential Development Zone,
Institutional Zone, Tourism Development Zone, Entertainment Zone, Military Zone, and Open Space
Zone. Additionally, there are four supplementary Overlay Zones, namely, the Urban Corridor Special
Development Zone, Local Growth Center Special Development Zone, Historical Special Development
Zone, and Fish Port Special Development Zone.
2.1. Tourism
The primary focus of tourism in Taguig City, Philippines, revolves around its vibrant urban center known
as Bonifacio Global City (BGC). BGC serves as a central hub for tourism activities in Taguig, offering a
diverse range of attractions for visitors. Here are the primary aspects of tourism in Taguig, with a strong
emphasis on BGC:
• Shopping: BGC is renowned for its upscale shopping destinations, including SM Aura Premier
and Uptown Mall
• Dining: The district boasts a dynamic culinary scene, with restaurants, cafes, and bars serving a
wide variety of cuisines from around the globe.
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• Nightlife: BGC comes alive after dark with a thriving nightlife scene, featuring numerous bars,
clubs, and entertainment venues
• Cultural Attractions: One prominent cultural attraction within BGC is the Mind Museum, an
interactive science museum that provides educational experiences for visitors of all age groups.
• Parks and Green Spaces: BGC is home to well-maintained parks, such as Bonifacio High Street,
Veterans Freedom Park, and Terra 28th Park.
Expanding cultural hubs on and even beyond Bonifacio Global City (BGC) in Taguig City has the potential
to enrich the city's overall cultural and tourism offerings. This strategy can help distribute tourist traffic
more evenly throughout the city, reducing congestion in a single area. Such a move can benefit local
businesses and communities by drawing tourists to different neighborhoods. By developing cultural hubs
as additional tourist attractions, Taguig can extend visitors' stay durations and encourage repeat visits,
contributing to the city's tourism development.
3. Demography
Figure 2.8. Population in Taguig
In the 2015 Census, Taguig's household population was 801,143, distributed among 198,256
households, an average of 4.04 individuals per household. The age group with the highest population in
Taguig consisted of individuals aged 25 to 29, totaling 86,432 individuals. Conversely, the age group with
the smallest population was those aged 80 and over, comprising 2,594 individuals.
The population of Taguig grew from 6,829 in 1903 to 886,722 in 2020, an increase of 879,893 people
over the course of 117 years. The latest census figures in 2020 denote a growth rate of 2.06%, or an
increase of 81,807 people, from the previous population of 804,915 in 2015.
A growing population provides a broader audience for the cultural complex's programs and offerings. This
can lead to increased attendance at exhibitions, performances, and educational events, which can, in
turn, generate more revenue and support for the complex.
Garcia - 2023 27
4. Topography and Slope
Figure 2.9. Slope map of Taguig
Roughly 65% of Taguig's terrain is predominantly flat, with the remainder consisting of undulating to hilly
landscapes. The geographical features of the area comprise coastal plains and elevated regions that
stretch from north to south along the Manila Bay. The altitude of the land varies, with the coastal plains
ranging from 0 to 10 meters above mean sea level and the hills reaching elevations of 20 to 70 meters.
Garcia - 2023 28
As per the Slope Map of Taguig, the following is the indicated slope distribution.
TAGUIG SLOPE DISTRIBUTION
Category Slope Description
A 0-2% Level to nearly level
B 2-5% Gently sloping to gently undulating
C 5-8% Undulating to gently rolling
D 8-15% Gently rolling to rolling
Table 2.5. Taguig Slope Distribution
The combination of flat and hilly terrain allows for a diverse range of recreational activities within the
proposed park. This can cater to people of all ages and abilities since Flat areas can host playgrounds,
fitness stations, and open spaces for family-friendly activities, while the hilly sections can offer more
challenging terrain for adventure seekers. The flat terrain of Taguig's landscape is also ideal for outdoor
events such as cultural festivals and art exhibitions which can expand the complex's capacity for events
and attract a larger audience.
5. Soil Type
Figure 2.10. Land Classification Map

Garcia - 2023 29
The soil in Taguig is primarily composed of fine to very fine clay with somewhat limited drainage capacity.
Its soil texture is predominantly clay, with a substantial effective depth of over 150 cm. Soil drainage is
somewhat inadequate, but the soil's inherent fertility levels range from high to very high. The average
elevation in this region is 11 meters, and the water table lies at a depth of 120 cm. The soil classification
falls under the category of Aeric Tropaquept.
Clay soils are known for their ability to retain nutrients, Fine to very fine clay soils can hold essential
minerals and nutrients, making them available to plants over an extended period, which can benefit the
proposed recreational park. In addition, clay soils are less susceptible to erosion and provide a stable
foundation. Buildings and structures built on clay soil are less likely to settle or shift which can be
beneficial to the overall proposed complex.
6. Climate and Weather

Taguig's climate falls into the Type 1 category according to the classification used by PAGASA, which is
based on rainfall patterns. This climate is marked by two distinct seasons: a rainy period extending from
May to October and a dry season that spans from January to April, with precipitation levels decreasing
to approximately 10-30 mm per month. Generally, the Metro Manila region experiences the direct impact
of an average of 2 to 3 tropical cyclones each year.
Figure 2.11. Climate chart of Taguig
Throughout the year, temperatures typically range from 73°F to 94°F, with rare instances of falling below
69°F or exceeding 97°F. When it comes to tourism, the ideal conditions involve clear, rain-free days with
apparent temperatures ranging from 65°F to 80°F. According to this assessment, the most favorable time
to visit Taguig for various outdoor tourist activities is from late December to mid-March, with the highest-
rated period occurring in the third week of January.
Figure 2.12. Average temperature in Taguig
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The period of high temperatures spans 1.5 months, commencing from April 7 and concluding on May 23,
during which the daily high temperature typically exceeds 92°F. May stands out as the hottest month of
the year in Taguig, boasting an average high of 92°F and a low of 79°F. In contrast, the cooler season
persists for 2.6 months, starting from November 24 and extending to February 13, with daily high
temperatures averaging below 87°F. January emerges as the coldest month of the year in Taguig, with
an average low of 73°F and a high of 86°F.
Figure 2.13. Cloud cover categories in Taguig
The period with favorable weather conditions in Taguig typically commences on November 23 and
extends for 5.1 months, concluding around April 25. February stands out as the clearest month of the
year in Taguig, with the sky being clear or partly cloudy approximately 52% of the time on average. On
the other hand, the stretch of cloudier weather typically begins around April 25 and spans 6.9 months,
ending approximately on November 23. August takes the title as the cloudiest month of the year in Taguig,
with the sky being overcast or mostly cloudy around 93% of the time on average.
Figure 2.14. Average Monthly Rainfall in Taguig
To demonstrate fluctuations within the months rather than just providing monthly totals, the data present
the rainfall accumulation over a rolling 31-day period centered on each day of the year. Taguig undergoes
pronounced seasonal changes in monthly precipitation. Precipitation occurs consistently throughout the
year in Taguig and August receives the highest amount of rainfall in Taguig, averaging 11.6 inches.
Conversely, March registers the lowest rainfall, with an average of 1.6 inches.
Garcia - 2023 31
Figure 2.15. Average Wind Speed in Taguig
With data examined at an elevation of 10 meters above the ground, the period with higher wind speeds
spans 5.0 months, starting from October 30 and ending on March 31, with average wind speeds
exceeding 7.6 miles per hour. December stands out as the windiest month of the year in Taguig, boasting
an average hourly wind speed of 9.4 miles per hour. Conversely, the quieter part of the year lasts for 7.0
months, spanning from March 31 to October 30. May holds the title for the calmest month of the year in
Taguig, with an average hourly wind speed of 5.8 miles per hour.
7. Natural Hazards and Constrains
Figure 2.16. Flood Hazard Map

Garcia - 2023 32
Taguig is situated in a low-lying coastal area along the northeastern shore of Laguna de Bay, which
means that in some parts of the city may be susceptible to flooding during the rainy season or when
typhoons hit the region. However, Bonifacio Global City have low chance of flooding which is beneficial
to users of the proposed complex since the development is under low flood risk areas, visitors can enjoy
a better-quality experience without the stress and disruptions associated with flooding events. This can
attract more visitor engagement, leading to economic growth.
Figure 2.17. Earthquake Faultline Map
Garcia - 2023 33
Figure 2.18. Earthquake Faultline Map
A portion of C-5 Road passing through Taguig has been identified as vulnerable to potential earthquake
damage caused by a phenomenon known as liquefaction, as reported by a municipal representative. And
according to Ronald Galicia, the head of city rescue operations, C-5 Road traverses Barangay Fort
Bonifacio, which is one of Taguig's three neighborhoods situated along the Marikina West Valley fault
line.
Garcia - 2023 34
8. Road networks
Figure 2.19. Taguig Road network
The accessibility of roads leading to Taguig City in the Philippines can vary depending on your starting
point and mode of transportation. Taguig City is well-connected to the surrounding areas in Metro Manila
and some of the main roads/ routes to Taguig City are the following:
• C-5 Road: This north-south highway passes through Taguig City
• EDSA (Epifanio de los Santos Avenue): Provides entry points to Taguig City if the journey
originates from the northern or southern parts of Metro Manila.
• South Luzon Expressway (SLEX): Bridges Metro Manila with the southern provinces of Luzon
and it also features exits that lead to Taguig City.
• Skyway: Elevated expressway that offers a quicker route to Taguig City, especially when
traveling from the south.
• McKinley Road: Establishes a connection between the central business district of Makati City
and Taguig City which is the Bonifacio Global City (BGC) area.
• Lawton Avenue: Serves as another access route leading to BGC in Taguig City.
• C-6 Road: Running along the eastern side of Taguig City, C-6 Road links it to Rizal Province and
other eastern areas within Metro Manila.
8.1. Accessible Transportation to the Site Location for visitors outside metro manila
Listed below are some general travel guidance if the visitors of the proposed cultural complex are coming
from locations outside Metro Manila:
Bus or Van (Land Travel)
• Reach the bus/ van terminal in the province that offers trips to Metro Manila. The major bus
terminals are often located near transport hubs or city centers.
• In Metro Manila, the van/ bus may stop at a major terminal like Cubao, Pasay, Makati, Manila,
Pasig, and Paranaque
• From the terminal, there are public jeepney, bus and even taxis that offers ride heading to Taguig.
Garcia - 2023 35
Air Travel
• If an individual is arriving in the Philippines from another country or a distant province, they might
land at Ninoy Aquino International Airport (NAIA) in Metro Manila.
• Taxi/ motor or use a ride-hailing app to request a taxi/motor is the fastest way to transfer from
NAIA to Taguig which take about 24 - 30 mins as the total travel time
• As for public transport, there’s BGC buses at NAIA Terminal 3 which stops at several points
within BGC
Sea Travel (Ferries)
• Reach the ferry terminal in the province that offers trips to Metro Manila, some ports are
connected to the Batangas port.
• Upon arriving in Metro Manila, ferries may stop at Manila South Harbor and Manila North Harbor.
• From the port, there are public jeepney, bus and even taxis that offers ride heading to Taguig.
8.2. Accessible Transportation to the Site Location for visitors within or near metro manila
Listed below are some general travel guidance if the visitors of the proposed cultural complex are coming
from locations within/ near Metro Manila:
From Makati: (18 – 20 mins Travel time)
• Board a southbound bus along EDSA or Ayala Avenue that goes to FTI (Food Terminal, Inc.) in
Taguig. The bus will travel along EDSA and C-5 Road, passing through different parts of Taguig.
From Quezon City: (30 – 40 mins Travel time)
• Along EDSA, particularly the northbound side, there are buses heading to FTI or Taguig. The
bus will travel along EDSA and C-5 Road, eventually reaching Taguig.
From Pasay or Paranaque: (20 – 24 mins Travel time)
• Along EDSA or the South Luzon Expressway (SLEX), there are buses that are heading towards
FTI or Taguig. The bus will go through several drop offs within Taguig.
From other parts of Metro Manila or nearby areas outside Metro Manila:
• If individuals are coming from other areas in Metro Manila or nearby areas outside Metro Manila,
the general idea is to find a bus or jeepney that goes to FTI or Taguig and inform the driver or
conductor of the destination.
9. Service utilities
9.1. Water Supply
Figure 2.20. Manila Water Logo
Manila Water Company, Inc. is a publicly traded organization with extensive expertise in the Philippine
Water Sector, it holds the concession for the state-operated Metropolitan Waterworks and Sewerage
System, responsible for providing water supply, wastewater, and sanitation services to a population
exceeding 7.3 million. In collaboration with the Taguig City government, Manila Water has unveiled a
reservoir with a capacity of 10 million liters in Barangay Hagonoy. This initiative aims to enhance the
delivery of water distribution services to a minimum of seven barangays within the city. It strives to ensure
consistently improved water pressure, guaranteeing round-the-clock availability of tap water, seven days
a week.
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9.2. Electric Supply
Figure 2.21. Manila Electric Company
Meralco stands as the Philippines' most extensive privately-owned electric distribution utility company,
encompassing 38 cities and 73 municipalities. Its franchise region, spanning more than 9,685 square
kilometers, represents a mere 3% of the Philippines' total land area, yet it contributes to 55% of the
nation's electricity production. Additionally, Meralco, has activated a substation worth P597 million in
Taguig City. This substation plays a vital role in supporting one of Ayala Land Inc.'s projects and ensures
a dependable power supply to neighboring areas.
9.3. Telecommunications
Globe Telecom, Inc., manages extensive mobile network in

the Philippines and operates one of the largest fixed-line
and broadband networks in the country. Globe provides
commercial wireless services through a range of networks,
including 2G, 3G, 3.5G HSPA+, 4G LTE, and LTE-A, with
ongoing deployment of 5G in strategic locations across the
Philippines. Their 5G service is accessible in more than
Figure 2.22. Globe Telecom Logo 3,000 locations nationwide, covering nearly 100% of the
population in the National Capital Region, Davao City, and
Cebu.
Smart Communications Inc. is a wireless communication

and digital services company that operates as a subsidiary
of PLDT Inc., a Philippines-based telecommunications and
digital services provider. Smart provides commercial
wireless services utilizing a range of networks, including
Figure 2.23. Smart Communications 2G, 3G, 3.5G HSPA+, 4G LTE, and LTE-A, with the
Logo ongoing expansion of 5G in various locations across the
Philippines.
Dito Telecommunity Corporation, formerly recognized as

Mindanao Islamic Telephone Company, Inc. or Mislatel, is
a telecommunications enterprise in the Philippines and is
also involved in the multimedia and information technology
sectors. It is formed by the collaboration of Dennis Uy’s
Udenna Corporation, a prominent business entity in Davao,
Figure 2.24. DITO Telecommunity Logo and the Chinese state-owned China Telecommunications
Corporation, which is the parent company of China
Telecom.
Table 2.6. Telecommunication Providers
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C. MICRO SITE ANALYSIS: THE SITE AND ITS IMMEDIATE ENVIRONS

C.1. Site Inventory and Analysis
Figure 2.25. Site Analysis
Figure 2.26. Road Network Analysis
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Figure 2.27. Vehicular Traffic Analysis (Weekdays Morning)
Figure 2.28. Vehicular Traffic Analysis (Weekdays Evening)
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Figure 2.29. Vehicular Traffic Analysis (Weekends Morning)
Figure 2.30. Vehicular Traffic Analysis (Weekends Evening)
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Figure 2.31. Water Bodies Analysis
Figure 2.32. Natural Vegetation Analysis
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Figure 2.33. Site Slope Analysis
The site exhibits a predominantly flat topography. While minimal alterations in the horizontal plane are
observed, the ground maintains a consistent and gentle slope. The overall topographical profile remains
even, with only occasional small humps contributing to slight variations in elevation. This however, does
not significantly impact the overall flatness of the site.
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Figure 2.34. Near Land Use Zoning
Figure 2.35. Site Bearing
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C.2. Actual Site Photos
Figure 2.36. Actual Site Photographs
Stepping onto the potential grounds of the proposed historical and cultural complex in Taguig is a journey
into a harmonious blend of nature, history, and community. Divided into 3 (three) distinctive lots, the site
spans a grand total of 28,257.24 square meters, each lot contributing its own character to the ensemble.
Lot 1, on the left side, expands 9,473.100 square meters, Lot 2 spans 8,722.279 square meters, serves
as the center of the site, while Lot 3 on the right side completes the development with 10,061.861 square
meters. The lots are strategically placed around McKinley Parkway, 9th, 10th, 11th, and 12th avenues,
creating a centralized hub for cultural exploration.
The site's topography boasts a remarkably even elevation, providing flexible design integration and
seamless application of design elements. At the grounds, the presence of 79 trees creates a natural
canopy, offering shade and serenity. In addition, there is an apparent presence of sunlight and its warmth
without overwhelming intensity. This multifaceted space has become a favorite among locals—a make-
shift park where families, friends, and solo wanderers frequent the area, utilizing it also as a convenient
drop-off spot. The potential of the site is vast, promising a future where the past, present, and community
converge in a celebration of history and culture.
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C.3. Vicinity Map/ Near Establishments
Figure 2.37. Vicinity Map (Source: Images from Google)
The proposed historical and cultural complex located at the crossroads of McKinley Parkway, 9th, 10th,
11th, and 12th avenues are divided into three lots which stands as a beacon at the convergence of
education, commerce, culture, and residence. At the upper part of the vicinity map, several institutional
excellences are present, notable establishments such as the International School Manila, STI, University
of the Philippines, Centre British School Manila, and the Industrial Engineering Academy adds an
enriching layer that can contribute to the ImaheNasyon Park, making it a focal point for academic
engagement.
To the east side of the site, the landscape transforms into a bustling residential and commercial zone.
Market Market, SM Aura, Serendra Mall, Two Serendra Residences, and more contribute to the dynamic
residential and commercial atmosphere. This proximity ensures that the historical and cultural complex
is not only a projection of heritage but also a destination seamlessly integrated into the daily lives of
residents, shoppers, and enthusiasts alike.
Venturing to the west and southern parts of the area unveils a panorama of residences, offices, corporate
centers, and even history as the Manila America Cemetery is adjacent to the chosen site. In addition,
Arya Residences, the Embassy of Singapore, the Embassy of Korea, Icon Plaza, and other related
establishments encompasses the area. The surrounding residential and corporate interjects a sense of
community, tourism, and business vitality, further heightening the exposure of the proposed complex
which amplifies the visibility and accessibility of the historical and cultural complex. Surrounded by these
pillars of activity, the complex stands poised to weave itself into the daily lives of the community, fostering
a profound connection between the past and the present.
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C.4. S.W.O.T Analysis

SWOT ANALYSIS
Strengths Accessible by public bus, jeepney, PUVs, taxis, and private vehicles which can
make it easier for people in the city to visit the complex. Public transportation also
contributes to reduced traffic and parking issues, making it convenient for visitors
Existing utilities and services are available, adjacent to or near the site (electricity,
water supply, telecommunications)
The site has good climate and weather conditions as well as good sun and wind
orientation, this encourages more people to explore the complex, increasing foot
traffic and engagement
The site within reasonable walking distances or 1km and less from major road, this
enhances visibility since passersby are more likely to notice the complex and may
be tempted to stop by. This can contribute to increased foot traffic and awareness
of the historical and cultural offerings.
The site is far from flood prone areas which allows for more stable and sustainable
planning and establishment that affects the longevity of the historical and cultural
complex
Weaknesses The site is divided into 3 lots which can possibly lead to the lack of cohesion in the
design and narrative, visitors might not fully grasp the historical and cultural
significance intended by the complex
The site is quite small which can possibly lead to the lack of spaces to fully explore
and represent the design narration and application
The site has existing vegetation/ trees which adds an extra layer of complexity to
construction planning, as preserving them might require adjustments to the layout
or design of the complex
Strategies Maximize the lot by proper building orientation and user flow
Utilize vertical design interventions
Avoid cutting trees as much as possible. Adapt existing trees as a design
consideration
Opportunities The site is within urbanized area which allows the historical and cultural complex
to reach a wide range of people with varying interests and backgrounds
The site is situated in commercial business district (CBD) might encourage
collaboration between the business and cultural sectors, fostering a sense of
community and innovation
The location as a great potential to attract local and international commercial
sectors and agencies, as well as tourism development and job opportunities
The site is within proximity to tourist spots (1-3km) which becomes an opportunity
for tourists to immerse themselves in a rich cultural experience and seamlessly
transition to other attractions nearby as this can also encourage people to make
the most out of their visit
Threats Natural and environmental calamities
May cause traffic congestion and may lead to inadequate parking facilities
Strategies Developing control measures to mitigate the impact of natural calamities
Locate proper ingress/egress that would help improve traffic congestion
Table 2.7. S.W.O.T. Analysis
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D. INITIAL SITE SCHEMATIC DIAGRAM

The proposed initial site schematic diagram for the historical and cultural complex reflects the application
of Patrick Geddes' Geddian trio concept, this concept guides the design and planning process to
encapsulate the three important key elements according to Patrick Geddes which are: "folk," "work," and
"place." the site, divided into three lots, is strategically maximized to accommodate key components,
including a museum, workshop, museum, library, auditorium building, and a surrounding recreational
park.
Figure 2.38. Initial Site Schematic Diagram
The museum, positioned at the center, emerges as the focal point, emphasizing its significance within
the Geddian Trio. It is adjacent with a historical memorial at the front and residential and commercial
spaces at the rear which ensures a harmonious balance, catering to diverse interests and providing a
well-rounded cultural experience.
The placement of the library on the upper right side aligns with Geddes' concept, acknowledging the
institutional establishments in that vicinity. This thoughtful arrangement fosters a sense of coherence
within the complex. The auditorium, strategically positioned below the library near commercial
establishments, is intended to optimize synergy. Placing the auditorium adjacent to commercial spaces
allows for convenient access, creating a dynamic hub that combines cultural events with commercial
activities, enhancing the overall vibrancy of the complex.
The workshop building, located on the right side, draws from Geddes' concept by situating it near offices,
residential areas, and corporations. This intentional placement encourages a symbiotic relationship,
offering a space where individuals from various backgrounds can relax and engage in quality activities,
fostering a sense of community.
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The complex's thoughtful design is further enhanced by the elevated park, serving as a crucial linkage.
Linkages play a pivotal role in designing a complex as they provide seamless connections between
different elements. The recreational park serves as a cohesive element, promoting accessibility,
connectivity, and a harmonious flow within the complex. It not only enhances the aesthetic appeal but
also encourages social interaction and engagement, contributing to the overall quality of the historical
and cultural complex.
Figure 2.39. Initial Site Schematic Diagram (Vehicular Flow)
Figure 2.40. Initial Site Schematic Diagram (User Flow)
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CHAPTER III: DESIGN INPUTS

A.1. DESIGN STANDARDS
A.1.1. Review of Related Local Literature and Case Studies
“Nayong Pilipino Theme Park”
Figure 3.1. Nayong Pilipino Theme Park Map
Location: Pasay and Clark Pampanga

Architect/s: Ildefonso P. Santos
Area: 220000 sqm
Year: 1970
Brief Summary
The primary concept was to represent the essence of the Philippines through architectural and
cultural exhibitions within a single location. Records indicate that Nayong Pilipino welcomed one
million visitors by 1991, and this number remained relatively stable until 1994. However, in late
1995, there was a decline in attendance, potentially due to the emergence of alternative theme
parks. EO. 111 ultimately led to the closure of the park. In April 2007, President Arroyo signed
another EO. 615), directing the relocation of Nayong Pilipino to a 15-hectare plot of land in
Paranaque City owned by the Philippine Reclamation Authority. The new Nayong Pilipino in
Clark, which opened in 2007, offers new attractions not found in the original Nayong Pilipino
Due to the COVID-19 outbreak, work on the Nayong Pilipino Cultural Park and project was
suspended in October 2020. The Solaire ICTSI Foundation, Inc. established a vaccination
website, and a drive-through vaccination center was launched on August 12, 2021.
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Figure 3.2. Spaces inside the Nayong Pilipino Theme Park
Salient Points and Features

Nayong Pilipino featured six distinct zones. In the Tagalog Region, it showcased iconic structures
like Emilio Aguinaldo’s residence, a Bulacan house, a Bamboo house, and a Paete house. The
Tagalog Region Pavilion was used for hosting events.
The Visayas Region included a replica of scenic views of tourist attractions in Visayas, and scale
models of homes from Leyte, Bohol, Cebu, and Samar. The Mindanao Region exhibited a
mosque and traditional dwellings, along with a collection of ethnographic and cultural artifacts
from the Philippines’ second-largest island. There were regular performances by a dance group
accompanied by the Nayong Pilipino rondalla, and a dedicated Mindanao Pavilion.
The Cordillera Region’s main attraction was a reproduction of the renowned rice terraces, and it
featured a traditional Ifugao village. In the Ilocos Region, a home inspired by Vigan’s Spanish
colonial architecture was on display. Additionally, there was a playground where visitors could
partake in traditional Filipino games.
Relatedness and Significance

Theme of the Playground
Application of Multi-generational playgrounds in the proposed recreational park that showcase
traditional Filipino games including patintero, tumbang preso, piko, etc. can attract tourists
interested in experiencing and learning about local culture and traditions, boosting tourism in the
area. Moreover, the multi-generational playgrounds are inclusive spaces that cater to people of
all ages and abilities. They can be designed to accommodate individuals with disabilities,
ensuring that everyone can participate.
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“Tales of Illumina”
Figure 3.3. Tales of Illumina Map
Location: Ever Gotesco Mall, 213 Commonwealth Ave, Quezon City

Owner/ Builder: Lawrence Li Tan and PAEC
Area: 4180 sqm
Year: 2021
Brief Summary
Tales of Illumina, which opened in December 2021 and is owned by Mr. Lawrence Tan, is widely
recognized as the largest multi-sensory interactive art project in the Philippines to date. This
interactive indoor museum spans an impressive 4180 sqm as it serves as a creative amusement
park featuring captivating narratives inspired by Philippine folklore.
Visitors are enchanted by this indoor amusement park, drawn in by its charming lighting,
enchanting sounds, intriguing art installations, and the captivating stories that unfold as they
explore the various spaces.
The Philippine Amusement and Entertainment Corporation, the nation's leading developer and
operator of immersive and educational indoor attractions, is responsible for curating the exhibits
at Tales of Illumina. This marks the country's inaugural and most extensive fully immersive
experience, as the corporation continuously innovates to present these stories in the most
interactive manner possible to engage visitors.
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Figure 3.4. Tales of Illumina Interiors

Tales of Illumina spotlights Philippine folklore, mythology, and iconic tales such as Ibong Adarna
and Florante at Laura. This enchanting location boasts over 30 lavish, mesmerizing light and
music exhibits that challenge your perception of reality as it offers multisensory journey lasting
approximately two hours.
Each space and chamber within Tales of Illumina features a unique theme and distinct highlights.
Some rooms provide a visually captivating experience, while others offer a full sensory delight.
In certain areas, walking on circular platforms creates music, while others are adorned with
mirrors that reflect light, creating kaleidoscope-like effects. There's even a spot where kids can
concoct their own "potion" (also known as slime), and another area where you can savor
complimentary beverages crafted from a witch's brew. In addition to the rooms and installations,
Tales of Illumina includes a complimentary dance and acrobatic performance.

Incorporation of Kids’ Exhibit, Beverage Exhibit, and Whimsical Path
Interactive kids' exhibits provide a fun and engaging way for children to learn about art and culture
which can also stimulate curiosity and creativity. In addition, food exhibits that allow visitors to
taste and experience different cuisines provide a multisensory experience, this sensory
engagement can enhance the overall learning experience and make it more memorable. Another
factor is the application of Interactive floors, this stimulates multiple senses, combining visuals,
sounds, and tactile feedback which can make museums more accessible to a broader audience,
including children, families, and individuals with varying levels of interest.
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“Art in Island”
Figure 3.5. Art in Island Front View
Location: 175 15th Ave, Cubao, Quezon City, 1109 Metro Manila
Founder/ Contributors: Yun Jae Kyoung with the initial exhibits completed within four months by
18 Korean visual artists.
Area: 3,800 sqm
Year: 2014
Brief Summary
Is located at the heart of Quezon City, distinguished by its collection of 3D paintings and optical
illusions that create a sense of depth and movement. Within its premises, visitors can engage
with the art, crafting their own unique images and immersive experiences at over 50 installations
spread across two levels. Art in Island boasts nearly 200 artworks, proudly declaring itself as the
largest 3D museum in Asia. Notably, this museum was established by Yun Jae Kyoung and his
Korean business associates, and the art on display here is the result of collaborations with
Korean artists.
It underwent a comprehensive transformation eight years later, orchestrated by a group of highly

skilled South Korean artists with expertise in computer design, sculpting, and craftsmanship. This
transformation was aimed at offering visitors an entirely fresh and immersive art encounter. It
relaunched as the reimagined Art in Island: The Media Square. The updated Art in Island has
transitioned from being solely a 3D art gallery showcasing contemporary artworks to a fusion of
media and artistic expressions. It now incorporates a diverse range of media-driven artworks
crafted using the latest technology from South Korea.
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Figure 3.6. Art in Island Interiors

Within the museum, guests can revel in a variety of interactive wall murals and engage in
delightful play with light, capturing amusing and entertaining images for their Instagram accounts.
In addition to these attractions, Art In Island offers its visitors a serene and calming experience.
The Art in Island 3D Museum distinguishes itself by encouraging viewer participation in the
creative process. Through posing and capturing photographs alongside the artworks, visitors can
craft their own unique memories and experiences. Unlike conventional art museums, the Art in
Island 3D Museum is designed to be interactive and enjoyable.

Application of multimedia components, touchscreens, augmented reality (AR),
Blending both traditional and innovative approaches to exhibit presentation enhances overall
visitor engagement. The integration of multimedia components, touchscreens, augmented reality
(AR), and virtual reality (VR) can elevate the appeal and memorability of exhibits. Interactive
displays and multimedia presentations also function as educational resources, enriching visitors'
comprehension of the culture, history, and traditions being presented.
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“The Mind Museum”
Figure 3.7. Mind Museum Arial View
Location: JY Campos Park, 3rd Ave, Taguig, 1634

Architect/s: Lor Calma & Partners
Area: 12000 sqm
Year: 2012
Brief Summary
Conceived as a project by the Bonifacio Art Foundation, Inc. (BAFI), a foundation established in
1996 by the Fort Bonifacio Development Corporation (FBDC) with the mission of promoting arts,
culture, and education in the business district. The Mind Museum represents a significant step
towards providing valuable contributions to the education and development of future generations,
constructed in accordance with architectural principles aligned with prevailing energy
conservation and eco-sustainability trends. Designed by Lor Calma & Partners, under the
meticulous guidance of renowned architect Ed Calma, the museum was conceived as a structure
reminiscent of cell development and molecular structures.
Its purpose is to inspire visitors to adopt a critical and constructive mindset right from the outset
of their experience. In pursuit of environmental sustainability and to ensure superior technical
performance, the floors of the Mind Museum have been adorned with Trust, a technical porcelain
stoneware collection certified by Ecolabel and Leed. Trust captures the essence of natural stone,
with the Copper shade being chosen in various formats (30x60, 30x30, etc.), offering a range of
configurations and opportunities to customize different spaces.
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Figure 3.8. Mind Museum Interiors (Right) & Mind Museum Exterior (Left)

A central feature of this museum revolves around interactivity, offering visitors more than just a
passive viewing experience behind glass or velvet ropes. Instead, it provides an opportunity for
hands-on learning through interactive displays, touchscreens, and practical engagement.
The aerodynamic design of the roof not only enables effective rainwater collection but also
prevents wind tunneling by redirecting gusts upward. Its fluid form resembles that of a weathered
stone, smoothed over time by natural forces, as described by Calma. Adjacent to the museum,
an 8,600-square-foot park enhances the visitor experience by offering insights into sun, wind,
water, and plant interactions. This park features interactive exhibits designed by landscape
architects and artists, allowing guests to engage with these natural elements.

Incorporation of technology in hallways as a form of transition between spaces
Digital wall displays and LED lights can be programmed to highlight specific elements of the
hallway displays, drawing visitors' attention to relevant details. This can also offer context and
background information about upcoming exhibits, helping visitors better prepare for what they
are about to see. In addition, Digital displays can be easily updated to accommodate changing
exhibits and themes, ensuring that the transition spaces remain relevant and engaging.
Garcia - 2023 56
A.1.1. Review of Related Foreign Literature and Case Studies

“Junshan Cultural Center”
Figure 3.9. Junshan Cultural Center Front View
Location: Beijing, China

Architect/s: Shanghai firm headed by Lyndon Neri and Rossana Hu
Area: 4000 sqm
Year: 2018
Brief Summary
The Shanghai-based firm led by Lyndon Neri and Rossana Hu was assigned the task of
refurbishing an old two-story brick building. Their objective was to blend office spaces with a
cultural center that includes a library, an exhibition hall, and a multipurpose area accommodating
up to 100 individuals.
To minimize the building’s visual impact, vertical, brown-toned aluminum panels were introduced,
covering the grayish brick walls, which were also used for the interior walls. These volumes are
arranged around a central courtyard and are complemented by landscaped areas featuring
raised pools intricately integrated into a network of pathways.
Neri&Hu effectively utilized the existing courtyard design to create two interconnected
pathways—one for clubhouse members and the other for sales center guests. All the designated
spaces were strategically positioned to maintain proximity to the natural surroundings. The
layered design of the main courtyard and smaller gardens enables the architecture to seamlessly
blend with the natural environment.
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Figure 3.10. Junshan Cultural Center Exterior (Right) & Interiors (Left)

The structure emerges gracefully from the water, presenting itself as a brick mass punctuated by
carefully designed spaces for various functions, all intertwined with gardens that create a
seamless transition between the interior and exterior. The façade is adorned with warm-toned
wood-patterned aluminum panels, which act as a veil, softening the solid appearance of the brick
exterior. These panels interact with the interior spaces, creating a façade that appears
spontaneous and distinctive from every angle.
The foundation of the building mass is made of traditional gold brick tiles, extending from the
exterior landscape into the “in-between” interior spaces. Each space within the building comes
with a multitude of geometric openings carved out to engage with the sky and light. This
interaction lets light reflects off the textured Venetian plaster surfaces. The layering of refined
brass metal detailing, the natural patterns of stone accents, the softness of fabrics, and delicate
lighting elements all collaborate to create a sense of refined traditional design.

Façade
The integration of traditional Philippine architectural elements with contemporary design in the
façade achieves a seamless design, this not only pays tribute to the nation’s cultural heritage but
also establishes a meaningful connection between modern design and the country’s rich history
which fosters a sense of continuity. The interplay of light and warmth surrounding the
development offers visitors a diverse and dynamic experience as the traditional architectural
aspects create intimate and contemplative spaces, while contemporary elements provide
opportunities for interactive and engaging exhibits.
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“Tennessee State Museum”
Figure 3.11. Tennessee State Museum
Location: Nashville, United States

Architect/s: EOA Architects, HGA
Area: 13006 sqm
Year: 2018
Brief Summary
The Tennessee State Museum illuminates the rich and diverse history of the citizens of
Tennessee and enlivens Nashville’s Bicentennial Mall with an inspirational and distinctive cultural
facility. Opened in October 2018, this state-of-the-art history museum significantly increases the
visibility of the institution and the understanding of the rich history of the state.
Designed by HGA, the two-story museum is located on the northwest corner of the Bicentennial
Capitol Mall, with expansive views of the historic State Capitol and Nashville skyline. The design
engages the public in the history and significance of the State of Tennessee through collections,
displays in flexible exhibit spaces, programs in interactive learning spaces, with strict adherence
to the highest quality standards for museum facilities that allow the institution to borrow and
display a range of works from other international institutions.
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Figure 3.12. Tennessee State Museum Interiors

Patrons will be able to experience a chronological history of the state and themed galleries with
small theaters, collections and multimedia elements that will offer a deeper dive. Other features
will include a survey of Tennessee musical history and personal stories of people who made
history in the state in a flexible environment where information can be updated as the goal of this
institution is to be a vibrant and active museum. Natural daylighting was also the important
feature in the public areas to counteract the lower lighting levels in the galleries. Large skylights
were used above the monumental stair and central rotunda space as the ceiling of the lower
rotunda was another opportunity to showcase the state wildflower, the Passionflower.

Board Wall Displays
Visual elements, such as photographs, illustrations, and diagrams, can accompany the text on
board wall displays. These visuals enhance comprehension and create a more engaging and
memorable learning experience. Board wall displays can be used to tell stories related to the
exhibit, making the content more relatable and emotionally resonant with visitors and this
conveys essential information about the exhibit, including the theme, historical context, and
significance of the artworks on display.
“Singapore Art Museum”
Figure 3.13. Singapore Art Museum
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Location: Bras Basah Road, Singapore

Architect/s: Charles Benedict Nain
Area: 7500 sqm
Year: 1996
Brief Summary
The Singapore Art Museum (SAM) is a renowned cultural institution located in Singapore.
Established in 1996, SAM is dedicated to contemporary art and plays a significant role in
promoting and showcasing contemporary visual arts in Southeast Asia. The museum is known
for its extensive collection of contemporary artworks, including paintings, sculptures,
installations, and multimedia art.
SAM’s mission is to foster a deeper understanding and appreciation of contemporary art by

providing a platform for emerging and established artists from Singapore and the broader
Southeast Asian region. The museum regularly hosts exhibitions, programs, and events that
explore contemporary themes and artistic expressions.
Figure 3.14. Colored Holograms Installed by teamlab

A seemingly boundless and complex maze of colored holograms fill the darkened gallery walls
at the Singapore art museum for the interactive digital installation by teamlab. Saturating the
massive space are row upon row of life-sized, three-dimensional figures in perpetual motion —
dancing wildly in place and playing various instruments. ‘Peace can be realized even without
order’ presents the ghostly, anthropomorphic characters dressed in traditional garments,
standing in line beside hybrid animals and imagined creatures.
Garcia - 2023 61

Holograms
Museums can update or change the holographic content to align with different exhibitions or
themes, providing flexibility in programming and curation. Holograms also provide a dynamic and
immersive way to preserve and showcase traditional dance and music forms, ensuring that these
cultural traditions are documented and accessible to future generations. With this, the core
technology for creating holograms is a holographic display system which might include lasers,
beam splitters, mirrors, and other optical components that create interference patterns.
“Palais de Tokyo”
Figure 3.15. Palais de Tokyo Front View
Location: Paris, France

Architect/s: Marcel Henri Albert Dastugue, André Aubert
Area: 22000 sqm
Year: 1937
Brief Summary
Designed in 1937 for the Exposition international, the building referred to as the “Palais de Tokyo”
was built on what was then called the Quai de Tokio (the present-day Avenue de New York),
after which it was named. Right from the start, it was designed to house two separate museums:
the Musée d’art moderne de la Ville de Paris and the Musée national d’art moderne. Even though
the Musée d’art moderne de la Ville de Paris has been in the east wing of the building since that
era, the west wing has hosted a number of different institutions and events in its time, all centered
around visual arts. It is here in the west wing that what we refer to as the present-day Palais de
Tokyo, a site for contemporary art, is located.
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Figure 3.16. Flooded Museum

To take in the new, dimly lit installation at Palais de Tokyo by artist Céleste Boursier-Mougenot,
you’ll have to pilot a small boat through dark waters inside the flooded museum. Visitors sit or
stand within their rowboats, using oars to paddle themselves around the nearly pitch-black space
and disembarking to explore jagged foam landscapes. The hallucinatory voyage is reminiscent
of souls crossing over to the underworld via the River Styx, with the ferryman Charon to guide
them.
As they take in the subtle figurative silhouettes projected onto the black walls, the guests
themselves become part of the exhibition, like actors in a play. As they navigate the waters, they
are filmed, their movements projected onto one of the walls. The foam ‘island’ is a place of refuge,
allowing deeper immersion into the work without fear of drifting.

Application of flooded exhibit
The flooded exhibit at “Palais de Tokyo” is known for its immersive and interactive nature,
encouraging visitors to engage with the art installation. This can be a concept to The Taguig Boat
exhibit in the museum within the proposed complex as it may also offer immersive experiences
for attendees, whether through boat races, cultural performances, or other activities that involve
active participation. The flooded exhibit at “Palais de Tokyo” addresses environmental or climate-
related themes, there might be a tangential connection to the Taguig Boat Festival. This can
promote environmental awareness or conservation efforts, such as highlighting issues related to
water quality or river ecosystems which also explores the boundaries between art and reality
through immersive experiences.
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“National Museum of Qatar”
Figure 3.17. National museum of Qatar Front View (Left) & Aerial View (Right)
Location: Doha, Qatar

Architect/s: Atelier Jean Nouvel
Area: 52,025.7024 sqm
Year: 2019
Brief Summary
Jean Nouvel’s design for the Museum vividly embodies both the active, dynamic nature of its
program and its unique identity. The result is a structure that, akin to the blossoming of a desert
rose, emerges from the ground, and harmonizes seamlessly with it. Positioned prominently on a
vast 1.5 million square foot site, it will serve as the initial focal point for travelers arriving from the
airport.
Comprising a series of interconnected, low-profile pavilions encircling a substantial courtyard,

the building offers a total of 430,000 square feet of interior space. Visitors to the gallery embark
on a journey through a series of unique and immersive realms. These encompass architectural
spaces, music, poetry, ancient artifacts, specially commissioned artworks, and large-scale art
films, among other experiences.
The gallery’s winding pathways guide guests through eleven distinct galleries, each of which
spans the history of the Qatar peninsula from its origins millions of years ago to its contemporary
status on the global cultural stage. This journey serves to articulate the nation’s cultural vision
on the international platform, preserving its rich heritage and traditions while echoing the
aspirations of its people.

It stands as a vast architectural complex, spanning approximately 400 by 250 meters in
dimensions and soaring to a height of 40 meters. The physical structure comprises 539 diverse
disk-shaped components, each with a diameter of up to 87 meters. These disks are arranged in
a staggered fashion, with some partially overlapping, this intricate geometric pattern seen on the
building’s exterior continues within the museum, offering a unique spatial experience.
Garcia - 2023 64
Figure 3.18. National museum of Qatar Interiors
Within this ring of galleries lies a central courtyard, serving as a gathering space for outdoor
cultural events. The museum’s exterior finish, resembling the color of desert sand, seamlessly
melds with the surrounding arid landscape, creating the impression that it emerges organically
from the earth. Inside, the expressive interconnection of these disks forms a captivating
arrangement of irregular volumes.

Harmony within Space Planning
The layout and spaces within the museum must flow seamlessly since this can guide visitors to
navigate the exhibits more easily, enhancing their overall enjoyment and understanding of the
content especially when the exhibits transition from ancient period to global stage.
A harmonious design can accommodate changes and updates to exhibits and displays. It allows
for flexibility in adapting the space to rotating exhibitions without compromising the overall
integrity of the museum’s design as this also encourages users to spend more time exploring the
exhibits and can leave a lasting positive impression.
Garcia - 2023 65
“The Luchtsingel”
Figure 3.19. The Luchtsingel
Location: Rotterdam, Netherlands

Architect/s: [ZUS] Zones Urbaines Sensibles
Area: 0 sqft - 1000 sqft
Year: 2015
Brief Summary
Derived from ZUS' concept, 'The City of Permanent Temporality,' the Luchtsingel introduces a
novel approach to urban development, leveraging the city's evolutionary nature and existing
structures as a foundational framework. The Luchtsingel, a 400-meter-long pedestrian bridge,
serves as a transformative link reconnecting three districts in the core of Rotterdam. Functioning
as a cohesive backbone for various urban interventions, it stands as the world's pioneering piece
of public infrastructure funded through crowdfunding. This innovative funding approach aims to
breathe life into the once-abandoned Rotterdam Central District.
The Luchtsingel not only provides a practical solution to reconnecting separated areas but also
offers an elevated perspective of the cityscape. Its design encourages a deeper connection
between individuals and their urban environment, fostering a sense of community pride and
ownership. In essence, the Luchtsingel bridge stands as an exemplary model of contemporary
urban architecture, blending innovation, community involvement, and sustainability to create a
vibrant and accessible public space.
Garcia - 2023 66
Figure 3.20. The Luchtsingel

Positioned at the epicenter of Rotterdam's post-war reconstruction, the Luchtsingel spans across
the railway line that historically separated the city center from the north. In the pre-World War II
era, this site pulsated with the vibrant heartbeat of Rotterdam. After decades of disconnection,
the bridge now seamlessly reunites the three districts in the heart of Rotterdam.
The Luchtsingel's construction primarily consists of wood, providing a warm and natural
aesthetic. Wood is not only a sustainable material but also contributes to the adaptive and flexible
nature of the bridge. The inner sides of the bridge feature wooden planks purchased by
crowdfunders, each engraved with a personal message. This adds a layer of individuality and
community engagement, turning the bridge into a personalized public space.

Pedestrian Bridge/ Elevated Park
Much like the Luchtsingel bridge reconnecting three districts in Rotterdam, an elevated park can
also serve as a unifying element for the three lots of the historical and cultural complex. By
bridging these lots, both physically and symbolically, the park becomes a central space that binds
together the different facets of history and culture represented in each lot. Incorporating an
elevated park allows design approach to utilize vertical space efficiently, making the most of the
available land on each lot. An elevated park can also provide walkways and green spaces that
encourage visitors to explore the various sections of the historical and cultural complex
seamlessly.
Garcia - 2023 67
A.2. Pertinent Laws and Regulations:

The proposed Historical and Cultural Complex will adhere and shall abide the architectural design
standards, building regulations, and comply with the relevant laws / measures that follows:
• NATIONAL COMMISSION FOR CULTURE AND THE ARTS (NCCA) - "Guidelines for
Museums"
• Standards of Philippine Libraries
• PD 1096 - NATIONAL BUILDING CODE OF THE PHILIPPINES (2018 edition)
• BP 344 - ACCESSIBILITY LAW
• RA 9514 - FIRE CODE OF THE PHILIPPINES (Revised 2019)
• RA 1378 - NATIONAL PLUMBING CODE OF THE PHILIPPINES (Revised)
1. Guidelines for Museum (NCCA)

The character of a museum.
According to the Guidelines for Museum which is written by Dr. Jesus Peralta, the museum's personality
must be defined. This personality will assist the curator in determining, for example, what kind of
structures and facilities will be made accessible for study, storage, conservation, and presentation. There
are general museums such as the National Museum and specialty museums such as the Metropolitan
Museum of Manila, the Muse ng Bahay Pilipino, and the Central Bank Money Museum. The community's
need is sometimes one of the aspects shaping the character of a museum.
In most circumstances, the museum curator is presented with a collection of things over which he has no
control. Fortunately, the things gathered are from and represent the neighborhood in which the museum
is located.
Collections.
A collection may be built and augmented in a number of ways:
1. field collection
2. donation
3. purchase
4. exchange
Documentation.
A museum must document its collections, which should include at the very least a catalog of the various
artifacts. The list lists the items and indicates the number of each. Museum records come in a variety of
formats:
1. Accession Record/ registry
2. Catalogue
3. Photographic record
4. Database
Exhibitions
According to the Guidelines for Museum in Exhibitions, curators should pay close attention to visitor
profiles in order to make the museum more successful in the community. The general features of museum
visitors are shared. These are some examples:
• The art audience is a select group of people who are often white collar and well-educated.
• The sexes are just about evenly represented.
• Museum visitors at least have some college education.
• People tend to go to museums with others.
Garcia - 2023 68
• Many are repeat visitors.

• Museum attendance varies seasonally, with the summer months having the lowest attendance.
• The typical museum visitor spends five minutes in an exhibition and less time in an art display.
• The majority of the public appears to be gaining little or nothing other than trivial impression of
the exhibits" (zyskowksi, 1968).
• Only a small percentage of visitors make use of printed guides.
• Education and residence are major predictors of museum attendance.
• museums actualize the experiences of the visitors.
• While adding to knowledge, museum exhibits tend to amplify feelings.
• some visitor engagement is beneficial in optimizing the impact of a museum visit.
• there are others who believe that tourists expect to stay passive, wishing to be left alone
• Education is the best predictor of museum attendance.
• The museum visitor has a wide variety of interests and backgrounds.
• The museum visitor has limited time.
• a museum visit leaves the visitor physically fatigued and frequently overwhelmed by too many
sensory Stimulations.
• The ordinary museum visitor is uninterested in further information or instructional materials about
museum collections.
• the majority of people do not read display labels. When it comes to labelling, keep children in
mind.
To summarize, museums give various services to various populations. Because visitors have diverse
personal interests, a museum visit cannot be planned. As a result, a museum should strive to give a
diverse variety of choices for visitors to choose from, therefore making the museum experience unique
for each individual.
The display space should be well-ventilated, dust-free, and equipped with controls for light, temperature,
and humidity. This would imply that the gallery would be an enclosed hall with no windows allowing direct
sunlight to enter. Windows can also obstruct the positioning of exposition facilities and visitor traffic flow.
There is no need for general illumination in the hall, but a large number of outlets should be neatly and
easily dispersed around the area; on the base of the wall, the flooring, or the ceiling is preferable. This
would allow electricity to be tapped when required
Pollutants.
Dust is hazardous because it serves as a nucleus for water condensation and the commencement of
chemical and physical processes. The corrosive effects of salt pose a risk due to proximity to the sea. Air
conditioning is the only effective way to reduce air pollution. In the event that this is not practicable, free
air ventilation with filtering may be employed.
Temperature and Humidity

If the temperature range can be controlled, it should be kept between 20°c + 2°c. It is suggested that the
relative humidity be between 50 and 55%. Molds will form and ruin numerous materials such as fabrics,
paints, and paper if the relative humidity exceeds 65% and the temperature is high. Relative humidity is
measured using hygrometers. In the absence of these, increasing humidity might be felt as a sense of
heat, oppression, and stickiness of the skin.
Garcia - 2023 69
Security
All museum collections should be protected from:
1. Mishandling by personnel
2. Theft
3. Fire
4. Water
5. Vandalism
1.2. Standards for Philippine Libraries

Standards for Philippine Libraries
Standard Format Public Libraries
A. To provide library and information service to the needs of the
community,
B. To build within each library an information center about its
Standards I. Mission, Goals respective community – its resources, history, people,
and Objectives customs, and traditions, etc., and
C. To develop nationally, a network and linkages among public
libraries with the National Library as the center to facilitate
research reference needs of patrons.
A. Each public library shall operate under the administrative
supervision of the local government unit and under the
technical supervision of the National Library,
B. A public library shall be managed by a professional librarian,
Standard II. Administration
C. The public library as a local government entity shall have, as
its immediate superior, the local chief executive or any legally
designated local official in accordance with the Local
Government Code
A. The public library shall be manned by qualified and
professionally trained librarians and shall be supported by
support services staff,
B. Qualification and Number of staff – the number of staff in a
public library shall depend on the population served and the
size of the collection;
1. The head of the public library should be a professional
Librarian.
2. The non-professional staff should conform to existing laws
and government regulations.
Standard III. Human
2.1 Regional, congressional district, provincial and city
Resources
libraries at least four professional librarians, three
support services staff excluding those holding non-
classified positions like utility workers, etc. Public
libraries of first class municipalities shall have at least
two professional librarians and adequate support/non-
professional staff as needed and for lower class
municipalities including barangay reading centers,
there should be at least one full time library staff, and,
if fund allows, one clerk and one utility worker.
Garcia - 2023 70
2.2 The increase in the number of library staff depends on

the increase of population of the community served.
For every increase of 50,000 people, a corresponding
increase of one professional and one support staff is
suggested.
3. Professional librarians are individuals who are license
holders.
4. Librarians shall be appointed to any of the following
positions in the plantilla of positions provided by civil service
servants in the local government units in accordance with
the Salary Standardization Scheme for Government
Workers
4.1 Congressional, provincial and city libraries
Librarian IV -- SG 22
Librarian V -- SG 24
4.2 City and municipal Libraries
Librarian III -- SG 18
4.3 Other libraries – depending on the class
Librarian I -- SG 10
Librarian II -- SG 14
5. Support Services Staff – Salary grade in accordance with
RA 7743
5.1. Technical staff shall possess diploma or certificate of
two-year computer education or its equivalent and
with the required civil service eligibility;
5.2. Clerical staff shall have finished special studies in
Secretarial Science and with required civil service
eligibility;
5.3. Library aides should have at least two years library
work experience
6. Other Staff
The public library should have, depending on its size and
availability of funds, the following maintenance personnel in
accordance with Civil Service Commission Memorandum
Circular No. 10
6.1. Library equipment operator for the photocopying
machine; microfilm reader/printer, overhead projector;
6.2. Bindery personnel
6.3. Messengerial staff liaison personnel; and
6.4. Utility worker
The Collection must reflect the objectives of the library and the
needs of the community served.
A. The collection shall include books, multi-media and other non-
Standard IV. Collection book materials such as those in the state-of-the-art
Development technologies, periodicals, maps, pamphlets, and other
audiovisual materials.
Garcia - 2023 71
B. The library shall maintain the local history collection.

C. The size of the library collection is dependent on the allocation
from the National Library and from the budget funds provided
by the local government unit in the annual appropriations
D. A minimum of initial collection of 3000 volumes of books is
deemed appropriate for public libraries in the regions,
provinces, cities and first class municipalities regardless of
their population.
E. For libraries in municipalities lower than the first class, an initial
book collection of 2000 is recommended as starting collection
while for barangay reading centers, 500 volumes is
recommended.
F. Selection and acquisition of books and other library materials
shall rest on the librarian with the assistance of her
professional staff. Materials for acquisition recommendations
by library clientele shall be considered.
G. A provision for at least 10% annual increase of the collection
must be provided each of any library category.
A. Library services shall be provided with the highest degree of
efficiency and integrity in keeping in mind that the public library
is a service agency of the government for the people;
B. The library shall reflect the needs of the community which shall
include books, pamphlets, ephemeral materials, non-print
materials, classified and cataloged according to the standards
for easy access and retrieval;
C. Open shelves system shall be promoted to give users the free
access to all materials;
D. The library shall maintain local historical and cultural materials
for preservation and conservation;
E. The library shall provide materials for wholesome development
of the community regardless of age, creed, religion and
cultural affiliations;
Standard V. Services and F. The library shall observe library hours for the maximum benefit
Utilization of the community;
G. The library shall initiate the organization of groups or
volunteers to handle fund raising to financially support the
library and handle activities such as storytelling and book talks
for the children; book discussions, exhibits; poetry
interpretation, play reading, lectures, demonstrations, puppet
shows, etc.
H. For library promotion activities, the following services shall be
encouraged:
1. Reference and research service
2. Circulation and books for home use
3. Organization and maintenance of a children’s section
4. Reading guidance for children and out of school youth
5. Outreach programs and services especially to depressed
areas of the community
Garcia - 2023 72
6. Organization of Friends Group to act as support of the

Library
A. Building
1. Site
1.1. The library shall be centrally located within the
Community and not to be annexed to other agencies.
1.2. The library shall be accessible to all library users of
transportation.
1.3. In the development plan of the local government unit,
the library shall be a component of an integrated
cultural complex.
1.4. The building shall provide access to physically disabled
individuals.
2. Size
2.1. Size of the public library shall consider the following:
community population, the growing library collection,
size of library staff and services to be rendered.
2.2. Each library shall provide adequate space for reading
areas: stack area, work room, multimedia room,
Standard VI. Physical
storage room, staff lounge, toilets for the library staff
Facilities
and for the public; and space for other facilities.
2.3. Provision shall be made for a minimum seating capacity
of 48-60 people at any one time for regional, provincial,
city and first-class municipal libraries and at least 36-
48 for other municipalities and at least 12-24 for
barangay reading centers
B. Equipment
1. Equipment and furniture shall be adequate to generate an
environment conducive for the pleasant and effective use
of the materials and services.
2. Furniture shall be functional and in harmony with the
architecture of the building.
3. Equipment shall be selected properly in such a way that
they will help in the efficient operation of the library to keep
abreast with the time.
4. Layout of equipment and furniture shall allow the smooth
mobility of readers and materials.
Standard VII. Information
The public library shall have facilities for information technology and
Technology Facilities and
communication services.
Services
A. The public library shall be provided with adequate and
reasonable budgetary appropriations to carry out effectively its
plans and programs.
Standard VIII. Financial B. The library budget shall cover the following items:
Resources 1. Personal Services to include salaries and wages and other
benefits common and due to all civil service servants.
Garcia - 2023 73
2. Maintenance and other operating expenses (MOOE) to

include among other funds for travel expenses,
attendance to seminars, trainings, conferences, etc.
subscriptions to serials, newspapers, and periodicals,
3. Capital Outlay to include funds to purchase library
equipment, information technology equipment and
materials, furniture, and other reference materials.
4. The library budget shall be adjusted annually as the need
arises to make relevant with the time.
Standard IX. Linkages and Public libraries must encourage networking/resource sharing to
Networking enrich their collections subject to existing rules and regulations.
Table 3.1. Standards for Philippines Libraries
1.3. National Building Code of the Philippines (PD 1096)

National Building Code of the Philippines and Its Implementing Rules and Regulation
RULE VII: Classification and General Requirements of All Buildings by Use or Occupancy
General Classification of
Use / Character of Type of Building Zoning Classification
Occupation of Building
Group C – Education and 2.Seminar/ GI (General Institutional)
Recreation Workshop Facilities – a community to national
Division C-1 – level of institutional use or
Occupancies shall be 4.Libraries, occupancy, characterized
buildings used for school museums, exhibition mainly as a lowrise,
or day-care purposes, halls and art medium-rise or high-rise
involving assemblage for galleries building/structure for
instruction, education, or educational, training, and
recreation, and not related activities, e.g.,
classified in Group I or in schools and related
Division 1 and 2 or Group facilities and the like.
H Occupancies.
Section 701. Group H - Assembly for 1. Theaters and CUL (Cultural) - a
Occupancy less than 1000 (Cultural Auditoriums community to national level
Classification and/or Recreational) of cultural use or
Division H-1 – Any occupancy, characterized
assembly building with a mainly as a low-rise or
stage and an occupant medium rise building/
load of less than 1000 in structure for cultural
the building. activities, e.g., cultural
centers, convention
centers, very large office or
mixed-use/occupancy
buildings and the like
Garcia - 2023 74
Allowable Maximum
Total Gross Floor Area (TGFA)*
By Type/Location of Lot
Corner
Lot
Interior
Inside Abutting
Character Type of (Or Corner
(Or Corner Through 3 or More
of Use/ Building/ Rear) Through
Section 705. Occupancy Structure Lot and
Regular Lot Lot
Lot
Streets,
Lot) etc.
Allowable Floor End Lot
Rivers,
Area etc.
With BHL BHL BHL BHL BHL BHL
Institutional Sprinkler x x x x x x
GROUP D System & 60% 60% 70% 70% 70% 70%
Firewalls of TLA of TLA of TLA of TLA of TLA of TLA
Building Height Limit (BHL) by Type of Use or Occupancy
Building Height Limit (BHL)
Section 707. Character of Use or Type of Number of allowable
Maximum Height Meters above highest
Occupancy Building/Structure storeys/floors above
grade
of Building established grade
- 15.00 meters (or must follow the duly-approved
Institutional
BHL in the major zone it is part of)
Section 709.
Requirements for Floor to Lot Area Ratio (FLAR) Designations/Rights
Type of Use or Occupancy Type of Building/Structure FLAR Designation/Rights
Other Group Institutional - 2.50s
Occupancies
Minimum Required Off-Street (Off-RROW) cum On-Site Parking Slot
Section 707. Specific Uses of References Use or Character of Minimum Required Parking Slot,
Occupancy Occupancies or Type of Parking Area, and Loading Space
Parking Slot, Building/Structures Requirements
Parking Area and 8. Group H
Loading/Unloading 8.1 DivisionH-1 Public recreational Assembly One (1) car slot and one (1)
Space buildings such as theaters/cinemas. jeepney/shuttle slot for every 50.00 sq.
Auditoria, etc. meters of spectator area; and one (1)
Requirements bus parking slot for every two hundred
(200) spectators
Maximum Allowable PSO, Maximum Allowable ISA, the MACA, the
Minimum USA, and the TOSL by Type of Land Use Zoning per Lot
Building/ % Of Total Lot Area (TLA)
Section 803. Structure Use Duly - Maximum Maximum Minimum TOSL d
Percentage of Site or Approved Allowable Allowable USA (ISA +
Occupancy Occupancy Zoning b PSO c,d ISA, c (Paved (Unpaved USA)
(or land use) open spaces) open spaces)
Institutional - 50 e 20 30 50
60 f 20 20 40
Setbacks for Commercial, Industrial, Institutional, and Recreational
Buildings
Section 804. Road Right-Of-Way (RROW) Width Front (meters) Side (meters) Rear (meters)
Sizes and (meters)
30.00 & Above 8.00 5.00 5.00
Dimensions of 25.00 to 29.00 6.00 3.00 3.00
Courts 20.00 to 24.00 5.00 3.00 3.00
10.00 to 19.00 5.00 2.00 2.00
Below 10.00 5.00 2.00 2.00
Table 3.2. National Building Code of the Philippines (PD 1096)
Garcia - 2023 75
1.4. Other Pertinent Laws related to PD 1096, RA 9541, and BP 344

Other Pertinent Laws related to PD 1096, RA 9541, and BP 344
PD 1096
RA 9541
(National Building BP 344
Subject (Fire Code of the
Code of the (Accessibility Law)
Philippines)
Philippines)
Occupants Load
Exhibition Hall 1.40 sqm. per person 1.40 sqm. per person
Standing / Waiting Space 0.28 sqm. per person
Conference Rooms 1.40 sqm. per person
Waiting areas not in
0.46 sqm.
excess of 930 sqm.
Waiting areas excess of
0.65 sqm.
930 sqm.
Exits
Shall accommodate
Minimum main exits width 1.70 mts.
½ of total occupants
Shall accommodate
Minimum other exits width 2/3 of total occupants
per level
112 cm. serving 50
Minimum corridor width
or more occupants
46 mts. from any
point of assembly
(w/o sprinkler) & 61
Maximum travel distance
mts. from any point
of assembly (w/
sprinkler)
Common Spaces
12.00 cubic meters air
Offices
space
3.00𝑚 (1.50m min.
2
Kitchen
dimension)
1.20 sqm.
Minimum area of
Toilet and Bath Minimum dimension of
1.70 x 1.80 meters
0.90 m
Main walk Max. cross gradient
of 1:100 & min. width
Footpaths
of 1.20 m
Minimum Ceiling Heights
Naturally Ventilated:
2.70m
Ground Floor
Artificially Ventilated:
2.70m
2.70m
Second Floor
2.40m
Garcia - 2023 76
2.70m
Succeeding Floors
2.10m
Mezzanine 1.80 m height
Walkways 2.00 m height
Means of Egress 2.00 m height
Light and Ventilation
10% of floor area but
Window openings (room)
1.00 𝑚2 minimum
Window openings (toilet & 5% of floor area, but
bath) 240𝑚𝑚2 minimum
Minimum dimension of
2.00 m
court
Minimum width of court
passageway 1.20 m
Doors
Minimum height 2.00 m 2.00 m 2.00 m
Minimum width 0.90 m 0.71 m 0.80 m
Maximum width 1200 mm 1220 mm
820-1060 mm (900
Height of door knob
mm preferred)
Exits
1-10 OL: 1 exit
0-500 OL: 2 exits
10-499 OL: 2 exits
Number of exits required 501-999: 3 exits
500-999: 3 exits
1000-more: 4 exits
1000-more: 4 exits
1st storey occupants
more than 10 = 2 exits /
Exhibit Hall / Museum
storey having 50
occupancy = 2 exits
Exit way 1.10m (corridors) 1.12 mts.
Max. travel distance to
45.00 m 46.00 m
exit, no sprinkler
Max. travel distance to
60.00 m 61.00 m
exit, with sprinkler
Minimum width of exit
.90 m 8.00m for all
door
Minimum height of exit
2.00 m 2.00 m for all doors
door
Change in front level at
50 mm 13 mm
door
Dead Ends
Place of
6.10 m
Assembly/Library/Museum
Stairways
Maximum riser 200 mm 100-180 mm
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Minimum tread 250 mm 280 mm Slanted nosing

Less than 10 OL: 0-49 OL: 915 mm preferred over
0.75 m 59-1999 OL: protruding nosing,
Minimum width 10-50 OL: 0.90 m 1120 mm provide 300mm wide
More than 50 OL: 2000 or more OL: tactile strip at top and
1.10 m 1420 mm bottom of stairs.
Minimum headroom 2.00 m 2.00 m Handrails-installed at
Max. vertical distance 0.90 m and 0.70
3.60 m 3.66 m above steps/ramps
between landings
Handrail 760-865 mm height 800-900 mm height with 0.30 m
extension at the start
Distance between railings and end of
stairs/ramp.
Ramps
Maximum slope 1 in 12 1 in 12
Maximum cross slope 1 in 48
Minimum width 1120 mm 1.20 m
Min. landing length 1.50 m
760 mm (vertical 6.00 m (horizontal
Distance between
distance bet. distance bet.
landings
landings) Landings)
Handrail height 760 mm – 865 mm 700 mm – 900 mm
Corridors
Main corridor
1.10 m 1.20 m
Secondary corridor
One (1) fountain for
every 2,000 𝑚2 floor
Water Fountains
area / one (1) on
each floor
Toilet System
One (1) accessible
toilet for disabled on
each floor level
where the total
number of water
closets per set on
that level is 20; and
two (2) where the
number of water
closets exceed 20
Parking Requirements
One (1) car slot and Accessible parking
one (1) jeepney/shuttle slots should have a
slot for every 50.00 sq. minimum width of
Museum/Library/Exhibition meters of spectator 3.70 m; a walkway
Hall area; and one (1) bus from accessible
parking slot for every spaces of 1.20 m
two hundred (200) clear width shall be
spectators. provided between the
Garcia - 2023 78
front ends of parked

cars.
Provide parking
requirements stipulated
PUD Zone for most similar or most
related
uses/occupancies
Table 3.3. Other Pertinent Laws related to PD 1096, RA 9541, and BP 344
1.5. National Plumbing Code of the Philippines (RA 1378)

Table IV.1 Minimum Plumbing Facilities (fixtures per person)
Types of Building Water Closets Urinals Lavatories Drinking
Occupancy Fountains
Assembly Places – Male – 0: 1 – 9 Male
theaters, auditoriums, 1: 1 – 15 1: 10 – 50 1 per 40
convention halls, etc. 2: 16 – 35
– for employee use 3: 36 – 55 Female
Add 1 (one) 1 per 40
Female – fixtures for each
1: 1 – 15 additional 150
3: 16 – 35 males
4: 36 – 55
Over 55, add 1 fixture
for each additional 40
persons
Assembly Places – Male – 1: 1 – 100 Male – 1 per 75
theaters, auditoriums, 1: 1 – 100 2: 101 – 200 1: 1 – 200
convention halls, etc. 2: 101 – 200 3: 201 – 400 2: 201 – 400
– for public use 3: 201 – 400 4: 401 – 600 3: 401 – 750
Female – Female –
3: 1 – 50 Over 600, add 1 1: 1 – 200
4: 51 – 100 (one) fixture for 2: 201 – 400
8: 101 – 200 each additional 3: 401 – 750
11: 201 – 400 500 males Over 750, add 1
Over 400, add 1 fixture fixture for each
for each additional 500 additional 500
males and 2 for each persons
300 females
Office or Public Male – 0: 1 – 9 Male
Buildings – for 1: 1 – 15 1: 10 – 50 1 per 40
employee use 2: 16 – 35
3: 36 – 55 Add 1 fixture for Female
Female – 1: 1 – 15 each additional 1 per 40
2: 16 – 35 50 males
3: 6 – 55
Over 55, add one for
each 50 persons
Table 3.4. Minimum Plumbing Facilities
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B. SPECIALIZED ALLIED SERVICES

The design services needed within and outside the building which fall under Specialized Architectural
Services as listed under the pertinent provisions of R.A. No. 9266 and its 2004 IRR include but are not
limited to the following:
• Architectural Interiors (AI)
Architectural Interiors (Al), as defined under Secs. R.A. 3 (4) (g) and 14 (3) No. 9266 entails the
detailed planning and design of any proposed building/structure's indoor/enclosed areas,
including retrofit, renovation, rehabilitation, or expansion work that shall cover all architectural
and utility aspects, including the architectural layout of all building engineering systems found
therein. Depending on the project’s complexity, the architect providing professional Al services
must have appropriate knowledge in the planning, design, and detailing of Al aspects.
• Acoustic Design Services.
Acoustic design services include extensive planning and design to manage sound transmission
while remaining compatible with the architectural design dean. One of the linting requirements in
building design throughout architectural history has been the necessity to regulate sound in an
enclosed environment. The ongoing advancement of goods and techniques in sound
management and control has allowed greater freedom in interior design.
This enables the Architect to create an atmosphere that meets the acoustical demands of various
activities within a constrained area.
• Architectural Lighting Layout and Design.
Architectural Lighting Layout and Desian Services entail the precise planning and design of the
light transmission, scheduling, and control in order to be compatible with the architectural design
idea. The requirement to manage light in a contained of defined environment has been one of
the limiting constraints in building design. The ongoing advancement of lighting products and
techniques has allowed greater freedom in designing the interior and outside environments of
buildings. This enables the architect to create an atmosphere that meets the lighting needs of
various activities both inside and outside of a structure.
• Site Development Planning (SP).
Space planning, architectural layout, and utilization of spaces within and surrounding a given
building/structure in connection to the existing natural and/or manmade surroundings must be a
well-coordinated effort to ensure that both the building/structure and the host environment
operate as one. As a result of his notion of the complete environment, the Architect is concerned
not only with the building/structure he produces but also with the grounds and surrounding area.
• Security Evaluation and Planning.
In this area of practice, the Consulting Architect organizes and develops methods for grading
and determining the worth of structures or facilities that must be properly secured, maintained
safe, protected, assured, guaranteed, and supplied with adequate safeguards for the
performance of any task or activity.
• Facilities Maintenance Support.
In this area of work, the Consulting Architect offers the Owner/Client with methods and measures
to assure the appropriate function and maintenance of the building/structure and site following
the final inspection.
• Structural Conceptualization.
In this area of practice, the architect envisions, selects, and develops the kind, disposition,
arrangement, and proportioning of structural components in architectural work, while keeping
safety, cost-effectiveness, utility, and aesthetics in mind.
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CHAPTER IV: ARCHITECTURAL PROGRAMMING

A. ARCHITECTURAL DESIGN DEVELOPMENT
A.1. SITE PLANNING AND SITE PROGRAMMING
A.1.1. DEVELOPMENTAL CONTROLS
SITE PLANNING AND SITE PROGRAMMING
ITEM/ CATEGORY FORMULA REQUIRED ACTUAL
Total Lot Area (TLA) Area of Lot 10,000 sqm 9,473.10 sqm
Percentage Of Site Occupancy (PSO) 50% Maximum Allowable PSO
Allowable Maximum Building PSO X TLA 5,000 sqm 4,736.55 sqm
Footprint (AMBF)
Minimum Allowable Unpaved Surface 30% MINIMUM 3,000 sqm 2,841.93 sqm
Area (USA) ALLOWABLE USA
Minimum Allowable Impervious 20% MAXIMUM 2,000 sqm 1,894.62 sqm
Surface Area (ISA) ALLOWABLE ISA
Minimum Total Open Space Within 50% TOSL 5,000 sqm 4,736.55 sqm
Lot (TOSL)
Maximum Allowable Construction MACA = PSO 7,000 sqm 6,631.17 sqm
Area (MACA) (50%) + ISA (20%)
Floor Area Ratio (FLAR) 2.50
Maximum Allowable Gross Floor Area TLA X FLAR 25,000 23,682.75 sqm
(GFA)
Building Height Limit (BHL) 15.00 Meters (Or Must Follow the Duly Approved BHL In
The Major Zone It Is Part Of)
Total Gross Floor Area (TGFA) BHL X 70% OF TLA 105,000 sqm 99,467.55
Table 4.1. Developmental Controls (Source: National Building Code of the Philippines)

Allowable Maximum Building PSO X TLA 5,000 sqm 4,361.14 sqm
Footprint (AMBF)
Lot (TOSL)
Area (MACA) (50%) + ISA (20%)
(GFA)
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Allowable Maximum Building PSO X TLA 5,000 sqm 5030.93 sqm
Footprint (AMBF)
Lot (TOSL)
Area (MACA) (50%) + ISA (20%)
(GFA)
PWD PARKING SLOT RATIO

Accessible Parking Slot Requirements
Total Number of Parking Slots Required Number of Accessible Parking Slots
1 – 25 1
26 – 50 2
51 - 75 3
76 - 100 4
101 - 150 5
151 - 200 6
Table 4.4. PWD Parking Slot Ratio (Source: National Building Code of the Philippines)
WORKSHOP BUILDING AUDITORIUM BUILDING

Building Gross Floor Area: Reading/Reviewing Spaces
6,149.27 sqm 709 sqm
1:1000 sqm (as per DIV G-1) 1:50 sqm (as per DIV H-1)
6,149.27/1000 sqm 709/50 sqm
= 6 cars/ shuttle slots = 14 cars
= 1 PWD accessible parking slots = 14 shuttle slots
Total Total
= 6 parking slots, = 28 parking slots,
= 1 PWD accessible parking slots, = 2 PWD accessible parking slots,
= 1 bus parking slot = 1 bus parking slots (1:200 spectator/visitors)
= 1 truck parking slot Based on computed visitors /day
Table 4.5. Workshop and Auditorium Building Parking Slot Computation
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MUSEUM BUILDING LIBRARY BUILDING

Exhibition Spaces Total Floor Area: Reading/Reviewing Spaces
1,404 sqm Total Floor Area: 689.45 sqm
1:50 sqm (as per DIV H-1) 1:50 sqm (as per DIV H-1)
1,404.00/50 sqm 689.45/50 sqm
= 28 cars = 13 cars
= 28 shuttle slots = 13 shuttle slots
Coffee Shop Customer Floor Area: Coffee Shop Customer Floor Area:
123.74sqm 123.74sqm
1:30 sqm (as per Div E-2) 1:30 sqm (as per Div E-2)
123.74/30 sqm 123.74/30 sqm
= 4 car slots = 4 car slots
Total Total
= 60 parking slots, = 26 parking slots,
= 3 PWD accessible parking slots, = 2 PWD accessible parking slots,
= 5 bus parking slots (1:200 spectator/visitors) = 1 bus parking slots (1:200 spectator/visitors)
Based on computed visitors /day Based on computed visitors /day
Table 4.6. Museum and Library Building Parking Slot Computation
A.2. BUILDING SPACE PROGRAM

A.2.1. USER ANALYSIS
CLASSIFICATION TYPES OF USERS PROFILE
Primary Users Taguig Residents • Members of the Taguig
Community ranging from all
age groups
Taguig Entrepreneurs • Entrepreneurs working in
Taguig ranging from 23-64
yrs old
Students of Taguig City • Preschool
• Elementary
• Highschool & Senior high
school
• College/universities
Local Residents • Users near Taguig City
(Users within near municipalities) ranging from all age groups
Employees • Professionals
• Administrations
• Organizations
• Staffs
Adults – Senior Citizens
(working age 25-64 yrs old)
Secondary Users Local Tourists • Users within the country
(Users within other provinces, and ranging from all age groups
regions)
Tertiary Users Foreign Tourists • Users outside the country
ranging from all races and all
age groups
Table 4.7. User Analysis
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A.2.2. Demand Analysis

A.2.2.1. News Articles
“Visual arts groups seek government support” (2021)

Visual arts organizations are appealing to the government for assistance to ensure the survival of their
industry. This request was made during the recent session of the House Special Committee on Creative
Industry and Performing Arts, led by Pangasinan Rep. Christopher De Venecia, which focused on
assessing the current state of the Philippine visual arts sector and related fields. Rey Dulay, the chairman
of Rights Action Philippines, highlighted that despite the Department of Interior and Local Government's
(DILG) memorandum promoting the establishment of local culture and arts councils in cities and
municipalities, there is still a noticeable absence of such council offices, cultural event organizers,
coordinators, and art centers.
“Solon seeks stronger promotion of arts and culture” (2022)

On Wednesday, Camarines Sur 2nd District Rep. Gabriel Bordado Jr. emphasized the significance of art
to the Filipino people, highlighting its crucial role in bolstering our sense of national identity. As the nation
observes National Arts Month, he urged the government to increase its efforts in promoting art forms that
can have a substantial impact on driving tourism growth.
Bordado pointed out that the arts have direct economic benefits, including the creation of jobs for
marginalized individuals, which, for instance, can enhance the quality of various Filipino products and
services. Furthermore, he stressed the importance of the arts in the realm of tourism, noting that they
serve as a means to showcase our unique culture to the rest of the world through various creative
expressions and disciplines.
“Frasco eyes more urban parks in the Philippines” (2022)

Tourism Secretary Christina Garcia Frasco has confirmed the full support of the Department of Tourism
for the endeavors of national parks and affiliated agencies in nurturing the tourism culture. This
commitment encompasses the ongoing enhancement of not only National Capital Region (NCR) parks
but also parks throughout the Philippines.
Secretary Frasco emphasized that one of their goals is to ensure the continual expansion of tourism
offerings nationwide by leveraging the expertise of the DOT and its affiliated agencies to assist in
educating and enhancing the capabilities of local government units (LGUs) and private individuals who
may wish to collaborate with them in the development of tourism product portfolios.
“Marcos wants more scholarships, cultural infrastructure for artists” (2022)

President Ferdinand R. Marcos Jr. is keen on enhancing support for artists by offering increased
scholarships and improving infrastructure to nurture and bolster the nation's cultural and creative sectors,
as indicated by Presidential Adviser for Creative Communications and filmmaker Paul Soriano on
Monday.
Soriano mentioned that the President has expressed his desire to reinstate scholarships and grants while
also expanding cultural infrastructure to aid our artists. He envisioned the creation of communities or
villages where individuals can truly unleash their creative potential. While no specific initiatives under his
scope were outlined, Soriano revealed that he is currently familiarizing himself with the bureaucratic
processes and plans to take decisive action, commencing in January of the following year.
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“Marcos vows to support arts, culture” (2023)

President Marcos pledged to champion and endorsed the fields of arts and culture during his speech at
the 15th Ani ng Dangal Awards held at Malacañang last Wednesday, Marcos emphasized that fostering
the art sector would contribute to the nation's economic growth and elevate the status of Filipinos globally.
Speaking in Filipino, the President assured that the artists can rest assured that the government and the
administration stand alongside the people in advancing and enhancing the artistic and cultural heritage
of the country. Marcos encouraged the National Commission for Culture and the Arts (NCCA) to fully
utilize all accessible resources to support and nurture our artists and creators with immense potential in
the arts. Additionally, the Chief Executive called upon Filipino artists to spotlight Philippine culture and
identity, as well as its abundant artistic and cultural legacy.
“DOT chief unveils National Tourism Development Plan (NTDP) 2023-2028 at stakeholders’
summit” (2023)
On Wednesday, March 15, Tourism Secretary Christina Garcia Frasco officially presented the finalized
National Tourism Development Plan (NTDP) for the years 2023 to 2028. This unveiling took place during
the Tourism Stakeholders' National Summit organized by the Department of Tourism (DOT). In response
to the President's call and in alignment with the NTDP 2023-2028, the DOT is committed to the following
goal: To establish a Philippine tourism industry firmly rooted in Filipino culture, heritage, and identity.
This industry aims to be sustainable, resilient, and competitive, with the ultimate objective of elevating
the Philippines to a leading tourism destination in Asia. The plan outlines the specific strategies that will
be implemented to achieve the overarching goals, which are centered around the core values of
Philippine Identity, Sustainability, Resilience, and Global Competitiveness.
“PBBM vows continued support for creative industries” (2023)

President Ferdinand R. Marcos Jr. has restated his dedication to advancing and fortifying the creative
sectors within the Philippines. Marcos has vowed to support the creative sectors in the aftermath of the
pandemic, emphasizing that the adoption of cutting-edge technologies can offer greater prospects to
local talents and enhance their appeal in the global market.
The Philippine Creative Industries Development Act, also known as Republic Act 11904, became law on
July 27, and it mandates the promotion and growth of the creative industries in the Philippines. It achieves
this by reinforcing the rights and capabilities of creative companies, artists, craftsmen, creators, workers,
indigenous cultural communities, content providers, and other stakeholders in the creative fields.
“Dwindling funds of Nayong Pilipino sparks call for DOT to review its projects.” (2023)
In 2022 audit report, the Commission on Audit (COA) said that Nayong Pilipino Foundation did not come-
up with adequate programs, activities and projects that will maximize revenue, based on COA’s Annual
Audit Report on the NPF for 2022, the foundation's fund balance is at P646.928 million as of the end of
2022.
The is balance, is largely funded by trust account/investment funds (TA/IF) managed by Land Bank of
the Philippines and the Development Bank of the Philippines. The amount invested in the TA/IF is from
the advance rentals and other fees paid by the Resorts World Bayshore City, Inc., totaling P1.232 billion.,
however, this will further deplete if the foundation does not establish projects that will generate revenue
for them to expand their resources.
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Senator Nancy Binay even urged the Department of Tourism to review the projects of Nayong Pilipino
Foundation (NPF) after the Commission on Audit (COA) reported that its funding will be fully depleted in
five or six years. Senator Binay stated that because if they have no concrete plans or projects to generate
income, and no move to make the NPF operations sustainable, then whatever funds they have left will
surely run out eventually. NPF said that to minimize the operational costs, the management explored and
maximized partnerships in each of its activities and projects with the DOT and other relevant agencies
without compromising the quality of service.
A.2.2.2. Taguig City Vision Analysis

According to the Comprehensive Land Use Plan of Taguig, the Local Government established its Strategy
to achieve its goal to be One of the Premier Cities in Asia
VISION STRATEGY
To be an international business focus While the municipal actions in Taguig in the 21st Century are
To have superior residential presented in an a la carte fashion, the Strategic Concepts
environments for everyone Study incorporates them in a comprehensive approach. The
To have a national recreational Concept Study prioritizes the issues and seeks solutions that
attraction play multiple roles in the context of the city’s goals. Some of
the actions are critical to the city, stability, and growth.
This will create a draw based on both the visual environment
and the level of the activity, which is the formula for districts
like Ermita and Malate, Chinatown in Singapore, and
Vancouver’s Gastown. Such a district will provide a
convenient lunch and after-hours destination for
entrepreneurs in Bonifacio as well as an entertainment area
for residents of the community. It will also support the
recreational attractions developed along Laguna de Bay and
elsewhere in Taguig.
Table 4.8. Based on Comprehensive Land Use Plan of Taguig
PROJECTED TAGUIG CITY LOCAL POPULATION (2020 – 2029)

LOCAL POPULATION PROJECTION OF TAGUIG
GROWTH RATE: +2.06%
(BASED ON THE 2015 – 2020 ANNUAL POPULATION GROWTH RATE)
Source: Philippine Statistics Authority
YEAR POPULATION
2020 (Based on 2020 POPCEN) 886,722
2021 904,988
2022 923,631
2023 942,658
2024 962,077
2025 981,896
2026 1,002,123
2027 1,022,767
2028 1,043,836
2029 1,065,339
AVERAGE 9,736,037 / 10 = 973,604
Table 4.9 Population Projection of Taguig (2020-2029)
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There’s a total of 11 operating museums that are in Taguig, assuming that there's an average of 88,509
people who visits per museum. This summarizes an entire dataset with a single number representing the
data's center point or typical value similarly for the Proposed Historical and Cultural Complex in Taguig
PROJECTED TAGUIG CITY SCHOOL-GOING AGE POPULATION (2020 – 2029)

SCHOOL-GOING AGE PROJECTION OF TAGUIG (AGE 5 – 24)
GROWTH RATE: +0.11%
(Based on the 2015 – 2020 Annual Population by Age Group growth rate)
YEAR POPULATION
2020 342,452
2021 342,829
2022 343,206
2023 343,584
2024 434,962
2025 435,340
2026 435,819
2027 436,298
2028 436,777
2029 437,257
AVERAGE 3,988,524 / 10 = 398,852
Table 4.10. School-Going Age Population Projection of Taguig (2020-2029)
Based on the 2019 annual report of the national museum of the Philippines, assuming that 50% of the
annual school-going age population will visit the proposed historical and cultural complex
EXPECTED VISITORS FROM SCHOOL-GOING AGE

Per Year 398,852 x 0.50 199,426
Per Month 199,426 / 12 months 16,619
Per Week 16,619 / 4 weeks 4,155
Per Day 4,155 / 6 days 692
Table 4.11. Expected Visitors from Taguig Computation
Based on the computation, the expected visitors of the proposed historical and cultural complex from the
school-going age population of Taguig are 199,426 visitors per year, 16,619 visitors per months, 4,155
per week, and 692 visitors per day.
PROJECTED TAGUIG CITY WORKING AGE POPULATION (2020 – 2029)

WORKING AGE PROJECTION OF TAGUIG (AGE 25 – 64)
GROWTH RATE: +0.11
(Based on the 2015 – 2020 Annual Population by Age Group growth rate)
YEAR POPULATION
2020 430,592
2021 431,066
2022 431,540
2023 432,015
2024 432,490
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2025 432,966
2026 433,442
2027 433,919
2028 434,396
2029 434,874
AVERAGE 4,327,300 / 10 = 432,730
Table 4.12. Working Age Population Projection of Taguig (2020-2029)
Based on the 2019 annual report of the national museum of the Philippines, assuming that 20% of the
annual working age population will visit the proposed historical and cultural complex
EXPECTED VISITORS FROM WORKING AGE

Per Year 432,730 x 0.2 86,546
Per Month 86,546 / 12 months 7,212
Per Week 7,212 / 4 weeks 1,803
Per Day 1,803 / 6 days 301
Table 4.13. Expected Visitors from Taguig Computation
Based on the computation, the expected visitors of the proposed historical and cultural complex from the
working age population of Taguig are 86,546 visitors per year, 7,212 visitors per months, 1,803 per week,
and 301 visitors per day.
A.2.2.3. Visitor Arrivals (Museum)
Table 4.14. Based on National Museum of the Philippines 2020 Annual report.
According to the chart presented above, high school students and college students took the greatest
number of visitors contribution in the museums under NMP, which ages are ranging from 13 – 18yrs old
(high school students) and 19 – 23yrs old (college students). The data presented is incomplete because
of the lockdowns that occurred in the year 2020.
VISITOR ARRIVALS TO THE NATIONAL MUSEUM

JANUARY-DECEMBER 2021 - 2022
2021 87,106
Target for 2022 634, 382
2022 1,383, 734
Growth Rate 14. 88
Growth Rate Percentage 148.8 %
Table 4.15. Based on NMP 2020 - 2021 Annual report and 2022 Executive Summary
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Formula: Growth Rate = Present – Past / Past x 100

Theres a growth rate of 148.8 %, this is considered as a drastic leap between visitors from 2021 and
2022, the leap was presumably caused by the lessening the covid guideline restrictions, implementation
of face-to-face classes and back to office work.
PROJECTED NATIONAL MUSEUM VISITOR ARRIVAL (2022 – 2031)

PROJECTION OF NATIONAL MUSEUM VISITOR ARRIVAL
GROWTH RATE: +0.37%
(Based on the 2018 – 2019 National Museum Annual Report)
YEAR POPULATION
2018 430,592
2019 431,066
2020 449,817
2021 87,106
2022 1,383, 734
2023 1,388,854
2024 1,393,993
2025 1,399,151
2026 1,404,328
2027 1,409,524
2028 1,414,739
2029 1,419,974
2030 1,425,228
2031 1,430,501
AVERAGE 14,070,026 / 10 = 1,407,003
Table 4.16. Population Projection of National Museum (2022-2023)
The +0.37% growth rate from 2018 – 2019 (pre-pandemic) was used in the computation instead of the
growth rate from 2021 – 2022 (post-pandemic) since the discrepancy might largely affect the accuracy
and result of the computation.
There’s a total of 4 operating museums under National Museum which are The National Museum of
Natural History, National Museum of Anthropology, National Museum of Fine Arts, and National
Planetarium. Assuming that there's an average of 351,751 people who visits per museum. This
summarizes an entire dataset with a single number representing the data's center point or typical value
similarly for the Proposed Historical and Cultural Complex in Taguig annually.
EXPECTED VISITORS
Per Year 1,407,003 / 4 museums 351,751
Per Month 351,751 / 12 months 29,313
Per Week 29,313 / 4 weeks 7,328
Per Day 7,328 / 6 days 1,221
Table 4.17. Expected Visitors from The National Museum Computation
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A.2.2.4. Visitor Arrivals (Library)

ANNUAL LIBRARY USE IN NEARBY CITY LIBRARIES
City Population Average annual user Percentage
Muntinlupa 504,509 30,983 6.14
Pasay 416,522 2,716 0.65
Malabon 365,525 23,144 6.33
Paranaque 665,822 71,728 10.78
Navotas 249,463 11,764 4.72
Percentage of annual library users 5.72
Table 4.18. Expected Visitors from annual library usage in nearby City Libraries Computation
Considering the population size and the average annual user figures for neighboring cities such as
Muntinlupa, Malabon, Paranaque, and others, it is evident that there is a considerable number of
individuals actively engaging with library resources.
Furthermore, the relatively lower average annual user percentages in nearby cities like Pasay highlight
the potential for Taguig's library to become a regional focal point, attracting users from adjacent areas.
This cross-city engagement can foster collaboration, knowledge exchange, and a sense of shared
learning, benefiting not only Taguig residents but also those from surrounding communities.
PROJECTION OF CITY LIBRARIES VISITOR ARRIVAL

Year Population Projected annual user
2020 886,722 50,720
2029 1,065,339 60,937
This projection outlines the expected growth in visitor arrivals to city libraries based on population trends.
This data suggests a correlation between population growth and the demand for library services,
indicating a positive trajectory in community engagement with the city's library facilities.
The projection serves as a valuable tool for anticipating and accommodating the evolving needs of the
population, ensuring that city libraries remain accessible and responsive to the expanding community.
EXPECTED VISITORS
Per Year 60937 60,937
Per Month 60937 / 12 months 5,078
Per Week 5,078 / 4 weeks 1,270
Per Day 1,270 / 6 days 212
Based on the computation, the expected visitors of the proposed Library within the historical and cultural
complex from the projected population of Taguig are 60,937 visitors per year, 5,078 visitors per months,
1,270 per week, and 212 visitors per day.
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A.2.2.5. Visitor Arrivals (Parks)
Table 4.21. Based on National Parks Development Committee Brief Data
According to the chart presented above, local tourists took the greatest number of visitors contribution in
the parks under NPDC, the 2 presented parks are located at Manila which is being surrounded by other
tourist attractions such as Museo Pambata, Manila Bay, National Museum, Manila Ocean Park, cultural
center of the Philippines, and many more.
VISITOR ARRIVALS TO RIZAL PARK

JANUARY-DECEMBER 2021 - 2022
2021 1,512,157
2022 3,985,030
Growth Rate 1.63
Growth Rate Percentage 16.3 %
Table 4.22. Based on National Parks Development Committee Brief Data
Formula: Growth Rate = Present – Past / Past x 100

Theres a growth rate of 16.3 %, this is considered as a huge leap between visitors from 2021 and 2022,
the leap was presumably caused by the lessening the covid guideline restrictions, implementation of face-
to-face classes and back to office work which encourages people to seek for more open spaces for
relaxation and leisure activities. As of July 13, 2023, there’s already 3,143, 868 people who visited Rizal
Park, nearly to exceed the 2022 total of visitors.
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A.2.3. Space Analysis
Interactive Museum
This immersive museum transcends traditional exhibits, embracing cutting-edge technology to engage
visitors in a multisensory exploration of the vibrant chronicle of the archipelago's evolution from the early
Philippines period to the present day, it is a dynamic testament to the rich and diverse tapestry of the
Philippines' journey through time. As visitors progress through the museum, interactive displays and
holographic projections that vividly portray key historical events will be encountered, while the digital
boards and virtual reality stations will allow users to gain a firsthand perspective on the challenges and
triumphs that shaped the nation.
INTERACTIVE MUSEUM BUILDING

Space Description
Main Spaces
Main Lobby A general space near the entrance of a museum that serves as a
connection leading to one or more other rooms or hallways
Information/ Reception Area A space that is a part of a lobby where visitors can ask for information
Administration Office Office space for museum administrators
Staff Offices Office space for staff/ workers/ employees of the museum
Staff Lounge A space where staff/ workers/ employees can sit and relax
Admission/ Ticketing Area A space/ room in which museum tickets are sold to visitors
Lounge/ Waiting Area A space where visitors can sit, rest, and interact with one another while
waiting
Rentable Commercial A commercial space/ are where individuals can sell their items for the
Spaces visitors
Coffee Shop A commercial space where visitors can buy snacks and coffee before
or after entering the museum gallery/ exhibition
Souvenirs/ Gift Shop A commercial space where visitors can buy art gifts and souvenirs
Storage Rooms A room intended for the storage of items and equipment in a museum
Indoor Event Area A space/ room where indoor live shows and exhibitions of artists
happen
Open Courtyard A space inside where visitors can enjoy nature and rest their eyes from
museum galleries/ exhibitions
Gallery/ Exhibition Spaces A space where different categories of museum collections/ items are
displayed and exhibited
Museum Halls A large room that serves as a connection leading to one or more other
rooms or hallways
Public Restrooms Public toilets with lavatories for all kinds of users including PWDs
Building Management A room for a computer-based control system that monitors and
System (BMS) Room manages mechanical and electrical systems such as air-conditioning,
ventilation, lighting, power systems, fire systems, and security systems
Loading/ Unloading Dock An area where goods and materials are loaded and unloaded from
vehicles
Storage Room for Deliveries A room that is used for the temporary storage for deliveries
Supporting Spaces
Clinic A room/ space for immediate access to medical care
Main Elevator A mode of vertical transportation that transports people between floors
Service Elevator Vertical transportation intended for service use and moving of items
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Escalator A moving staircase transporting people between floors

Stairs A set of stairs that connects one floor of the building to another
Fire Exit Stairs Emergency exit stairs of the museum
Security Room A room intended for security services of the museum
Maintenance/ Utility Rooms A room intended for maintenance and waste disposal of the museum
Mechanical Rooms A room for mechanical equipment especially for the centralized air-
conditioning system of the museum
Electrical Rooms A room in a building dedicated to electrical equipment/ services
Table 4.23 Museum Building Space Analysis
Library
The library transcends the boundaries of conventional knowledge repositories as this goes beyond the
traditional concept of a library, transforming into a dynamic space that captivates visitors through
employment of cutting-edge technology to breathe life into the pages of Philippine literature. It also serves
as a collaborative space, featuring study areas equipped with modern amenities for academic pursuits.
It is commitment to interactivity extends beyond the shelves, it not only preserves and shares the
treasures of Philippine literature but also inspires a new generation to connect with the nation’s roots.
LIBRARY BUILDING
Space Description
Main Spaces
Main Lobby A general space near the entrance of a library that serves as a
connection leading to one or more other rooms or spaces
Admission/ Reception Area A space that is a part of a lobby where users are greeted and admitted
Baggage Area/ Counter A space for bags and other personal items (except for wallet,
cellphones, camera, and other valuable materials)
Kids Section A section/ part of the library that is intended for kids/ children
Admin Offices Office space for library administrators
Staff Offices Office space for staff/ workers/ employees of the library
Staff Lounge A space where staff/ workers/ employees can sit and relax
Lounge Areas A space where visitors can sit, rest, and interact with one another while
waiting
Multipurpose Rooms Rooms that are used for multipurpose uses
Art Area/ Rooms An area or room intended for art uses
Audio-Visual Rooms A room intended for audio and visual presentation in the library
Reading Nooks An innovative space where users can have fun reading with their
colleagues
Computer/ Digital Area A space/ area where the computer uses, and digital services are placed
Youth and Adult Section A section/ part of the library that is intended for teens and adults
Conference Rooms A room intended for events such as business conferences and
meetings
Storage Rooms for Books Rooms that are used to store new arrival or old book collections
Collections
Art culture & History Section Book section intended for art culture and history in the Philippines
Reading/ Reviewing Area A part of the library used for quiet study and review
Open Courtyard A space inside where users can enjoy nature and rest their eyes
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System (BMS) Room manages mechanical and electrical systems such as air-conditioning,
vehicles
Storage for deliveries A room that is used for the temporary storage for deliveries
Coffee Shop A commercial space where visitors can buy snacks and drink before or
after entering the library
Supporting Spaces
Fire Exit Stairs Emergency exit stairs of the library
Security Room A room intended for security services of the library
Maintenance/ Utility Room A room intended for maintenance and waste disposal of the library
Mechanical / Electrical A room in a building dedicated to mechanical and electrical equipment/
Rooms services
Table 4.24. Library Building Space Analysis
Workshop Center
The workshop center breathes life into the time-honored crafts of weaving and pottery from diverse
regions across the Philippines. This is designed not only to preserve traditional craftsmanship but also to
generate sustainable revenue for the maintenance of the cultural complex. The building offers a
conducive environment for skilled artisans to practice and pass down the craft, sharing expertise through
hands-on demonstrations and immersive workshops. Visitors are invited to actively participate in the
creative process, gaining insights into the intricate techniques and cultural significance embedded in each
piece. Moreover, the workshop embraces sustainable practices, incorporating locally sourced materials
and eco-friendly processes to create a range of marketable products which can become a catalyst for
economic empowerment within the communities it represents.
WORKSHOP CENTER
Space Description
Main Spaces
Main Lobby A general space near the entrance of the building that serves as a
Lounges A space where users can sit, rest, and interact with one another while
waiting
Conference Rooms Rooms intended for events such as business conferences and
meetings
Souvenirs/ Gift Shop A commercial space where visitors can buy art gifts and souvenirs
Production Rooms For A room intended for the lecture/ workshop of Pottery/ Clay Pot
Pottery/ Clay Pot
Production Rooms For A room intended for the lecture/ workshop of Garments/ Fabric Arts
Garments/ Fabric Arts
Production Rooms For A room intended for the lecture/ workshop of small handicrafts
Small Handicrafts
Cafeteria/ Canteen A space where meals may be purchased and consumed
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Open Courtyards A space inside where visitors can enjoy nature and rest their eyes
Administration Offices Office space for workshop building administrators
Staff Offices Office space for staff/ workers/ employees of the workshop building
Staff Lounges A space where staff/ workers/ employees can sit and relax
System (BMS) Rooms manages mechanical and electrical systems such as air-conditioning,
Storage Rooms A room intended for the storage of items and equipment in the
workshop building
vehicles
Storage for deliveries A room that is used for the temporary storage for deliveries
Supporting Spaces
Fire Exit Stairs Emergency exit stairs of the workshop building
Security Room A room intended for security services of the workshop building
Maintenance/ Utility Rooms A room intended for maintenance and waste disposal of the workshop
building
Mechanical/ Electrical A room in a building dedicated to mechanical and electrical equipment/
Rooms services
Table 4.25. Workshop Center Space Analysis
Auditorium
The auditorium will serve as a dynamic cultural showcase, spotlighting the diverse expressions of Filipino
identity, tradition, and creativity. This reflects the kaleidoscope of Filipino talent, featuring performances
that span the spectrum of arts including Traditional dances, indigenous music, theatrical productions, and
contemporary performances that come together in a harmonious celebration of the nation's artistic spirit.
This auditorium serves as a platform to amplify the voices of Filipino artists, both emerging and
established, offering a space for the preservation and evolution of cultural traditions.
AUDITORIUM BUILDING
Space Description
Main Spaces
Main Lobby A general space near the entrance of an auditorium that serves as a
Lounges A space where visitors can sit, rest, and interact with one another while
waiting
Ticket Counter/ Admission An area for selling tickets
Multipurpose Auditorium A place for performance
Projection Room Room for media projection purposes
Backstage An area for preparations of performers and production staffs
Stage The focal point of the auditorium where performances take place
Dressing Rooms Private spaces for performers to prepare for their roles.
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Black Box Room Smaller theater for a smaller scale performance

Audience Seating Spaces that are arranged in rows and often tiered to provide
unobstructed views of the stage from various angles
Concession Stand Area/ room that offers variety of refreshments and snacks to enhance
the audience's overall experience
Tech Booth Control room for sound, lighting, and technical aspects of the
performance, ensuring a seamless production.
Administration Offices Office space for museum administrators
Staff Offices/ Lounges Office and relaxation space for staff/ workers/ employees
System (BMS) Rooms manages mechanical and electrical systems such as air-conditioning,
Storage Rooms A room intended for the storage of items and equipment in an
auditorium
Supporting Spaces
Fire Exit Stairs Emergency exit stairs of the Auditorium
Security Room A room intended for security services of the Auditorium
Maintenance/ Utility Rooms A room intended for maintenance and waste disposal of the Auditorium
Mechanical/ Electrical A room in a building dedicated to mechanical and electrical equipment/
Rooms services
Table 4.26. Auditorium Building Space Analysis
Recreational Park
The park is designed to be a linkage and extension of cultural immersion and communal joy. Envisioned
as an area for multi-generational playgrounds that features traditional games, lively food bazaars, event
grounds, and serene relaxation spots that weave together leisure and cultural celebration. This serves
as a hub for promoting and facilitating access to the various services and offerings within the complex.
RECREATIONAL PARK
Space Description
Main Spaces
Botanical Gardens Spaces dedicated to displaying a variety of plants and flowers.
Shaded seating areas Benches or shelters providing shade for relaxation.
Food stalls Places to grab a snack or drink within the park.
Water features Ponds, lakes, or fountains that enhance the aesthetic appeal of the
park.
Gazebos/Pavilions Covered structures for small gatherings or events.
Event Spaces Areas designated for special events, festivals, or gatherings.
Public Restrooms Essential facilities for visitors' convenience.
Multi-Generational Playground Doesn't only focus on the Childrens’ playground, but also provide
equipment to accommodate people of all ages and abilities
Picnic/ Eating Areas Open spaces with tables and benches for picnics and gatherings
Supporting Spaces
Maintenance/ Utility Rooms A room intended for maintenance of the park
Table 4.27. Recreational Park Space Analysis
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A.2.3.1. List of Galleries, Exhibitions, and Inventories

Interactive Museum Exhibition Spaces
Location / Time Item/s
Exhibit I – Philippine Timeline Interactive Display (Refer to Figure 3.14.)
22,000 BC-1521 AD Images of Early Philippines Period
1521-1898 Images of Spanish Colonialism Period
1872-1913 Images of Period of Filipino Nationalism
1898-1946 Images of American Colonialism Period
1941-1945 Images of Japanese Occupation Period
1946 Images of Period of the Philippine Republic
Exhibit II – Philippine Presidents and Vice Presidents Digital Board Display (Refer to Figure 3.4.)
First Republic • Emilio F. Aguinaldo and Mariano C. Trias
Commonwealth period • Manuel L. Quezon and Sergio S. Osmeña, Sr.
Second republic • Jose P. Laurel and Ramon Avanceña, Benigno Aquino Sr.
Third republic • Manuel L. Roxas and Elpidio R. Quirino

• Elpidio R. Quirino and Fernando H. Lopez
• Ramon F. Magsaysay and Carlos P. Garcia
• Carlos P. Garcia and Diosdado P. Macapagal
• Diosdado P. Macapagal and Emmanuel N. Pelaez
• Ferdinand E. Marcos and Fernando H. Lopez
Fourth republic • Ferdinand E. Marcos, Prime Minister Cesar E. A. Virata
and Arturo M. Tolentino
Fifth republic • Corazon Cojuangco-Aquino and Salvador H. Laurel
• President Fidel V. Ramos and Joseph Ejercito Estrada
• Joseph Ejercito Estrada and Gloria Macapagal-Arroyo
• Gloria Macapagal-Arroyo and Teofisto T. Guingona,
Manuel Leuterio de Castro
• Benigno Simeon Cojuangco Aquino III and Jejomar
Cabauatan Binay
• Rodrigo Roa Duterte and Maria Leonor Santo Tomas
Gerona-Robredo
• Ferdinand Romualdez Marcos, Jr. and Sara Zimmerman
Duterte-Carpio
Exhibit III – Folk Dance hologram Display (Refer to Figure 3.6.)
Luzon • Pandanggo sa Ilaw
• Maglalatik
• Binasuan
Visayas • Abaruray
• Kuratsa
• Balitaw
Mindanao • Kadal Blelah
• Singkil
• Pangalay
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Exhibit IV – Folk Music and Instruments Display (Refer to Figure 3.17.)

Luzon • Tangongot
• Salungso
• Tongali
Visayas • Git-git
• Tongali
• Pasiyak
Mindanao • Agung
• Kulintang
• Buktot
Exhibit V – Sand Art Performance and Display (Refer to Figure 3.14.)
Sand art light boxes
Digital Projection Display
Glow in the Dark Sand
Exhibit VI – Film and Theater Digital Film Strip Display (Refer to Figure 3.17.)
Film • Notable persons
• Notable Movies Clips
Theater • Notable persons
• Notable Plays Clips
Exhibit VII – Cuisine Exhibit (Refer to Figure 3.14.)
Luzon • Morcon (Pampanga)
• Dinengdeng (Ilocos)
• Belekoy (Bulacan)
Visayas • Kansi (Iloilo)
• Utan (Cebu)
• Binagol (Leyte)
Mindanao • Tiyula Itum (Sulu)
• Pyanggang (Sulu)
• Browa (Lake Lanao)
Exhibit VIII – Tourist Attraction Graphics Display (Refer to Figure 3.17.)
Luzon • Banaue Rice Terraces
• Mayon volcano
• Intramuros
Visayas • Chocolate hills
• Puerto Princesa Underground River
• Oslob Whale Shark Watching
Mindanao • Mount Apo
• Tinuy-an Falls
• Lake Sebu
Exhibit Hallway – Old to Present Transition (Refer to Figure 3.19. [Right])
Wall display that plays drone footages of Laguna Lake leading to
Taguig City
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Exhibit IX – Taguig Origin Background

Boats display (Refer to Figure 3.8.)
Taguig Tourist attractions wall displays (Refer to Figure 3.17)
• BCG
• Libingan ng mga bayani
• Nurtura Land and Agritourism Farm
• Sta. Ana Church
• Art BGC
Table 4.28. Interactive Museum Spaces
Library Special Spaces

Location Item/s
Exhibit – Folklore/ Mythological Characters Projection and Library (Refer to 3.17.)
Luzon • Maria Makiling
• Malakas and Maganda
• Lam-Ang
Visayas • Maria Cacao
• Bakunawa
• Hinilawod
Mindanao • Indarapatra
• Sarimanok
• Bagani
Café that offers local produced coffee beans
Benguet Arabica Coffee
Cavite Robusta Coffee
Batangas Liberica Coffee
Sulu Sulu Coffee
Rizal Room Exhibit
Noli Me Tangere Display Boards
El Filibusterismo Display Boards
Table 4.29. Library Special Spaces
Livelihood and Training Center Crafts

Location Item/s
Workshop I – Luzon Workshops (Weaving)
Region I (Ilocos Region) Inabel
Region II (Cagayan Valley) Bakwat
Region III (Central Luzon) Dásê
Region IV‑A (CALABARZON) Fabric nets
MIMAROPA Region Hanunoo Baskets
Region V (Bicol Region) Sinamay sheaths
Cordillera Administrative Region (CAR) Ikat Weaving
National Capital Region (NCR) Banig
Workshop II – Luzon Workshops (Pottery)
Region I (Ilocos Region) Burnay
Region II (Cagayan Valley) tapayan jars
Region III (Central Luzon) Capiz shell pottery
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Region IV‑A (CALABARZON) Tinaja

MIMAROPA Region Banig Weave-Inspired Pottery
Region V (Bicol Region) Ticu-ticu
Cordillera Administrative Region (CAR) Cordillera Pottery
National Capital Region (NCR) Hand painted pottery
Workshop III – Visayas Workshops (Weaving)
Western Visayas Hablon
Central Visayas Sinamay Fabric
Eastern Visayas Tikog Mat
Workshop IV – Visayas Workshops (Pottery)
Western Visayas Pottery Tiles
Central Visayas Pugon
Eastern Visayas Bukag
Workshop V – Mindanao Workshops (Weaving)
Region IX (Zamboanga Peninsula) Tennun
Region X (Northern Mindanao) Inaul
Region XI (Davao Region) dagmay,
Region XII (SOCCSKSARGEN) T’nalak
Region XIII (Caraga) Bagobo weaving
Bangsamoro Autonomous Region in Muslim Mindanao Malong
(BARMM).
Workshop VI – Mindanao Workshops (Pottery)
Region IX (Zamboanga Peninsula) Aluh jar
Region X (Northern Mindanao) Kalanay pottery
Region XI (Davao Region) Bulawanong Dagat (Sea Gold)
Pottery
Region XII (SOCCSKSARGEN) T’nalak-inspired Pottery
Region XIII (Caraga) Lukay
Bangsamoro Autonomous Region in Muslim Mindanao Karakoa
(BARMM).
Table 4.30. Livelihood and Training Center Crafts
A.2.3.2. Calendar of Events

Calendar of Events
Month Events and Programs
January Whole Month - Philippine Tropical Fabrics Month (Proclamation No. 313, s. 2012)
3rd Sunday of January – Pays tribute to Ati-Atihan Festival, which is originally
celebrates in Kalibo, Aklan
4th Sunday of January – Pays tribute to Dinagyang Festival which is originally
celebrated in Iloilo City
January 28 - Julian Felipe Day (Republic Act No. 7805 of 1994)
February Whole Month - National Arts Month
February 1 – Pays tribute to Panagbenga Festival which is originally celebrated in
Baguio City
February 18 - Pays tribute to Philippine International Hot Air Balloon Fiesta which is
originally celebrated in Pampanga City
February 23 - Celebration of Taguig Liberation Day
February 25 - Commemorates the People Power Revolution of 1986
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3rd weekend of February – Pays tribute to Paraw Regatta Festival which is originally
celebrated in Iloilo City
February 26 - Pays tribute to International Bamboo Organ Festival which is originally
celebrated in Las Piñas
March Whole Month – National Women’s Month
March 6 - Pays tribute to Dia de Zamboanga which is originally celebrated in
Zamboanga City
March 16 - Pays tribute to Araw ng Dabaw which is originally celebrated in Davao City
April Whole month - National Literature Month (Proclamation No. 968, s. 2015)
Whole month - Filipino Food Month (Proclamation No. 469, s. 2018)
April 2 - Araw ni Balagtas (Proclamation No. 1249, s. 1974)
April 3 - Gawad sa Manlilikha ng Bayan (Republic Act No. 7355 of 1992)
April 3 - NCCA Anniversary (Republic Act No. 7356 of 1992)
April 8 - Pays tribute to Moriones Festival which is originally celebrated in Marinduque.
April 9 – Araw ng Kagitingan
April 15 - Pays tribute to Panaad Sa Negros Festival which is originally celebrated in
Negros Occidental
April 22 - Philippines' Earth Day (Proclamation No. 1481, s. 2008)
April 25 - Foundation Day of Taguig
April 30 - Pays tribute to Bangus Festival which is originally celebrated in Dagupan City
May Whole month - National Heritage Month (Proclamation No. 439, s. 2003)
May 15 - Pays tribute to Pahiyas Festival, which is originally celebrated in Lucban,
Quezon
May 26 - Founding anniversary of the National Historical Commission pf the Philippines
(Republic Act No. 10086 of 2010)
June June 12 - Independence Day (Republic Act No. 4166 of 1964)
June 24 - Pays tribute to Araw ng Maynila
June 30 - Philippine-Spanish Friendship Day (Republic Act No. 9187 of 2003)
July Whole month - Nutrition Month (Presidential Decree No. 491, s. 1974)
July 1 - Pays tribute to Pintados-Kasadyaan Festival which is originally celebrated in
Tacloban City
Week 2 - Cultural Communities Week (Proclamation No. 250, s. 1988)
Last week - Linggo ng Musikang Pilipino (Proclamation No. 933, s. 2014)
July 1-7 - National Culture Consciousness Week (Proclamation No. 1148, s. 1973)
July 23 – Philippines-Japan Friendship Day (Proclamation No. 854, s. 2005)
August Whole month - Buwan ng Wikang Pambansa (Proklamasyon Blg. 1041, s. 1997)
Whole month - History Month (Proclamation No. 339, s. 2012)
August 9 - National Indigenous Peoples Day (Republic Act no. 10689, s. 2015)
August 17-23 - Made in the Philippines Product Week (Proclamation No. 76, s. 1936)
August 29 - National Heroes Day (Act No. 3827 and Republic Act No. 9492)
September Whole Month - National Clean-Up Month (Proclamation No. 244, s. 1993)
September 8 - National Literacy Day
Week 2 - Education Week (Proclamation No. 409, s. 1953)
Week 3 - Design Consciousness Week (Proc. No. 1259, s. 1974)
Last week - Family week (Proclamation No. 60, s. 1992)
Last week - National Tourism Week (Proc. No. 894, s. 1996)
October Whole month - Museum and Galleries Month
Whole month - National Indigenous Peoples Month (Proc. No. 1906, s. 2009)
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October 15 - Pays tribute to Lanzones Festival which is originally celebrated in

Camiguin
October 22 - Pays tribute to MassKara Festival which is originally celebrated in Bacolod
City
November Whole month – National Reading Month (Proclamation no. 109 s. 1936)
November 22 - Pays tribute to Higantes Festival, which is originally celebrated in
Angono, Rizal
November 24 - Pays tribute to Sandurot Festival which is originally celebrated in
Dumaguete City
November 30 – Pays tribute to Bonifacio Day
December December 1 - Araw ng Kabayanihan at Kagitingan sa Tipas (Taguig Celebratory
Program)
December 1 - Christmas Tree Lighting Ceremony
December 8 - Taguig City Charter Day
December 17 - Pays tribute to Ligligan Parul (Giant Lantern Festival) which is originally
celebrated in San Fernando, Pampanga
December 29 - Year-End Cultural Festival
December 30 - Rizal Day, Floral Opening
Table 4.31. Calendar of Events
A.2.4. Organizational Chart
Figure 4.1. Organizational Chart
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A.2.5. User Flow/ Activity Diagram

A.2.5.1. Museum Building User Flow/ Activity Diagram
Figure 4.2. Museum Building User Flow Analysis
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A.2.5.2. Library Building User Flow/ Activity Diagram
Figure 4.3. Library Building User Flow Analysis
Garcia - 2023 104

A.2.5.3. Workshop Building User Flow/ Activity Diagram
Figure 4.4. Workshop Building User Flow Analysis
Garcia - 2023 105

A.2.5.4. Auditorium Building User Flow Analysis
Garcia - 2023 106

Figure 4.5. Auditorium Building User Flow Analysis
Garcia - 2023 107

A.2.6. Space Programming Matrix

MUSEUM BUILDING
MUSEUM BUILDING - GROUND FLOOR
USER FURNITURE, FIXTURE, AND EQUIPMENT

SPACE SUB-TOTAL C CIRCULATION 20% TOTAL BREAKDOWN
Type Quantity Manual (0.50) Pedal (1.00) Pivotal (1.50) Sub-Total A Type Quantity LxW Unit Area Sub-Total B
MAIN LOBBY
VISITORS 30 15 30 45 INTERIOR PLANT BOX 6 2.00 0.60 1.20 7.20 37.20 7.44
LOBBY 30 DISPLAY PANNELS 5 1.50 0.10 0.15 0.75 30.75 6.15 119.892 10 X 11
GUARD 1 0.5 1 1.5
STATUE PEDESTALS 4 0.70 0.70 0.49 1.96 31.96 6.39
CUSHION SEAT 8 0.60 0.60 0.36 2.88 12.88 2.58
LOUNGE VISITORS 10 5 10 15 10 SOFA 4 2.40 0.90 2.16 8.64 18.64 3.73 51.552 7 X 7.3
COFFEE TABLE 2 1.20 0.60 0.72 1.44 11.44 2.29
COUNTER 1 3.00 0.80 2.40 2.40 3.90 0.78
INFORMATION/ RECEPTION RECEPTIONIST 3 1.5 3 4.5 1.5 7.209 3 X 2.4
CHAIR 3 0.45 0.45 0.20 0.61 2.11 0.42
VISITORS 10 5 10 15 COUNTER 1 3.00 0.80 2.40 2.40 12.40 2.48
ADMISSION/ TICKETING 10 27.609 5 X 5.5
STAFFS 2 1 2 3 CHAIR 3 0.45 0.45 0.20 0.61 10.61 2.12
VISITORS 4 2 4 6 DISPLAY TABLE 2 2.00 0.80 1.60 3.20 9.20 1.84
RENTABLE COMMERCIAL SPACES 6 CHAIR 3 0.45 0.45 0.20 0.61 6.61 1.32 27.369 5 X 5.5
SELLERS 1 0.5 1 1.5
STORAGE CABINETS 2 1.00 0.50 0.50 1.00 7.00 1.40
CAFÉ/ COFFEE SHOP
VISITORS 15 7.50 15.00 22.50 INTERIOR PLANT BOX 4 1.00 1.00 1.00 4.00 13.00 2.60
MAIN CAFÉ AREA 9.00 TABLES 10 1.50 0.80 1.20 12.00 21.00 4.20 58.89 8X7
STAFFS 1 0.50 1.00 1.50
CHAIRS 30 0.45 0.45 0.20 6.08 15.08 3.02
MAIN COUNTER 2 2.50 0.80 20.00 4.00 6.00 1.20
COUNTER STAFFS 2 1.00 2.00 3.00 2.00 CHAIRS 4 0.45 0.45 0.20 0.81 2.81 0.56 16.332 4X4
WORKING COUNTER 2 2.00 0.70 1.40 2.80 4.80 0.96
WORKING COUNTER 2 2.50 0.60 1.50 3.00 7.50 1.50
KITCHEN STAFFS 3 1.50 3.00 4.50 4.50 16.32 4X4
SERVING TABLE 2 1.00 0.80 0.80 1.60 6.10 1.22
STORAGE STAFFS 1 0.50 1.00 1.50 1.00 6.18 3X2
STORAGE SHELVES 2 1.50 0.45 0.68 1.35 2.35 0.47
VISITORS 1 0.50 1.00 1.50 LAVATORY 1 1.00 0.70 0.70 0.70 2.70 0.54
TOILET 2.00 WATER CLOSET 1 0.55 0.40 0.22 0.22 2.22 0.44 8.493 3X3
STAFFS 1 0.50 1.00 1.50
URINAL 1 0.45 0.35 0.16 0.16 2.16 0.43
MANAGER 1 0.50 1.00 1.50 SOFA 2 2.40 0.90 2.16 4.32 6.82 1.36
STAFF OFFICE/ LOUNGE SUPERVISOR 1 0.50 1.00 1.50 2.50 TABLE 1 1.40 0.70 0.98 0.98 3.48 0.70 17.52 4 X 4.5
STAFFS 3 1.50 3.00 4.50 LOCKER 2 1.80 0.50 0.90 1.80 4.30 0.86
SOUVENIR SHOP
VISITORS 10 5 10 15 SHELVES 6 2.00 0.50 1.00 6.00 22.00 4.40
SOUVENIR DISPLAY AREA 16 DISPLAY TABLE 4 1.50 2.00 3.00 12.00 28.00 5.60 80.4 7 X 7.5
STAFFS 1 0.5 1 1.5
GLASS PEDESTALS 4 0.50 0.50 0.25 1.00 17.00 3.40
MAIN COUNTER 1 2.50 0.80 2.00 2.00 3.00 0.60
COUNTER STAFF 2 1 2 3 1 5.2224 2 X 2.5
STOOLS 2 0.40 0.44 0.18 0.35 1.35 0.27
MANAGER 1 0.5 1 1.5 TABLE 2 1.00 0.80 0.80 1.60 3.10 0.62
OFFICE 1.5 CHAIR 2 0.45 0.45 0.20 0.41 1.91 0.38 9.534 3X3
STAFFS 2 1 2 3
SOFA 1 1.60 0.90 1.44 1.44 2.94 0.59
STORAGE SHELVES 2 2.00 0.45 0.90 1.80 2.80 0.56
STORAGE STAFFS 1 0.5 1 1.5 1 6.78 3X2
STAFF OFFICE/ LOUNGE
MANAGER 1 0.5 1 1.5 TABLE 5 1.20 0.75 0.90 4.50 21.00 4.20
OFFICE AREA SUPERVISOR 1 0.5 1 1.5 16.5 CHAIR 5 0.45 0.45 0.20 1.01 17.51 3.50 68.895 8 X 8.5
STAFFS 15 7.5 15 22.5 BASE CABINETS 4 1.20 0.50 0.60 2.40 18.90 3.78
SOFA 2 2.40 0.80 1.92 3.84 11.34 2.27
LOUNGE STAFFS 15 7.5 15 22.5 7.5 23.472 5 X 4.5
COFFEE TABLE 1 1.20 0.60 0.72 0.72 8.22 1.64
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LOCKERS 4 1.80 0.50 0.90 3.60 18.60 3.72

LOCKER ROOM STAFFS 15 7.5 15 22.5 15 50.688 7X7
BENCHES 4 2.40 0.90 2.16 8.64 23.64 4.73
STORAGE SHELVES 2 2.00 0.45 0.90 1.80 3.80 0.76
STORAGE ROOM STAFFS 2 1 2 3 2 8.58 3X3
DISPLAY HALLWAY
STAFFS 1 0.5 1 1.5 DIGITAL PANNELS 10 1.50 0.10 0.15 1.50 32.5 6.5
HALLWAY AREA 31 83.976 9X9
VISITORS 30 15 30 45 BENCHES 3 2.40 0.90 2.16 6.48 37.48 7.496
OPEN CENTRAL COURTYARD
OUTDOOR SEATING 5 1.50 0.60 0.90 4.50 20.50 4.1
VISITORS 30 15.00 30.00 45.00
OUTDOOR TABLE 2 1.00 0.80 0.80 1.60 17.60 3.52
COURTYARD 16.00 PLANT BOXES 2 1.00 1.00 1.00 2.00 18.00 3.6 168.12 13 X 13
STAFFS 1 0.50 1.00 1.50 WATER FEATURES 1 9.00 3.00 27.00 27.00 43.00 8.6
LAWN 1 5.00 5.00 25.00 25.00 41.00 8.2
PUBLIC RESTROOMS
URINAL 7 0.45 0.35 0.16 1.10 10.10 2.02
VISITORS 8 4.00 8.00 12.00
WATER CLOSET 3 0.55 0.40 0.22 0.66 9.66 1.93
MALE RESTROOM 9.00 CUBICLE 3 1.50 0.85 1.28 3.83 12.83 2.57 65.745 8X8
STAFFS 1 0.50 1.00 1.50 PWD CUBICLE 1 2.20 1.50 3.30 3.30 12.30 2.46
LAVATORY 1 1.50 0.60 0.90 0.90 9.90 1.98
WATER CLOSET 10 0.55 0.40 0.22 2.20 11.20 2.24
VISITORS 8 4.00 8.00 12.00
CUBICLE 10 1.50 0.85 1.28 12.75 21.75 4.35
FEMALE RESTROOM 9.00 66.18 8X8
PWD CUBICLE 1 2.20 1.50 3.30 3.30 12.30 2.46
STAFFS 1 0.50 1.00 1.50
LAVATORY 1 1.50 0.60 0.90 0.90 9.90 1.98
DOCUMENTATION ROOM
COMPUTER DESK 3 1.20 0.80 0.96 2.88 4.38 0.88
CHAIR 3 0.45 0.45 0.20 0.61 2.11 0.42
DOCUMENTATION AREA STAFFS 3 1.50 3.00 4.50 1.50 TABLE 3 1.50 0.85 1.28 3.83 5.33 1.07 31.359 6 X 5.5
CABINETS 1 2.20 0.60 1.32 1.32 2.82 0.56
BOOKSHELVES 5 2.50 0.80 2.00 10.00 11.50 2.30
SHELVES 2 2.50 0.80 2.00 4.00 5.00 1.00
STORAGE STAFFS 1 0.50 1.00 1.50 1.00 10.368 3 X 3.5
CABINET 2 2.20 0.60 1.32 2.64 3.64 0.73
WATER CLOSET 1 0.55 0.40 0.22 0.22 1.22 0.24
TOILET STAFFS 1 0.50 1.00 1.50 1.00 3.744 2 X 1.8
LAVATORY 1 1.50 0.60 0.90 0.90 1.90 0.38
STORAGE ROOM FOR MUSEUM COLLECTIONS
SHELVES 2 2.50 0.80 2.00 4.00 5.00 1
STORAGE AREA STAFFS 1 0.50 1.00 1.50 1.00 11.424 3 X 3.5
CABINETS 2 2.20 0.80 1.76 3.52 4.52 0.904
COMPUTER DESK 2 1.50 0.80 1.20 2.40 2.90 0.58
IN AND OUT RECORDS AREA STAFFS 1 0.50 1.00 1.50 0.50 4.566 2 X 2.5
CHAIR 2 0.45 0.45 0.20 0.41 0.91 0.181
WATER CLOSET 1 0.55 0.40 0.22 0.22 1.22 0.244
TOILET STAFFS 1 0.50 1.00 1.50 1.00 3.744 2 X 1.8
LAVATORY 1 1.50 0.60 0.90 0.90 1.90 0.38
MULTIPURPOSE ROOMS
SPEAKER PLATFORM 1 4.00 3.00 12.00 12.00 19.00 3.80
VISITORS 5 2.50 5.00 7.50
SPEAKERS 2 0.70 0.70 0.49 0.98 7.98 1.60
MAIN AREA 7.00 68.121 8X8
TABLE 10 1.50 0.85 1.28 12.75 19.75 3.95
STAFFS 2 1.00 2.00 3.00
CHAIR 15 0.45 0.45 0.20 3.04 10.04 2.01
TABLE 10 1.50 0.84 1.26 12.60 13.60 2.72
STORAGE ROOM STAFFS 1 0.50 1.00 1.50 1.00 CHAIRS (10 PCS STACK) 2 0.45 0.45 0.20 0.41 1.41 0.28 21.558 5X4
SPEAKERS 4 0.70 0.70 0.49 1.96 2.96 0.59
DESK 1 1.50 0.80 1.20 1.20 2.20 0.44
CONTROL ROOM STAFFS 2 1.00 2.00 3.00 1.00 4.08 2 X 2.5
CHAIR 1 0.45 0.45 0.20 0.20 1.20 0.24
ADMIN OFFICES
WORKING DESK 1 1.50 0.80 1.20 1.20 2.70 0.54
HEAD DIRECTOR 1 0.5 1 1.5 OFFICE CHAIR 2 0.45 0.45 0.20 0.41 1.91 0.38
COFFEE TABLE 1 1.20 0.60 0.72 0.72 2.22 0.44
MUSEM DIRECTOR OFFICE 1.5 21.41 5X4
SOFA 1 2.40 0.80 1.92 1.92 3.42 0.68
SECRETARY 1 0.5 1 1.5 SHELVES 2 2.50 0.80 2.00 4.00 5.50 1.10
BASE CABINETS 1 1.20 0.50 0.60 0.60 2.10 0.42
Garcia - 2023 109

ASSISTANT 2 1 2 3 WORKING DESK 2 1.50 0.80 1.20 2.40 6.40 1.28

ASSISSTANT DIRECTOR OFFICE 4 OFFICE CHAIR 4 0.45 0.45 0.20 0.81 4.81 0.96 20.652 5X4
SECRETARY 2 1 2 3
SHELVES 1 2.50 0.80 2.00 2.00 6.00 1.20
WORKING DESK 5 1.50 0.80 1.20 6.00 11.00 2.20
OFFICE CHAIR 5 0.45 0.45 0.20 1.01 6.01 1.20
COFFEE TABLE 1 1.20 0.60 0.72 0.72 5.72 1.14
MUSEUM DIVISION OFFICE STAFFS 5 2.5 5 7.5 5 64.05 8 X 7.5
SOFA 2 2.40 0.80 1.92 3.84 8.84 1.77
SHELVES 5 2.50 0.80 2.00 10.00 15.00 3.00
BASE CABINETS 3 1.20 0.50 0.60 1.80 6.80 1.36
STORAGE ROOM FOR EQUIPMENT
SHELVES 3 2.50 0.80 2.00 6.00 8.00 1.60
CABINETS 2 2.20 0.80 1.76 3.52 5.52 1.10
STORAGE AREA STAFFS 2 1.00 2.00 3.00 2.00 TABLES 5 1.50 0.85 1.28 6.38 8.38 1.68 35.817 6X6
CHAIRS (10 PCS STACK) 5 0.45 0.45 0.20 1.01 3.01 0.60
SPEAKERS 6 0.70 0.70 0.49 2.94 4.94 0.99
SERVICE FACILITIES
JANITORS CLOSET 1 1.00 1.00 1.00 1.00 2.00 0.40
CABINETS 2 1.50 0.80 1.20 2.40 3.40 0.68
UTILITY ROOM STAFFS 1 0.50 1.00 1.50 1.00 WASHING AREA 1 1.00 0.80 0.80 0.80 1.80 0.36 11.859 4X3
TABLE 1 0.80 0.60 0.48 0.48 1.48 0.30
CHAIR 1 0.45 0.45 0.20 0.20 1.20 0.24
TABLE 2 2.00 0.80 1.60 3.20 4.70 0.94
BMS ROOM STAFFS 3 1.50 3.00 4.50 1.50 7.926 3 X 2.5
CHAIR 2 0.45 0.45 0.20 0.41 1.91 0.38
BOILER 1 5.10 2.80 14.28 14.28 15.28 3.06
CHILLER 1 6.70 2.20 14.74 14.74 15.74 3.15
WATER HEATER & TANKS 1 1.40 1.40 1.96 1.96 2.96 0.59
PUMP ENGINES 1 2.40 0.60 1.44 1.44 2.44 0.49
MECH/ ELEC ROOM STAFFS 1 0.50 1.00 1.50 1.00 85.28 9X9
GENERATOR SET 1 8.00 1.70 13.60 13.60 14.60 2.92
ELECTRIC SWITCH BOARDS 1 9.00 1.60 14.40 14.40 15.40 3.08
MOTOR CONTROL CENTER 1 5.20 0.50 2.60 2.60 3.60 0.72
FIRE ALARM CONTROL PANELS 1 0.41 0.11 0.05 0.05 1.05 0.21
STAFFS 1 0.50 1.00 1.50 ELEVATING DOCK LEVELLER 2 2.90 2.10 6.09 12.18 16.18 3.24
LOADING & UNLOADING DOCK 4.00 PALLET JACKS 3 1.20 0.70 0.84 2.52 6.52 1.30 48.1392 7X7
DELIVERY PERSONNEL 2 1.00 2.00 3.00
FORKLIFTS 2 3.90 1.72 6.71 13.42 17.42 3.48
STAFFS 1 0.50 1.00 1.50 SHELVES 4 2.40 0.90 2.16 8.64 12.64 2.53
STORAGE FOR DELIVERY 4.00 TABLES 3 1.40 0.70 0.98 2.94 6.94 1.39 31.896 6X5
CABINETS 2 3.00 0.50 1.50 3.00 7.00 1.40
GUARDS 2 1.00 2.00 3.00 WORKING DESK 1 1.50 0.80 1.20 1.20 3.70 0.74
SECURITY ROOM 2.50 CHAIRS 5 0.45 0.45 0.20 1.01 3.51 0.70 13.455 4 X 3.5
STAFFS 1 0.50 1.00 1.50
SHELVES/ CABINETS 2 1.50 0.50 0.75 1.50 4.00 0.80
WORKING DESK 1 1.50 0.80 1.20 1.20 2.70 0.54
STAFFS 1 0.50 1.00 1.50
CHAIRS 3 0.45 0.45 0.20 0.61 2.11 0.42
CLINIC 1.50 13.353 4 X 3.5
SHELVES 1 2.50 0.80 2.00 2.00 3.50 0.70
HEALTH PROFESSIONAL 1 0.50 1.00 1.50
CABINETS 1 2.20 0.60 1.32 1.32 2.82 0.56
TOTAL FLOOR AREA (MUSEUM BUILDING - GROUND FLOOR) 1507.76
MUSEUM BUILDING - SECOND FLOOR

DISPLAY HALLWAY
STAFFS 1 0.5 1 1.5 DIGITAL PANNELS 10.00 1.50 0.10 0.15 1.50 12.50 2.50
VISITORS 10 5 10 15 BENCHES 3.00 2.40 0.90 2.16 6.48 17.48 3.50
EXHIBITION SPACES
VISITORS 35 17.5 35 52.5 DISPLAY PANELS 12 1.50 0.10 0.15 1.80 38.30 7.66
EXHIBIT 1 36.5 100.128 10 X 8.8
STAFFS 3 1.5 3 4.5 BENCHES 4 2.40 0.90 2.16 8.64 45.14 9.03
Garcia - 2023 110

DISPLAY PANELS 10 1.50 0.10 0.15 1.50 31.50 6.30

EXHIBIT 2 VISITORS 30 15 30 45 30 81.576 9X9
BENCHES 3 2.40 0.90 2.16 6.48 36.48 7.30
EXHIBIT 3 VISITORS 35 17.5 35 52.5 35 DISPLAY PANELS 10 1.50 0.10 0.15 1.50 36.50 7.30 43.80 6 X 6.5
DISPLAY PANELS 5 1.50 0.10 0.15 0.75 35.75 7.15
EXHIBIT 4 VISITORS 35 17.5 35 52.5 35 CHAIRS 3 0.45 0.45 0.20 0.61 35.61 7.12 129.789 10 X 10
TABLES 2 1.20 0.75 0.90 1.80 36.80 7.36
PLANT BOXES 2 2.00 0.60 1.20 2.40 47.40 9.48
VISITORS 30 15 30 45 45 SAND BOXES 5 2.00 0.60 1.20 6.00 51.00 10.20
DISPLAY PANELS 2 1.50 0.10 0.15 0.30 45.30 9.06
EXHIBIT 5 183.87 11 X 11
CHAIRS 2 0.45 0.45 0.20 0.41 1.41 0.28
STAFF 1 0.5 1 1.5 1 TABLES 2 1.20 0.75 0.90 1.80 2.80 0.56
CUSHION SEAT 2 2.40 0.90 2.16 4.32 5.32 1.06
DISPLAY PANELS 10 1.50 0.10 0.15 1.50 36.50 7.30
EXHIBIT 6 VISITORS 35 17.5 35 52.5 35 93.576 10 X 8.8
BENCHES 3 2.40 0.90 2.16 6.48 41.48 8.30
WORKING COUNTER 3 2 0.80 1.60 4.80 27.30 5.46
VISITORS 15 7.5 15 22.5 22.5 LAVATORY 3 1.50 0.60 0.90 2.70 25.20 5.04
SERVICE COUNTER 3 2 0.80 1.60 4.80 27.30 5.46
EXHIBIT 7 112.33 10 X 11
DISPLAY TABLE 3 1.20 0.75 0.90 2.70 5.70 1.14
STAFF 3 1.5 3 4.5 3 CHAIRS 3 0.45 0.45 0.20 0.61 3.61 0.72
DISPLAY PANELS 10 1.50 0.10 0.15 1.50 4.50 0.90
DISPLAY PANELS 10 1.50 0.10 0.15 1.50 19.00 3.80
EXHIBIT 8 VISITORS 35 17.5 35 52.5 17.5 CUSHION SEATS 5 2.40 0.90 2.16 10.80 28.30 5.66 90.72 9X9
BOAT SEATS 5 2.40 0.90 2.16 10.80 28.30 5.66
PUBLIC RESTROOMS
URINAL 7 0.45 0.35 0.16 1.10 10.10 2.02
VISITORS 8 4.00 8.00 12.00
WATER CLOSET 3 0.55 0.40 0.22 0.66 9.66 1.93
LAVATORY 1 1.50 0.60 0.90 0.90 9.90 1.98
WATER CLOSET 10 0.55 0.40 0.22 2.20 11.20 2.24
VISITORS 8 4.00 8.00 12.00
CUBICLE 10 1.50 0.85 1.28 12.75 21.75 4.35
PWD CUBICLE 1 2.20 1.50 3.30 3.30 12.30 2.46
STAFFS 1 0.50 1.00 1.50
LAVATORY 1 1.50 0.60 0.90 0.90 9.90 1.98
STORAGE ROOM
SHELVES 4 2.50 0.80 2.00 8.00 11.00 2.20
CABINETS 2 2.20 0.80 1.76 3.52 6.52 1.30
STORAGE AREA STAFFS 3 1.5 3 4.5 3 29.997 5X6
TABLE 1 1.50 0.85 1.28 1.28 4.28 0.86
CHAIRS 1 0.45 0.45 0.20 0.20 3.20 0.64
MANAGER 1 0.5 1 1.5 TABLE 5 1.20 0.75 0.90 4.50 21.00 4.20
SOFA 2 2.40 0.80 1.92 3.84 11.34 2.27
LOUNGE STAFFS 15 7.5 15 22.5 7.5 23.472 5 X 4.5
COFFEE TABLE 1 1.20 0.60 0.72 0.72 8.22 1.64
LOCKERS 4 1.80 0.50 0.90 3.60 18.60 3.72
BENCHES 4 2.40 0.90 2.16 8.64 23.64 4.73
STORAGE SHELVES 2 2.00 0.45 0.90 1.80 3.80 0.76
SERVICE FACILITIES
JANITORS CLOSET 1 1.00 1.00 1.00 1.00 3.00 0.60
CABINET 2 1.50 0.80 1.20 2.40 4.40 0.88
UTILITY ROOM STAFFS 2 1 2 3 2 WASHING AREA 1 1.00 0.80 0.80 0.80 2.80 0.56 17.859 4 X 4.5
TABLE 1 0.80 0.60 0.48 0.48 2.48 0.50
CHAIR 1 0.45 0.45 0.20 0.20 2.20 0.44
AHU ROOM STAFFS 2 1 2 3 2 AIR HANDLING UNIT 1 2.50 1.30 3.25 3.25 5.25 1.05 6.30 2X3
Garcia - 2023 111

TOTAL FLOOR AREA (MUSEUM BUILDING - SECOND FLOOR) 1209.48
MUSEUM BUILDING - THIRD FLOOR

DISPLAY HALLWAY
STAFFS 1 0.5 1 1.5 DIGITAL PANNELS 10.00 1.50 0.10 0.15 1.50 52.50 10.50
VISITORS 50 25 50 75 BENCHES 3.00 2.40 0.90 2.16 6.48 57.48 11.50
EXHIBITION SPACES
VISITORS 40 20 40 60 60 BENCHES 3 2.40 0.90 2.16 6.48 66.48 13.30
EXHIBIT 9 PLANT BOXES 5 2.00 0.60 1.20 6.00 13.50 2.70 148.176 10 X 11
STAFF 5 2.50 5.00 7.50
7.50 BOATS 3 6 2 12 36 43.50 8.70
PUBLIC RESTROOMS
URINAL 7 0.45 0.35 0.16 1.10 10.10 2.02
VISITORS 8 4.00 8.00 12.00
WATER CLOSET 3 0.55 0.40 0.22 0.66 9.66 1.93
LAVATORY 1 1.50 0.60 0.90 0.90 9.90 1.98
WATER CLOSET 10 0.55 0.40 0.22 2.20 11.20 2.24
VISITORS 8 4.00 8.00 12.00
CUBICLE 10 1.50 0.85 1.28 12.75 21.75 4.35
PWD CUBICLE 1 2.20 1.50 3.30 3.30 12.30 2.46
STAFFS 1 0.50 1.00 1.50
LAVATORY 1 1.50 0.60 0.90 0.90 9.90 1.98
STORAGE ROOM
SHELVES 4 2.50 0.80 2.00 8.00 11.00 2.20
CABINETS 2 2.20 0.80 1.76 3.52 6.52 1.30
TABLE 1 1.50 0.85 1.28 1.28 4.28 0.86
CHAIRS 1 0.45 0.45 0.20 0.20 3.20 0.64
MANAGER 1 0.5 1 1.5 TABLE 5 1.20 0.75 0.90 4.50 21.00 4.20
SOFA 2 2.40 0.80 1.92 3.84 11.34 2.27
LOUNGE STAFFS 15 7.5 15 22.5 7.5 23.472 5 X 4.5
COFFEE TABLE 1 1.20 0.60 0.72 0.72 8.22 1.64
LOCKERS 4 1.80 0.50 0.90 3.60 18.60 3.72
BENCHES 4 2.40 0.90 2.16 8.64 23.64 4.73
STORAGE SHELVES 2 2.00 0.45 0.90 1.80 3.80 0.76
SERVICE FACILITIES
JANITORS CLOSET 1 1.00 1.00 1.00 1.00 3.00 0.60
CABINET 2 1.50 0.80 1.20 2.40 4.40 0.88
TABLE 1 0.80 0.60 0.48 0.48 2.48 0.50
CHAIR 1 0.45 0.45 0.20 0.20 2.20 0.44
TOTAL FLOOR AREA (MUSEUM BUILDING - THIRD FLOOR) 617.868
Table 4.32. Museum Building Space Programming Matrix
Garcia - 2023 112

LIBRARY BUILDING
LIBRARY BUILDING - GROUND FLOOR

MAIN LOBBY
VISITORS 20 10 20 30 INTERIOR PLANT BOX 6 2.00 0.60 1.20 7.20 27.20 5.44
LOBBY 20 DISPLAY PANNELS 5 1.50 0.10 0.15 0.75 20.75 4.15 83.892 9 X 9.3
GUARD 1 0.5 1 1.5
STATUE PEDESTALS 4 0.70 0.70 0.49 1.96 21.96 4.39
CUSHION SEAT 8 0.60 0.60 0.36 2.88 12.88 2.58
LOUNGE VISITORS 10 5 10 15 10 SOFA 4 2.40 0.90 2.16 8.64 18.64 3.73 51.552 7 X 7.3
COFFEE TABLE 2 1.20 0.60 0.72 1.44 11.44 2.29
COUNTER 1 3.00 0.80 2.40 2.40 3.90 0.78
RECEPTION/ ADMISSION RECEPTIONIST 3 1.5 3 4.5 1.5 7.209 3 X 2.5
CHAIR 3 0.45 0.45 0.20 0.61 2.11 0.42
COUNTER 1 3.00 0.80 2.40 2.40 3.40 0.68
BAGGAGE COUNTER STAFFS 2 1.00 3.00 3.00 1.00 CHAIR 3 0.45 0.45 0.20 0.61 1.61 0.32 10.809 3 X 3.5
BAGGAGE SHELVES 2 3.00 0.50 1.50 3.00 4.00 0.80
CAFÉ/ COFFEE SHOP
VISITORS 15 7.50 15.00 22.50 INTERIOR PLANT BOX 4 1.00 1.00 1.00 4.00 13.00 2.60
MAIN CAFÉ AREA 9.00 TABLES 10 1.50 0.80 1.20 12.00 21.00 4.20 58.89 8X7
STAFFS 1 0.50 1.00 1.50
CHAIRS 30 0.45 0.45 0.20 6.08 15.08 3.02
MAIN COUNTER 2 2.50 0.80 20.00 4.00 6.00 1.20
COUNTER STAFFS 2 1.00 2.00 3.00 2.00 CHAIRS 4 0.45 0.45 0.20 0.81 2.81 0.56 16.332 4X4
WORKING COUNTER 2 2.00 0.70 1.40 2.80 4.80 0.96
WORKING COUNTER 2 2.50 0.60 1.50 3.00 7.50 1.50
KITCHEN STAFFS 3 1.50 3.00 4.50 4.50 16.32 4X4
SERVING TABLE 2 1.00 0.80 0.80 1.60 6.10 1.22
STORAGE STAFFS 1 0.50 1.00 1.50 1.00 6.18 3X2
STORAGE SHELVES 2 1.50 0.45 0.68 1.35 2.35 0.47
VISITORS 1 0.50 1.00 1.50 LAVATORY 1 1.00 0.70 0.70 0.70 2.70 0.54
TOILET 2.00 WATER CLOSET 1 0.55 0.40 0.22 0.22 2.22 0.44 8.493 3X3
STAFFS 1 0.50 1.00 1.50
URINAL 1 0.45 0.35 0.16 0.16 2.16 0.43
MANAGER 1 0.50 1.00 1.50 SOFA 2 2.40 0.90 2.16 4.32 6.82 1.36
STAFF OFFICE/ LOUNGE SUPERVISOR 1 0.50 1.00 1.50 2.50 TABLE 1 1.40 0.70 0.98 0.98 3.48 0.70 17.52 4 X 4.5
STAFFS 3 1.50 3.00 4.50 LOCKER 2 1.80 0.50 0.90 1.80 4.30 0.86
LIBRARIAN COUNTER
COUNTER 1 2.50 0.90 2.25 2.25 3.75 0.75
1.50 3.00 4.50
LIBRARIAN 3 1.50 CHAIRS 2 0.45 0.45 0.20 0.41 1.91 0.38
COUNTER AREA 12.066 4X3
SHELVES 2 1.50 0.50 0.75 1.50 2.50 0.50
0.50 1.00 1.50
STAFFS 1 1.00 CABINET 1 1.80 0.50 0.90 0.90 1.90 0.38
MANAGER 1 0.5 1 1.5 TABLE 5 1.20 0.75 0.90 4.50 21.00 4.20
SOFA 2 2.40 0.80 1.92 3.84 11.34 2.27
LOUNGE STAFFS 15 7.5 15 22.5 7.5 23.472 5 X 4.5
COFFEE TABLE 1 1.20 0.60 0.72 0.72 8.22 1.64
LOCKERS 4 1.80 0.50 0.90 3.60 18.60 3.72
BENCHES 4 2.40 0.90 2.16 8.64 23.64 4.73
STORAGE SHELVES 2 2.00 0.45 0.90 1.80 3.80 0.76
OUTDOOR SEATING 5 1.50 0.60 0.90 4.50 10.50 2.1
VISITORS 10 5.00 10.00 15.00
OUTDOOR TABLE 2 1.00 0.80 0.80 1.60 7.60 1.52
LAWN 1 5.00 5.00 25.00 25.00 31.00 6.2
Garcia - 2023 113

PUBLIC RESTROOMS
URINAL 7 0.45 0.35 0.16 1.10 10.10 2.02
VISITORS 8 4.00 8.00 12.00
WATER CLOSET 3 0.55 0.40 0.22 0.66 9.66 1.93
LAVATORY 1 1.50 0.60 0.90 0.90 9.90 1.98
WATER CLOSET 10 0.55 0.40 0.22 2.20 11.20 2.24
VISITORS 8 4.00 8.00 12.00
CUBICLE 10 1.50 0.85 1.28 12.75 21.75 4.35
PWD CUBICLE 1 2.20 1.50 3.30 3.30 12.30 2.46
STAFFS 1 0.50 1.00 1.50
LAVATORY 1 1.50 0.60 0.90 0.90 9.90 1.98
MULTIPURPOSE ROOMS
VISITORS 5 2.50 5.00 7.50
SPEAKERS 2 0.70 0.70 0.49 0.98 7.98 1.60
MAIN AREA 7.00 68.121 8X8
TABLE 10 1.50 0.85 1.28 12.75 19.75 3.95
STAFFS 2 1.00 2.00 3.00
CHAIR 15 0.45 0.45 0.20 3.04 10.04 2.01
TABLE 10 1.50 0.84 1.26 12.60 13.60 2.72
SPEAKERS 4 0.70 0.70 0.49 1.96 2.96 0.59
DESK 1 1.50 0.80 1.20 1.20 2.20 0.44
CHAIR 1 0.45 0.45 0.20 0.20 1.20 0.24
STORAGE ROOM FOR BOOK COLLECTIONS
SHELVES 2 2.50 0.80 2.00 4.00 5.00 1
CABINETS 2 2.20 0.80 1.76 3.52 4.52 0.904
COMPUTER DESK 2 1.50 0.80 1.20 2.40 2.90 0.58
CHAIR 2 0.45 0.45 0.20 0.41 0.91 0.181
WATER CLOSET 1 0.55 0.40 0.22 0.22 1.22 0.244
TOILET STAFFS 1 0.50 1.00 1.50 1.00 3.744 2 X 1.8
LAVATORY 1 1.50 0.60 0.90 0.90 1.90 0.38
BOOKS SECTION
BOOK SHELVES 6 2.50 0.80 2.00 12.00 17.00 3.40
KIDS SECTION VISITORS 5 2.50 5.00 7.50 27.615 5 X 5.5
5.00 ACCENT CHAIR 5 0.45 0.45 0.20 1.01 6.01 1.20
BOOK SHELVES 20 2.00 0.80 1.60 32.00 37.00 7.40
YOUNG ADULT SECTION VISITORS 5 2.50 5.00 7.50 51.3 7 X 7.5
5.00 ACCENT CHAIR 3 0.50 0.50 0.25 0.75 5.75 1.15
BOOK SHELVES 20 2.00 0.80 1.60 32.00 37.00 7.40
ARTS CULTURE & HISTORY SECTION VISITORS 5 2.50 5.00 7.50 51.3 7 X 7.5
5.00 ACCENT CHAIR 3 0.50 0.50 0.25 0.75 5.75 1.15
READING/ REVIEWING AREA
TABLES 5 1.80 0.80 1.44 7.20 12.20 2.44
KIDS SECTION VISITORS 5 2.50 5.00 7.50 25.5 5X5
5.00 CHAIRS 20 0.45 0.45 0.20 4.05 9.05 1.81
TABLES 12 2.00 1.00 2.00 24.00 26.50 5.3
YOUNG ADULT SECTION VISITORS 5 2.50 5.00 7.50 45.735 7X7
2.50 CHAIRS 45 0.45 0.45 0.20 9.11 11.61 2.3225
TABLES 12 2.00 1.00 2.00 24.00 26.50 5.3
ARTS CULTURE & HISTORY SECTION VISITORS 5 2.50 5.00 7.50 45.735 7X7
2.50 CHAIRS 45 0.45 0.45 0.20 9.11 11.61 2.3225
ARTS AREA
VISITORS 10 5.00 10.00 15.00 TABLES 2 2.00 1.00 2.00 4.00 19.50 3.90
KIDS AREA 15.50 CHAIRS 12 0.45 0.45 0.20 2.43 17.93 3.59 67.116 8X8
STAFF 1 0.50 1.00 1.50
SHELVES 3 2.00 0.50 1.00 3.00 18.50 3.70
COMPUTER/ DIGITAL ZONE
VISITORS 15 7.50 15.00 22.50 TABLES 25 0.80 0.70 0.56 14.00 26.50 5.30
COMPUTER AREA 12.50 52.875 8 X 6.5
STAFFF 5 2.50 5.00 7.50 CHAIRS 25 0.45 0.45 0.20 5.06 17.56 3.51
READING NOOKS
PLANT BOXES 2 1.00 1.00 1.00 2.00 4.50 0.90
KIDS SECTION VISITORS 5 2.50 5.00 7.50 2.50 10.704 3X3
SOFA 1 2.40 0.80 1.92 1.92 4.42 0.88
PLANT BOXES 2 1.00 1.00 1.00 2.00 4.50 0.90
YOUNG ADULT SECTION VISITORS 5 2.50 5.00 7.50 2.50 10.704 3X3
SOFA 1 2.40 0.80 1.92 1.92 4.42 0.88
PLANT BOXES 2 1.00 1.00 1.00 2.00 4.50 0.90
ARTS CULTURE & HISTORY SECTION VISITORS 5 2.50 5.00 7.50 2.50 10.704 3X3
SOFA 1 2.40 0.80 1.92 1.92 4.42 0.88
Garcia - 2023 114

SERVICE FACILITIES
JANITORS CLOSET 1 1.00 1.00 1.00 1.00 2.00 0.40
CABINETS 2 1.50 0.80 1.20 2.40 3.40 0.68
TABLE 1 0.80 0.60 0.48 0.48 1.48 0.30
CHAIR 1 0.45 0.45 0.20 0.20 1.20 0.24
TABLE 2 2.00 0.80 1.60 3.20 4.70 0.94
BMS ROOM STAFFS 3 1.50 3.00 4.50 1.50 7.926 3 X 2.5
CHAIR 2 0.45 0.45 0.20 0.41 1.91 0.38
BOILER 1 5.10 2.80 14.28 14.28 15.28 3.06
CHILLER 1 6.70 2.20 14.74 14.74 15.74 3.15
PUMP ENGINES 1 2.40 0.60 1.44 1.44 2.44 0.49
GENERATOR SET 1 8.00 1.70 13.60 13.60 14.60 2.92
FORKLIFTS 2 3.90 1.72 6.71 13.42 17.42 3.48
STAFFS 1 0.50 1.00 1.50 SHELVES 4 2.40 0.90 2.16 8.64 12.64 2.53
CABINETS 2 3.00 0.50 1.50 3.00 7.00 1.40
STAFFS 1 0.50 1.00 1.50
WORKING DESK 1 1.50 0.80 1.20 1.20 2.70 0.54
STAFFS 1 0.50 1.00 1.50
CHAIRS 3 0.45 0.45 0.20 0.61 2.11 0.42
CLINIC 1.50 13.353 4 X 3.5
SHELVES 1 2.50 0.80 2.00 2.00 3.50 0.70
CABINETS 1 2.20 0.60 1.32 1.32 2.82 0.56
TOTAL FLOOR AREA (LIBRARY BUILDING - GROUND FLOOR) 1405.63332
LIBRARY BUILDING - SECOND FLOOR

STORAGE FOR BOOK COLLECTION
SHELVES 2 2.50 0.80 2.00 4.00 5.00 1
CABINETS 2 2.20 0.80 1.76 3.52 4.52 0.904
COMPUTER DESK 2 1.50 0.80 1.20 2.40 2.90 0.58
CHAIR 2 0.45 0.45 0.20 0.41 0.91 0.181
WATER CLOSET 1 0.55 0.40 0.22 0.22 1.22 0.244
TOILET STAFFS 1 0.50 1.00 1.50 1.00 3.744 2 X 1.8
LAVATORY 1 1.50 0.60 0.90 0.90 1.90 0.38
LIBRARIAN COUNTER
COUNTER 1 2.50 0.90 2.25 2.25 3.75 0.75
1.50 3.00 4.50
LIBRARIAN 3 1.50 CHAIRS 2 0.45 0.45 0.20 0.41 1.91 0.38
COUNTER AREA 12.066 4X3
SHELVES 2 1.50 0.50 0.75 1.50 2.50 0.50
0.50 1.00 1.50
STAFFS 1 1.00 CABINET 1 1.80 0.50 0.90 0.90 1.90 0.38
MANAGER 1 0.5 1 1.5 TABLE 5 1.20 0.75 0.90 4.50 21.00 4.20
SOFA 2 2.40 0.80 1.92 3.84 11.34 2.27
LOUNGE STAFFS 15 7.5 15 22.5 7.5 23.472 5 X 4.5
COFFEE TABLE 1 1.20 0.60 0.72 0.72 8.22 1.64
LOCKERS 4 1.80 0.50 0.90 3.60 18.60 3.72
BENCHES 4 2.40 0.90 2.16 8.64 23.64 4.73
Garcia - 2023 115

STORAGE SHELVES 2 2.00 0.45 0.90 1.80 3.80 0.76

ADMIN OFFICES
WORKING DESK 1 1.50 0.80 1.20 1.20 6.20 1.24
HEAD LIBRARIAN 10 5 10 15 5 OFFICE CHAIR 2 0.45 0.45 0.20 0.41 5.41 1.08
COFFEE TABLE 1 1.20 0.60 0.72 0.72 5.72 1.14
LIBRARY HEAD OFFICE 48.05 7X6
SOFA 1 2.40 0.80 1.92 1.92 6.92 1.38
SECRETARIAT 5 2.5 5 7.5 5 SHELVES 2 2.50 0.80 2.00 4.00 9.00 1.80
BASE CABINETS 3 1.20 0.50 0.60 1.80 6.80 1.36
WORKING DESK 1 1.50 0.80 1.20 1.20 6.20 1.24
SYSTEM BASE MANAGER OFFICE STAFFS 5 2.5 5 7.5 5 OFFICE CHAIR 2 0.45 0.45 0.20 0.41 5.41 1.08 24.726 5X5
SHELVES 2 2.50 0.80 2.00 4.00 9.00 1.80
WORKING DESK 5 1.50 0.80 1.20 6.00 8.00 1.60
STAFFS 2 1 2 3 2 OFFICE CHAIR 5 0.45 0.45 0.20 1.01 3.01 0.60
COFFEE TABLE 1 1.20 0.60 0.72 0.72 2.72 0.54
IT SUPPORT SERVICES DIVISION 48.21 7X6
SOFA 2 2.40 0.80 1.92 3.84 7.84 1.57
TECHNICIANS 4 2 4 6 4 SHELVES 5 2.50 0.80 2.00 10.00 14.00 2.80
BASE CABINETS 1 1.20 0.50 0.60 0.60 4.60 0.92
WORKING DESK 5 1.50 0.80 1.20 6.00 8.00 1.60
STAFFS 2 1 2 3 2 OFFICE CHAIR 5 0.45 0.45 0.20 1.01 3.01 0.60
COFFEE TABLE 1 1.20 0.60 0.72 0.72 2.72 0.54
HARDWARE SUPPORT DIVISION 48.21 7X6
SOFA 2 2.40 0.80 1.92 3.84 7.84 1.57
TECHNICIANS 4 2 4 6 4 SHELVES 5 2.50 0.80 2.00 10.00 14.00 2.80
BASE CABINETS 1 1.20 0.50 0.60 0.60 4.60 0.92
MULTIPURPOSE ROOMS
VISITORS 5 2.50 5.00 7.50
SPEAKERS 2 0.70 0.70 0.49 0.98 7.98 1.60
MAIN AREA 7.00 68.121 8X8
TABLE 10 1.50 0.85 1.28 12.75 19.75 3.95
STAFFS 2 1.00 2.00 3.00
CHAIR 15 0.45 0.45 0.20 3.04 10.04 2.01
TABLE 10 1.50 0.84 1.26 12.60 13.60 2.72
SPEAKERS 4 0.70 0.70 0.49 1.96 2.96 0.59
DESK 1 1.50 0.80 1.20 1.20 2.20 0.44
CHAIR 1 0.45 0.45 0.20 0.20 1.20 0.24
AUDIO-VISUAL ROOM
VISITORS 20 10 20 30 SPEAKER PLATFORM 1 3.00 2.00 6.00 6.00 28.00 5.60
MAIN AREA 22.00 SPEAKERS 2 0.70 0.70 0.49 0.98 22.98 4.60 97.296 10 X 10
STAFFS 2 1 2 3
CHAIR 40 0.45 0.45 0.20 8.10 30.10 6.02
SPEAKERS 2 0.70 0.70 0.49 0.98 1.98 0.40
STORAGE ROOM STAFFS 2 1 2 3 1.00 4.791 2 X 2.5
CHAIRS (10 PCS/STACK) 5 0.45 0.45 0.20 1.01 2.01 0.40
DESK 1 0.80 0.80 0.64 0.64 2.64 0.53
CONTROL ROOM STAFFS 2 1 2 3 2.00 5.811 3X3
CHAIR 1 0.45 0.45 0.20 0.20 2.20 0.44
BOOKS AND REVIEWING AREA
STAFF 1 0.5 1 1.5 TABLES 12 2.00 1.00 2.00 24.00 39.50 7.90
YOUNG ADULT SECTION 15.5 CHAIRS 45 0.45 0.45 0.20 9.11 24.61 4.92 107.535 10 X 10
VISITORS 15 7.5 15 22.5
SHELVES 5 2.50 0.80 2.00 10.00 25.50 5.10
STAFF 1 0.5 1 1.5 TABLES 12 2.00 1.00 2.00 24.00 39.50 7.90
ARTS CULTURE & HISTORY SECTION 15.5 CHAIRS 45 0.45 0.45 0.20 9.11 24.61 4.92 107.535 10 X 10
VISITORS 15 7.5 15 22.5
SHELVES 5 2.50 0.80 2.00 10.00 25.50 5.10
COMPUTER/ DIGITAL ZONE
VISITORS 15 7.50 15.00 22.50 TABLES 25 0.80 0.70 0.56 14.00 26.50 5.30
COMPUTER AREA 12.50 52.875 8 X 6.5
STAFFF 5 2.50 5.00 7.50 CHAIRS 25 0.45 0.45 0.20 5.06 17.56 3.51
READING NOOKS
PLANT BOXES 2 1.00 1.00 1.00 2.00 4.50 0.90
YOUNG ADULT SECTION VISITORS 5 2.50 5.00 7.50 2.50 10.704 3X3
SOFA 1 2.40 0.80 1.92 1.92 4.42 0.88
PLANT BOXES 2 1.00 1.00 1.00 2.00 4.50 0.90
ARTS CULTURE & HISTORY SECTION VISITORS 5 2.50 5.00 7.50 2.50 10.704 3X3
SOFA 1 2.40 0.80 1.92 1.92 4.42 0.88
Garcia - 2023 116

SERVICE FACILITIES
JANITORS CLOSET 1 1.00 1.00 1.00 1.00 3.00 0.60
CABINET 2 1.50 0.80 1.20 2.40 4.40 0.88
TABLE 1 0.80 0.60 0.48 0.48 2.48 0.50
CHAIR 1 0.45 0.45 0.20 0.20 2.20 0.44
AUDIO VISUAL EXHIBITS
VISITORS 25 12.50 25.00 37.50 BOOK SHELVES 6 2.50 0.80 2.00 12.00 38.00 7.60
EXHIBIT 1 26.00 83.712 9X9
STAFFS 2 1.00 2.00 3.00 CUSHION SEAT 3 2.40 0.80 1.92 5.76 31.76 6.35
EXHIBIT 2 26.00 83.712 9X9
EXHIBIT 3 26.00 83.712 9X9
RIZAL EXHIBIT 23.50 CUSHION SEAT 3 2.40 0.80 1.92 5.76 29.26 5.85 106.272 10 X 10
STAFFS 1 0.50 1.00 1.50
DISPLAY PANEL BOARDS 2 1.50 0.10 0.15 0.30 23.80 4.76
PUBLIC RESTROOMS
URINAL 7 0.45 0.35 0.16 1.10 10.10 2.02
VISITORS 8 4.00 8.00 12.00
WATER CLOSET 3 0.55 0.40 0.22 0.66 9.66 1.93
LAVATORY 1 1.50 0.60 0.90 0.90 9.90 1.98
WATER CLOSET 10 0.55 0.40 0.22 2.20 11.20 2.24
VISITORS 8 4.00 8.00 12.00
CUBICLE 10 1.50 0.85 1.28 12.75 21.75 4.35
PWD CUBICLE 1 2.20 1.50 3.30 3.30 12.30 2.46
STAFFS 1 0.50 1.00 1.50
LAVATORY 1 1.50 0.60 0.90 0.90 9.90 1.98
TOTAL FLOOR AREA (LIBRARY - SECOND FLOOR) 1357.13
Table 4.33. Library Building Space Programming Matrix
Garcia - 2023 117

WORKSHOP BUILDING
WORKSHOP BUILDING - GROUND FLOOR

MAIN LOBBY
GUARDS 1 0.50 1.00 1.50 INTERIOR PLANT BOX 4 2.00 0.60 1.20 4.80 11.30 2.26
LOBBY STAFFS 5 2.50 5.00 7.50 6.50 DISPLAY PANEL 2 4.00 0.10 0.40 0.80 7.30 1.46 45.12 6X7
VISITORS 3 1.50 3.00 4.50 STATUE PEDESTAL 2 2.50 2.50 6.25 12.50 19.00 3.80
LOUNGE 3.50 SOFA 4 2.40 0.90 2.16 8.64 12.14 2.43 26.856 5X5
VISITORS 5 2.50 5.00 7.50
COFFEE TABLE 2 1.20 0.60 0.72 1.44 4.94 0.99
COUNTER 1 3.00 0.80 2.40 2.40 3.40 0.68
RECEPTION/ ADMISSION RECEPTIONIST 2 1.00 2.00 3.00 1.00 5.766 3X2
CHAIR 2 0.45 0.45 0.20 0.41 1.41 0.28
MANAGER 1 0.5 1 1.5 TABLE 5 1.20 0.75 0.90 4.50 21.00 4.20
SOFA 2 2.40 0.80 1.92 3.84 11.34 2.27
LOUNGE STAFFS 15 7.5 15 22.5 7.5 23.472 5 X 4.5
COFFEE TABLE 1 1.20 0.60 0.72 0.72 8.22 1.64
LOCKERS 4 1.80 0.50 0.90 3.60 18.60 3.72
BENCHES 4 2.40 0.90 2.16 8.64 23.64 4.73
STORAGE SHELVES 2 2.00 0.45 0.90 1.80 3.80 0.76
OUTDOOR SEATING 5 1.50 0.60 0.90 4.50 10.50 2.1
VISITORS 10 5.00 10.00 15.00
OUTDOOR TABLE 2 1.00 0.80 0.80 1.60 7.60 1.52
LAWN 1 5.00 5.00 25.00 25.00 31.00 6.2
CONFERENCE ROOM
ADMIN 1 0.5 1 1.5 CONFERENCE TABLE 1 3.20 1.20 3.84 3.84 11.34 2.27
CONFERENCE AREA STAFFS 2 1 2 3 7.5 CHAIRS 15 0.50 0.45 0.23 3.38 10.88 2.18 36.798 6X6
VISITORS 5 2.5 5 7.5 CREDENZA 1 1.90 0.50 0.95 0.95 8.45 1.69
STORAGE ROOM
SHELVES 4 2.50 0.80 2.00 8.00 11.00 2.20
CABINETS 2 2.20 0.80 1.76 3.52 6.52 1.30
TABLE 1 1.50 0.85 1.28 1.28 4.28 0.86
CHAIRS 1 0.45 0.45 0.20 0.20 3.20 0.64
CAFETERIA
ADMIN 5 2.5 5 7.5 INTERIOR PLANT BOX 4 1.00 1.00 1.00 4.00 26.50 5.30
EATING AREA STAFFS 5 2.5 5 7.5 22.5 TABLES 10 1.50 0.80 1.20 12.00 34.50 6.90 105.06 10 X 10
VISITORS 10 5 10 15 CHAIRS 20 0.45 0.45 0.20 4.05 26.55 5.31
SERVING COUNTER 1 4.50 0.80 3.60 3.60 6.60 1.32
CHAIRS 3 0.45 0.45 0.20 0.61 3.61 0.72
COUNTER STAFFS 3 1.5 3 4.5 3 24.765 5X5
WORKING COUNTER 1 4.50 0.70 3.15 3.15 6.15 1.23
FREEZER 2 0.80 0.80 0.64 1.28 4.28 0.86
WORKING COUNTER 2 3.00 0.60 1.80 3.60 8.10 1.62
KITCHEN STAFFS 3 1.50 3.00 4.50 4.50 SERVING TABLE 2 2.00 0.80 1.60 3.20 7.70 1.54 25.896 5 X5
REFRIGERATOR 2 0.80 0.80 0.64 1.28 5.78 1.16
STORAGE SHELVES 2 2.00 0.45 0.90 1.80 3.30 0.66
STORAGE/ PANTRY STAFFS 3 1.50 3.00 4.50 1.50 STORAGE CABINETS 2 1.50 0.45 0.68 1.35 2.85 0.57 11.34 4X3
COOLER 2 1.50 0.60 0.90 1.80 3.30 0.66
Garcia - 2023 118

LAVATORY 1 1.00 0.70 0.70 0.70 1.70 0.34

TOILET STAFFS 1 0.50 1.00 1.50 1.00 WATER CLOSET 1 0.55 0.40 0.22 0.22 1.22 0.24 4.893 3X2
URINAL 1 0.45 0.35 0.16 0.16 1.16 0.23
SOFA 2 2.40 0.90 2.16 4.32 6.82 1.36
STAFF LOUNGE STAFF 5 2.50 5.00 7.50 2.50 TABLE 1 1.40 0.70 0.98 0.98 3.48 0.70 17.52 4X4
LOCKERS 2 1.80 0.50 0.90 1.80 4.30 0.86
POTTERY PRODUCTION ROOM
POTTERY WHEEL 6 0.70 0.60 0.42 2.52 11.52 2.304
SLAB ROLLER 6 1.30 0.75 0.98 5.85 14.85 2.97
PUGMILL 6 1.00 0.35 0.35 2.10 11.10 2.22
WORK AREA STAFFS 6 3 6 9 9 103.30 10 X 10
DRYING RACKS 6 2.00 0.90 1.80 10.80 19.80 3.96
WORKING TABLE 6 2.00 0.80 1.60 9.60 18.60 3.72
CHAIR 6 0.45 0.45 0.20 1.22 10.22 2.043
SHELVES 2 3.00 0.55 1.65 3.30 5.80 1.16
STORAGE STAFFS 5 2.5 5 7.5 2.5 14.28 4 X 3.5
CABINETS 2 3.00 0.60 1.80 3.60 6.10 1.22
WASH AREA STAFFS 3 1.5 3 4.5 3 SERVICE COUNTER 2 2.50 0.60 1.50 3.00 6.00 1.2 7.20 3 X 2.5
WEAVING AND FABRIC PRODUCTION ROOM
TABLES 10 1.40 0.70 0.98 9.80 24.80 4.96
WORK AREA STAFFS 10 5 10 15 15 TABLES WITH SEWING MACHINE 10 1.80 1.00 1.80 18.00 33.00 6.6 89.79 9 X 9.5
CHAIR 10 0.45 0.45 0.20 2.03 17.03 3.405
SHELVES 2 3.00 0.55 1.65 3.30 5.80 1.16
STORAGE STAFFS 5 2.5 5 7.5 2.5 14.28 4 X 3.5
CABINETS 2 3.00 0.60 1.80 3.60 6.10 1.22
HANDICRAFTS PRODUCTION ROOM
TABLE 10 2.00 0.80 1.60 16.00 46.00 9.2
WORK AREA STAFFS 20 10 20 30 30 96.06 10 X 9
CHAIR 20 0.45 0.45 0.20 4.05 34.05 6.81
SHELVES 2 3.00 0.55 1.65 3.30 5.80 1.16
STORAGE STAFFS 5 2.5 5 7.5 2.5 14.28 4 X 3.5
CABINETS 2 3.00 0.60 1.80 3.60 6.10 1.22
SERVICE FACILITIES
JANITORS CLOSET 1 1.00 1.00 1.00 1.00 2.00 0.40
CABINETS 2 1.50 0.80 1.20 2.40 3.40 0.68
TABLE 1 0.80 0.60 0.48 0.48 1.48 0.30
CHAIR 1 0.45 0.45 0.20 0.20 1.20 0.24
TABLE 2 2.00 0.80 1.60 3.20 4.70 0.94
BMS ROOM STAFFS 3 1.50 3.00 4.50 1.50 7.926 3 X 2.5
CHAIR 2 0.45 0.45 0.20 0.41 1.91 0.38
BOILER 1 5.10 2.80 14.28 14.28 15.28 3.06
CHILLER 1 6.70 2.20 14.74 14.74 15.74 3.15
PUMP ENGINES 1 2.40 0.60 1.44 1.44 2.44 0.49
GENERATOR SET 1 8.00 1.70 13.60 13.60 14.60 2.92
FORKLIFTS 2 3.90 1.72 6.71 13.42 17.42 3.48
STAFFS 1 0.50 1.00 1.50 SHELVES 4 2.40 0.90 2.16 8.64 12.64 2.53
CABINETS 2 3.00 0.50 1.50 3.00 7.00 1.40
STAFFS 1 0.50 1.00 1.50
WORKING DESK 1 1.50 0.80 1.20 1.20 2.70 0.54
STAFFS 1 0.50 1.00 1.50
CHAIRS 3 0.45 0.45 0.20 0.61 2.11 0.42
CLINIC 1.50 13.353 4 X 3.5
SHELVES 1 2.50 0.80 2.00 2.00 3.50 0.70
CABINETS 1 2.20 0.60 1.32 1.32 2.82 0.56
Garcia - 2023 119

SOUVENIR SHOP
VISITORS 5 2.5 5 7.5 SHELVES 6 2.00 0.50 1.00 6.00 14.50 2.90
SOUVENIR DISPLAY AREA 8.5 DISPLAY TABLE 4 1.50 2.00 3.00 12.00 20.50 4.10 53.4 7 X 7.5
STAFFS 1 0.5 1 1.5
GLASS PEDESTALS 4 0.50 0.50 0.25 1.00 9.50 1.90
MAIN COUNTER 1 2.50 0.80 2.00 2.00 3.00 0.60
COUNTER STAFF 2 1 2 3 1 5.2224 2 X 2.5
STOOLS 2 0.40 0.44 0.18 0.35 1.35 0.27
MANAGER 1 0.5 1 1.5 TABLE 2 1.00 0.80 0.80 1.60 3.10 0.62
OFFICE 1.5 CHAIR 2 0.45 0.45 0.20 0.41 1.91 0.38 9.534 3X3
STAFFS 2 1 2 3
SOFA 1 1.60 0.90 1.44 1.44 2.94 0.59
STORAGE SHELVES 2 2.00 0.45 0.90 1.80 2.80 0.56
STORAGE STAFFS 1 0.5 1 1.5 1 6.78 3X2
PUBLIC RESTROOMS
URINAL 7 0.45 0.35 0.16 1.10 10.10 2.02
VISITORS 8 4.00 8.00 12.00
WATER CLOSET 3 0.55 0.40 0.22 0.66 9.66 1.93
LAVATORY 1 1.50 0.60 0.90 0.90 9.90 1.98
WATER CLOSET 10 0.55 0.40 0.22 2.20 11.20 2.24
VISITORS 8 4.00 8.00 12.00
CUBICLE 10 1.50 0.85 1.28 12.75 21.75 4.35
PWD CUBICLE 1 2.20 1.50 3.30 3.30 12.30 2.46
STAFFS 1 0.50 1.00 1.50
LAVATORY 1 1.50 0.60 0.90 0.90 9.90 1.98
TOTAL FLOOR AREA (WORKSHOP BUILDING - GROUND FLOOR) 1366.13
WORKSHOP BUILDING - SECOND FLOOR

ADMIN OFFICES
WORKING DESK 1 1.50 0.80 1.20 1.20 2.70 0.54
HEAD OFFICE 1 0.50 1.00 1.50 OFFICE CHAIR 2 0.45 0.45 0.20 0.41 1.91 0.38
COFFEE TABLE 1 1.20 0.60 0.72 0.72 2.22 0.44
HEAD OFFICE 1.50 22.85 5 X 4.5
SOFA 1 2.40 0.80 1.92 1.92 3.42 0.68
SECRETARIAT 1 0.50 1.00 1.50 SHELVES 2 2.50 0.80 2.00 4.00 5.50 1.10
BASE CABINETS 3 1.20 0.50 0.60 1.80 3.30 0.66
ASSISTANT 1 0.5 1 1.5 WORKING DESK 1 1.50 0.80 1.20 1.20 4.20 0.84
ASSISTANT MANAGER OFFICE TECHNICIAN 1 0.5 1 1.5 3 OFFICE CHAIR 2 0.45 0.45 0.20 0.41 3.41 0.68 17.526 6X3
STAFF 1 0.5 1 1.5 SHELVES 2 2.50 0.80 2.00 4.00 7.00 1.40
WORKING DESK 3 1.50 0.80 1.20 3.60 7.60 1.52
SUPERVISOR 1 0.50 1.00 1.50 OFFICE CHAIR 3 0.45 0.45 0.20 0.61 4.61 0.92
COFFEE TABLE 1 1.20 0.60 0.72 0.72 4.72 0.94
PRODUCTION DIVISION 4.00 44.94 7X6
SOFA 1 2.40 0.80 1.92 1.92 5.92 1.18
STAFF 2 1.00 2.00 3.00 SHELVES 3 2.50 0.80 2.00 6.00 10.00 2.00
BASE CABINETS 1 1.20 0.50 0.60 0.60 4.60 0.92
WORKING DESK 3 1.50 0.80 1.20 3.60 7.60 1.52
SUPERVISOR 1 0.50 1.00 1.50 OFFICE CHAIR 3 0.45 0.45 0.20 0.61 4.61 0.92
COFFEE TABLE 1 1.20 0.60 0.72 0.72 4.72 0.94
WORKSHOP DIVISION 4.00 44.94 7X6
SOFA 1 2.40 0.80 1.92 1.92 5.92 1.18
STAFF 2 1.00 2.00 3.00 SHELVES 3 2.50 0.80 2.00 6.00 10.00 2.00
BASE CABINETS 1 1.20 0.50 0.60 0.60 4.60 0.92
CONFERENCE ROOM
ADMIN 1 0.5 1 1.5 CONFERENCE TABLE 1 3.20 1.20 3.84 3.84 11.34 2.27
CONFERENCE AREA STAFFS 2 1 2 3 7.5 CHAIRS 15 0.50 0.45 0.23 3.38 10.88 2.18 36.798 6X6
VISITORS 5 2.5 5 7.5 CREDENZA 1 1.90 0.50 0.95 0.95 8.45 1.69
Garcia - 2023 120


MANAGER 1 0.5 1 1.5 TABLE 5 1.20 0.75 0.90 4.50 21.00 4.20
SOFA 2 2.40 0.80 1.92 3.84 11.34 2.27
LOUNGE STAFFS 15 7.5 15 22.5 7.5 23.472 5 X 4.5
COFFEE TABLE 1 1.20 0.60 0.72 0.72 8.22 1.64
LOCKERS 4 1.80 0.50 0.90 3.60 18.60 3.72
BENCHES 4 2.40 0.90 2.16 8.64 23.64 4.73
STORAGE SHELVES 2 2.00 0.45 0.90 1.80 3.80 0.76
TRAINEES/ VISITORS LOUNGE ROOM
SOFA 2 2.40 0.80 1.92 3.84 8.84 1.77
CUSHION SEAT 4 0.60 0.60 0.36 1.44 6.44 1.29
LOUNGE AREA TRAINEE/ VISITOR 10 5 10 15 5 34.08 6X6
PLANT BOXES 2 2.00 0.60 1.20 2.40 7.40 1.48
COFFEE TABLE 1 1.20 0.60 0.72 0.72 5.72 1.14
STORAGE ROOM
SHELVES 4 2.50 0.80 2.00 8.00 11.00 2.20
CABINETS 2 2.20 0.80 1.76 3.52 6.52 1.30
TABLE 1 1.50 0.85 1.28 1.28 4.28 0.86
CHAIRS 1 0.45 0.45 0.20 0.20 3.20 0.64
PUBLIC RESTROOMS
URINAL 7 0.45 0.35 0.16 1.10 10.10 2.02
VISITORS 8 4.00 8.00 12.00
WATER CLOSET 3 0.55 0.40 0.22 0.66 9.66 1.93
LAVATORY 1 1.50 0.60 0.90 0.90 9.90 1.98
WATER CLOSET 10 0.55 0.40 0.22 2.20 11.20 2.24
VISITORS 8 4.00 8.00 12.00
CUBICLE 10 1.50 0.85 1.28 12.75 21.75 4.35
PWD CUBICLE 1 2.20 1.50 3.30 3.30 12.30 2.46
STAFFS 1 0.50 1.00 1.50
LAVATORY 1 1.50 0.60 0.90 0.90 9.90 1.98
POTTERY WORKSHOP ROOM
COUNTER 1 3.00 0.80 2.40 2.40 3.40 0.68
ADMISSION/ INFORMATION AREA STAFFS 2 1.00 2.00 3.00 1.00 6.012 3X2
CHAIR 3 0.45 0.45 0.20 0.61 1.61 0.32
LOCKERS 4 1.80 0.50 0.90 3.60 13.60 2.72
LOCKER ROOM VISITORS 10 5.00 10.00 15.00 10.00 38.688 6 X 5.5
BENCHES 4 2.40 0.90 2.16 8.64 18.64 3.73
POTTERY WHEEL 6 0.70 0.60 0.42 2.52 16.02 3.20
STAFFS 3 1.50 3.00 4.50 SLAB ROLLER 6 1.30 0.75 0.98 5.85 19.35 3.87
PUGMILL 6 1.00 0.35 0.35 2.10 15.60 3.12
WORK AREA 13.50 135.70 10 X 13
DRYING RACKS 6 2.00 0.90 1.80 10.80 24.30 4.86
VISITORS 6 3.00 6.00 9.00 WORKING TABLE 6 2.00 0.80 1.60 9.60 23.10 4.62
CHAIR 6 0.45 0.45 0.20 1.22 14.72 2.94
SHELVES 4 3.00 0.55 1.65 6.60 7.10 1.42
STORAGE STAFFS 1 0.50 1.00 1.50 0.50 13.44 4X3
CABINETS 2 3.00 0.60 1.80 3.60 4.10 0.82
STAFFS 1 0.5 1 1.5 SERVICE COUNTER 2 3.00 0.60 1.80 3.60 6.60 1.32
WASH AREA 3.00 12.6 4X3
VISITORS 2 1 2 3 LAVATORY 1 1.50 0.60 0.90 0.90 3.90 0.78
WEAVING/ FABRICS WORKSHOP ROOM
COUNTER 1 3.00 0.80 2.40 2.40 3.40 0.68
CHAIR 3 0.45 0.45 0.20 0.61 1.61 0.3215
LOCKERS 4 1.80 0.50 0.90 3.60 13.60 2.72
LOCKER ROOM VISITORS 10 5.00 10.00 15.00 10.00 38.688 6 X 5.5
BENCHES 4 2.40 0.90 2.16 8.64 18.64 3.728
STAFFS 5 2.5 5 7.5 TABLES 10 1.40 0.70 0.98 9.80 32.30 6.46
WORK AREA 22.50 TABLES WITH SEWING MACHINE 10 1.80 1.00 1.80 18.00 40.50 8.1 119.22 10 X 11
VISITORS 10 5.00 10.00 15.00
CHAIR 20 0.45 0.45 0.20 4.05 26.55 5.31
SHELVES 5 3.00 0.55 1.65 8.25 8.75 1.75
STORAGE STAFFS 1 0.50 1.00 1.50 0.50 17.58 4X4
CABINETS 3 3.00 0.60 1.80 5.40 5.90 1.18
WASH AREA 3 12.6 4X3
Garcia - 2023 121

HANDICRAFTS WORKSHOP ROOM

COUNTER 1 3.00 0.80 2.40 2.40 3.40 0.68
CHAIR 3 0.45 0.45 0.20 0.61 1.61 0.32
LOCKERS 4 1.80 0.50 0.90 3.60 8.60 1.72
LOCKER ROOM VISITORS 10 5.00 10.00 15.00 5.00 26.688 6X5
BENCHES 4 2.40 0.90 2.16 8.64 13.64 2.73
STAFFS 10 5 10 15 TABLE 10 2.00 0.80 1.60 16.00 46.00 9.20
WORK AREA 30 96.06 10 X 9
VISITORS 10 5 10 15 CHAIR 20 0.45 0.45 0.20 4.05 34.05 6.81
SHELVES 2 3.00 0.55 1.65 3.30 4.30 0.86
STORAGE STAFFS 2 1.00 2.00 3.00 1.00 12.84 4X3
CABINETS 3 3.00 0.60 1.80 5.40 6.40 1.28
WASH AREA 3 12.6 4X3
SERVICE FACILITIES
JANITORS CLOSET 1 1.00 1.00 1.00 1.00 3.00 0.60
CABINET 2 1.50 0.80 1.20 2.40 4.40 0.88
TABLE 1 0.80 0.60 0.48 0.48 2.48 0.50
CHAIR 1 0.45 0.45 0.20 0.20 2.20 0.44
TOTAL FLOOR AREA (WORKSHOP BUILDING - SECOND FLOOR) 1093.58
Table 4.34. Workshop Building Space Programming Matrix
Garcia - 2023 122

AUDITORIUM BUILDING

THEATER
ENTRANCE VISITORS 20 10 20 30 30 INFORMATION BULLETIN 2 1.00 0.10 0.10 0.2 30.2 6.04 36.24 7.4x5
VISITORS 30 15 30 45 SECURITY DESK 2 0.60 0.60 0.36 0.72 48.72 9.744
VESTIBULE 48 116.664 12x15.75
GUARDS 2 1 2 3 CHAIR 2 0.50 0.50 0.25 0.5 48.5 9.7
BAGGAGE COUNTER 1 1.20 3.00 3.60 3.6 4.1 0.82
BAGGAGE COUNTER STAFFS 1 0.5 1 1.5 0.5 6.96 3.5x2
BAGGAGE SHELVES 3 0.80 0.50 0.40 1.2 1.7 0.34
MULTIPURPOSE AUDITORIUM - RENTABLE FRONT OF THE HOUSE
VISITORS 100 50 100 150 SOFA 1 1.00 2.00 2.00 2 156.50 31.30
EVENTS AREA/ LOBBY RECEPTIONIST 1 0.5 1 1.5 154.5 CHAIR 5 0.50 0.50 0.25 1.25 155.75 31.15 560.7 15x19.4
STAFFS 2 1 2 3 COFFEE TABLE 1 0.50 1.00 0.50 0.5 155.00 31.00
VISITORS 10 5 10 15 RECEPTION DESK 1 0.80 3.00 2.40 2.4 14.40 2.88
RECEPTION/ ADMISSION 12 CHAIR 2 0.50 0.50 0.25 0.5 12.50 2.50 49.56 8x6.25
RECEPTIONIST 2 1 2 3
FILE CABINET 2 0.80 1.50 1.20 2.4 14.40 2.88
VISITORS 20 10 20 30 COUNTER 1 4.50 0.80 3.60 3.6 15.10 3.02
TICKETING TICKETER 2 1 2 3 11.5 DIVIDERS 10 0.10 1.00 0.10 1 12.50 2.50 48.12 1.5x2
STAFFS 1 0.5 1 1.5 CHAIR 4 0.50 0.50 0.25 1 12.50 2.50
STAFFS 1 0.5 1 1.5 FOOD STORAGE 1 0.80 1.50 1.20 1.2 7.20 1.44
CONCESSION 6 COUNTER TOP 1 2.50 0.80 2.00 2 8.00 1.60 26.208 4x2
VISITORS 5 2.5 5 7.5
POPCORN MACHINE 1 0.80 0.80 0.64 0.64 6.64 1.33
MULTIPURPOSE AUDITORIUM
CONTROL PANEL DESK 2 2.00 1.00 2.00 4 6 1.2
CONTROLL ROOM STAFFS 2 1 2 3 2 CHAIR 1 0.60 0.60 0.36 0.36 2.36 0.472 13.2 4x2
CABINET 1 0.80 0.80 0.64 0.64 2.64 0.528
STAGE PERFORMERS 30 15 30 45 30 0 0 0 0 0 30 6 36 4x2
SEATING AREA VISITORS 250 125 250 375 250 CHAIR 250 0.60 0.60 0.36 90 340 68 408 4x2
CLOTHES RACK 5 2.00 1.00 2.00 10 25 5
STORAGE ROOM STAFFS 10 5 10 15 15 51 8x5.9
VARIOUS EQUIPMENT 10 0.50 0.50 0.25 2.5 17.5 3.5
MULTIPURPOSE AUDITORIUM - BACKSTAGE
CABINET/CLOTHES RACK 4 2.00 1.00 2.00 8 25.5 5.1
PERFORMERS 30 15 30 45
DESK 1 1.00 0.60 0.60 0.6 18.1 3.62
DRESSINGR ROOM 17.5 100.26 5x3.6
CHAIR 15 0.50 0.50 0.25 3.75 21.25 4.25
PRODUCTION STAFFS 5 2.5 5 7.5
SOFA 1 2.00 0.60 1.20 1.2 18.7 3.74
DRUM SET 1 1.50 0.90 1.35 1.35 16.35 3.27
TABLE 5 1.00 0.50 0.50 2.5 17.5 3.5
SPEAKER 2 0.40 0.40 0.16 0.32 15.32 3.064
MUSIC ROOM PERFORMERS 15 7.5 15 22.5 15 115.836 8x5.5
GUITAR RACK 1 0.40 0.50 0.20 0.2 15.2 3.04
AMPLIFIER 1 0.40 0.40 0.16 0.16 15.16 3.032
CHAIR 1 1.00 2.00 2.00 2 17 3.4
BARRE 2 0.20 2.00 0.40 0.8 23.3 4.66
PERFORMING/ DANCE HALLS PEPFORMERS 15 7.5 15 22.5 22.5 SPEAKER 2 0.40 0.40 0.16 0.32 22.82 4.564 84.744 8.5x10
CHAIR 1 1.00 2.00 2.00 2 24.5 4.9
MULTIPURPOSE AUDITORIUM - BACKSTAGE (PRODUCTION)
SEWING MACHINE 1 1.50 0.90 1.35 1.35 6.35 1.27
HEAD 1 0.5 1 1.5
WORKING TABLE 3 1.00 0.50 0.50 1.5 6.5 1.3
CHAIR 2 0.50 0.50 0.25 0.5 5.5 1.1
PRODUCTION SHOP STAFFS 3 1.5 3 4.5 5 52.5 8x5.5
DESK TABLE 2 1.50 0.80 1.20 2.4 7.4 1.48
FITTING ROOM 2 1.00 1.00 1.00 2 7 1.4
SEWER 1 0.5 1 1.5
CABINET 3 1.00 2.00 2.00 6 11 2.2
PRODUCTION STORAGE ROOM STAFFS 5 2.5 5 7.5 7.5 VARIOUS EQUIPMENT 20 0.50 0.50 0.25 5 12.5 2.5 15 5x3
BLACK BOX THEATER
STAGE PERFORMERS 10 5 10 15 10 0 0 0 0 0 10 2 12 4x2
SEATING AREA VISITORS 50 25 50 75 50 CHAIR 50 0.60 0.60 0.36 18 68 13.6 81.6 4x2
Garcia - 2023 123

CABINET/CLOTHES RACK 4 2.00 1.00 2.00 8 15.5 3.1

PERFORMERS 10 5 10 15
DESK 1 1.00 0.60 0.60 0.6 8.1 1.62
DRESSING ROOM 7.5 48.66 5x3.6
CHAIR 3 0.50 0.50 0.25 0.75 8.25 1.65
PRODUCTION STAFFS 5 2.5 5 7.5
SOFA 1 2.00 0.60 1.20 1.2 8.7 1.74
DISPLAY AREA VISITORS 5 2.5 5 7.5 5 DISPLAY EASEL 3 0.65 0.60 0.39 1.17 6.17 1.234 7.404 4x2
ADMINISTRATION
FILE CABINET 2 0.80 1.50 1.20 2.4 3.4 0.68
THEATER DIRECTOR'S OFFICE THEATER DIRECTOR 1 0.5 1 1.5 1 WORK DESK 1 0.80 0.60 0.48 0.48 1.48 0.296 7.956 4x2
CHAIR 3 0.50 0.50 0.25 0.75 1.75 0.35
ARTISTIC ADVISOR 1 0.5 1 1.5 FILE CABINET
10 0.80 1.50 1.20 12 21 4.2
HEAD PRODUCER 1 0.5 1 1.5
PRODUCTION DEPARTMENT OFFICE FACILITIES LEADER 1 0.5 1 1.5 9 WORK DESK 50.076 8x6.25
1 0.80 0.60 0.48 0.48 9.48 1.896
PRODUCTION LEADER 1 0.5 1 1.5
STAFFS 5 2.5 5 7.5 CHAIR 9 0.50 0.50 0.25 2.25 11.25 2.25
CONFERENCE TABLE 1 1.80 2.40 4.32 4.32 9.32 1.864
CONFERENCE ROOM STAFFS 10 5 10 15 5 20.184 5x4.2
CHAIR 10 0.50 0.50 0.25 2.5 7.5 1.5
GENERAL STORAGE ROOM STAFFS 5 2.5 5 7.5 7.5 VARIOUS EQUIPMENT 20 0.50 0.50 0.25 5 12.5 2.5 15 5x3
HEAD TECHNICAL MANAGER 1 0.5 1 1.5 WORK DESK 2 0.80 0.60 0.48 0.96 7.96 1.592
TECHNICAL DEPARTMENT OFFICE THEATER TECHNICAL 1 0.5 1 1.5 7 FILE CABINET 6 0.80 1.50 1.20 7.2 14.2 2.84 37.092 5x7.6
STAFFS 5 2.5 5 7.5 CHAIR 7 0.50 0.50 0.25 1.75 8.75 1.75
CHAIR 2 0.50 0.50 0.25 0.5 2.5 0.5
PROJECTION ROOM STAFFS 2 1 2 3 2 6 3x2
TABLE 1 1.00 0.50 0.50 0.5 2.5 0.5
FILE CABINET 5 0.80 1.50 1.20 6 21 4.2
STORAGE ROOM STAFFS 10 5 10 15 15 46.2 8x5.9
VARIOUS EQUIPMENT 10 0.50 0.50 0.25 2.5 17.5 3.5
LAVATORY 1 0.60 0.40 0.24 0.24 1.24 0.248
JANITORS ROOM STAFFS 2 1 2 3 1 CHAIR 1 0.50 0.70 0.35 0.35 1.35 0.27 5.268 1.5x2
CABINET 1 2.00 0.40 0.80 0.8 1.8 0.36
LAVATORY 1 0.60 0.40 0.24 0.24 1.24 0.248
EMPLOYEES MALE C.R. STAFFS 2 1 2 3 1 WATER CLOSET 1 0.50 0.70 0.35 0.35 1.35 0.27 4.428 2.5x2
URINAL 1 0.50 0.20 0.10 0.1 1.1 0.22
LAVATORY 1 0.60 0.40 0.24 0.24 1.24 0.248
EMPLOYEES FEMALE C.R. STAFFS 2 1 2 3 1 3.108 2x1.6
WATER CLOSET 1 0.50 0.70 0.35 0.35 1.35 0.27
LAVATORY 1 0.60 0.40 0.24 0.24 0.74 0.148
EMPLOYEES P.W.D C.R. STAFFS 1 0.5 1 1.5 0.5 WATER CLOSET 1 0.50 0.70 0.35 0.35 0.85 0.17 2.628 1.5x2
URINAL 1 0.50 0.20 0.10 0.1 0.6 0.12
LAVATORY 2 0.60 0.40 0.24 0.48 2.98 0.596
VISITORS MALE C.R. VISITORS 5 2.5 5 7.5 2.5 WATER CLOSET 2 0.50 0.70 0.35 0.7 3.2 0.64 10.536 5x2.2
URINAL 1 0.50 0.20 0.10 0.1 2.6 0.52
LAVATORY 2 0.60 0.40 0.24 0.48 2.98 0.596
VISITORS FEMALE C.R. VISITORS 5 2.5 5 7.5 2.5 7.836 4x2
WATER CLOSET 3 0.50 0.70 0.35 1.05 3.55 0.71
LAVATORY 2 0.60 0.40 0.24 0.48 0.98 0.196
VISITORS P.W.D. C.R. VISITORS 1 0.5 1 1.5 0.5 WATER CLOSET 1 0.50 0.70 0.35 0.35 0.85 0.17 2.916 1.5x2
URINAL 1 0.50 0.20 0.10 0.1 0.6 0.12
TOTAL FLOOR AREA (AUDITORIUM BUILDING) 2089.884
Table 4.35. Auditorium Building Space Programming Matrix
Garcia - 2023 124

A.2.7. Space Adjacency Matrix Diagram

A.2.7.1. Museum Building Space Adjacency Matrix A.2.7.2. Library Building Space Adjacency Matrix
Figure 4.6. Museum Building Space Adjacency Matrix Figure 4.7. Library Building Space Adjacency Matrix
Garcia - 2023 125

A.2.7.3. Workshop Building Space Adjacency Matrix A.2.7.4. Auditorium Building Space Adjacency Matrix
Figure 4.8. Workshop Building Space Adjacency Matrix Figure 4.9. Auditorium Building Space Adjacency Matrix
Garcia - 2023 126

A.2.8. Bubble Diagram

A.2.8.1. Museum Building
Garcia - 2023 127

Figure 4.10. Museum Building Bubble Diagram
A.2.8.2. Library Building
Garcia - 2023 128

Figure 4.11. Library Building Bubble Diagram
A.2.8.3. Workshop Building
Garcia - 2023 129

Figure 4.12. Workshop Building Bubble Diagram
A.2.8.3. Auditorium Building
Figure 4.13. Auditorium Building Bubble Diagram
Garcia - 2023 130

3.DESIGN CONSTRAINTS
Sector Constraints
Economic Client's budget restrictions in building the project may result in the use of low-
quality materials and construction delays
Visitors especially young students might not afford entrance fees for the
museum and library
Exporting products might be difficult due to a lack of demand
Environmental The proposed development will likely attract a large number of visitors. Garbage
and leftovers from visitors may have an impact on the indoor and outdoor
environment.
Damages due to inevitable natural and environmental calamities.
Existing trees and vegetation might limit the design planning and layout.
High consumption of water, power, and electricity.
Cultural Individuals have their own beliefs, traditions, and practices.
Lack of cultural awareness of individuals
Social Government's lack of support for these kinds of development.
The community's social status and way of living.
Demographic changes of the community/museum audiences.
Ethical Attaining legal standards to maintain public integrity
Behaviors of employees and audiences.
Health and Safety Huge numbers of visitors
Development of health and safety measures and protocols due to covid-19
Viability and Improper maintenance of environmental/sustainable systems such as the
Sustainability rainwater harvesting system and solar panel system.
Stakeholders might decide to take down businesses due to the low-income
generation of the proposed development.
Table 4.36. Design Constraints Analysis
Garcia - 2023 131

REFERENCES
Visual arts groups seek government support. (2021, November 2). Manila Bulletin.
https://mb.com.ph/2021/11/02/visual-arts-groups-seek-government-support/
De Layola, Z. (2023, February 22). Philippine News Agency [Review of Philippine News Agency].
https://www.pna.gov.ph/articles/1195827
Frasco eyes more urban parks in the Philippines. (2022, November 29). PIA.
https://pia.gov.ph/news/2022/11/29/frasco-eyes-more-urban-parks-in-the-philippines
Parrocha, A. (2022, December 5). Marcos wants more scholarships, cultural infra for artists
[Review of Marcos wants more scholarships, cultural infra for artists]. Philippine News Agency.
https://www.pna.gov.ph/articles/1190122?fbclid=IwAR3Z-
Rk34tBwe2vtNoLdWWRPL4_iXQ0h6sLzROrSn3HWuK1kYLrQRHRCLLI
Romero, A. (2023, February 24). Marcos vows to support arts, culture. Philstar.com.
https://www.philstar.com/headlines/2023/02/24/2247243/marcos-vows-support-arts-culture
DOT chief unveils National Tourism Development Plan (NTDP) 2023-2028 at stakeholders’
summit. (2023, March 15). Be Part of the Fun! Welcome to the DOT Corporate Site.
https://beta.tourism.gov.ph/news_and_updates/dot-chief-unveils-national-tourism-development-plan-
ntdp-2023-2028-at-stakeholders-summit/
Gita-Carlos, R. A. (2023, August 3). PBBM vows continued support for creative industries
[Review of PBBM vows continued support for creative industries]. Philippine News Agency.
https://www.pna.gov.ph/articles/1207045
May 7, P. J. C. |, & 2021. (n.d.). Asia’s First Living Cultural Park: The Story of Nayong Pilipino.
Esquiremag.ph. https://www.esquiremag.ph/long-reads/features/nayong-pilipino-history-a00289-
20210507-lfrm2
Chaey, C. (2011, November 21). The Philippines’ Mind Museum Fuses Modern Architecture,
Science, And Art. Fast Company. https://www.fastcompany.com/1793452/philippines-mind-museum-
fuses-modern-architecture-science-and-art
Art in Island’s revamped look takes art and technology to greater heights. (n.d.). Philstar Life.
Retrieved September 27, 2023, from https://philstarlife.com/living/126818-art-in-island-new-look?page=2
Weekend hangs: Tired of partying? Try these weird and wholesome activities in the Metro. (n.d.). Philstar
Life. Retrieved September 27, 2023, from https://philstarlife.com/living/601085-weekend-hangs-
gootopia-tales-of-illumina
Fabrique. (n.d.). Iconic Architecture. NMOQ. https://nmoq.org.qa/en/about-us/architecture/

The site & its history - Palais de Tokyo. (n.d.). Palaisdetokyo.com. https://palaisdetokyo.com/en/the-site-
and-its-history/
Welcome to Singapore Art Museum. (n.d.). Www.singaporeartmuseum.sg.

https://www.singaporeartmuseum.sg/
Garcia - 2023 132

Tennessee State Museum - Nashville Attractions. (2018). Tnmuseum.org. https://tnmuseum.org/

Neri & Hu’s Junshan Cultural Centre | Floornature. (n.d.). Floornature.com. Retrieved September 27,
2023, from https://www.floornature.com/neri-huas-junshan-cultural-centre-15908/
Taguig City Comprehensive Land Use Plan
Taguig Zoning Ordinance
Garcia - 2023 133

APPENDICES
Appendix A – Definition of Terms
Building Management System -is a computer-based control system that monitors and manages the
operations of a building.
Digital Platforms/Display - is a museum exhibition platform that utilizes computer and information
technology, on which cultural relics and historical collections can be preserved and displayed in digital
format.
Incandescent Lamp - These are directional and used to highlight a certain spot. It is more flexible in use
and expensive. Can be used in conjunction with reflectors.
Laser projector - is a device that projects changing laser beams on a screen to create a moving image
for entertainment or professional use.
LED Technology - is a semiconductor device that emits light when current flows through it.
Appendix B – List of Acronyms/ Abbreviations
AFSS - Automatic Fire Suppression System
AMBF - Allowable Maximum Building Footprint
BFP - Bureau of Fire Protection
BHL - Building Height Limit
BMS - Building Management System
BP - Batas Pambansa
CBD - Central Business District
CLUP - Comprehensive Land Use Plan
FLAR - Floor-to-Lot Area Ratio
GFA - Gross Floor Area
HVAC - Heating, Ventilation, and Air Conditioning
ISA - Impervious Surface Area
LGU - Local Government Unit
MACA - Maximum Allowable Construction Area
Garcia - 2023 134

MRF - Materials Recovery Facility
NCCA - National Commission for Culture and the Arts
NEPA - National Fire Protection Association
PAG-ASA - Philippine Atmospheric, Geophysical and Astronomical Services Administration
PD - Presidential Decree
DEZA - Philippine Economic Zone Authority
POP'CEN - Population Census
PSO - Percentage of Site Occupancy
PUV - Public Utility Vehicle
PWD - Persons with Disabilities
RA - Republic Act
RROW - Road Right-Of-Way
TLA - Total Lot Area
TOSL - Total Open Space within Lot
USA - Unpaved Surface Area
Garcia - 2023 135

Appendix C – About the Author
Garcia - 2023 136

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ImaheNasyon Park: A Proposed Historical and Cultural Complex

“Evoking the Evolving Identity of The Philippines”

Garcia, Louisse Allyza A.

Technological Institute of the Philippines

AR. T-JAY DENMARK CADETE

AR. LYNDON REGALARIO AR. EDJUANA NOMA-DELACRUZ

Panel Member 1 Panel Member 2

AR. LYNDON REGALARIO

ARCH. PRIMALYN HIPONA

ARCH. JOSEFINA S. DE ASIS

Chapter 2: Site Justification

Chapter 3: Design Inputs

Chapter 4: Architectural Programming

Table 4.30. Workshop Building list of Workshops and Inventories……………………………………99 – 100

Chapter 2: Site Justification

Chapter 3: Design Inputs

Chapter 4: Architectural Programming

Chapter 3: Design Inputs…………………………………………………………………………………………..

CHAPTER I: PROJECT BACKGROUND

Figure 1.1. Taguig City Seal

C.1.1. Background of the Client

C.2. Department of Tourism

Figure 1.2. Department of Tourism Seal

C.2.1. Background of the Client

C.2.2. Mission and Vision

Figure 1.3. Department of Tourism Organizational Chart

C.3. Nayong Pilipino Foundation

Figure 1.4. Nayong Pilipino Foundation Logo

C.3.1. Background of the Client

D. PROJECT SCOPE AND LIMITATIONS

Figure 1.5. The Design Process

CHAPTER II: SITE JUSTIFICATION

Figure 2.1. Site Selection Map

SITE EVALUTATION CRITERIA

Natural, Environmental. And Physical Factors

Comparative Analysis of Sites

In comparing the three sites, Site A, situated in McKinley Parkway, Fort

Site B, located on Levi Mariano Ave, Palingon, Taguig City,

Figure 2.2. Proposed Sites

Site Selection and Description

Figure 2.3. Selected Site Map

B. MACRO-MESO SITE ANALYSIS: REGION/ PROVINCE/ TOWN

Figure 2.4. Location Map of Taguig City

Figure 2.5. Barangay Map of Taguig

AREA DISTRIBUTION OF TAGUIG

Table 2.4. Area Distribution of Taguig

Figure 2.7. Taguig City Map

Figure 2.8. Population in Taguig

4. Topography and Slope

Figure 2.9. Slope map of Taguig

Figure 2.10. Land Classification Map

6. Climate and Weather

Figure 2.11. Climate chart of Taguig

Figure 2.12. Average temperature in Taguig

Figure 2.13. Cloud cover categories in Taguig

Figure 2.14. Average Monthly Rainfall in Taguig

Figure 2.15. Average Wind Speed in Taguig

7. Natural Hazards and Constrains

Figure 2.16. Flood Hazard Map

Figure 2.17. Earthquake Faultline Map

Figure 2.18. Earthquake Faultline Map

Figure 2.19. Taguig Road network

Figure 2.20. Manila Water Logo

9.2. Electric Supply