2 Generation of

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Filipino Architects
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Andres Luna De San
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He was the son of the painter Juan Luna (Juan Luna de San Pedro), and Paz Pardo de Tavera. E
g He married Grace V. McCrae. With his father and his uncle Antonio Luna, the young Luna
came home to Manila in 1894. Luna’s early schooling was at the Ateneo de Manila. He took
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art lessons under Miguel Zaragoza, then came under the tutelage of Ramon Santa Coloma and T
H Lorenzo Guerrero. Although Luna wanted to become a painter like his father, the latter
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E advised him to be an architect.

N He studied ceramics in Japan, then returned to Manila and took the course in architecture in
E the International Correspondence School. the school granted him a diploma in 1911. The N
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following year he went to Paris, France and studied under Charles Gilardi, artist and builder; G
then he enrolled at the Ecole des Beaux Arts and worked in the office of Paulin, a French
A architect. In 1918 he was recognized as an architect diploma by the French government. He

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worked in the office of Emil Bertoner, a government architect. He was admitted into the P
Societe Centrale des Architectes Francais.
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After serving as architect of the City of Manila, 1920-1924, he went into private practice and L
trained young Filipino architects who worked under him. Luna served as president of the
n born: Paris, France 9 Sep 1887
Philippine Institute of Architects (PIA) in its early years. I
died: Manila, 22 Jan 1952. P
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Andres Luna De San
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Pedro R
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g In 1949 he became the first recipient of the Gold Medal of Merit awarded by the PIA. In 1964
he was posthumously given the Patnubay ng Sining at Kalinangan Award by he City of K
Manila
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His basic design is grounded on simplicity, no clutter. The lines are clean and smooth,and O
E where there are curves, these are made integral to the structure. Pablo Jr. points out,“For our
N father, every line must have a meaning, a purpose. For him, function comes firstbefore

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elegance or form. The other thing that characterizes an Antonio structure is themaximum use N
of natural light and cross ventilation. Antonio believes that buildings“should be planned with
R austerity in mind and its stability forever as the aim of truearchitecture, that buildings must be G
progressive, simple in design but dignified, true to apurpose without resorting t o an applied
A set of aesthetics and should eternally recreate
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Lizares Mansion, Jaro, Iloilo

The Lizares Mansion is one of Iloilo City's most elegant heritage mansions, with a
combination of American and Spanish architectural designs. It was founded in 1937 by
Don Emiliano Lizares, a Jaro-born sugar baron, and stands as a testament to Iloilo's thriving
sugar industry at the time.

True Beaux-Arts ornamentation is elaborately detailed with classical Roman carvings of

leaves, flowers, and fruits on cornices, capitals, fascia, and friezes. The Lizares mansion was
relatively restrained, using Tuscan order columns rather than florid Corinthian, and simple
rectilinear patterns on cornices and soffits (the ceiling or underpart of the eaves) instead of
intricate triglyphs and metopes. Still, details such as the gold-leaf mosaic, and the overall
grandiosity of the structure made for an impressive, in-your-face statement of prosperity
amidst the sugar cane fields of Jaro.
Regina Building, Manila
Regina Building, previously known as Roxas Building, is a historic building located along
Escolta Street in Binondo, Manila, Philippines. It was designed sequentially by Andrés Luna
de San Pedro and Fernando H. Ocampo. The neoclassical beaux-arts commercial structure
was built in 1915.

Regina Building, originally known as Roxas Building was designed by Andres Luna de San
Pedro, son of Juan Luna and was built in 1915 at the corner of Escolta Street and Calle David
in Binondo, Manila. The design combined the styles of neoclassicism and beaux-arts. It was a
three-storey structure during the time it was built but was later expanded into a fourth floor by
Fernando Ocampo when the De Leon family bought if from the Roxases. The building was
renamed Regina Building in 1926
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Ocampo R
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ARCH. FERNANDO OCAMPO y HIZON of San Fernando, FATHER OF PHILIPPINE E
g MODERN ARCHITECTURE. Born on August 7, 1897, in San Fernando to parents Dr.
Basilio Ocampo and Leoncia Hizon, Ocampo was considered the “Father of Modern
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Architecture in the Philippines,” having introduced and utilized international designs such T
H as Art Deco and Beaux Arts. He had his education at the Ateneo de Manila, AB, 1914;
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E University of Santo Tomas, Civil Engineering, 1919; and the University of Pennsylvania,
Bachelor of Architecture, 1921.
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E Following his architecture degree, he worked in the office of Emile Perrot, an architect in N
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Philadelphia, and spent two years traveling to Europe, giving particular attention to the G
architectural designs of the era.
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1927, and later worked with architect Tomas Arguelles which established the Arguelles and P
Ocampo Architects.
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Born: August 7, 1897 L
Died: 1984
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A Fernando A
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Some of his renowned works include the reconstruction of the Manila Cathedral and the San E
g Fernando Metropolitan Cathedral; UST Central Seminary; Regina Building; Calvo Building;
Arguelles building; Paterno building (which later became Far Eastern Air Transport Inc. or
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FEATI); the Ayala, Cu Unjieng and Fernandez buildings; the Assumption Academy of T
H Pampanga; and the residence of Joaquin Baltazar which was awarded the first prize in the
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E 1930 Beautiful Home contest.

N He was also a member of the Board of Examiners for Architects in Manila (1929-30) and
E member of the faculty of the School of Architecture at UST. N
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He is married to a former Miss Pampanga, Lourdes Luciano, and his children include G
Edgardo Ocampo, a 3 time basketball Olympian, Fernando Jr. also an architect , and Piluchi.
A In May 2018, the statue of the architect was unveiled in the City Government of San

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Fernando at Heroes Park of Heroes Hall. P
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University of Santo Tomas Central Seminary Building

The Central Seminary of the University of Santo Tomas was designed by Ar. Fernando Hizon
Ocampo, Sr. It was built in the 1930s. The plan of the seminary was configured in the form of
the letter E, with courtyards bisecting the wings. The boxy building had an elongated frontage
assembling a continuous band of balconies and windows on the second and third level. The
structure's horizontally-oriented massing was broken by an engaged central section at the
main entrance and two other similar treatments at the end portions. An art deco relief, bud-
like finials, and a tableau embellished the stepped pylon at the entrance
University of Santo Tomas Central Seminary Building

The Calvo Building is a historic building along no. 266 Escolta corner Soda Streets, Binondo,
Manila, Philippines. Built in 1938, it is an outstanding example of beaux-arts architecture. It
served as the home of the radio station DZBB-AM before moving to its present location in
Diliman, Quezon City. It now houses the Escolta Museum which contains memorabilia from
the past. The building is designed by Ar. Fernando H. Ocampo, Sr.
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A Juan Nakpil A
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The country’s first National Artist for architecture, Juan Nakpil was born in Quiapo, Manila E
g on May 26, 1899 to Julio Nakpil, a musician, and Gregoria de Jesus, the widow of Andres
Bonifacio, both of whom were illustrious leaders of the Philippine Revolution against Spain.
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H He obtained his early education in Quiapo and Tondo, and subsequently enrolled at the
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E Manila high School, where he graduated in 1917. He then took up engineering at the
University of the Philippines. While in UP, he also studied freehand drawing, painting, and
N decorative arts under Fabian de la Rosa and Fernando Amorsolo, and sculpture under Maestro
E Ocampo. Two years later, he left for the United States and enrolled at the University of N
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Kansas, where he obtained the degree of Bachelor of Science in civil engineering in 1922. He G
had already enrolled at Cornell University to pursue hydraulic engineering, when he received
A a wire from his uncle, Dr. Bautista Lin – who was defraying all the expenses for his studies –

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advising him to switch to another course. Heeding his uncle’s counsel, he sailed for France in P
the summer of 1925 to take up architecture at the Fountainbleau School of Fine Arts, where
Y he received his diploma d architecture. He capped his architecture studies the following year I
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Born: May 26, 1899 with a master’s degree earned at Harvard University in Boston under a Joseph Evelynth L
Died: May 7, 1986 fellowship. During his stay in Harvard, he entered a competition opened to the students of the
n Boston Institute of Technology, members of the Architects Club of Boston, and the I
architecture students of Harvard. He was the Harvard student who won in it. P
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N Upon his return to Manila in 1926, he worked as assistant architect at the Bureau of Public
Works. At this time, he met Anita Noble, then the reigning beauty queen, whom he married in E
g 1927. Their marriage was blessed with five children – Ariston, Francisco, Eulogio, Annie, and K
Edith. Wanting to share his talents and knowledge with others, he went into teaching from
1927 until the outbreak of the war. T
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E In 1928, Nakpil joined the firm Andres Luna de San Pedro. Later, he worked as a designer for
Don Gonzalo Puyat and Sons. In 1930, he opened his own architectural firm.
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R the Quezon Institute, the Social Security Systems building, the State and Ever Theaters, and G
the restored Quiapo Church and Rizal’s house in Calamba, Laguna.
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S Nakpil started restoration work on the shrine in 1932. It was interrupted by the Second World P
War, and was only resumed after the liberation period. The restored Rizal house was
Y inaugurated on June 19, 1950, on the occasion of the national hero’s 89th birth anniversary,
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n Nakpil’s three sons also became architects, and eventually joined his firm. Whey they did, he
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renamed it “Juan F. Nakpil and Sons.” On its 30th anniversary, the firm was voted by the P
Business Writers Association of the Philippines as the “Architectural Firm of the Year.” In
1971, the Republic Cultural Heritage Award was presented to Nakpil and his sons. The firm
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N was registered anew as “Nakpil, Nakpil, Nakpil and Nakpil” in 1972. N
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In 1952, Nakpil was made an honorary correspondent member of the Societe de Architectes E
g par le Gouvernement Francais and, in 1955, a Chevalier de la legion d’ Honneur. A year later,
he was made a correspondent member of the Colegio de Arquitectos de Chile.
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H In 1954, he became the First Filipino and non-American to be made fellow of the American
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E Institute of Architects. He was the organizer and past president of the Philippine Architects
Society, now Philippine Institute of Architects.
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in Architecture” in 1951 by the Philippine Association of Board Examiners, Nakpil was G
bestowed the gold medal of merit by the Institute of Architects in 1950, the Presidential medal
A of merit, by President Ramon Magsaysay in 1955, and the Rizal Pro Patria Award in 1972.

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On June 12, 1973, he was named national Artist.
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Nakpil died on May 7, 1986 at the age of 87. He was a state funeral and was buried at the L
Libingan ng mga Bayani.
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UPD Administration Building After the transfer of University of the Philippines from Padre Faura, Manila to Diliman,
Quezon City, four buildings were initially built: Palma Hall, Melchor Hall, Gonzalez Hall and
Quezon Hall, which was formerly called as the Administration Hall, built in 1950.
The Quezon Hall was designed by Juan Nakpil, our first National Artist for Architecture. He
was recognized as “a pioneer of modern Philippine architecture,” who has contributed
immensely to the present state and form of Philippine modern architecture. The hall is
buttressed by huge pillars reminiscent of neoclassical architecture. Another feature of the
building is its open portico which provides a view to the amphitheatre on the opposite side of
the Oblation complex. According to what I have learned in our Architectural History class,
Juan Nakpil based the peristyle concept of the Quezon Hall to the work of architect Eliel
Saarinen at the Cranbrook Art Museum in Bloomfield Hills, Michigan. It was also neoclassic
in style since it was established in the United States during the height of classic revival in the
early 1900s. However, Juan Nakpil added some details to make it genuine. These neoclassic
remnants were also evident in the other buildings of the campus like the library or Gonzalez
Hall, the College of Engineering or Melchor Hall and its mirror image, the College of Liberal
Arts or Palma Hall. Being the main structures of the campus, these buildings possess power
as shown by the grandeur of its scale and overall Hellenistic fashion (Defeo 2000). Another
interesting system Juan Nakpil has applied is the installment of floor glass blocks to provide
natural light in the basement rooms of the building.
Capitol Theater The Capitol Theater was an Art deco theater in Manila, Philippines. It was built during the
1930s along Escolta Street, part of the city's primary commercial district, together with the
Lyric Theater. It was designed with a double-balcony by National Artist Juan Nakpil and that
was considered a rare feat during that era

A decorative located over the main building entrance, was intentionally designed to be
different from the rest of the building. The tower façade is symmetrically composed with lines
offsetting each other to emphasize the strong and rigid geometric forms; this is most
especially shown at the top, with recessed tiers resembling a ziggurat and the geometric
details at the top corners.[3] At the center of this is an art deco grille-work that is made up of
squares and circles surrounded by two pilasters on both sides. Both of the vertical surfaces
have low-relief figures depicting two Filipina muses which are portrayed wearing native dress
or 'traje de mestizas' and local fauna which include carabao head.[1][3] This was done by
Francesco Riccardo Monti, also known for his works in some of the famous buildings in
Metro Manila. Strong lines and soft curves outline the pleats of the gowns worn by the muses.
To represent its use as a theater, both muses each hold a mask and a lyre, associated with
theater arts and music, respectively.