Post War Architecture
July 18, 2022 | Author: Anonymous | Category: N/A
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POST WAR ARCHITECTURE
INTRO – During Post war, Philippine Architecture was dominated by the American style. In this period the plan for the modern modern cit city y of Manila Manila was design designed ed with a large large numbe numberr of art deco buildings, by famous American and Filipino architects. During the liberaon of Manila by the Americans in 1945 large porons of Intramuros and Manila were destroyed. In the period aer the Second World War many of the destroyed buildings were rebuilt. The devastaon brought by the last world war II, coupled by economic exigencies gave away to the extenon of slowly emerging architectural concept to detach from the bondage of tradional forms.
1946 the independent Philippines expressed its identy by implemenng Modernism through the ulizaon of reinf reinforce orced d concrete, concrete, steel steel and glass glass, the predom predomina inance nce of cubic cubic forms, forms, geometr geometric ic sha shapes pes and Cartesian grids, and the absence of applied decoraon. (ARCH’L STYLE)
1947 corps of architects and engineers were tasked to study the modern US and Lan American capitals and formulate a master plan for Manila.
The 1950’s and 60’s staple architectural element were the brise-soleil, glass walls, pierced screens, and thin concrete shells
Federico Ilustre -
Started his career in 1935 as a drasman for Juan Nakpil and worked for a small amount of me as a furniture designer in 1936 for Puyat and Sons. Became a licensed architect in 1937 His des design ignss are hy hybri brids ds modern modern archit architect ecture ure and neo neo-ve -verna rnacul cular; ar; taking taking elemen elements ts and proporoning from vernacular architecture with the funconality of modern buildings. consulng architect from the 1950’s to 1970’s, worked on the building at the Ellipcal Road in Q.C , The centerpiece is the 66- meter high Art Deco Quezon Memorial Monument, composed of 3 pylons topped by winged gures represenng the 3 island groups.
Quezon Memorial Monument -
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Three vercal pylons clad in Bianco Carrara marble, whose white pureness and crystal-like appearance evoke an ethereal eect on the structure. (represenng the three main geographic divisions of the country; Luzon, Visayas, and Mindanao) , 66 meters (217 .) tall (Quezon’s age when he died), surmounted by three mourning angels holding sampaguita (the naonal ower) wreaths an ochre granolithic gleam sculpted by the Italian sculptor Mon Construcon of the Quezon Memorial was begun in 1952 but proceeded slowly, in part due to the cost of imporng Carrara marble, brought in blocks and then carved and shaped on-site, The monument was nally completed in 1978, the centennial of Quezon's birth. His remains were
rei reinte nterred rred in the memoria memoriall on August 19, 1979. It was during that me that by virtue of a presidenal decree, President Ferdinand E. Marcos mandated the site as a Naonal Shrine
Federico Llustre other known buildings/ structures -
Former GSIS Headquarters Building, Manila 1957 ; Veterans Memorial Building Manila, 1957( Demolished @ 1957) ; Independence Grandstand ( Quirino GrandStand ) , Rizal Park, Manila 1949 ; Manila Internaonal Airport , Nichols Field, 1961 ( demolished; currently the site of the Ninoy Aquino Internaonal Airport Terminal 2 ) ; Department of Agriculture Building, Quezon City ; Naonal Housing Authority Building, Quezon City ; Planetarium, Rizal Park, Manila
The post-war doctrine was “form follows follows func funcon on” pro profes fessed sed by the “3rd “3rd genera generaon” on” archit architects ects,, namely,
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Cesar Concio, Angel Nakpil, Alfredo Lu Luz, Ollo Arellano, Felipe Mendoza, Gabriel Fo Formoso a an nd Carlos Arguelles.
“Form follows funcon" is a principle associated with modernist architecture and industrial design in the 20th century. The principle is that the shape of a building or object should be primarily based upon its intended funcon or purpose. 1950s -
The 1950s also witnessed space age aesthecs and so modernism which experimented with the sculptural plascity of poured concrete to come up with the use of thin- shell technology Th The e he heig ight ht of bu buil ildi ding ng was lim limit ited ed by law to 30 mete with the amend amendmen mentt of Manila Manila meters rs with ordinance NO. 4131, a high – rise fever redened Manila’s skyline : Angel Nakpil’s 12-storey Picache Building, considered as the 1st skyscraper in the Phils. Cesar Concio’s Insular Life Building, the 1st oce building to surpass the old 30-meter height restricon
Cesar Homero Concio, Sr. -
November 30, 1907- April 27, 2003 First University Architect of the University of the Philippines When the University transferred to Diliman from Padre Faura in the late 1940’s, Cesar Concio was tasked to connue what Louis Cro has started.
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He is als also o one of the archit architects ects select selected ed by President Roxas in 1947 to study the trends in Architecture and Engineering to design the buildings of the Capital City, especially in his posion as the chief architect of the UP Diliman Campus. Known For : Insular Life Building, UP Palma Hall, UP Melchor Hall, Church of the Risen Lord
UP Palma and Melchor Hall -
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The Palma Hall was designed by the rst campus architect, Cesar Homero Rosales Concio. He also designed the twin building of Palma Hall--Melchor Hall (known also as the College of Engineering building) which is originally similar in structure and volume but modicaons to the buildings have been made in the subsequent years. It is said that the design for Palma Hall and Melchor Hall was inuenced by the popular City Beauful Movement during that me. The main building is an asymmetrical structure and is divided into two wings , where the east wing has four oors and the west wing with three, imposed by a central secon. Each wing fe feat atur ures es a co con nnu nuou ouss op open en ba balc lcon ony y on each each o oor or.. Th The e main main entr entry y of the the bu buil ildi ding ng is a rectangular three-story-high portal, where the balconies of the second and third oor overlook it. The overall idea of the design is to make the structure well-venlated and to let natural lighng enter its halls. halls. This shows Cesar Concio's architectural style of having a raonal approach in design resulng in logically arranged spaces, neatness of form and successful adaptaon to climate. also exhibits the architectural style that propagated during that me that characterizes an int interre errela laon on of space space and tra transp nspare arency ncy in its design design that that re reect ectss the Fil Filipi ipino no quali quality ty of lightheartedness. In the future, the said Instutes will move out of the pavilions to the new Naonal Science Complex, in order to give way for the other departments of the College of Social Sciences and Philosophy to occupy them.
Church of the Risen Lord -
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The Church of the Risen Lord was a stone throw from Leandro Locsin’s circular chapel, the Parish of the Holy Sacrice. The structure was proclaimed in the ies as “an engineering masterpiece with its double parabola. The chapel was saddle-shaped – a hyperbolic paraboloid with at ends. The lower slopes of the vaulted wall were punctured by windows and vercal louvers at both sides of the longitudinal elevaon. The glass-clad façade had an opening dened by a smaller arch that supported a canlevered porte-cochere. This entrance directly led to the processional nave, terminang the vision at the altar. Just above the entrance, a choir lo could be ascended via a circular winding stair. It is one one of the few church churches es that that is modern modernly ly design designed ed and lacks iconogra iconographi phicc rel religi igious ous references.
Angel E. Nakpil -
February 20 1914 - November 2 1980
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was a leading Filipino architect.
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Nephew of architect and naonal arst of the Philippines Juan Nakpil. He graduated from the UST in 1931. Harvard-trained architect. He served as the City Planning Planning Commission Commissioner er of Manila Manila during the post-war reconstrucon years, from 1947 - 1949. He was a charter member of the United Architects of the Philippines, which was founded in 1975. Known Fo For: Former PLDT Headquarters, Headquarters, Naonal Press Club Club,, The Lopez Museum, Museum, Picache Building, Pasong Tamo ROche Building and Petrona Apartments Complex.
Naonal Press Club building -
inaugurated on December 30, 1955 with President Magsaysay as sponsor, along with several inaugurated cabinet members and other government ocials and other donors. The NPC building became a historic monument monument to the ideals of press freedom and unity among colleagues in the country's newspaper industry It was designed by Architect Angel E. Nakpil and was constructed by Alberto T. Abaya.
The Lopez Museum -
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The Lopez Memorial Museum was a four-story building with a triangular plan featuring upper oors carried on canlevers projecng from a center and from the ground up. The reinforcedconcrete structure, though massive, evoked a sense of lightness and visual buoyancy because of the canlevering. The upper oors had small windows with banded shades and maximum wall surface to display art works. The shades minimized ambient glare from the outside. The triangular plan adapted to the limitaons of the site. The unobtrusive base of the building permied an uninterrupted vista of the lush and verdant exterior landscape. A reecng pool that followed the triangular design gave the whole place a serene dignity The Lopez Memorial Museum transferred to Benpres Building on April 19, 1986 , and eventually its old home in Pasay was demolished . The museum now occupies the ground oor on Benpres’ right wing, originally originally intended intended for the Chronicle’s producon department, including its huge
prinng press. Picache Building -
This 12-storey building is considered as the rst skyscraper in the Philippines . It was built in themid-1950s using using the Internaonal Style architectural design reected through reclinear forms; light, taut plane surfaces that have been completely stripped of applied ornamentaon and decoraon; open interior spaces; and a visually weightless quality engendered by the use of canlever canl ever construcon. construcon. Glass and steel, in combinaon with usually less visible reinforced concrete, are the characterisc materials of construcon
Alfredo J. Luz -
30 December 1922 - 1989 brother of Naonal Arst for Sculpture Arturo J. Luz.
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Worked briey in Vancouver canada before starng his own rm in the Philippines AJ Luz was at the cung edge of Philippine modernism modernism in the late ’50s and early ’60s . His style embraced the form and line of modernism at rst but changed his style to adapt to the tropical climate to the Philippines. Used passive shading made from aluminum Would put pools and clumps of foliage to migate the hot sun. Known For : Menzi Building Ayala Ave., Amon Trading Building Buendia, L&S building on Roxas Blvd. , Dewey Blvd,. Fil-oil Renery Service Building in Limay, Bataan, Ramon Magsaysay Centre, Quisumbing Building, WHO Building at UN Ave. Manila.
WHO Building -
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Int Intern ernao aonal nal Style Style of of archi architec tectur ture e in the Philip Philippin pines es, the WHO building is a classic example of its type, with concrete brise soleil, popularized by Le Corbusier and used by Philippine architects of the me, and the thin concrete shell parabolic roof similar to Concio’s Protestant church in the University of the Philippines Diliman campus. A major renovaon wasn’t originally in the plans, but when Typhoon Ondoy hit the Philippines in September 2009, submerging the WHO compound under about two meters of water, destroying the carpeng and original wood ooring, and bringing to light issues of inadequate drainage and obsolete sewage systems. This led to the addion of a second story in the auditorium building with a lounge and a coee room where people could connue discussions in smaller groups outside the main conference hall. A glass elevator overlooking the pond and yard was added to the side of the WHO Manila headquarters auditorium building to make the second oor handicap accessible. Provisions for the disabled were not standard in the 1950s, so these had to be installed as well.
Ramon Magsaysay Centre -
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one of the rst buildings in the country to introduce the column-free structural concept and movable parons in its interiors which allows maximum space ulizaon and adaptability. It was also one of the rst buildings to use gypsum boards and metal runners for its interior dividing walls. It was designed by Alfredo J. Luz & Associates, in consultaon with Italian-American designer Pietro Belluschi of Boston and Alfred Yee Associates of Honolulu, a pioneer in designing precast, pre-stressed concrete building structures . A structural system using pre-cast, pre-stressed concrete beams and mulple in-place oor slabs and wall panels was adopted. The main column of the building is the cast-in-place concrete shear wall core over deep concrete piles making the structure resistant to lateral forces due to earthquakes or wind load.
Ollo Arellano
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Born in Manila on 1916 Passed away in a re that razed their ancestral home in San Juan in 1981. He is the son of Arcadio Arellano and the nephew of Juan Arellano. One of the rst architects of the post war generaon that incorporated nave symbols of the Philippines to his architectural designs while applying a modernist approach. He rose rose in into to the Architectural Profession during the 50s to 60s , becoming the one of the architects represenng the Philippines in some Internaonal Exposions. He was also chosen by Imelda Marcos to restore the Metropolitan Theater. Awards: Patnubay ng Sining at Kalinangan, 1970 PRC PRC O Out utst stan andi ding ng Ar Arch chit itec ectt o off the the Year Year, 1977 Buildings Naonal Bureau of Invesgaons Philippine Pavilion 1964, New York Ollo Arellano
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Known for: Restoraon of the Metropolitan Theater, Philippine Pavilion in 1964 World Exposion, Gateway of the Wallace eld during the 1953 Philippines Internaonal Fair, Naonal Bureau of Invesgaon Headquarters
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Philippine Pavilion in 1964 World Exposion - The Philip Philippin pine e Pavil Pavilion ion for the New New York York 1964 1964 W Worl orld d Fair Fair is a circular pavilion, tapped with gold anodized aluminum roof in the form of the Filipino farmer's hat called the 'salakot'. Its main feature was the twelve twelve huge huge panels of carved rrelief elief in ne acacia wood radiang from the center column at the ground oor which are interpretaons of the painngs of the country's outstanding muralist Carlos "Botong" Francisco.
Gateway of the Wallace eld during the 1953 Philippines Philippines Internaonal Fair -
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The pavilions were distributed among the internaonal and local secons on either side of a long lon g centra centrall reecn reecng g pool. pool. The pool and the fair’s fair’s ent entran rance ce were were built built beh behind ind the Rizal Rizal Monument. The main axis was formed by this pool connecng the monument with a landmark tower —
Arellano’s "Gateway to the East." This disncve arch was an art deco-esque structure topped by an abstracted salakot. Behind this "gateway" was a large circular plot that housed the Catholic pavilion designed by architects Arturo Mañalac and Evelio N. Valdes . The prominence prominence given this pavilion reected the sensibilies of the era and the inuence of a Catholic Church that survived American secularizaon and two wars. (It was ironic that many of the mofs used in the fair’s architecture were from Mindanao, or what was referred to as the Mohammedan south.)
Felipe Mendoza -
May 26, 1917 - April 28, 2000
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also an Physical Planner
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He fo form rmed ed a pa part rtne ners rshi hip p with with Gabi Gabino no de Leon Leon an and d Ho Home mero ro Ingl Ingles es bu butt for forme med d his own architectural rm in 1951.
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Patnubay ng Sining at Kalinangan, 1976 ; UAP Likha Award, 1982 ; PRC Outstanding Architect of the Year, 1982
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Designer of the Philippine Veterans Bank Headquarters, Batasang Pambansa ( Philippine House of Representaves ), The Church of Jesus Christ of Laer Day Saints, Development Academy of the Philippines
The Church of Jesus Christ of Laer Day Saints - The site is situated on a 3.5 acre lot with the structure having an exterior nished in ceramic les with a modern adaptaon of a six-spire temple design. Rooms consist of a bapstry, celesal room, four ordinance rooms, three sealing rooms.
Batasang Pambansa - Th The e Bata Batasa sang ng Pa Pamb mban ansa sa was was de desi sign gned ed in the the class classic ic Brutalist Brutalist style style with disnct Filipino Filipino elements, by way of a steeply-pitched Bahay Kubo-style roof . The hall has a high, and very dramac sot ceiling with mulple recessed lights in the center that mimic the eect of sun streaming through a skylight. - Brutalism is a design movement movement from the 1950s-70s that spawned massive, linear structures with large expanses of raw concrete (beton brut actually means “raw concrete”). This was a popular type of style for instuonal and government buildings (other local examples are the Cultural Center of the Philippines and the Heart Center along Quezon Avenue).
Gabriel Formoso -
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started his career in the 1950’s and by the 1960’s, he was already successful and became the most popular architect of the residences of the posh Maka villages. he was also one of the people selected in 1963 to the planning and working commiee for the future Pamantasan ng Lungsod ng Maynila. describes bes his work as the embodiment embodiment of “ Honesty of Known for his modernist design, he descri concepon and the principled concern for human requirements transcending the irrelevancies of prejudice and insnct “ Focuses his designs on volumetric manipulaons, making his works simple and funconal rather
than being excessive.
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Awards: PRC outstanding architect of the year, 1979 ; patnubay ng sining at kalinangan, 1977 ; Republic Cultural Heritage Awards, 1973 ; United Architects of the Philippines Likha Award, 1990 Known For : Bangko Sentral ng Pilipinas, La Tondera Building, G.T. Internaonal Tower, Asian Instute of Management, The Peninsula Manila
Banko Sentral ng Pilipinas - It is is o on ne of of th the Postwar styles of Philippine architecture classied as “Post-Independence / Post-Colonial”, specically, Brutalism. It is a harmonious composion of massive concrete blocks relieved of their severity by connuous horizontal bands of windows.
The Peninsula Manila - The Pe Penin ninsul sula a was typic typical al of his his - Form Formoso oso,, edices, edices, dis disngu nguish ished ed by its bush hammer nish and exposed concrete aggregate façade. Indoors, Indoors, his Brutalist design was soened by a rather lush tropical feel with lots of tall plants and cozy, comfortable furniture. - Ren Renova ovaon on project projectss incl include ude the the outer st struct ructure uress dominat dominated ed by nume numerou rouss small small dark pa panes nes of glass, rose arches in the neoclassical neoclassical style, echoing echoing Formoso’s more recent projects, including including the Pacic Star building down the street. Inside, more dramac changes. The casual, lounge-like feel of the Lobby was transformed into a more elegant space, with Naonal Arst Napoleon Abueva’s majesc Sunburst sculpture axed to the top of the 50-foot-high ceiling seng the tone. Taking Taking the the place place of the the u ulita litarian rian stair staircases cases on both wings of The The Lobby Lobby are a grand pair of marble winding staircases, the most photographed in the country, according to the hotel.
Carlos Arguelles -
Studied abroad at Massachuses Instute of Techonology where he obtained his Bachelor in Architecture in 1941 and Masters in Architecture in 1946 Served as a professor in Design at the UST College of Architecture and Fine Arts Appointed as Dean of the UST College of Architecture and Fine Arts from 1954 to 1959 Involved in a number of professional sociees such as the American Instute of Architects and the Philippine Instute of Architects ; Rotary Chamber of Manila Awards : Papal Award “ Pro Ecclesiae et Ponfce “ , 1996 ; “ Centennial Honors for the Arts “ CCP 1999 ; “ Thomasian Centennial Award “ from UST. Known For : Philippine Naonal Bank, Escolta ; Metropolitan Bank and Trust Company Building ; Aglipayan Church ; Internaonal Rice Research Instute Building ; Philam Life Building
Philam Life Building - Ar Argu guel ellles was was a pro prop ponen onentt of of the the Internaonal Style in the Philippines , and the Philam Life Building certainly shows o his prowess for it. The Internaonal Style is characterized by a disnct focus on volume and balance, emphasizing the natural beauty of modern forms without the need for decoraon or ornament.
- Th The e Phi Phila lam m Lif Life eB Bui uild ldin ing g is is a good example of perfect balance between reclinear and organic forms. The magnicent sculptural entrance creates a dramac rst impression for everyone entering the building. It is made out of molded thin shell concrete and has circular perforaons to allow natural light in. - The rrear ear entrance, entrance, though though not as ma majesc, jesc, sll manages manages to capture capture visual visual iinterest nterest.. It co connects nnects to a series of pedestrian walkways and is composed of parabola-shaped cutouts. - A gene genero rous us walkw walkway ay anks anks the enre enre fronta frontage ge of the the bu buil ildi ding ng,, with with amp ample le gree greene nery ry tha thatt provides a pleasant view for the visitors and guests. - Upo Upon n enterin entering, g, one is gre greeted eted by a spaci spacious ous lobby lobby with with enormo enormous us circul circular ar column columnss and high high ceilings. Though inially imposing, the interesng artwork and carvings that adorn the walls provide warmth and life to the space. The lobby also opens up to a large central courtyard which makes the area look more inving. It also allows more natural light into the building's lobby and the other spaces surrounding it. - Probably the most famous (and in recent news, the most controversial) part of the Philam Life Theaterr is its auditorium, situated in the le poron of the building. The 780-seat theater has walls Theate paneled with narra, and reputedly has one of the best acouscs in the country. The acouscal design was done by Bolt, Beranek and Newman, the same names behind other world-famo world -famous us performance performance halls halls such as the Sydney Opera House, UN Assem Assembly bly Hall, and Lincoln Lincoln Center's Avery Fischer Hall.
Philippine Naonal Bank Building (Escolta) - Th The e bu buil ildi ding ng is 12 stori stories es:: a nine nine-s -sto torey rey tow tower er sing sing on a thre three-s e-sto tore rey y po podi dium um.. Fo Forr all all its its relave relav e height, it was built at a me when the country seemed to be at the height of its powers , considered second only to Japan in terms of its economic strength. - Dimin Diminishi ishing ng the sense of mass mass is the brise brise soleil soleil,, or sunbrea sunbreaker ker sscreen, creen, that rests rests about about a meter away from the inner skin of full-height glass glass windows that encloses the interior. like the volada, or exterior layer of wood louvers and capiz shell windows that lightly wraps the second oor of the tradional tradio nal Filipi Filipino no hou house, se, or the barong barong tagalo tagalog g the tra tradi diona onall men’s men’s shi shirt rt of embroi embroider dered ed pineapple ber which oats away from the body, cooling while clothing.
The modern architecture of the Philippines following World War II has been strongly inuenced by the modern architecture of the United States, as compared to Southeast Asian and European inuences. Traces of Filipino modern architecture can be seen in the contemporary mainstream Filipino architectural scene. The quest for Filipino style has been considered since the 1950s, in response to the strong American inuence on architecture and other cultural elds, such as literature and painng. The American
modern architecture of the “Internaonal Style” le no room for domesc expression. However, in the late ’60s and ’70s, a world-wide wave of regionalism in modern design emerged. The ’50s saw the dawn of tropical modern architecture, which diered from the occidental or American modern architecture in other areas of the world such as Africa and Lan America. Tropical modern architecture is an adaptaon to the tropical condions of the Philippines, parcularly with regard to the climate. Tropical modern architecture is manifest in the presence of solar control devices such as the sun-shade, which is ubiquitous in the tropics, and slight domesc touches in design among the tropical areas. Disnguishing the Filipino style from tropical modern architecture is important to the understanding of Filipino style, which expresses the cultural identy of the Philippines.
In 1960s -
The l lipinos incorporated some modernist formal principles by employing local materials and referencing vernacular tradions
In 1970S -
The former former rst rst lad lady y Imelda Imelda macos macos pursue pursued d a singul singular ar “Naon “Naonal al archit architectu ectural ral style” style” to concreze the ocial maxim of isang bansa, isang diwa
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The oil oil crisis crisis in 1973 gave e rise rise to a mov moveme ement nt for energy energy – ecien ecientt design design call called ed Tropical 1973 gav Regionalism Exam Examples ples:: Manosa Manosa borthers borthers’’ sa san n Miguel Miguel corporao corporaon n Headqu Headquarter arterss buildin building g Fel Felipe ipe m mend endoza oza’s ’s devel developm opment ent a acad cadem emy y of the the philip philippin pines es Lo Locs csin in;s ;s Be Beng ngue uett co corp rpor ora aon on Bui Build ldin ing g
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There are considered considered to be two disncve models of tradional architecture for most Filipino architects: bahay kubo and bahay na bato Even major modernism architects such as Locsin and Manosa have always referred to the signicance of these models as the tradional architectural heritage of the Philippines . The bahay kubo is the most indigenous domesc house and the bahay na bato, which appeared in the 19th century as the domicile of choice among the wealthy populace, is a product of the three centuries of interchange between the Filipino and Spanish peoples.
LEANDRO LOCSIN -
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Leandro V. Locsin designed several residences and hotels adopng these tradional methods. Although he designed surprisingly modern structures, such as the Chapel of the Holy Sacrice with RC shell construcon in 1955, his interest remained rooted in contemporary Filipino style. Locsin’s interest in Filipino culture is not limited to architecture, and he is parcularly interested in Filipino ceramics. Locsin is famous for his collecon of early ceramics and, in 1967, together with his wife Yulo, wrote wro te a book book entle entled d “Orien “Oriental tal Cerami Ceramics cs discov discovered ered in the Phili Philippi ppines nes”. ”. Locsin Locsin’s ’s dee deep p understanding of tradional Filipino culture and his sophiscated sense of design has helped him to synthesize tradional idioms into modern architectural idioms.
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His most important residenal work may be his own house, which was completed in 1963. The house features a spacious interior and trellis parons (calado). Also, in the renovaon of the Manila Hotel, one of most presgious old hotels in Manila, he designed ne calado in the recepon hall so as to retain the atmosphere of the tradional Filipino style. At the me, the use of calado as a paron by a modernists was seen as somewhat unusual; however the space surrounded by the calado is not rigid, but rather uid, and this characterisc is related to the modern sense of space.
Francisco "Bobby" Mañosa -
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Fat Father her of Philip Philippin pine e NeoNeo-ver vernac nacula ularr Arch Archite itectu cture re He intensively studied, mastered and interpreted the untapped DNA of Philippine architecture, especially the Bahay Kubo and Bahay na Bato. He also pushed for the use of indigenous materials such bamboo, coconut, raan and capiz, among others for architectural nishes, furniture and furnishings. he pioneered the sustainable architecture—way before this environmental design movement broke ground in the Philippines. He conceptualized the “edible garden”—a design where plants surround the external walls of the structures. This is quite evident in the San Miguel Building— one of his major works—with its rice terrace–like green balconies and “tukod” (inwardly slanng windows). While he had journeyed alone in his bale to upli and promote Philippine architecture, Mañosa wholeheartedly defended his philosophy and developed the “Filipinism” design style.
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the Tahanang Pilipino (or the Coconut Palace), where he invented numerous coconut product nishes with suppliers and orchestrang many arsts and arsans to parcipate in the dierent rooms showcasing showcasing Phil Philippi ippine ne culture; culture; the internaon internaonally ally award awarded ed Amanpulo Amanpulo Resort, Resort, which celebrates deconstructed “bahay kubos”; Our Lady of Peace Shrine in EDSA, Quezon City; Metrorail Transit System Staons for LRT 1, circa 1980s; Quezon Memorial Circle Development Plan; Chapel of the Risen Lord in Las Piñas City, which was the cover of his rst published book, Designing Filipino, among others.
Many Filipi Many Filipino no modern modern arc archit hitect ecture uress have have li lile le concern concern wi with th Fil Filipi ipino no style style and are concern concerned ed primar primarily ily wit with h Americ American an contemp contempora orary ry style. style. Howeve However, r, two out outsta standi nding ng archit architects ects,, Francisco Manosa and Leandro V. Locsin, have pursued modern Filipino style and have contributed greatly to the establishment of this style. Although these architects have their own characterisc designs, they share the quest for the Filipino style. Sharing the essenals of the style with other architects, beyond region or generaon, who are concerned with their own cultural identy is important in order to understand the acvies of these two architects.
Manosa and Locsin were contemporary, contemporary, and worked under simila similarr condions condions with respect to, for example, construcon technology, economic background, and social needs, whereas most other architects were unable to achieve the Filipino F ilipino style. The works works of these two architect architectss have have always always clear clearly ly reected reected the modern modern condion condion, while demonstrang the ability to overcome problems through creave endeavor resulng in cultural adaptaon. This eort clearly shows the synthesis of insights into each condions and the necessity of design. Franci Francisco sco Ma Manos nosa a and Leand Leandro ro V. Locsin Locsin have a deep deep und unders erstan tandin ding g of the history history of the Philippines. The post-modernism architecture of the world is supported by strong interest in history, and it may be impossible to establish the Filipino style without such an understanding. The pursuit of architecture as the product of the Filipino culture for the sake of the enrichment of the Filipino culture is an ongoing problem for architects seeking to realize the Filipino style while designing for present-day expectaons.
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