Showing posts with label Philippine architecture. Show all posts
Showing posts with label Philippine architecture. Show all posts

Monday, September 9, 2013

Philippine Architecture Wartime pictures- World War 2

Here are some architectural landmarks that was lost or damage during WW2 in Philippines.
(Most of the pictures were grab from the web)
Just want to share how was tha capital of Manila then that why it was called pearl of the orient.
It was a big lost to Philippine architecture when most of this structures were ever completely damage or gone during the liberation of Manila.
Manila has one of the best architectural buildings, no wonder it was even compared the Paris of Asia.



Fruit market near the Manila Post Office.

Life Magazine photo: vicinity of Quiapo, Battle of Manila, February, 1945.


pambansang museo
Manila Hotel in ruins.



Manila after WW2.



University of Santo Tomas

Plaza Goiti/Lacson

Iglesias de San Francisco y Recoletos
Pier 7 ,Manila
Jones Bridge


Post Office,Manila
Luneta Hotel
Normal_cathedral_of_st_mary_and_st_john_3

Cathedral of St. Mary and St. John (Episcopal Church)


Metropolitan theatre





Sunday, June 2, 2013

Philippines 10 Famous Artworks in Public Spaces



Amidst the public spaces of the metropolis that enormous billboards, towering buildings, and busy streets dominate, are some of the most astonishing masterpieces of famed Filipino visual artists. These excellent works of art serve not only as decoration or display but also as timeless showcases of Philippine culture and history.







EDSA People Power Monument
EDSA, Quezon City


This monument towering along EDSA was designed by sculptor Eduardo Castrillo in 1993. The structure was cast to serve as a tribute to the brave Filipinos who marched along the now-historic avenue of EDSA during the 1986 People Power Revolution to overthrow former president Ferdinand Marcos.







Quezon Memorial Circle
Elliptical Road, Quezon City


The Quezon Memorial Circle, the tallest triad structure in Quezon City, was designed by Filipino architect Federico Ilustre. The three vertical pylons of this 66 (Quezon's age when he died) meter tall monument correspond to the three major islands of the Philippines--(Luzon, Visayas, and Mindanao). Each is topped with a mourning angel holding a sampaguita wreath, all crafted by an Italian sculptor named Francesco Riccardo Monti. Housed inside the two-story barrel-like base is a museum with the remains and other priceless treasures of the late President Manuel L. Quezon. The construction of this Carrara marble-made monument was completed in time for the centennial of Quezon's birth in 1978. By the mandate of PresidentFerdinand Marcos, the site was declared a National Historical Landmark under the Presidential Decree No. 260.







U.P. Oblation
University of the Philippines


The University of the Philippines’ renowned landmark, the Oblation, is a masterpiece of National Artist Guillermo Tolentino. In 1935, Guillermo was commissioned by Rafael Palma (then University President) to craft a monument that would express in visual form the second stanza of Jose Rizal’s "Mi Ultimo Adios" (“Last Farewell”). The concrete statue painted in bronze stands 3.5 meter high (to represent the 350 years of Spanish colonization of the Philippines) on a pile of rocks symbolizing the islands of the Philippines. Funding for the statue was raised through a 2-month fund campaign that garnered P2,000. The model for the statue was widely rumored to be Fernando Poe, Sr. though there are sources that claim that the real model was Guillermo’s student apprentice Anastacio Caedo.







Andres Bonifacio Monument
Bonifacio Circle, Monumento, Caloocan City


This sculpture featuring a 45-foot high pylon topped by a winged figure of victory was crafted by national artist Guillermo Tolentino in 1929. It commemorates the famous proletarian heroAndres Bonifacio with his revolutionary group, the Katipunan, fighting for the causes of Philippine Revolution-- injustice, suffering and resistance. The Supremo in his Barong Tagalog, holding a bolo on his right hand and a revolver on the other, stands in front of 22 darkened bronze figures at the base of an octagonal obelisk, the number of sides of which symbolize the first eight provinces that armed against the Spaniards. Other historic figures on the monument are Emilio Jacinto (the “Brains of Katipunan”) and the three hooded martyred priests (Gomez,Burgos, and Zamora). Leading to the monument are three steps which represent the three centuries of Spanish rule.









Cultural Center of the Philippines
Roxas Boulevard, Manila


Standing on the 21-hectare piece of land along Roxas Boulevard, Manila is Leandro Locsin's (National Artist for Architecture) envisioned edifice that serves as the Philippines' national center for performing arts – the Cultural Center of the Philippines (CCP). This architectural work is considered one of the most significant landmarks in the country. Completed in 1969, the CCP main building faces the reclaimed land in Manila Bay with its marble facade. At its sides are two arching columns beamed 12 meters from the terrace. In front is a large lagoon with fountains illuminated by underwater lights during nighttime. It houses four premier theaters, an ethnographic museum, galleries, and a Philippine arts and culture library.







Manila Metropolitan Theater
Padre Burgos Street, Manila


The Manila Metropolitan Theater- located at the Padre Burgos Street - was formerly Manila's premier venue for theatrical performances. Built in 1935, this art deco structure was designed by the distinguished Filipino architect Juan M. de Guzman Arellano. The bronze sculptures of female figures on the facade of the theater are works by the Italian sculptorFrancesco Riccardo Monti. Inside, there are relief carvings of Philippine plants that adorns the lobby walls and interior surfaces of the building designed by the artist Isabelo Tampinco. It needed to be reconstructed after the US and Filipino liberation in Manila in 1945, fell into disuse in the 1960s, was partly restored in the following decade, and fell again into disrepair. It is currently undergoing renovation through Manila City government’s project to restore its historical buildings.








The Transfiguration
Eternal Garden Memorial Park, Balintawak, Quezon City


This brass and bronze sculpture entitled “The Transfiguration” (1979) is one of Napoleon Abueva’s (national artist and Father of Modern Philippine Sculpture) religious-themed creations, found at the Eternal Garden Memorial Park. His other famous masterpieces that attest to his religiosity include the “Kiss of Judas” (1955) and the “Thirty Pieces of History”.








Pinaglabanan Shrine
Barrio Paraiso, San Juan, Metro Manila


A major work of art by Filipino sculptor Eduardo Castrillo is his creation the Pinaglabanan Shrine (1974), located in San Juan, Metro Manila. Also known as Spirit of Pinaglabanan, the shrine is composed of three cut and welded brass figures on a 10 x 4.3 x 4.3 meter sculptured concrete base. This was built in commemoration of the first battle of the 1896 Revolution, which happened on this site.






Image:Filipino Struggles Through History (Mural).jpg

Filipino Struggles Through History (Mural)
Bulwagang Katipunan, Manila City Hall


One of the most striking murals of Carlos “Botong” Francisco entitled Filipino Struggles Through History (1963) can be found in the Bulwagang Katipunan of Manila City Hall. As commissioned by former Manila MayorAntonio Villegas, this 270x487 centimeter mural was painted in three panels chronicling the history of Manila and the Philippines. It depicts the panoramic episodes of the first great Rajahs of Tondo, the Spanish colonial period, the 1896 Revolution and other events up to the American colonial period. Also seen in this mural are famous Philippine historical personalities such as Jose Rizal, Andres Bonifacio, Francisco Balagtas, and Limahong.







Image:Carriedo Fountain.jpg

Carriedo Fountain
Sta. Cruz, Manila


The Carriedo Fountain, found in Plaza Sta. Cruz, Manila was built in 1882 to honor “Manila's greatest benefactor” Francisco Carriedo y Pedero, who donated Php 10,000 to install the very first water system in Manila. The fountain originally stood in Rotonda de Sampaloc until it was transferred to its present site in 1978. After some time, the authorities had the fountain brought to Quezon City when the Metropolitan Water Works and Sewerage System's (MWSS) main office was transferred from Arroceros to Balara. However, Manila Mayor Alfredo Lim negotiated with MWSS Administrator Luis Sison for the fountain to be brought back to Manila. The MWSS immediately commissioned national artist Napoleon Abueva to create a replica of the Carriedo Fountain to replace the original structure which now stands in its original home in Sta. Cruz.

UAP to confer Likha Gold Medal

UAP to confer Likha Gold Medal





The UAP is set to confer this year: the LIKHA GOLD MEDAL AWARD, the highest distinction to be bestowed upon a fellow, who has adhered to the highest standards of professional and ethical conduct, practiced in excellence and prestige the architectural profession, has rendered distinguished contribution and service to the UAP, and has performed exceptional achievements and active participation in the concern of the community, government and country.



The UAP National Board of Directors, in a regular meeting held on 15 February 2013 at Emerald Playa-Microtel Resort Hotel and Eco-Park, San Juan, Puerto Princesa City, Palawan, approved the endorsement made by the Jury of Fellows of the UAP College of Fellows to confer LIKHA GOLD MEDAL AWARD to UAP Past National President, ARCH. FROILAN L. HONG.

ARCH. FROILAN L. HONG will be the 11th Likha Gold Medal Awardee.

ARCH. FROILAN L. HONG served as UAP National President and Chancellor of the UAP College of Fellows. He also served as Chairman of the UAP Commission on Elections in Year 2006 and 2007.



Educational Background

Bachelor of Science in Architecture, Mapua Institute of Technology, 1960

Diploma in Housing, Planning and Building, BOUWCENTRUM, Rotterdam, the Netherlands, 1972

Climate Design, BOUWCENTRUM, Rotterdam, the Netherlands, 1972

Masters in Environmental Planning, University of the Philippines, 1975



Awards and Honors

Recipient of the “Outstanding Environmental Planner of the year, Professional Regulation Commission, 2008

Conferred, APEC Architect, Philippine Monitoring Committee of the APEC Architect Project, 2006

Elevated to Fellow, Phil. Institute of Environmental Planner, 2004

Recipient, Patnubay ng Sining at Kalinangan sa Larangan ng Arkitektura, City of Manila, 2003

Recipient of the “Outstanding Architect of the Year, Professional Regulation Commission, 1992

Distinguished Alumni Award, School of Urban and Regional Planning, University of the Philippines, 1985

Outstanding Mapua Alumni in Architecture, 1984

Conferred as Fellow, United Architects of the Philippines, 1983

First Placer, Architecture Licensure Examination, 1961



Practice

President, Froilan L. Hong & Associates, 1988-present

Senior Partner and Managing Partner, Froilan Hong and Partners, 1979-1988

Vice Chair, Special Bid and Awards Committee of Filoil Development and Management Corp. 1999

Deputy Executive Director, Legislative – Executive Bases Council Technical Committee, Philippines, 1990

Consultant, China Rice Research Institute, Zhekiang Province, People’s Republic of China, 1981-1983

Research Facilities Planning Specialist, Center of Non-Conventional Energy Development, 1981

Instructor to Professor, University of the Philippines, 1967 - present



Notable Projects

Asian Development Bank Headquarters Building, Mandaluyong City (rehabilitation)

CHED Higher Education Development Center Building, Quezon City

National Center for Disease Prevention and Health Promotion Headquarters and Biological Production Services Building, RITM Complex, Muntinlupa

Philippine Institute of Volcanology and Seismology (PHILVOCS)

Microbiology and Genetics Division Building Phase 1 to III (DOST), Taguig

Metrology Building Phase I and II (DOST), Taguig

Center for Non-Conventional Energy Development, Quezon City

Calamba City Hall, Calamba City, Laguna

National Government Center, ParaƱaque (preparation of Master Plan and Conceptual Building Schemes of the New Parliament Building)

Redevelopment of Quezon City General Hospital, Quezon City

Abra Provincial Hospital, Abra

Baliuag University, Baliuag Bulacan

Luneta Waterfront Development, Manila

One Wilson Place Condominium

Heritage Worship and Spiritual Formation Center, Quezon City

Santuario De San Vicente de Paul Shrine and Columbary, Quezon City

FVR: Building for a better future


FVR: Building for a better future
http://www.united-architects.org/index.php/news-and-events/257-fvr-building-for-a-better-future.html






“The profession of architecture was to be the first to respond to the program of integration…” — Official UAP history (upon creation of the Professional Regulation Commission, P.D. 223, 1973).

THERE were no schools of architecture in the Philippines during Spanish times. The closest for which Filipinos could aspire to qualify to build architectural projects was to learn the skills from master builders (“Maestros de Obra”) that preceded them in the profession.

The coming of the Americans brought about drastic changes in our engineering culture. The new colonizers pursued “benevolent” policies that focused on English education, public health, free enterprise, and representative governance.

Under the civil government established in July, 1901, such “assimilation” manifested itself physically in the form of infrastructures. Highways, bridges, schools, hospitals, and government buildings steadily transformed the Philippine landscape.

In October, 1904, the Philippines played host to former president of the American Institute of Architects Daniel Burnham on Governor General William Forbes’ invitation to undertake master plans for the City of Manila and the projected summer capital, Baguio.

Eminent Filipino Architects

Seventeen years, however, passed before the enactment of an “Engineers’ and Architects’ Law” (Act 2985) by the Philippine Assembly, which prescribed regulations for the practice of the professions of engineering and architecture. With the creation of separate Boards of Examiners for each discipline, it was the first legal expression to define their unique and separate identities.

The first registered/licensed Philippines architect was Tomas Mapua, holder of a bachelor’s degree in architecture from Cornell University in 1911. In the firmament of the first 100 registered/licensed Filipino architects, the names of Mapua, Carlos Barretto, Antonio Toledo, Juan Arellano, Andres San Pedro, Fernando Ocampo, and Juan Nakpil are regarded with reverence still.

The momentum to rebuild from the ashes of WWII and replace destroyed public edifices and utilities made the 1950s an eventful decade for the construction industry. With the passage of Republic Act 545, “An Act to Regulate the Practice of Architecture,” the first separate statute was accorded the profession of architecture.

In 1973, Presidential Decree 223 was promulgated creating the Professional Regulation Commission which accredited for each profession only one representative organization. On 12 May 1975, the United Architects of the Philippines received Certificate No. 001 from the PRC, officially confirming UAP as the only bona-fide professional organization of architects in the Philippines. It had taken more than two generations for licensed architects to unify – but it was done.

Today, the UAP, with Sonny Rosal as its president, boasts of a prestigious national association with expanded opportunities and increasing regional/global outreach through the Architects’ Council of Asia and other organizations.

Architecture and Leadership: Building For A Better Future

As a retired public servant and licensed civil engineer, this writer has natural affinities with the UAP, with whom we share the desire and will to build structures of great utility, strength, beauty – and systems that will endure and continue to be useful for generations to come.

Like capable leaders who promote the vision of our better future, architects worth their salt give shape and identity to the Filipino’s pioneering spirit and creativity from which younger generations can draw inspiration. Successful Filipino architects have been masters at making do with what we have, and getting the most out of local situations, indigenous materials, native talents, and Philippine culture itself.

Our best architects have created for us windows to the future –ways by which we can see for ourselves today what tomorrow could be like. That should be a future in which Filipinos will be engaged more than ever with the outside world – to which we increasingly contribute, and from which other nations can benefit in terms of global trends in design, functionality and environmental efficiency.

What truly interests most Filipinos today, however, is not simply our common fascination with useful physical structures and clusters, but the need for quality leadership itself, and good governance our leaders should implement. That’s really what democratic elections – soon coming on 13 May – are all about. Let’s all vote, and vote wisely.

The political leader’s edifice is Philippine society and his blueprints are plans/programs for social reform and economic growth that define his Administration and legacy. This, to me, is architecture of the highest order – the building of one brave new World, a more inclusive Nation, and a truly competitive Filipino Society, all with a keen sense of shape, function, purpose, and national pride.

Indeed, quality leaders must be like successful architects and engineers – innovators and transformers in their professions – just as those in charge of governance should be.

The President As Generalist

When we assumed the Presidency in 1992, we fully realized that we had been given the opportunity (more than others) to put our beloved Philippines on the path of genuine reform and modernization.

At that juncture, we understood what the role of President would be. Simply, it was not to manage, but to lead. The President would not be a specialist, but a generalist – someone who could move the country in bold directions, unfettered by the apprehensions and constraints of micro-management.

An important difference exists between leading and managing. Corporations – or countries – can be well managed and yet poorly led. Both may be doing the routine things right – without ever stopping to ask whether such routines are worth doing at all.

Being a generalist, the President should be backstopped by experts in his staff and Cabinet – a group of competents who may know more than the President about things within their specializations.

Like line-managers in large corporations, Cabinet Secretaries should be able to handle predictable and technical matters on a 24-hour basis, and take action without “passing the buck” upstairs to the President on difficult decisions within their respective areas of responsibility.

Leadership In The Philippine Setting

The standard of preparation for actions to be elevated to any chief or President is known as C-S-W or “completed staff work,” upon which a subordinate is willing to stake his professional reputation.

Such kind of efficiency and teamwork enables the President to bridge the unavoidable gap between the experts – who look at problems in largely technical dimensions – and Government’s national constituency (who are the people). Presidents and CEOs strategically look at the same problem as professors may do – but with the broader perspective of what it means for people’s immediate needs and their future welfare.

Leadership is what the Presidency is all about. And, leadership is a state of mind. Often, you and I don’t know what we are really capable of – until we’ve done it. The leader himself may not know what the limits of his potential are until he is put to the test.

Three things distinguish leaders from mere experts: First, leaders do not allow themselves to be bound by traditional constraints; Second, leaders see what followers cannot; and Third, leaders know that human will -- human energy -- human intelligence -- and human resolve -- can change the way things are.

In short, true leaders must be more caring, sharing, and daring for others, and for Mother Philippines

Leadership To Win-Win

Patience, therefore, must be the leader’s essential virtue. But again, let me say that patience does not mean complacency, indifference, denial modes, or the lack of comprehensiveness and boldness of action.

“Win-win” outcomes are what leaders in democratic systems strive for. And such outcomes we should always try to achieve – in every political, economic, or people-empowerment program – in every diplomatic venture – not the least because such outcomes enforce and reinforce themselves, and benefit the majority of stakeholders.

In governance, as in architecture and engineering, initiative and audacity often culminate in a breakthrough from long-held tradition. The leader who makes that breakthrough puts his leadership at risk – but then he also enables people to see what they would never have otherwise seen, such as better ways of doing things, more efficient win-win solutions to age-old problems, and new spaces for physical upliftment or spiritual renewal.

Thus, very often, it is necessary for the leader to dismantle impediments and barriers on the road to progress, so that people can move forward, and traffic moves both ways.

And on ground that we clear, we are enabled to build better structures, and greener communities of growth and hope.

Giving Shape And Substance

Architects always look with pride and joy at the edifices they have designed – every time they pass them by.

Just as the architect’s sense of form and function never disappears after retirement, the “retirees,” “formers” and “ex-s” among our public servants must remain energized and motivated by continuing challenges along our journey to a more bountiful future.

LEADERS, LIKE ARCHITECTS, MUST CONTINUE TO GIVE SHAPE AND SUBSTANCE TO THAT SPIRIT OF ACHIEVEMENT THAT PROPELLED OUR HEROIC FOREBEARS IN THEIR REVOLUTIONARY STRUGGLES AND IN WW II; AND UNIFIED CONCERNED FILIPINOS TO EJECT A LONG-STANDING DICTATORSHIP AND RESTORE OUR DEMOCRACY DURING OUR PEOPLE POWER REVOLUTION AT EDSA IN 1986. IN THESE THREE SHINING MOMENTS OF PHILIPPINE HISTORY, THE VISION OF A BRIGHTER FUTURE FOR YOUNGER GENERATIONS MOTIVATED AND INSPIRED FILIPINOS!!

KAYA BA NATIN ITO???

- by former President Fidel V. Ramos, published: Manila Bulletin, April 28, 2013

Thursday, August 9, 2012

Benchmarking Philippine Architecture


Benchmarking Philippine Architecture
http://archiandesigns.wordpress.com/2012/05/06/benchmarking-philippine-architecture/

Benchmarking Philippine Architecture
By Paulo G. Alcazaren
MAY 6, 2012


Vernacular Filipino Architecture

The PIEP held their respective annual national conventions with the requisite seminars and talks. The subjects of these talks have shifted noticeably in the last two years from practical issues of competitive global practice and building technology to “softer,” more academic topics of history and concerns for architectural conservation. The UAP, which celebrated its silver jubilee this year, hosted talks that emphasized planning issues. The topics: “Proposed Land Use Plan and Zoning Ordinance in the City of Makati” by Prof.Geronimo Manahan, “Moral Values in Environmental Planning” by Sixto E. Tolentino, and “TheQuezon City Land Use and Zoning” by architect Gerry Magat. The rest of the talks featuredacademic discussions of conservation and history: “Architectural Preservation of Historical Philippine Churches” by Fr. Pedro G. Galende, OSA, and “Arkitekturang Filipino: Spaces and Places in History” by Felipe de Leon Jr., Regalado T. Jose, and Augusto Villalon. The UAP, which has a new national president in architect Prosperidad C. Luis, has also co-organized a traveling exhibition with the NCCA’s Committee on Architecture and Monuments and Sites. “Arkitekturang Filipino: Spaces and Places in History” was curated by two UP-based architects, Edson Cabalfin and Gerard Lico. Lico and Cabalfin shaped the exhibit to bring out the heterotopic quality of our architecture. They framed it as a process developed “out of contradiction, mediation, and transformation.” The exhibit’s visuals accentuated the physical and spatial texture of Filipino architecture, but the curators also endeavored to make manifest Filipino architecture’s cultural expression as politics, ideology, and power. That these two architects of the younger generation have pursued scholarship in architectural history, theory, and criticism is a good sign for Philippine architecture. Even more encouraging is that they and a few others have taken to sharing their research and insights as writers, given more space in print media and supported by institutions like the NCCA and the UAP. Intellectual discourse is slowly spreading and increasing in depth. There is still a restrained air in these scholars’ critiques, but the untested, seemingly shallow waters of public and professional appreciation may lead to an acceptance of architectural criticism as a valued part of the process of evolving a Filipino architecture. This discourse is needed, too, in architectural pedagogy. In 2000, the two leading schools, UST and UP, have embarked on programs to refocus their syllabi in response on current concerns for “green” architecture and greater exposure to aspects of heritage, and the urban context of emerging Asian and Philippine architecture. The UST under a new dean, architect Louis Ferrer, is restructuring as a consequence of its separation from theCollegeof Fine Arts. The UP College of Architecture, under its also relatively new dean, architect Cristopher S.P. Espina, is encouraging more research and its publication. Other schools like the FEU are taking more pro-active stances. The rest of the academe, however, is for the status quo, producing architectural graduates to feed into the global market for competent CADD operators and backroom designers. The need is for more architects of competence no doubt, but also needed are professionals of calibers with ambition, self-esteem and leadership. This is what we have to do internally. Externally we still need to project our architecture as our own and not just as an adaptation or mere mutation of foreign “styles.” One opportunity came our way through a piece of Filipino architecture framed as a national exposition pavilion at the Expo2000 inHanoverlast year.

Exposing Filipino Architecture to the World

International expositions have always been an opportunity to showcase our contemporary architecture and benchmark ourselves against the rest of the world. Notable in the Philippines’ past participation in these events have been Otelio Arellano’s salakot pavilion at the 1964 World’s Fair and Leandro Locsin’s shell pavilion at the Expo ’70 inOsaka. After 30 years of absence, thePhilippinesresurfaced at the Expo 2000Hanoverwith a pavilion that reflected the state of Philippine architecture, just as the pavilions of ’64 and ’70 reflected its states in their respective times. Participation was made possible by CITEM, Department of Trade and Industry, NCCA and the German government resulted in the commissioning of architect Ed Calma’s pavilion’s design. Given a tight budget and little time, Calma produced a piece of work as distinctive in form as the two previous Philippine pavilions. While Arellano’s salakot was literal and Locsin’s shell was expressionist, Calma’s sensual weave of bamboo lines and planes was evocative. His basket-like construction of bamboo-derived elements created an environment, a deconstructed architecture that sought more to frame its contents than to contain them in a conventional envelope. Calma’s piece differed situationally from the previous two in that it was housed in a cavernous interior space instead of in the open. There was no need to aim for a distinctive silhouette or to bother with climate control. Freed from these constraints, Calma’s design focused on an almost totally introverted delineation of space and the temporal experience of moving through it as displacements of interaction with the various artifacts and digital images contained in the pavilion. Calma’s design was augmented by Melissa LaO’s installations. She used elements that unfolded from the logic and structure of Calma’s framework. These in turn contained the digitized or printed images and served as plinths for material that provided the layering in a texture that was to blur both message and medium. Unfortunately, the message or curatorial content was, in the opinion of many, decidedly less focused than the medium. The trade fair was the biggest in the world this year and ran from June to October. It was popular with the expo’s visitors. There was a recurring theme of the use of timber in many pavilions likeFinland’s. ThePhilippines’ contribution was in the use of an indigenous material, bamboo, which is gaining popularity now that appropriate downstream processing technology has been developed. The contribution of Calma’s piece to Filipino architecture was the experiment in the process and production of form based on the goal of projecting a positive image of thePhilippines. Issue maybe taken with this very goal as the image projected was one that seemed to overly commodifyFilipino craft and creativity. More disturbingly, it also commodified Filipinos themselves as entertainers or highly skilled exportable labor, adding value to economic or cultural enterprise in other countries, except our own. Calma’s appropriation of a foreign technology (the bamboo process is German-developed) as a tool for producing a Filipino form and framework seemed opposite to the message of our cultural and social displacement. This may be the gist of our architectural dilemma. Content and form in our architecture, our contemporary culture and the spatial and aesthetic expression of it, are either in a state of flux and evolving or dangerously dissipating in the blinding light of a globalizing culture. Exposure works two ways—we can move forward and use the process to further develop our architecture, or we can be absorbed by the resurgence of internationalism in world architecture. We can continue to “play” with fashionable form given the natural talent we have for mimicry, or we can strive (a term connoting conscious effort) to experiment (as Calma, LaO, and a number of younger Filipino architects have done) to make form and content have real meaning.


Warm Earth Color Filipino Design

Redefining the boundaries of Philippine Architecture

The year 2000 was a benchmark year for Philippine architecture. Heritage loss like the Jai Alai and the impending loss of other landmarks, such as theInsularLife Buildingby Concio and Locsin’sAyalaMuseum, have not been balanced with any new work. This situation pervaded 2000 save fora few bursts of creative flair like Calma’s pavilion and the continuing expression by a younger architectural generation in residential design. Major new work in progress like the Ninoy Aquino International Airport III terminal building and numerous towers in our city are foreign-designed, relegating Filipino architects-of-record to the role of glorified draftsmen, delineating our future buildings and sites under the homogenizing gaze of western culture.

The older generation of Filipino architects have, like Felipe Mendoza, passed away or, like Concio, retired into anonymity. Their work and contributions are unappreciated and much worse, mainlyundocumented. A younger transitional generation (back from stints abroad) is mainly practicing based on sheer talent, rehashing styles and forms absorbed from overseas as well as driven by marketability and fashion. With few exceptions, the goal of Filipino architecture has been to produce goods for consumption rather than to create environments that ennoble our culture and to discover viable patterns of increasingly dense urban life in the tropics. Physical tragedies, like the Payatas and Cherry Hills incidents, have caused the profession and academe to reexamine their environmental and social responsibilities. Our schools of architecture and the various related professional organizations have taken steps to acknowledge these responsibilities and to benchmark progress along more environmentally sustainable and culturally sensitive lines. Housing for the Filipino masses remains an unattainable dream given the continuing tight grip of the paradigm of sprawl and low-rise/high-density formulas for residential typology. Meanwhile, cultural and institutional architecture is in the doldrums, creating quickly crumbling symbols of political corruption rather than monuments and sites of civic pride. All crises and tragedies can be turned into opportunities. Philippine architecture should rebuild on the debris of a shattered economy and shore up the foundations with a conserved heritage and more substantial intellectual discourse. Academe and professional associations must endeavor to reorient the occidental inclinations of Filipino clients and the public, along with retrofitting the mindsets of Filipino architects themselves. The next year should bring a perceptible shift in the way we view our architecture and the process with which we produce our knowledge, our practice and our experience of it. This shift must occur, or the benchmark of 2000 may be lost in the mire of social and cultural miasma, brewing in the wake of neo-colonial, glossy, globalized, throw-away architecture.


Wooden-House-Exterior-Design-Philippines

PAULO G. ALCAZAREN is a landscape architect involved in several major projects here and abroad. He recently received his M. A. in Urban Design from the National University of Singapore. He also writes a weekly column for the Philippine Star on architecture and heritage conservation.

The architect as nation builder


http://www.philstar.com/ArticlePrinterFriendly.aspx?articleId=834643&publicationSubCategoryId=90
Starweek Magazine


The architect as nation builder
By Ida Anita Q. Del Mundo (The Philippine Star) Updated August 05, 2012 12:00 AM Comments (0)










MANILA, Philippines - Celebrating his 40th year as architect, Felino Palafox, Jr. has been changing the landscape of the Philippines – and the world – brick by brick. With Palafox at its helm for 23 years, Palafox Associates has received more than 200 awards, citations, and recognitions.

“In 1989 I founded this company and I dreamed at that time that in 25 years we could make it number one in the Philippines,” Palafox recalls. “On our tenth year, we were cited by the World Architecture magazine of London as the first and only Filipino in the top 500 architects in the world. We ranked 220.”

Palafox continues, “On our tenth year, I envisioned to make Palafox Associates number one in Southeast Asia in another 25 years.” In 2006 – only seven years later – the firm made it to the world’s top 100 in world, the only architectural firm from Southeast Asia to be recognized.

“This year we broke top 100 again,” Palafox shares with pride. “We are ranked 89. In leisure projects we are ranked number 8 in the world.”

With more than 900 projects in 37 countries over the past 23 years, the firm has worked with some 12 billion square meters of land for urban planning and more than 8 million square meters of building floor area.

But success is not only measured in square meters. Palafox says that the company’s triple bottom line approach is what makes it unique: “People first or social equity, then planet earth or the environment, and finally profit or economic goals.”

“If one of the three legs of this triple bottom line is missing then we don’t take the project,” he says, adding, “Some people call me a maverick, some call me controversial, when we crusade for the environment – giving up projects or even exposing people who destroy the environment.”

In keeping with its triple bottom line advocacy, the company has been known to give up millions in architect’s fees by not accepting a project from clients that could not comply with their environment-friendly recommendations.

As an ex-seminarian, Palafox sees that his work and position’s importance is beyond economic success. Explaining the etymology of the word corruption – corfor heart and ruptusfor broken – he says, “We are a broken-hearted society because of corruption.”

Ground breaking

Palafox has led many ground-breaking, innovative projects throughout his professional life.

One of the local projects that he is most proud of is the Rockwell Center master plan because the project – a mixed-use high-rise development that is walkable – highlights the Palafox design philosophy of integrating together a place to live, work, shop, dine and worship – all within walking distance.

Some other landmark projects include the renovation and upgrade of Manila Polo Club and the Qatar embassy. The firm has also worked with some of the top architects in the world, and some of the top golf course planners in the world – Jack Nicklaus, Robert Trent Jones II, Tom Weiskopf, and Greg Norman.

As for personal milestones, in 1997, Palafox became the first Filipino architect invited to guest lecture at the Harvard Graduate School of Design. He has also delivered lectures at his local alma maters – the University of the Philippines and University of Santo Tomas – took notice and started inviting him to lecture as well. Since then, he has been a guest speaker in conventions and seminars all over the world.

In a career that is dotted with firsts, Palafox is also the first architect to be the president of the Management Association of the Philippines. He is also a member of many international organizations, including the American Institute of Architects, American Planning Association, Urban Land Institute, International Council of Shopping Centers, International Council on Tall Buildings and Urban Habitat, and the Congress for New Urbanism.

A truly global citizen, he chairs the environment committee of the American Chamber of Commerce-Philippines, was elected director of the Canadian Chamber of Commerce of the Philippines, and was founding member of the German Chamber of Commerce.

It was his time as urban planner for Dubai, however, that Palafox considers as life changing. “I didn’t even know where Dubai was,” he says when he was hired by the royal family of Dubai.

Palafox became the first Filipino to be invited to master plan Dubai. “This really had an impact on me on going international.”

As part of an international team, he was able to work with 20 architects from 14 countries. “Only two of us were Asian,” he recalls.

“In Dubai I worked with visionary leaders who had great respect for architects.”

It was April 1977 and the pool of architects was given their direction: “Bring Dubai from the fourth world into the first world in 15 years.”
The world according to Jun Palafox: Rockwell Center embodies the Palafox design principles (top left). Palafox envisions the future with a mixed-use tower (left). A proposed design for Vien Dong Meridian tower in Danang, Vietnam (above).

Palafox shares that they were told to plan Dubai as if there was no oil because they were aware that the resource would eventually run out. They were challenged to create a garden city out of the desert.

“They imported soil from Pakistan, irrigation from Germany, flowers from Holland.” The team’s goal was to make Dubai a city that would set the pace in the Middle East, a gateway city with their airport and seaport as anchor projects. Given their 15-year timeline, Dubai achieved all this in ten years.

Palafox adds that they were highly encouraged to travel all over the world to see what good practices and designs could be adapted in Dubai. While his colleagues went to the likes of London, Paris, and New York – cities that took hundreds of years to develop, Palafox decided to study five cities that became first world in less than 15 years – San Francisco, Hong Kong, Singapore, Zurich, and Geneva. All of these cities were able to rise from third world to first world to quickly become top players in the world arena. “Those were my benchmarks for Dubai.”

As Palafox continued to make a name for himself in Dubai, it was Henry Sy and Enrique Zobel who took notice of him and enticed him to come home.

“It was Henry Sy himself who personally visited me in my home in Dubai,” he says. “The offer was to come back here because the country needs you more than Dubai, or if I get tired of working in Dubai I could work for Henry Sy or Ayala Corporation.”

Palafox did return home and he worked for Sy for a while, bringing SM out of the box – literally – designing the shopping centers differently from the usual box-style buildings.

Palafox also worked with Ayala for the redevelopment of Ayala Center, master plan of Ayala Alabang, Ayala Heights, Laguna Techno Park, and Cebu Business Park.

Since then, Palafox has worked with all the big names both locally and internationally, including the Lopezes, Enriles, Aranetas, Yulos, Florendos, Aboitiz, Alcantaras, Imee Marcos, Manuel Villar, Edward Hagedorn, the Sultan of Brunei, and the emirs of Kuwait and Qatar, among many others.

“It is both inspiring and challenging, and very interesting,” he says on working for so many important clients where he has had to deal not only with different landscapes and designs, but with different cultures.

Architecture for humanity

“Some people call it pro bono, I call it patriotic or democratic architecture, architecture for humanity,” Palafox says.

Among the firm’s CSR projects are the Gawad Kalinga conceptual development plan and Smokey Mountain urban renewal housing projects.

Palafox also recalls an eartquake-devastated school in Bam, Iran that the firm reconstructed. “It was funded by the Buddhists of Taiwan for the Muslim children of Iran and they hired us Filipino Catholic architects and engineers.”

Another important on-going architecture for humanity project that Palafox is doing has to do with the country’s waterways – including the Pasig River clean-up and the Manila waterways urban redevelopment and streetscape design.

“The Philippines has the third largest waterfront in the world,” says Palafox, recalling once again his experience in Dubai where they had to create artificial islands to lengthen their waterfront because they only had 70 kilometers of natural waterfront.

“We’re number one in the world in marine biodiversity... the Filipino is the best global citizen in the world – outside our country,” says Palafox. “Without corruption, we should be in the top 20 in the world in the near future.”

Postcards from the future

Palafox calls the 21st century a “Re-century.” It is an era wherein we will re-imagine, re-develop, re-plan; re-use, recycle, reduce. “Hopefully we will have a Renaissance,” he adds.

Palafox highlights that the architecture firm’s advocacy is to create urban spaces that are interconnected, walkable, bikeable, safe, and clean. He envisions developments that integrate places to live, shop, dine, work, and worship. In a project called “Postcards of the Future,” Palafox took different parts of the metropolis and re-imagined them.

For example, Palafox advocates the re-zoning of cities along the river to face the river, starting with the Pasig River.
BRICK BY BRICK: Sultan Hassanal Bolkiah Masjid, Cotobato City, Mindanao. The lakeside area of Sta. Elena golf course community. Designs for a private villa and Flamingo Mall, both in Jeddah.

“In other countries, waterfront is a front door of development, even making artificial waterfronts,” he says. “Unfortunately in our country, we treat our waterfront as the back of the house, basurahan. We are trying to reverse this paradigm and make our waterfronts the front door of development.”

He adds, “Hopefully this will have impact on the whole country because we have more than 400 rivers and 180 of them are dead. If we are able to revive and revitalize Pasig River, hopefully it will be a good model for the other 400 rivers in the country.”

Speaking of future projects, Palafox says, “When people ask me what’s our best project, I always say it’s the next one because we then have the advantage of hindsight, learning from previous experiences.”

At the moment, there are some 50 projects on the Palafox Associates drawing board, including three American Battle Monument installations; a 177-hectare development in Clark, with the emir of Kuwait as investor, a project that Palafox says will create more than 200,000 jobs in the area; another development in the Clark area with Korean investors; the new building of the Asian Development Bank headquarters, employing LEED-certified green architecture; and tourism projects in Ilocos Norte, Palawan, Puerto Galera, and Davao.

But, despite all these projects, Palafox says, “Beyond success, we’d like to be significant.”

“When people ask me, why do I go beyond my architectural box with this architectural activism, architecture for humanity, architecture for environment, and architecture for interfaith? It is to become significant and to give back to society.”

As a nation builder, visionary, and concerned architect, Palafox continues to give back to the society and the world by writing us postcards from the future. Cover Photo By Jun Mendoza