ARKRIKTURA MAGAZINE

AR135-1/A52

2024

ARKRITIKTURA M A G A Z I N E A VERSATILE AND ENJOYABLE FORM OF MEDIA THAT HAS STOOD THE TEST OF TIME

VOLUME 1 ISSUE 1

ISSUE 01

VOLUME 01

EDITORIAL When we delve into the domain where critical analysis and architectural brilliance meet, we find that our built environment is shaped by both the tangible and intangible parts of design.

Arkritiktura explores the deeper meaning of aesthetics beyond the superficial allure of a facade by exploring how built architecture edifice may influence cultures, history, and communities in the Philippines.

Arkriktura welcomes readers to join us on an intriguing journey through the pages of this magazine, where every architectural wonder is explored meticulously. Let us unravel the motives for featured buildings that form us-the community by delving into the roots of the buildings. The intention is that by exploring this junction, people will have a better appreciation for the complex relationship between function, aesthetics, and analysis.

In this edition, you will find five articles authored by architecture students at Mapua University, each exploring two buildings per theme. For our inaugural release, the chosen theme revolves around a voyage through Philippine architecture, delving into the evaluation of buildings across various decades.

arkritiktura team

TABLE OF CONTENTS

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09

TO CONSERVE OR CONDEMN? THE STRUGGLE TO SAVE HERITAGE BUILDINGS

THE EDIFICE COMPLEX, IS IT JUST A FACADE? Philippine International Convention Center Manila Film Center

The Luneta Hotel Benguet Center

13 PRESERVING PILLARS OF THE PAST: NEOCLASSICAL ELEGANCE IN THE PHILIPPINES, A TIMELESS HERITAGE Manila City Hall National Museum of Fine Arts

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18

BRUTALISM: IS IT AUSTERE, TOO MONOCHROMATIC, AND BORING?

MAJESTIC PHILIPPINES: THE PEARL OF ICONIC BUILDINGS

Philippine International Convention Center San Miguel Corp. Building

The Ruins Manila Post Office

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CONTRIBUTORS

01 HERBY JULLIAN ALEJO

Contributor

02

Author of “The Edifice Complex, is it just a facade?”

JAMES CRISEL D. BALIGAT Contributor

03

Author of “To Conserve or Condemn?

The Struggle to Save Heritage Buildings”

KAHLILAH C. BAYON Contributor

04

Author of "Preserving Pillars of the Past: Neoclassical Elegance in the Philippines, A Timeless Heritage."

MELLIZZA D. GAFFUD

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Contributor

Author of “Majestic Philippines: The Pearl of Iconic Buildings

JEANNE ROSE MANLANGIT Contributor Author of “Brutalism: Is it austere, too monochromatic, and boring?”

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Cultural Center of the Phillippines Complex

by Leandro V. Locsin

THE EDIFICE COMPLEX, IS IT JUST A FACADE?

heritage and artistic endeavor. The purpose of the CCP is to promote and preserve the best of the Filipino arts and culture. It also a hold the reception of various event and performances since its founding.

BY HERBY JULLIAN G. ALEJO

The Cultural Center of the Philippines Complex or CCP, was created in 1966 and stands as a testament to the Philippines’

The inception of CCP can be traced back during the Martial Law during the Marcos administration during the 1960s. The former President Ferdinand Marcos and

First Lady Imelda Marcos envisioned the CCP to be a grand cultural hub that represent the heritage of the Philippines.

However, the construction of the CCP Complex has its controversies. With the president creating an Executive Order for the CCP to be created and the First Lady being elected as its chair, this opportunity gave Imelda to negotiate cultural affairs and acts

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an art patroness on behalf of the country. With that, the CCP main building was inaugurated and Imelda made sure to launch it before the election to credit their name on its achievement. It also raises an issue regarding the project’s funds which the Senate needs to investigate. According to a 1994 report, “by 1972, the CCP was already burdened with a debt amounting to P63 million, incurred mainly from the construction of the theater alone.” Also, questions about sustainability, accessibility, and the management of cultural events have prompted discussions about the efficiency and effectiveness of the CCP Complex as a cultural institution.

Tanghalang Nicanor Abelardo or the CCP Main Theater sits 1,815 guests and has four (4) levels: Orchestra, Boxes, Balcony I and II.

The modernist architectural movement, which originated in the 20th century and is characterized by its practicality, simplicity, and rejection of conventional decoration, served as the inspiration for the design of the CCP Complex. The use of geometric shapes, open spaces, and clean lines all contribute to the overall style.

The CCP Complex shows a mixture of modernist principles with elements inspired by Filipino culture, resulting in a distinctive architectural identity that represents the country's artistic goals.

Some of the significant features in the CCP are the Main Building, Tanghalang Pambansa, and the Folk Art Theater. The Main Building known for its golden roof, similar to a floating shell, has become synonymous with the cultural center.

Its design symbolizes the maritime culture in the Philippines. The Tanghalang Pambansa shows the evidence of the successful combination of modern and traditional architectural design elements.

There is a sense of cultural immersion in the lobby thanks to the use of native materials and artwork.

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The theater itself is a contemporary marvel, furnished with cutting-edge equipment for a range of performing arts. The Folk Art Theater is distinguished by its unique shell-like structure. The architecture of the structure highlights Locsin's dedication to fusing natural and artificial elements to create a visually arresting and harmonious space.

Leandro Locsin, who was named as a National Artist for Architecture, was instrumental in determining the CCP Complex's architectural style. His avant-garde designs, which fuse modern and traditional aesthetics with organic forms, have permanently altered the cultural hub.

⁤ he CCP Complex was created on the values of T preserving and advancing Filipino culture. ⁤It is intended to be a place that exists outside of time and serves as a bridge between tradition and modernity. ⁤Via a variety of artistic disciplines, the complex hopes to ensure cultural continuity, promote pride in the country, and offer a stage for artistic expression for everyone. ⁤ ⁤ he Cultural Center of the Philippines Complex is, in T summary, a complex organization that has changed over time. ⁤Despite its controversy, the complex which features a distinctive mixture of modernist architecture with Filipino cultural influences shows as a testament to the country's dedication to the arts. ⁤The guiding principles highlight the complex's function as a lighthouse for culture, highlighting the dynamic and varied aspects of Filipino creativity. ⁤

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MANILA FILM CENTER -FROILAN HONG

''The Philippines is in a And at 3 a.m. on Nov. 17, 1981, the tragedy of the Manila Film Center strategic position - it is happened. The scaffolding on the fourth floor collapsed and 169 workers buried in the quick-drying cement. What followed was an atrocious both East and West, right were decision to continue the construction without retrieving the bodies – a and left, rich and poor, move perceived as prioritizing deadlines over human lives. Fearing that We are neither here nor the accident would cause a scandal, a media blackout ensued by the government probably by the Marcoses. By then, the cement had there.'' hardened and at least 168 workers had either died or been buried in it.

-Imelda Marcos The Manila Film Center, located in Manila, is known for its tragic history and the surrounding stories behind it especially paranormal ones. It is a notable building that has been a subject of architectural discourse since its beginning. The Manila Film Center was planned to be the center stage of the Manila International Film Festival, which is Asia's equivalent of the French Cannes Film Festival.

The Manila Film Center started its construction in the early 1980s, with an ambitious vision to make it the cultural center of the East that would match the Cannes Film Festival.

Having a tight schedule set for completion, with only 18 months, had 4,000 workers who worked in three shifts non-stop for 24 hours a day.

However, its sped-up construction, raises concerns about its thoroughness and its compromised safety and structural integrity.

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The main theater of the Manila Film Center.

The stage of the main theater inside the Manila Film Center.

The Manila Film Center, created by Filipino architect Froilan Hong, embodies a modernist architectural style distinguished by geometric shapes, clean lines, and a practical approach. A massive dome that dominates the building's exterior serves as a testament to the nation's architectural prowess. The building has a strong, imposing presence thanks to the use of concrete, which is reminiscent of brutalism in architecture. The dome's elaborate reliefs and patterns pay homage to regional craftsmanship while fusing modernism and cultural allusions. The Film Center's interior features a large theater that can accommodate over 4,000 people and is furnished with cutting-edge equipment for events and movie screenings. The opulence intended for the hosting of international film festivals is reflected in the interior design.

The Manila Film Center's founding ideals stemmed from a wish to highlight modernity and national pride. Nonetheless, the debate surrounding the sad event highlighted the moral issues that come with undertakings this large-scale. The emphasis on speed over safety prompted concerns about ethical construction methods and the necessity of striking a balance between long-term objectives and moral considerations.

The Manila Film Center is a recognized architectural landmark, but controversy and tragedy will always be a part of its history. The structure acts as a warning, informing the architectural community of the significance of striking a balance between responsible construction methods and ambition. The incident emphasizes the necessity of approaching large-scale projects with thoroughness and ethics, since people's safety and well-being should never be compromised for the sake of speed.

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COCONUT PALACE

BY FRANCISCO MAÑOSA

The Coconut Palace is a unique architectural wonder that has drawn notice for its unusual layout, fascinating past, and controversial aspects. Imelda Marcos ordered it in 1978 so that Pope John Paul II could stay there during his 1981 papal visit to the Philippines. The ambitious vision behind the creation of the Coconut Palace is exemplified by its swift construction between 1978 and 1981.

The palace's importance as a representation of pride in the country and hospitality was highlighted by the pressure to finish it in time for Pope John Paul II's arrival. But controversy was also stoked by the construction's rapid pace, with many questioning how resources were allocated at a time when the Philippines was facing economic difficulties.

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Beyond just its price, the Coconut Palace is the subject of controversy. It acts as a concrete depiction of the excesses connected to the Marcos administration, a period distinguished by ostentatious projects and ostentatious consumption. The extravagant palace's contrast with the country's dire economic conditions stoked popular discontent and added to the complicated legacy of the Marcos administration.

Francisco Manosa's dedication to advancing Filipino architecture is evident in the layout of the Coconut Palace. The use of native materials such as bamboo, capiz shells, and coconut timber highlights the architect's commitment to highlighting the beauty and adaptability of regional resources. A harmonious and eye-catching structure is produced by fusing modern architectural styles with traditional Filipino design elements.

The influence of architect Francisco "Bobby" Mañosa goes beyond the Coconut Palace. His dedication to promoting the acceptance and incorporation of indigenous Filipino architectural principles characterized his career.

His conviction that architecture ought to be firmly anchored in the cultural identity and sustainability of the place it is built, in addition to being aesthetically beautiful, is demonstrated by the Coconut Palace.

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The Coconut Timber Components are among the components that can be found in the Coconut Palace.

Using coconut wood is an environmentally conscious and sustainable decision that is in line with larger environmental consciousness concepts. It also promotes a sense of pride and kinship with the natural resources of the Philippines by acknowledging the adaptability of locally produced materials.

Another is the use of banig (mat) design patterns, which metaphorically weaves together the various cultural strands of the country. These patterns' painstaking creation process is a testament to how much value is placed on maintaining traditional Filipino artistry and craftsmanship in the context of modern architecture.

Finally, the inventive engineering of a floating structure tackles the realworld problem of flooding in the Philippines with the Floating Structure. This feature not only demonstrates innovative design but also emphasizes how crucial it is to take sustainability principles into account when developing architectural solutions that take the environment into account.

The Coconut Palace is a physical example of a cultural revival that highlights the value of nationallyinspired architectural styles. The intentional attempt to promote a sense of pride and ownership among the Filipino people was behind the incorporation of Filipino cultural elements, which went beyond simple stylistic choice.

The Coconut Palace was built with the practical intention of hosting a dignitary, despite the debate surrounding its price. The idea that practical utility and architectural excellence should not be separated is furthered by this dedication to functionality. The palace offers an example of how style and utility can coexist, creating an aesthetically pleasing and functionally useful space.

Essentially, the Coconut Palace represents the hopes, complexity, and resiliency of a country that goes beyond its architectural significance. Its construction controversy makes it a fascinating case study for the study of the relationship between politics, culture, and architecture in the history of architecture.

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TO CONSERVE OR CONDEMN? THE STRUGGLE TO SAVE HERITAGE BUILDINGS

BY JAMES CRISEL D. BALIGAT

Historic structures act as eyewitnesses to the complex thread of our shared history. The designs and timeless narratives of these architectural wonders reflect the social, cultural, and historical foundations of a society. Still, preserving historic structures is an easy feat; many obstacles jeopardize our common heritage and sometimes it is really hard to pinpoint who is at fault.

It is more than just buildings; they are symbols of our culture that continue to exist today. As artifacts of a vanished age, they capture the artistry and ambition of the architects and the builders and serve as reminders of their ideals and principles. It cannot deny the fact that preserving these structures is crucial. However, do these buildings deserve to be conserved or condemned?

Memories are preserved in buildings. As they endure the effects of time, their hallways and walls bear witness to numerous narratives. The Luneta Hotel is a notable example of such a structure.

It emerged during the most optimistic era in Philippine history, saw Manila's prosperous time, withstand war, succumb to depravity and deterioration, decline into obscurity, fade into insignificance, and subsequently regain its previous splendor. As the only remaining example of the enduring beauty of French Renaissance architecture in the Philippines, the Luneta Hotel provides a one-of-a-kind glimpse into a bygone era. Designed by the Spanish architect Salvador Farre and built in 1919, this extraordinary structure is one of the few that survived the devastating effects of World War I and is still standing today. Stood as the tallest edifice in the vicinity, with a total of six floors of magnificence.

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THE LUNETA HOTEL The structure stood out above the rows of traditional Filipino houses and buildings in the affluent Ermita area. The Luneta Hotel embodied the grandeur associated with architecturally similar French Renaissance Revival establishments like (1). Hotel de Ville 1880 (2) Hotel Lancaster in Paris 1889 (30 William K. Vanderbilt mansion 1878 (4) Fletcher-Sinclair mansion 1899. The Luneta Hotel, which had a magnificent start, unfortunately, changed a lot during the devastation of World War. It survived a war, but it couldn't survive neglect.

The reinforced-concrete Luneta Hotel boasts a prime location in Luneta Park, providing uninterrupted views of the Rizal Monument. It is a representation of Daniel H. Burnham's (an American architect) architectural vision for Manila, and it was one of the first five-star hotels in the newly developed Luneta Park region.

Dignitaries and social elites were captivated by the hotel's elegant environment, which symbolized hope and emancipation from Spanish tyranny. Time magazine dubbed the 33rd International Eucharistic Congress the "Oriental Pearl" since it was held at the Luneta Hotel, the first time the congress had ever been held in Asia. The event gained worldwide notice. The hotel was a haven for American non-commissioned officers during WWII, but it fell into disrepair when the Japanese army utilized it as a base of operations. The hotel survived the Liberation of Manila in 1945, but it didn't escape the postwar downturn. Following unsuccessful restoration efforts in the 1970s and 1980s, historic structures were formally protected by Presidential Decree 1505 in 1978 and further strengthened by the Cultural Heritage Act of 2009. The Luneta Hotel began its restoration in 2008, intending to preserve its historic identity while maintaining its structural integrity.

The Luneta Hotel (left), and the University Club and Apartments (right) skyscrapercity.com

Despite its state, it boasts architectural beauty. The exterior of the Luneta Hotel exudes a sense of grandeur with its ornate facade and striking distinctive color. I admire the meticulous attention to detail in every corner of the hotel and from bottom to top. The ground level has arched doors and windows, while the doors feature a decorative keystone. Both doors and windows have ornamental metal grills that accentuate the building's depth. much like Also, the balconies show off a meticulous flower pattern of wrought iron grills, which were believed to glisten when illuminated by the sun's warm rays, and as light streams in, the intricate grillwork creates mesmerizing shadows that liven up the façade. The front of the Luneta Hotel radiates an aura of classic elegance.

The cornices, with their delicate patterns and precise craftsmanship, serve as visual echoes of the architectural style. The hotel also parades the beauty of curved pediment windows on the edges of the building. It has friezes, adorned with floral motifs gracefully positioned along the window while there are pointed pediment windows in between the curved pediment windows. All windows were connected to the decorated frame molding which contributed to the hotel's overall elegance, offering a glimpse into the aesthetic elements of the past.

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The suspended outdoor lamps create a dramatic and fascinating visual display, boosting the overall aesthetic appeal of the French Renaissance style. A colored glazing window from the exterior’s third floor to the sixth floor is also noticeable where it serves both aesthetic and functional purposes, adding a touch of visual appeal to a building's exterior while also providing shade from exterior light. The fifth floor flaunts triple arcades with Corinthian columns.

Additionally, the full-length dormer windows gracefully punctuated the roofline while the mansard roof, the most distinctive feature, was adorned with finials. On top of that, there are crocodiles, lions, alligators, griffins, and other mythical creature gargoyles in the hotel. Restored to pristine condition, this architectural gem tells the tale of Manila's colonial history through its exquisite features.

BENGUET CENTER The ironic twist of fate where positive circumstances experienced

by The Luneta Hotel directly translate into adverse consequences for Benguet Center in Mandaluyong.

While the hotel may be rejoicing favorable outcomes or luck, the same set of circumstances brings about unfavorable for the latter.

Benguet Center in Ortigas Center was designed by the National Artist, Leandro Locsin for the Benguet Corporation. The Benguet Center was an exceptional architectural wonder, with its towering vertical shards giving it an intriguing a characteristic. The Benguet Center, together with the San Miguel Building designed by the Mañosa Brothers, had a significant impact on transforming the Ortigas center during the early 1980s. This architectural pair introduced a fresh perspective to the urban landscape by seamlessly integrating contemporary design principles with a respectful acknowledgement of the cultural and natural heritage of the Benguet area.

Upon approaching the entrance, visitors were met by the imposing façade of the structure, which consisted of a combination of seamless steel and stone. This architectural design evoked stories and memories from a distant past. The Araal stone cladding, embellished with elaborate embellishments. The immense volume of concrete demands immediate attention. When observed from a greater distance, it seems commanding and exceptionally remarkable. Every block is thoughtfully arranged, offering a function that goes beyond just aesthetic appeal. The interaction between light and shadow on the rough surface produces a choreography that emphasizes the building's striking and solid presence.

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Nevertheless, despite its notable architectural importance and influence on the Ortigas Center's skyline, the Benguet Center had an awful destiny. Benguet Corporation faced significant obstacles in the 1990s due to its attempts to diversify, which led to a major accumulation of debt by 1992.

Faced with financial challenges, the firm was had to make a tough choice, resulting in the sale of vital assets, such as the Benguet Center.

The Benguet Center was later put up for sale in order to regain financial stability, attracting the interest of retail tycoon Henry Sy. In a deliberate effort to increase his influence in Ortigas Center, particularly in light of the recent establishment of SM Megamall in the vicinity, Sy purchased the property and converted the Benguet Center into the official offices for his fast expanding banking firm, Banco de Oro (BDO).

In 2011, SM disclosed its intentions to dismantle the Benguet Center in order to construct a new corporate edifice for BDO, a resolution that caught some individuals off guard and caused them distress. The construction of a pedestrian walkway project was hindered by the new building, despite its potential to greatly benefit the local population. This choice was taken because it may potentially harm the visual attractiveness of The Podium's exterior.

Amidst the city's expansive development, the brutalist structure stands out prominently, showcasing a resolute demeanor. Its exterior has extensive horizontal slabs, creatively complemented by vertical blocks of different heights, like a shard. The building's rough and black stones convey a statement of severe and austere rectilinearity. The concrete exterior has prominent horizontal stripes that are carved into the surface, forming a rhythmic cadence that challenges the typical notion of architectural smoothness.

Each slab serves as evidence of the unabashed practicality that is inherent in the brutalist ideology, honoring the simplicity of design and purpose. The vertical concrete blocks stand tall and are arranged in different heights and patterns, creating a striking contrast to the horizontal elements. The deliberate irregularity of their design breaks the anticipated uniformity, resulting in a dynamic interaction of light and shadow that enhances the building's three-dimensional appearance. The concrete surfaces, aged and textured, bear the marks of time, representing the durability of the material in the face of natural forces. The infusion of Araal stones adds an additional layer of character to the structure. The stones, with their dark and coarsely cut appearance, add a touch of rough elegance to the concrete façade, showcasing their distinct textures. As one approaches, the sheer mass of concrete commands attention. Looking from a farther view, it looks dominating and exquisitely extraordinary, extremely contrast to the buildings around it. Perhaps, it was demolished due to its exterior character that does not suit the style of adjacent buildings.

Despite facing opposition, the destruction of the structure proceeded, with the justification being its designation as the creation of a National Artist. The formerly esteemed edifice, which symbolized creative architecture influenced by indigenous customs, yielded to the changing influences of urban growth, demonstrating the unavoidable clash between conserving historical heritage and progressing in the realm of architectural design. Unfortunately, this advancement was achieved by demolishing the achievements of a National Artist.

Ultimately, these buildings, which hold historical, architectural, cultural, or aesthetic significance, not only display the culture of the country and tell stories of its history, but may also be adapted for modern purposes. The destruction of these buildings symbolizes the difficult equilibrium between preserving cultural history and accepting advancements in the constantly changing realm of architecture.

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PRESERVING PILLARS OF THE PAST: NEOCLASSICAL ELEGANCE IN THE PHILIPPINES, A TIMELESS HERITAGE BY: KAHLILAH BAYON

Neoclassical architecture is the 18th and early 19th century resurgence of Classical architecture. Unlike Classical revivalism (see Greek Revival), which tended to reuse Classical pieces, the approach focused on the logic of entire Classical books. Neoclassical architecture is distinguished by its grand scale, geometric form simplicity, dramatic use of columns, Greek or Roman decoration, particularly Doric or other details, and preference for blank walls. The widespread response to the excesses of the Rococo style was reflected in the renewed interest in ancient simplicity.

Neoclassical architecture had a significant influence on the architectural environment of the Philippines during the Spanish and American eras of rule. Spanish Colonial Revival and American Colonial Neoclassical architecture are the two primary styles of Neoclassical architecture found in the Philippines.

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MANILA’S “MAHARNILAD” : THE MANILA CITY HALL

Government and civic buildings developed during the American occupation will always be notable because they serve as a reminder of these establishments' significance. A significant government structure built in American Manila is the Manila City Hall.

One of the oldest neoclassical buildings along the stretch of Padre Burgos St. to Taft Avenue is the Manila City Hall, which was planned and designed by architect Antonio Toledo in 1939.

Despite having a hexagonal shape akin to a casket, the architecture lacks the common symmetry that characterizes neoclassical buildings. it garnered a lot of negative attention in its early years. The structure has a hexagonal tower with three veneered dials on the façade. Because it resembled a coffin or, in another variation, a shield of the Knightly Order of the Templars, the building's initial layout was rejected.

The strcuture was situated in the center of Manila's tourist district, the building is surrounded by important government buildings and other points of interest. The Department of Tourism, the Philippine People's Museum, and the National Museum are located south of City Hall. Nearby lies the largest city park in the nation, Rizal Park.

And right next to the Intramuros walls, Manila's old historic area.

The City Hall Clock Tower has come to represent Manila in a symbolic way. It can be seen from all over the city at night thanks to external lighting and floodlights. A tune is played after the bell rings three times per hour. Currently, the Philippines' largest clock tower is thought to be this one.

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The noise, heat, and pollution finally forced all of the office windows to remain closed, with some windows even housing the air conditioner units' exhaust parts. The original pre-War window grills were removed, and some of the windows were entirely walled in. The entire building was painted dirty yellow by 2010, with dirty gray features accented, and the north-side rear space was transformed into a kind of walled backyard. A balcony was built on top of the porte-cochère, blocking the view of the enormous window.

"Illuminating the heart of Manila with historic grandeur, the City Hall stands as a symbol of governance, where the pulse of the city beats in the halls of heritage and civic responsibility."

There was no difference between the main entrance and the main facade.

Three arches divided by Corinthian columns delineated the balcony entry on the south elevation. The addition of pediments and a tall, hexagon-shaped clock tower that ended in a dome with a lantern were used to articulate the north entrance in the same architectural manner.

The principal administrative hub of Manila, Philippines' municipal government is Manila City Hall. Located in the center of the city, it houses important municipal operations. The structure is a historical representation of civic duty and government. Within its walls, a number of offices, including the City Council Chambers, the Mayor's Office, and departments in charge of community development, permits, public services, and finance collaborate to administer the city's operations and offer vital services to its citizens. In addition to being a significant piece of architecture, Manila City Hall serves as the hub for efficient local government.

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NATIONAL MUSEUM OF FINE ARTS

The National Art Gallery, formerly known as the National Museum of Fine Arts Manila, was founded in 1926 and has a rich history. Preserving and presenting the natural and cultural legacy of the Philippines was its main objective when it was first established as the Insular Museum of Ethnology, Natural History, and Commerce.

The National Museum of Fine Arts Manila was established in 1976 after the museum underwent changes and added to its collection over time, with a final emphasis on fine arts. Renowned Filipino architect Juan Arellano created a gem of a building. Its majesty and elegance are the ideal match for the priceless works of art that are kept inside. The neoclassical exterior, which is embellished with exquisite features and elegant columns, emanates majesty and establishes the mood for the amazing artworks.

Due to financial difficulties, the building's 1918 start of construction was postponed, and it was ultimately decided to become the Legislative Building. Arellano altered the original design by including the lawmakers' chambers and an additional storey, as well as by adding sculpture and embellishment to the central façade.

When the building was reconstructed in 1949, it kept its four stories and original building footprint, but the façade articulation was less elaborate. With its major entrances on the east and west, its main axis of symmetry oriented in an east-west direction, and its longitude orientated in a north-south direction, the four-story structure has a rectangular plan and layout.

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North and south facing courtyards around the center core areas of the structure. With single volume halls east and west and double volume passageways north and south, the related rooms are arranged around these courtyards. There are staircases in the building's four corners as well as at the ends of the entry halls.

The second-floor columned portico designates the west entrance, which may be reached by the roadway ramp and flights of stairs from Padre Burgos Street, the ground level. Four Corinthian columns, reaching the entire height of the structure, support the west portico. Giant Corinthian columns and pilasters that rise from the second floor level to the height of the building's two stories articulate the façades. The National Museum featured wall moldings, friezes, bas reliefs, and Corinthian columns both inside and out.

Above the columns and pilasters that round the entire wall are decorative entablatures. Four columns form the central bay, which protrudes and has corbeled balconies on the third floor. Another group of four columns with Corinthian capitals resembles the ones seen in the corner bays. Grillework adorns rectangular windows found in fenestrations.

The National Museum of Fine Arts in the Philippines is a government-trusted educational, scientific, and cultural organization that collects, conserves, displays, and encourages public and scholarly study of artwork, specimens, and historical artifacts that speak to the unique cultural legacy and natural history of the Filipino people. The museum has 29 galleries with works by Filipino masters, National Artists, and prominent contemporary painters, sculptors, and printmakers on display in the corridor.

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MAJESTIC PHILIPPINES: THE PEARL OF ICONIC BUILDINGS

BY MELLIZZA GAFFUD

THE RUINS

The Ruins built by Don Mariano Ledesma Lacson in the year 1920 sits in a 30 square meters area in Negros Occidental. The architecture of the structure has a combination of European and Filipino design elements. The grand estate was built within a sprawling 440-hectare sugar plantation located on the border of Talisay and Bacolod. Drawing inspiration from Italian architecture, the mansion was crafted in the Italianate style. Don Mariano enlisted talented artisans and craftsmen from various parts of the world to construct a sophisticated and detailed residence, a testament to his deep affection for his wife.

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During World War II, the Lacson Mansion suffered a

is not possible due to its lack of intact flooring. The

tragic fate as it was intentionally set ablaze in 1942

only means to ascend to the next level is via the

during the Japanese occupation of the Philippines. This

staircase, conveniently positioned at the entrance.

once-majestic

and

Once inside, the expansive and lofty nature of the

historical significance, was reduced to rubble. In the

structure,

building becomes apparent. The magnificence of the

post-war period, the remaining fragments stood as a

pillars and columns, along with their remarkable

poignant reminder of the past, evolving into captivating

architecture, will captivate your attention. On the

ruins that attracted both locals and tourists. The beauty

second floor, there is a belvedere oriented toward the

that emerged from the devastation garnered widespread

west. This enclosed sun-room, with glass walls and bay

admiration.

windows, offers a splendid perspective of the sunset

The

rich

mansion

with

stands

memories

as

sturcture. but accessing the second floor

a

two-storey

and the Talisay coastline.

The design of The Ruins follows Italianate architecture, featuring neo-Romanesque

columns

that

closely resemble the facade of Carnegie Hall in New York City.

The

detailed

patterns

on

the

columns remain remarkably wellpreserved and impressive. The tiles adorning the mansion were imported

from

Spain.

Various

designs of these tiles are arranged together in the foyer of the rear entrance,

suggesting

that

surplus

tiles

skillfully

were

the

utilized in this area, creating an artful display.

The Ruins stands as a poignant symbol of the amalgamation of European and Filipino design in Negros Occidental. Despite the tragic loss, the remnants of the mansion have transformed into a captivating resilience

testament and

beauty

to amidst

destruction. This historical site narrates a tale of architectural brilliance, wartime tragedy, and underscores

the

enduring

resilience of cultural heritage.

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MANILA CENTRAL POST OFFICE The Manila Central Post Office was built in 1926 through a collaborative design effort involving Juan M. Arellano, renowned for his contributions to the Manila Metropolitan Theater and the Old Legislative Building, Tomás Mapúa, the architect responsible for De La Salle University's St. La Salle Hall, and Ralph Doane. Despite enduring substantial damage in the 1945 war, the Manila Central Post Office was reconstructed a year later, adhering closely to its original design.

The neoclassical design of Manila Central Post

The presence of the Pasig River served as a

Office is a testament to the cultural and historical

convenient route for mail delivery, and the

significance of the Philippine Postal Service. Its front

building's positioning made it accessible from all

facade features 14 pillars, symbolizing the provinces

directions within the capital. This concept was a

that rebelled during the 1896 Philippine Revolution.

component of the "Burnham Plan," devised by

These pillars serve as a poignant reminder of the

American

nation's heritage. Renowned in its era for its

Burnham in the 1900s, aimed at modernizing

magnificent design, the structure boasts harmonious

both Manila and Baguio. But, this introduces a

proportions, clean lines, and meticulous details.

significant challenge to the architectural integrity

Crowned by a set-back attic story and flanked by

and user experience of the building as it not only

semi-circular wings, the building's interior includes

diminishes the pleasantness of the surroundings

auxiliary halls beneath domed roofs. Steel grilles

but also detracts from the intended use and

with Grecian patterns adorn large windows, and a

appreciation of the architectural design.

architect

and

city

planner

Daniel

central atrium provides natural light and ventilation.

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The vandalization of some of Manila Central Post

Office's

regrettable

exterior

invasion

walls on

its

stands

as

a

neoclassical

grandeur, diminishing both its aesthetic appeal and historical significance. This architectural degradation

disrupts

the

intended

visual

dialogue and undermines the building's role as a cultural landmark.

The Postman statue in front of the Main Post Office was conceived during the incumbency of Postmaster General Felizardo R. Tanabe with the recommendation of the former Postmaster of the Manila Central Post Office, Reynaldo R. Martinez as the symbol of the Philippine Postal Service. It was constructed on September 15, 1975 to coincide with the 73rd anniversary of the establishment of the Bureau of Posts under the American regime but the inauguration was deferred indefinitely for the past 25 years. Year 2000 marks the 25th year anniversary of the statue that symbolizes or epithomizes the extra-ordinary level of commitment of the postal work force

The renowned structure succumbed to a fire on May 22, 2023. The annihilation of the structure marked the disappearance of a crucial part of our collective memory and cultural heritage. Following the fire, the Manila Central Post Office, a symbol of our country's history, stood in a state of desolation and quiet. The formerly grand edifice now served as a poignant symbol of the devastating force of the fire. Architects and preservation specialists join forces to reconstruct the iconic Manila Central Post Office. While the recent fire inflicted significant damage, it has ignited a surge of solidarity and resolve to undertake the rebuilding

process.

Upon

completion

of

the

restoration, the Post Office is anticipated to reclaim its status as a tourist attraction. This restoration initiative goes beyond reconstructing a physical structure; it is a concerted effort to rejuvenate a symbol of national identity, ensuring its enduring legacy inspires generations to come.

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BRUTALISM: IS IT AUSTERE, TOO MONOCHROMATIC, AND BORING?

BY JEANNE ROSE Y. MANLANGIT

Brutalism, despite its noble aspirations, seems to carry inherent contradictions. While it advocates for universal values like honesty, economy, and community-centric principles, its utilitarian appearance, raw finishes, and associations with unsuccessful architectural and governmental experiments can be off-putting. Yet, in its most exceptional instances, Brutalism manages to defy expectations, presenting an unexpected contradiction: beauty.

In the dynamic tapestry of Philippine architecture, Brutalism emerges as a compelling and often controversial chapter, etching its raw and unapologetic signature on the urban canvas. Characterized by raw concrete, imposing forms, and an unwavering commitment to functionality, Brutalism stands as a testament to an era of daring architectural experimentation. This movement challenges traditional norms, sparking a discourse on the evolving aesthetics of the built environment.

Through an in-depth look at the brutalist iconic structures like PICC and San Miguel Corp. Building, we seek to answer the lingering question: Is Brutalism austere, too monochromatic, and boring, or does its true allure lie in its ability to provoke, question, and redefine our perceptions of architectural beauty?

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PHILIPPINE INTERNATIONAL CONVENTION CENTER In the early 1970s, amid President Ferdinand Marcos's vision to position the Philippines as a global events and conferences hub, the PICC emerged as a testament to architectural innovation. Designed by the renowned Filipino architect Leandro Locsin and completed in 1976, the PICC seamlessly melds cultural identity with modernity through its interpretation of Brutalism.

Nestled along the picturesque Manila Bay, the expansive complex sprawls over 70,000 square meters, a testament to meticulous architectural planning.

Spanning 12 hectares and composed of four building volumes, the complex cleverly employs architectural techniques to conceal its sheer size and maintain a sense of balance.

Leandro Locsin's intimate relationship with concrete, a material he deems perfect for the tropical context, is prominently displayed at the PICC. It’s exterior boasts a rectangular Brutalist design, characterized by bold, unadorned concrete surfaces. The straight lines and angular forms create a powerful visual impact, embodying the essence of Brutalist architecture. The exterior is marked by a robust simplicity that stands in contrast to more ornate structures. A floating upper level, seemingly defying gravity, adds a touch of architectural whimsy to the imposing structure.

Despite its rectangular shape, the facade is far from mundane. The repetition of concrete modules and the play of light and shadow on the textured surface add a dynamic quality.

Concrete, typically regarded as utilitarian and often concealed under layers of paint in construction, is openly embraced in its raw form. Found throughout the complex, this omnipresent material takes on diverse executions, providing nuance and an unexpected ability to radiate qualities not commonly associated with it, such as warmth, color, and finesse.

Once inside, the grand lobby reveals concrete pillars with a corduroy finish, exuding strength while cleverly concealing their weight. The sinuous staircases of the convention center boast sculptural qualities, featuring smooth concrete exteriors. The exteriors themselves, adorned with a seashellaggregate finish, serve as a canvas for Manila's renowned sunset, casting fiery hues and adding to the overall aesthetic allure of the space.

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Interwoven flawlessly within this architectural masterpiece is Leandro Locsin's adept skill in capturing attention and orchestrating spaces for various activities.

From the entrancing entry lobby to the grand staircase, the building's expertise confidently steers visitors through intentionally designed spatial encounters. Climbing the stairs, a noticeable change in ceiling height prompts individuals to reach upward, creating a deliberate contrast as they transition to the grand central hall – a remarkable space that unfolds into a sizable yet refined venue accommodating a diverse array of events. This architectural orchestration not only highlights Locsin's acute understanding of the human scale but also his talent for creating moments of awe while respecting each individual's experience.

Expanding beyond the rectangular structure is a carefully landscaped environment. Over the years, deliberate tree planting has been employed to cast shadows onto the facade, offering a natural means of cooling the building.

Green spaces, interconnected pathways, and open areas act as a harmonious counterpart to the imposing concrete structure, contributing to a more inviting and aesthetically pleasing external environment. The meticulous integration of built and natural elements reinforces the cohesive and welcoming ambiance of the entire PICC complex.

The PICC stands as a testament to architectural ingenuity, where Leandro Locsin's visionary interpretation of Brutalism challenges conventional perceptions. Beyond its imposing exterior and meticulously planned interior, the PICC becomes a living canvas of architectural innovation, seamlessly blending cultural identity with modernity. As visitors traverse its grand spaces and immerse themselves in its dynamic design, the PICC reaffirms that Brutalism, when executed with creativity and finesse, transcends its reputation for monotony, offering an immersive and captivating architectural experience that continues to inspire admiration and awe.

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SAN MIGUEL CORPORATION BUILDING In the vibrant heart of Mandaluyong, Metro Manila, the San Miguel Corporation Building, a masterpiece by the esteemed Filipino architect Francisco "Bobby" Manosa, stands as a compelling showcase of Brutalist architecture. Completed in 1984, this iconic structure boldly departs from conventional norms, embracing the core tenets of the Brutalist movement—raw materials and bold geometric forms—as the 20th century drew to a close. The beauty of this modern structure doesn’t end there; the landscaping of the office compound, meticulously planned and executed in 2006 by Ildefonso Santos, a National Artist for Architecture, seamlessly complements the building design.

Architecturally, the San Miguel Corporation Building vividly embodies Brutalism, characterized by exposed concrete and commanding geometric shapes. Its imposing stature proudly showcases bare concrete surfaces, echoing the fundamental Brutalist principle of material honesty. The repetition of patterns and the dual functionality of concrete, serving both as a structural and aesthetic element, seamlessly align with the established Brutalist canon.

Meticulously woven into the building are architectural elements that epitomize the essence of Brutalism, prioritizing functionality while steadfastly rejecting superfluous ornamentation. The facade boasts assertive, clean lines, and purposefully exposed concrete modules bring a tangible sense of order and rationality. Notable nuances, such as the asymmetrical placement of windows, contribute to the building's unmistakable visual identity, showcasing the seamless marriage of form and function within the Brutalist framework.

In a remarkable departure from the dense urban landscape of Ortigas Center, the San Miguel Building stands as a modernist ziggurat, seamlessly integrating greenery and eco-friendly features into its design.

Envisioned as one of the last bastions of green in this crowded business district, the building's terraces boast ample greenery, providing a refreshing contrast to the surrounding concrete jungle. The implementation of slanted windows not only adds a distinctive architectural element but also serves the practical purpose of deflecting unwanted heat and light. The lush landscaping, adorned with decade-old trees, remains a living testament to the building's unwavering commitment to nature, despite adaptive changes necessitated by present-day security needs. The harmonious integration of architectural aesthetics and environmental responsibility transforms the San Miguel Building into a sustainable urban oasis.

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"Brutalism, when intertwined with greenery, transforms into an innovative force, redefining urban landscapes with sustainability and harmony."

In a remarkable departure from the dense urban landscape of Ortigas Center, the San Miguel Building stands as a modernist ziggurat, seamlessly integrating greenery and eco-friendly features into its design. Envisioned as one of the last bastions of green in this crowded business district, the building's terraces boast ample greenery, providing a refreshing contrast to the surrounding concrete jungle. The implementation of slanted windows not only adds a distinctive architectural element but also serves the practical purpose of deflecting unwanted heat and light. The lush landscaping, adorned with decade-old trees, remains a living testament to the building's unwavering commitment to nature, despite adaptive changes necessitated by present-day security needs. The harmonious integration of architectural aesthetics and environmental responsibility transforms the San Miguel Building into a sustainable urban oasis.

Embracing the principles of Brutalism, the San Miguel Corporation Building in Mandaluyong stands as a testament to the transformative power of integrating greenery into architectural design. Rather than being confined to the stark utilitarianism often associated with Brutalism, the building's terraces are adorned with ample greenery, creating a harmonious blend of raw concrete and lush vegetation. This innovative fusion not only redefines the urban landscape but also elevates the building into a symbol of sustainability and harmony. The strategic placement of green elements, such as trees and landscaping, not only softens the concrete structure but also contributes to a refreshing and eco-friendly environment. In this synergy between Brutalism and greenery, the San Miguel Corporation Building becomes a pioneer, showcasing that architectural innovation can coexist seamlessly with ecological responsibility.

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"BRUTALISM: UNVEILING THE BEAUTY BEYOND AUSTERITY - PROVOKING THOUGHT, REDEFINING AESTHETICS, AND CELEBRATING ARCHITECTURAL HONESTY"

Indeed, the true allure of Brutalism lies not merely in its ability to provoke, question, and redefine our perceptions of architectural beauty but in its capacity to spark a dialogue between form and function. By challenging traditional notions of aesthetics, Brutalism compels us to confront and reconsider our preconceived ideas about what constitutes architectural beauty. The movement's deliberate departure from the ornate and decorative invites a contemplation of the essence of design, urging us to appreciate the beauty inherent in raw materials and exposed structures.

Brutalism's power lies in its ability to elicit a visceral response, prompting us to question the purpose of architecture and the role it plays in our daily lives. In embracing honesty and functionality, Brutalism invites a deeper engagement with the built environment, transcending the superficial allure of conventional beauty. As we stand before structures like PICC and San Miguel Corporation's headquarters, we are confronted with a visual language that demands contemplation, challenging us to reassess our understanding of architectural aesthetics and find beauty in the unembellished, the utilitarian, and the honest. In this way, Brutalism stands as a thought-provoking force that reshapes our perceptions and fosters a renewed appreciation for the genuine and purposeful in architectural design.

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