blueprintvol3 2018

THE

DESIGN

SOURCEBOOK

VOLUME 3 2018 PHP250

DESIGN TODAY FOR TOMORROW 90 Design Studio performs timber theatrics at UP Baguio with Teatro Amianan

PLUS The City Who Had Two Navels: The Philippine Pavilion at the 16th Venice Architecture Biennale

Foster + Partners embraces Singapore’s environmental, historical, and cultural contexts at the South Beach Complex Menarco Tower, the first WELL-certified building in the Philippines, sets a new standard for healthy working AECOM strives to make winners out of everyone with the Bagong Senado design concept

BLUPRINT.ONEMEGA.COM

Paulo Alcazaren appraises our damages and restitutions in Boracay

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The Philippine Pavilion, The City Who Had Two Navels, in one of Artiglerie chambers of the Arsenale, at the vernissage on May 24, 2018. Photographed by Lawrence Carlos.

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Double Vision The City Who Had Two Navels confronts Philippine architecture with its own demons in our second national participation at the Venice Architecture Biennale

Peripheral Focus Photography and cinema combine to give a critical reading of the local built environment at this year’s Philippine Pavilion

Contemporary Fix ASEAN pavilions at the Venice Biennale 2018 embody the current states of the region’s architecture

Angel Yulo Managing Editor Mel Patrick Kasingsing Creative Director Lawrence Carlos Associate Editor Nick Ramos Senior Associate Editor Ria B. Lasco Editorial Coordinator Lee Castillo Brand Marketing Associate Mark Xavier Villanueva, Eric Gallego Final Artist Contributors Paulo Alcazaren Robert Siy Eldry John Infante BluPrint.onemega.com Angel Yulo Content Editor Denny Mata Digital Content Writer Reann Erilla Multimedia Artist Suki Salvador Vice President - Magazine And Print Business Erica Luna Editorial Admin Associate Maite Tamparong-Uy Publisher

Custom Publications Business Unit Head Marga Medrano-Tupaz Custom Publishing Coordinator Rana Mae Dizon Graphic Artists Alexa Manlangit, Den Fajardo Copywriters Charlene Ty, Mara Madrid, Andrea Lam Multimedia Artist Bettina De Los Reyes Newsroom Copy Chief Felipe Gonzales News Writers Jomae Bondoc, Aubrey Alejo Multimedia Artist Shaira Bungcag Creative Services Manager Ene Lagunzad Copywriters Angeli Manabat, Stephanie Ferrer Multimedia Artists Joshua Argosino, Carmina Aglipay, Nicca EspaĂąol Video Editor Fatima Esmero Digital Associate Janine Fenequito

One Mega Group Executive Vice President Archie Carrasco Operations Admin Associate Sales & Marketing Angela Jacob Sales Group Advertising Manager James Leonard Cruz Sales and Marketing Manager & Publisher Maite Tamparong-Uy Sales Support Manager Arriane Sanchez Advertising Implementer Associates Kresilda Luciano, Bea Erispe, Pauline Mata Key Accounts Senior Key Account Managers Carmelli Daet Key Account Managers Maureen Alexis Busto, Chattie Saludo Accounts Managers Fons Martinez, Joy Bongat Marketing Communications Public Relations Associate Angela Jacob , Alexa Villavicencio Brand Marketing Associates Janine Recto, Abby Laurel, Walter de Jesus, Lee Castillo Copywriter Pauline Siena Multimedia Artist Nicole Lim Events 100 Copywriter AJ De Las Alas Events Associate Gian Malizon, Marjorie Davantes Production Associate Rachelle Tenorio Digital Media Digital Content Strategist Faye Yoingco Digital Business Unit Business Unit Head for Digital Ranice Suguitan-Faustino Senior Web Developer Benedict Payot Junior Web Developer Carlo Tumaliuan Facebook Community Manager & Technical Marketing Associate Katrina Filart Twitter Community Manager & Technical Marketing Associate Ahlexia Luna Digital Admin Associate/Copy Editor Joyce Marucot Production Head Avy Lagarto Final Artist Eric Gallego, Ryan James Abrigo, Mark Villanueva Quality Control Associate Rodel Tutor

TV 100 OIC Faye Ramirez Producers Zachary Yema, Chico Barretto Video Editors Jasper Bermejo, Mark Legaste, Andrew Ciudad Graphics Editor Jenno Contreras Videographer Joshua Del Rosario Cameraman Jr Ramirez TV Coordinator Kaye Ilada Studio 100 Head Marga Medrano-Tupaz Head Photographer Ed Simon Photographers Floyd Jhocson, Yukie Sarto, Miguel Abesamis, Kieran Punay Circulation Head Cecille Ngo Circulation Manager Piero Talag Circulation Assistant Gina Evangelio Office of the CEO Senior Executive Assistant Avy Lagarto Human Resources Manager Wienonah Estilo Training, Rewards, & Performance Associate Rikki Mae Dabao Talent Acquisition Associate Louie Belle Regente Payroll Associate Angielica Baril Finance Director Of Finance Cecille Ngo General Accounting Supervisor Rachel Cabagua Senior Treasury Sr. Associate Maileen Capilitan Credit & Collection Supervisor Nainine Buenaobra Sr. Accounting Associates Kristina De Guzman, Phoebe Kim Sandagon, Janin Tabora Jr. Accounting Associate Maykie Gingoyon Purchasing OIC Avy Lagarto Purchasing Assistant Odeshza Adona Administration Admin Manager Avy Lagarto

Sari Yap

Logistics Logistics Manager Piero Talag

Lorraine Belmonte

Founder and CEO

Founding Creative Director

BluPrint is published six times a year by the One Mega Group (OMG): 18/F Strata 100 Bldg., F. Ortigas Jr. Road, Ortigas Center, 1605 Pasig, Metro Manila, Philippines. P.O. Box 12762, Ortigas Center, 1652 Pasig.

Website <www.bluprint.onemega.com>. Unsolicited manuscripts and photographs must be accompanied by a self-addressed stamped envelope. While every reasonable care will be taken by the editors, no responsibility is assumed for the return of unsolicited material. Opinions expressed in this magazine are solely those of the writers and not necessarily endorsed by OMG. Reproduction of photos and articles in full or part is prohibited, unless permission is secured from the editors.

Inside Volume 3 2018

90

Exacting Enactment 90 Design Studio raises the cultural profile of UP Baguio with a theatrical design performance rooted in the City of Pines 100 Igniting Inclusivity AECOM strives to make winners out of everyone with the Bagong Senado design concept 8

Editor’s Note

Commentary 10 20

Learning from Boracay Paulo Alcazaren appraises our damages and restitutions in Boracay Tomorrow’s Transport Policy in Manila Hoping against all carmageddons for safer and more sustainable streets

Urban Regeneration 26

The Morning After The Escolta Block Party is buzzing Manila’s old downtown, but there’s more to just that fun night

Lighting 34

Traveling Light Signify’s LED system for the new Mactan-Cebu International airport goes beyond the basics to deliver a resort-like atmosphere

Firm and Function 108 Building Blocks Vietnam’s Tropical Space delivers on the promise of their nomenclature, one brick at a time

Interview 114 Design, Unlimited Grohe’s VP for Design Michael Seum debunks industry clichés and talks career learnings

Event 118 Green Conversations Industry players across Southeast Asia discuss the latest on the Philippines’ green building transformation

Name that Architect 120 Green Screen Eco-friendliness is the new sexy in architecture. Can you name the architects of these structures that prove green is definitely in?

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Double Vision The City Who Had Two Navels confronts Philippine architecture with its own demons in our second national participation at the Venice Architecture Biennale Peripheral Focus Photography and cinema combine to give a critical reading of the local built environment at this year’s Philippine Pavilion Contemporary Fix ASEAN pavilions at the Venice Biennale 2018 embody the current states of the region’s architecture

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Tropical Heights Foster + Partners integrates Singapore’s environmental, historical, and cultural narratives in the South Beach Complex Working Well AIDEA’s collaboration with an entrepreneurial wellness advocate sets an aspirational standard for healthy working in the city

Teatro Amianan by 90 Design Studio Cover photographed by Patrick Kasingsing This page photographed by Ed Simon of Studio 100

Errata: The Table of Contents in Vol. 2, 2018 was missing one story, ‘The Search for a Modern Vernacular,’ found on pp. 54-57.

In Vol. 2, 2018, the photography byline was missing from the article ‘The Sane Thing To Do’ (pp. 14-20). The photography byline was also missing from the article ‘Principles in Practice’ (pp. 112-117). The photographs for both articles were taken by Ed Simon of Studio 100.

In the same issue, The credit for the pull quotations on pages 76 and 79 for the article ‘Roots and Shoots’ (pp. 70-79) were cited to Takashi Niwa. The quotations should be cited to ‘VTN Architects’.

E D I T O R â&#x20AC;&#x2122; S

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P L A N N I N G

Learning

From

Boracay As the world-famous beachâ&#x20AC;&#x2122;s powder white and crystal blue complexion clears up, let us appraise our damages and restitutions

Written and Photographed by Paulo Alcazaren

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Stations 1,2, and 3 in Boracay were initially set to delimit development but lost out to localized interpretation of existing laws for forest, mangrove, and coastal conservation.

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Carrying capacities for Boracay have to be formulated as a basis for future development.

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BoracayРђЎs fragile and compromised environmental condition is obvious from the air, which is the also the first perspective visitors have of the island.РђЮ

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The need for good governance 7KH ZHDNQHVV RI SUHVHQW JRYHUQDQFH IUDPHZRUNV WR FRSH ZLWK UDSLG JURZWK RU RWKHU оАH[WHUQDOLWLHV об WKHQ LV WKH QH[W OHVVRQ IURP %RUDFD\ $ JRRG QXPEHU RI WKH SUHIHUUHG WURSLFDO LVODQG EHDFK DQG HYHQ PRXQWDLQ GHVWLQDWLRQV DUH IRXUWK RU Я»ЋIWK FODVV PXQLFLSDOLWLHV IDU IURP XUEDQ FHQWHUV 7KH DVSHFW RI UHPRWHQHVV LV RQH RI WKH FKDUDFWHULVWLFV RI D JRRG WRXULVP GHVWLQDWLRQ DW OHDVW DW WKH VWDUW

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&2$ DQG 2PEXGVPDQ RŕŻ&#x2014;FHV DUH WKHUH PXVW EH PRUH WKDQ DQ ounce of truth.

In the case of Boracay, and many established and emerging tourism destinations like Puerto Galera, Panglao, Mactan, El Nido, and Siargao, the non-compliance with even basic NBC (National Building Code) regulations is undeniable. This is not fake news.

Many island destinations in the country, like Siargao, are larger than Boracay and demand a different, and in fact a more complex framework, for sustainability.

These small municipalities never have the resources (or claim they donâ&#x20AC;&#x2122;t, as in the case of Siargao) to implement any initiative to build adequate infrastructure, or provide basic services for visitors, much less for their own resident population.

Once a destination is â&#x20AC;&#x2DC;discoveredâ&#x20AC;&#x2122; by backpackers or local bloggers, it is often just a matter of a few years before the scramble for beachfront property ensues and things go haywire. Depending on literature you refer to on the subject of island tourism, development comes in 5-6 stages. Next to the backpacker stage, locals set up small cabaĂąas, then provincial investors come in to build 20-30 room resorts, before Manila-based developers construct facilities over a hundred rooms in size. Finally comes the stage when the 5-star resorts like Shangri-La set up large 300-600 room complexes.

At each stage of tourism development the impact on the destination and the requirements for infrastructure escalate. Because of the rapid succession of these stages in islands like Boracay, LGUs and provinces are slow to adapt, and they end up constantly playing FDWFK XS OHDYLQJ WKH ŕŻ&#x2022;HOG OHIW IRU SULYDWH LQWHUHVWV WR H[SORLW 7KH SDUWLFXODU QHJDWLYH OHVVRQ RI UHDO HVWDWH SURŕŻ&#x2022;WV PDGH IURP ŕŻ&#x2013;LSSLQJ VXFK UHVRUW FRPSDWLEOH SURSHUWLHV KDV DOUHDG\ VSDZQHG D buying frenzy nationwide for such locations. This is happening in remote provincial sites in Palawan and the Visayan regions, as well as anywhere else with a decent beach, lake, or mountain vista.

All this progresses even before adequate tourism, land-use, and infrastructure planning is set. Some would say, the stampede of property acquisition is happening by design, before any regulation is HVWDEOLVKHG WR EHQHŕŻ&#x2022;W FHUWDLQ HQWLWLHV FRUSRUDWH RU SROLWLFDOO\ EDVHG Speaking of stampedes, the elephant in the room is, of course, graft and corruption. Variances and deviations in zoning ordinances, loose interpretations of the greyer aspects of those ordinances, as well as approvals of all types of permits with the minimum of compliance FDQ EH KDG E\ PDNLQJ ÖĄDUUDQJHPHQWVÖ˘ ZLWK NH\ RŕŻ&#x2014;FLDOV RU FXOWLYDWLQJ PXWXDOO\ EHQHŕŻ&#x2022;FLDO ÖĄUHODWLRQVKLSVÖ˘ ZLWK /*8 SURYLQFLDO DV ZHOO DV QDWLRQDO OLQH DJHQF\ RŕŻ&#x2014;FLDOV $OO WKLV LV MXVW FRPPRQ SXEOLF knowledge (or perception), but judging by how overwhelmed the

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Using data Even if we establish a more disciplined physical planning regimen, we cannot move forward with tourism development of island destinations unless with start with the basics and this means data.

You cannot make any planning decisions without data. Baseline data gathering, surveys and mapping for social, cultural, economic and physical attributes are needed as a starting point for both existing GHVWLQDWLRQV DQG WKH LGHQWLŕŻ&#x2022;FDWLRQ RI IXWXUH RQHV (YHQ ZLWK %RUDFD\ audits of existing conditions vis-Ă -vis original environmental parameters are needed.

The governmentâ&#x20AC;&#x2122;s NAMRIA and PAGASA, in partnership with educational institutions are well on its way to complete risk mapping at a national scale. Many tourism destinations however need more detailed physical mapping. This is important to set boundaries, GHŕŻ&#x2022;QH DUHDV RYHUODSV LQ MXULVGLFWLRQ LGHQWLI\ 6:27 VWUHQJWKV weaknesses, opportunities and threats), as well as contribute to better FRPPXQLFDWLRQ RI FRQWH[W DQG VSHFLŕŻ&#x2022;FV RI SURSRVHG SODQV Mapping and monitoring are also requisites for proper maintenance DQG VXVWDLQDELOLW\ RQ DQ\ LQLWLDWLYHV LQ GHYHORSPHQW :H PXVW DOO UHDOL]H that planning is an iterative process and does not stand still. This cycle RI UHQHZDO DQG UHŕŻ&#x2022;QHPHQW LV QHFHVVDU\ IRU VXVWDLQDELOLW\ Planning, therefore is key, and inclusive, comprehensive planning is the only avenue to sustainability and resilience. Success in planning is only ensured if adequate avenues for coordination between government agencies and stakeholders happen. The question of who LV LQ FKDUJH LQ FDVHV OLNH %RUDFD\Ö˘V QHHGV WR EH FODULŕŻ&#x2022;HG ,Q WKH FDVH RI future island or destination planning and developmentâ&#x20AC;&#x201D;who sets the parameters for growth and the standards for tourism development?

How can the process be made more transparent and infused with shared accountability? Suggestions have been made for tourism GHYHORSPHQW DXWKRULWLHV HVWDEOLVKHG IRU VSHFLŕŻ&#x2022;F VLWHV EXW KRZ ZRXOG these bodies share or take responsibilities from LGUs? Moving forward The issues above need to be addressed with other steps taken for all our RWKHU LVODQGV 6SHFLŕŻ&#x2022;F WR WRXULVP GHYHORSPHQW WKHUH DUH QXPEHUV DV important as 7,641.

In fact, all the lessons from Boracay are applicable for all types of development. Paradigm shifts in development and economic planning need to be made due to the impact of rapid tourism growth that we all hope will happen to the Philippines.

P L A N N I N G

The danger with the October deadline for Boracay is that the people who control the boots on the ground there may be pressured to produce only cosmetic results.

We need to know how many more destinations are compatible with resort and hospitality development; how many more airports and sea ports we need to build to reach them, how much more of our forests, mangroves and coral reefs to protect, save or regenerate; how many more people we need to train to man, manage and sustain the hospitality we are so proud of; and lastly how much RI RXU JRYHUQPHQW VWUXFWXUH WR UHFRQŕŻ&#x2022;JXUH WR HOLPLQDWH WKH lack of coordination, overlapping jurisdictions and temptations of pecuniary rewards outside of what our fantastic but unimplementable laws stipulate.

The danger with the October deadline for Boracay is that the people who control the boots on the ground there may be pressured to produce only cosmetic results. The general cleaning and clearing tasks are achievable, but we need to recalibrate the time needed for more lasting interventions. These include the island-wide sewer and water system, solid waste management, the transport network (that utility bridge may be a good idea but its aesthetic impact is debatable), the resolution of limits of agricultural (if any), forest and PDQJURYH SURWHFWLRQ DUHDV DORQJ ZLWK WKHLU EXŕŻ&#x201D;HU ]RQHV

One cannot think of Boracay just as a tourism destination gone bad. Boracay is just one of the over seven thousand islands in our archipelago. The steps we need to take to bring the island back to life cover planning, a change in governance framework, coordinated resource conservation, and mitigation of risks from over development.

Ultimately the most important lesson to learn from Boracay is, â&#x20AC;&#x153;What happens in Boracay does not stay in Boracayâ&#x20AC;Ś but gets repeated nationwide.â&#x20AC;? We have no choice but to achieve success in the island, if we are to create a new template for sustainability for all our other islands, and move forward with tourism in the Philippines.

Paulo Alcazaren is an urban planner, landscape architect, and principal of PGAA International. He was also the former editor-in-chief of BluPrint (2002-2012), and currently writes the City Sense column for the Philippine Star. In 2015, he received the CCP Gawad Para Sa Sining award for his work in landscape architecture and urban design.

There are literally thousands more tropical paradise islands in the Philippines and the lessons from Boracay need to be learned before we lose any more to haphazard tourism.

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7RPRUURZ¡V Transport Policy in Manila Hoping against all carmageddons for safer and more sustainable streets Written by Robert Siy

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Photographed by Lawrence Carlos

SM Megamall Bus Terminal, facing EDSA northbound. Photo taken July 9, 2018

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Hierarchy of modes, from most accessible and environmentally and economically sustainable at the top, to least

Walking Cycling and personal mobility devices

Public transit

Freight and goods transport Shared private motor vehicles

Privately owner motor vehicles

C O M M E N TA R Y

10m 9,251,565.00

9m 8,706,607.00 8,081,224.00

8m

7,690,038.00 7,463,393.00

7m

7,138,942.00 6,634,855.00

6m 5m 2010

2011

2012

No. of motor vehicles in the Philippines registered 2010-2016

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2016

Source: ceicdata.com/Land Transportation Office

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Robert Siy is an economist who specializes in the planning, delivery, and management of infrastructure projects, with a focus on public transit projects and policy. He is also a member of UrbanisMO.ph and administrator of the â&#x20AC;&#x2DC;Howâ&#x20AC;&#x2122;s your byahe, bes?â&#x20AC;&#x2122; Facebook community.

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The Morning After With a new wave of tenants and building owners, the Escolta creative movement is transforming Manilaâ&#x20AC;&#x2122;s old downtown.

Written by Angel Yulo Photographed by Ed Simon of Studio 100

Escolta brings to mind old photos of white suits and woven hats pacing downtown for lunch meetings. An electric tram shared the road with kalesas and )RUG 0RGHO $V 7KHUH ZHUH VWRFNV WR EH WUDGHG à¯&#x2022;OPV WR EH ZDWFKHG VKRSSLQJ OLVWV WR EH WLFNHG DQG FLJDU EUHDNV WR EH VKDUHG RQ WKLV PHWHU ORQJ VWUHWFK SDUDOOHO WKH 3DVLJ 5LYHU DFURVV ,QWUDPXURV $UFKLWHFW DQG KHULWDJH DGYRFDWH 'RPLQLF *DOLFLD RQFH ZURWH Ö¥7KLV VWUHHW LV ZKHUH RXU PHWURSROLV EHJDQ Ö¦ 7KH EXVLQHVV GLVWULFW EHFDPH WKH FDQYDV RI WKH à¯&#x2022;UVW )LOLSLQR DUFKLWHFWV DV 1HR FODVVLFDO DQG $UW 'HFR FRQFUHWH VWUXFWXUHV UHSODFHG WKH ZRRGHQ VKRSKRXVHV 0DQLODÖ¢V à¯&#x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à¯&#x2013;RRU %Ö¢V UHJXODU DUW H[KLELWLRQV à¯&#x2022;OP VFUHHQLQJV DQG ZHHNHQG PDUNHWV JDLQHG D FXOW IROORZLQJ ,Q WKH )LUVW 8QLWHG %XLOGLQJ &RUSRUDWLRQ FRQWUDFWHG 2QH =HUR 'HVLJQ &R DQ DUFKLWHFWXUH VWXGLR KROGLQJ Rà¯&#x2014;FH DW WKH à¯&#x2022;IWK à¯&#x2013;RRU WR FROODERUDWH ZLWK % LQ WUDQVIRUPLQJ ZKDW ZDV RQFH WKH %HUJ 'HSDUWPHQW 6WRUH LQWR 7KH +8% D UHWDLO VSDFH IRU PDNHUV DQG VWDUW XS EXVLQHVVHV 0RUH DUWLVWV GHVLJQHUV HQWUHSUHQHXUV DQG HYHQ ,&2026 3KLOLSSLQHV EHJDQ OHDVLQJ URRPV DW )LUVW 8QLWHG WXUQLQJ LW LQWR D KRPHVWHDG IRU D FUHDWLYH UHQDLVVDQFH LQ WKH DUHD 7KH RZQHUV RI 3DQSLVFR %XLOGLQJ GRZQ WKH URDG RSHQHG XS D SRUWLRQ RI WKHLU VWUHHW IDFLQJ VWRUHIURQW DV DQ H[KLELW VSDFH IRU FUHDWLYHV $ORQJ ZLWK WKH 3XEOLF 6FKRRO 0DQLOD -XOLD 1HEULMD DQG WKH à¯&#x2022;UVW EDWFK RI PDNHUV DW WKH +8% WKHVH QHZ QHLJKERUV WDONHG DERXW RUJDQL]LQJ D FROOHFWLYH HYHQW WR LQYLWH PRUH SHRSOH WR (VFROWD 7KXV LQ 1RYHPEHU WKH à¯&#x2022;UVW (VFROWD %ORFN 3DUW\ URXVHG WKH EXLOGLQJ DQG WKH VWUHHW IURQWLQJ LW XQWLO PLGQLJKW

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The neoclassical Regina Building (1934) and art deco First United Building (1928)â&#x20AC;&#x201D; two masterpieces by Andres Luna de San Pedro, son of illustrious Filipino painter Juan Luna, stand flanking the eastern approach of Escolta Street from Plaza Santa Cruz.

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The fifth and top floor of the First United Building at Escolta as seen from the roof deck of Regina Building.

What used to be barely occupied is now a full house of artists, designers, and creative hub managers.

РђюWe imagine this to be a grassroots regeneration.

We understand that some people see Escolta as dead. But for us who hold office here, we can argue that it is just not reaching its full potential as a heritage district.РђЮ A R T S

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A view of Escolta, the portion between the First United and Regina buildings, at the height of the street party. Above: The Escolta Sessions at the 5th Block Party had musicians jamming in front of Fredâ&#x20AC;&#x2122;s RevoluciĂłn, a pub on the ground floor of First United. Photo via facebook.com/ EscoltaBlock Below: The Panpisco Building closer the west end of Escolta, near the ruins of the Capitol Theater, houses an exhibit space at the ground floor for creatives.

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The official poster of the 6th Escolta Block Party, designed by Public School Manila using drawings gathered from the immediate community. On the right is the poster of the first Escolta Block Party.

The creatives have become like leaven in a corner of Manila once sparsely occupied by shipping brokers, bankers, and accountants. Serrano shared that they get knocks on their office from neighbors who ask to share their printer or just want to know what they do.

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First United Building is incubating possibilities for other heritage buildings in Escolta. For the first time in three decades the building is fully occupied.

7KH RUJDQL]HUV KDYH IRUJHG JRRG UHODWLRQV ZLWK WKHLU EDUDQJD\ Rà¯&#x2014;FLDOV WKURXJK Rà¯&#x2014;FLDO FRRUGLQDWLRQ DQG HYHQ VXSSRUWLQJ WKH ORFDO carinderias E\ RUGHULQJ WKHLU SDFNHG OXQFKHV IURP WKHP 7KURXJK D SDUWQHUVKLS ZLWK WKH (VFROWD &RPPHUFLDO $VVRFLDWLRQ DOO WKH EXLOGLQJ RZQHUV ZHUH à¯&#x2022;QDOO\ LQYROYHG ZLWK WKH SODQQLQJ 7KH HQJDJHPHQW WULFNOHG GRZQ HYHQ WR WKH LQIRUPDO VHWWOHUV LQ WKH DUHD PRVW RI ZKRP UHVLGH EHVLGH WKH (VWHUR GH OD 5HLQD %HIRUH WKH ODVW EORFN SDUW\ DUWLVWV ,VVD\ 5RGULJXH] DQG $QMR %RODUGD DVNHG DURXQG ZKDW WKH LPPHGLDWH FRPPXQLW\Ö&#x17E;SHDQXW YHQGRUV VHFXULW\ JXDUGV NLGV RQ WKH VWUHHWÖ&#x17E;WKRXJKW RI WKH HYHQW Ö¥0RVW UHIHUUHG WR it as: ah, yung party nila. 2K WKHLU SDUW\ 7KH PHUH IDFW WKDW WKH\ FDOOHG LW Ö¡WKHLU SDUW\Ö¢ PHDQV WKDW WKH\ IHHO H[FOXGHG Ö¦ VDLG 6HUUDQR 7KLV SURPSWHG WKHP WR VHHN GUDZLQJV IURP WKH FRPPXQLW\ VKRZFDVLQJ KRZ WKH\ IHOW DERXW (VFROWD 2YHU a hundred doodles were gathered through the ZRUNVKRSV DQG H[KLELWHG DW WKH &RRO ,Q &Rà¯&#x201D;HH 6KRS QHDUE\ 0RUHRYHU WKHVH EHFDPH WKH PDLQ HOHPHQWV RI WKH WK (VFROWD %ORFN 3DUW\Ö¢V Rà¯&#x2014;FLDO SRVWHU DQG FROODWHUDO )LUVW 8QLWHG %XLOGLQJ LV LQFXEDWLQJ SRVVLELOLWLHV IRU RWKHU KHULWDJH EXLOGLQJV LQ (VFROWD 7KH 6\OLDQWHQJV UHSRUWHG WKDW IRU WKH à¯&#x2022;UVW WLPH LQ WKUHH GHFDGHV WKH EXLOGLQJ LV IXOO\ RFFXSLHGÖ&#x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One Zero Design Co.â&#x20AC;&#x2122;s office has views of the Regina Building, also designed by Andres Luna de San Pedro with an extension by Fernando Ocampo, and the Don Ramon Santos Building, which used to house the American Red Cross and is now occupied by the Bank of the Philippine Islands. Bottom left: The First United Building retains its original floors, room layouts, and staircase.

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Traveling Light Signify’s LED lighting system for the new Mactan-Cebu International Airport Terminal 2 goes beyond the basics to deliver the appropriate atmosphere for a ‘resort airport’ Written by Nick Ramos Photographed by Patrick Kasingsing

Night view of the Mactan Cebu International Airport Terminal 2, taken from the bridgeway leading to the terminal building. As of writing, this much-anticipated project has opened for international use.

A vast piece of infrastructure such as an airport needs an equally vast system of lighting to keep the building functioning optimally and all its users, travellers and workers alike, happy and safe. BluPrint talked to Jagan Srinivasan, country manager for lighting solution providers Signify, about the task of illuminating Mactan-Cebu International Airportâ&#x20AC;&#x2122;s new Terminal 2 and how this helps guide travelers on their journey, while complementing the buildingâ&#x20AC;&#x2122;s bold design.

New model terminal Projected to accommodate 4 million international passengers per year, the newly opened Mactan-Cebu International Airport Terminal 2 features a modular GHVLJQ DQG OLQHDU FRQŕŻ&#x2022;JXUDWLRQ WKDW ZRXOG UHDGLO\ IDFLOLWDWH IXWXUH H[SDQVLRQ WR DFFRPPRGDWH WKH PLOOLRQ LQWHUQDWLRQDO WUDYHOOHUV DQWLFLSDWHG LQ WKH QH[W ten years. As the airport is in constant operation, its lighting design needed to EDODQFH QDWXUDO DQG DUWLŕŻ&#x2022;FLDO LOOXPLQDWLRQ RYHU HDFK KRXU F\FOH %XLOW WR FRSH with burgeoning demand for air travel to and from Cebu City, the hub around which the entire Visayas revolve, the new terminal building is housed beneath an undulating roof supported by glue-laminated timber Y-shaped pillars. Skylights that run the length of the roof ridges, glass curtain walls that delineate the plan of the terminal, as well as the use of ETFE in select areas allow for the use of natural OLJKWLQJ WR EH PD[LPL]HG WKURXJKRXW WKH EXLOGLQJ 7KH GD\OLJKW WKDW VWUHDPV LQWR the terminal through these openings create a moving play of light and shadow on interior surfaces.

7KH QHZ WHUPLQDO ZDV GHVLJQHG E\ +RQJ .RQJ EDVHG GHVLJQ ŕŻ&#x2022;UP ,QWHJUDWHG Design Associates Ltd. (IDA) and airport planning consultant Ove Arup and Partners in collaboration with local architect-of-record Albert Yu of ASYA Design as well as interior designer Budji Layug, architect Royal Pineda, and industrial designer Kenneth Cobonpue. MCIA Terminal 2 sits on a 5-hectare site south of the old terminal and control tower.

Licensed to Illuminate Signify (formerly Philips Lighting) has, by means of judicious illumination, EHHQ WUDQVIRUPLQJ PRQXPHQWV IDFDGHV EULGJHV EXLOGLQJV DQG RWKHU VLJQLŕŻ&#x2022;FDQW landmark infrastructures in more than 100 countries for the last 125 years. MCIA Terminal 2 is now one of the most recent in a long line of monuments that include NhŇąt Tân Bridge and Dragon Bridge in Vietnam, the San FranciscoOakland Bay Bridge, London Bridge, Waterloo Bridge, Golden Jubilee Bridge, WKH /RQGRQ (\H DQG WKH (PSLUH 6WDWH %XLOGLQJ DPRQJ PDQ\ RWKHUV WR EHQHŕŻ&#x2022;W from Philips LED technology.

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( ࢽFLHQF\ /LJKWLQJ GHVLJQHUV IURP ,'$ SURYLGHG 6LJQLI\ ZLWK WKH OLJKWLQJ VFKHPH EXW VSHFLà¯&#x2022;HG SURGXFWV WKDW ZHUH DYDLODEOH à¯&#x2022;YH \HDUV SULRU $V WKH /(' OLJKWLQJ UHYROXWLRQ KDG EHHQ UDSLGO\ GHYHORSLQJ LQ WKH ODVW WKUHH \HDUV WKH GHVLJQ VSHFLà¯&#x2022;FDWLRQV ZHUH XSGDWHG E\ /3, DQG 3KLOLSV LQ KRXVH OLJKWLQJ GHVLJQHUV ZLWK WKH QHZHVW DQG PRUH Hà¯&#x2014;FLHQW OXPLQDLUHV ZKLOH PDLQWDLQLQJ the requirements originally set out in the design.

7KH H[WHQVLYH XVH RI JOXODP WKURXJKRXW WKH DUFKLWHFWXUH SURYHG DOWRJHWKHU FKDOOHQJLQJ to the lighting design team, whose task included choosing the appropriate lighting solutions from among the range in the product groups, to identifying how these luminaires are to be LQVWDOOHG DQG SRVLWLRQHG ZLWKLQ WKH XQLTXH ULEEHG DQG XQGXODWLQJ FHLOLQJ VFDSH ',$/X[ WKH OHDGLQJ VRIWZDUH IRU SODQQLQJ FDOFXODWLRQ DQG YLVXDOL]DWLRQ RI LQGRRU DQG RXWGRRU OLJKWLQJ proved invaluable in guaranteeing that the brightness and uniformity of the lighting design complies with international standards, and that their positioning and installation parameters DUH FDUHIXOO\ H[HFXWHG 7KLV UHVXOWHG LQ DQ DOO /(' VWUXFWXUH ZLWK D WRWDO RI /(' lightpoints used throughout the airport.

LED practicality Historically, many airports have regarded lighting as nothing more than a legacy burden, DQ DQQXDO FRVW GUDLQ RIWHQ FRQVLGHUHG WRR H[SHQVLYH \HW WRR GLVUXSWLYH WR DGGUHVV 7KH XVH RI LED technology throughout the project relegates this problem to the past at the very onset.

With the system in place, Signify says that with a total energy consumption of 282KW, the airport will only spend roughly 10 million PHP a year on lighting costs.

Most of the Philips LED lighting solutions that are installed in the airport count for 50,000 hours of lifespan with a lumen output or brightness at 85% at the end of their rated lifeâ&#x20AC;&#x201D;a span of about 8 to 10 years depending on the area applications. These lighting solutions also require minimal maintenance as they are designed for longevity with long hours of operation regardless of location of installation.

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Open walkway towards the main terminal entrance for departing passengers. The 89-meter link bridge is roofed with ETFE pillows to allow light in but keep out the rain with its tear and chemical resistant membrane.

Opposite page: The terminal buildingâ&#x20AC;&#x2122;s signature curved Y-shaped pillars span 30 meters wide and soar 18 meters high. The supports are made out of glulam or glue-laminated timber from Austrian supplier Rubner Holzau who provided the airport with 4,500 m³ of glulam timber. Signifyâ&#x20AC;&#x2122;s LED lighting system reduces the usual heat stress normal lighting imposes on wood, even moreso with the usage of hardwearing glulam.

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Bright dependability Base illumination is the layer of lighting that provides general illumination throughout a building. In the case of Terminal 2, it is WDLORU PDGH WR RSWLPL]H WKH OX[ OHYHOV EDVHG RQ YDULRXV FHLOLQJ KHLJKWV DW GLà¯&#x201D;HUHQW ORFDWLRQV RI WKH GHSDUWXUH DQG DUULYDO DUHDV The aim of Terminal 2â&#x20AC;&#x2122;s interior lighting system was to make the overall H[SHULHQFH IRU DOO WUDYHOOHUV LQFOXGLQJ PRPHQWV RI PRYHPHQW DQG VWLOOQHVV more enjoyable. Minimal walking distances and clear orientation were LGHQWLà¯&#x2022;HG DV FUXFLDO IDFWRUV 7KH V\VWHP ZDV DOVR GHVLJQHG WR HFKR WKH SOD\ of daylight and, through variable light levels, smooth the transition from day LQWR QLJKW XVLQJ à¯&#x2022;[WXUHV EXLOW LQWR WKH FHLOLQJ XQGXODWLRQV %HQHDWK WKH URRI GLà¯&#x201D;HUHQW OLJKW LQWHQVLWLHV DUH XVHG WR PDUN RXW JDWHV furniture, and signage. The idea is to help passengers move quicker WKURXJK WKH VSDFH PDNLQJ WKH ZKROH WHUPLQDO PRUH Hà¯&#x2014;FLHQW DQG FRPIRUWDEOH DQG JHQHUDOO\ DLGLQJ LQ D KDVVOH IUHH WUDYHO H[SHULHQFH 7KH design of the architectural lighting was meant to stimulate movement and enhance the sense of direction of the passengers, without compromising YLVXDO FRPIRUW /('Ö¢V VXSHULRU OXPHQ Hà¯&#x2014;FDF\ KLJK FRORU UHQGHULQJ ability, relatively longer lifetime, and comfortable color temperature all SURYLGH FOHDUHU ZD\ à¯&#x2022;QGLQJ IRU SDVVHQJHU FLUFXODWLRQ DQG JRRG H[WHUQDO DZDUHQHVV IRU SDVVHQJHU H[SHULHQFHV /LNHZLVH OLJKWLQJ GHVLJQV DLGHG E\ ',$/X[ ZHUH DSSOLHG LQ VSHFLà¯&#x2022;F DQG FULWLFDO DUHDV WR LQIRUP WKH VHOHFWLRQ of appropriate lamps and luminaires that consume the least energy while still bringing about the best lighting conditions.

The baggage claim hall rises two storeys high, with a ceiling finished with a slatted timber treatment. Gentle lighting calms down tired travelers while the blue accent lighting above the hall columns recall the sea, as well as provide a cool contrast with the wooden ceilingâ&#x20AC;&#x2122;s warm tones. Top: Swirling wood strips that mimic the curves of ocean waves undulate over the pre-departure duty-free shopping area. The combined area of the MCIA T2â&#x20AC;&#x2122;s two duty free outlets is 1,200-square meters.

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Getting the green light The Cebu government and GMR saw how the power of LED lighting can go beyond energy savings that result from the long-running and Hà¯&#x2014;FLHQW ODPSV DQG OXPLQDLUHV 7KH QHHG WR DGRSW DQ HQYLURQPHQWDOO\ sustainable business model has never been more critical and Philips LED lights do not only help bring that substantial amount of energy savings for Cebu, but also support sustainability while supporting the wellbeing of the environment.

With LED lighting, savings are made not only from the energy directly used by the lighting systems, but also from that of air conditioning systems as LED lighting products produce a lot less heat than other conventional lighting solutions.

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A resort airport %H\RQG WKH SUDFWLFDO OLJKWLQJ UHTXLUHPHQWV RI DQ LQWHUQDWLRQDO ŕŻ&#x2013;LJKW terminal, there were thematic intentions aligned with the idea of a â&#x20AC;&#x153;resort airportâ&#x20AC;? that the designers wanted to realize.

As the term â&#x20AC;&#x2DC;resortâ&#x20AC;&#x2122; especially in the context of a tropical location HYRNHV FHUWDLQ H[SHFWDWLRQV WKH GHVLJQHUV LQYROYHG ZLWK GLŕŻ&#x201D;HUHQW aspects of the airport project sought to accentuate the ideas of all things tropical, be they serene or celebratory, in the various aspects of the structureâ&#x20AC;&#x201D;a motivation that has never been more true than in the case of the lighting designers and providers. While the glulam arches and timber ceiling provide the architecture with a structural lightness and openness of space, feature lighting was called upon to accentuate these aspects of the building. )HDWXUH OLJKWV DUH DFFHQW ŕŻ&#x2022;[WXUHV GHGLFDWHG WR UHQGHU WKH GHVLUHG mood or atmosphere which is unique to the spatial quality of these areas. The performance of the lighting in terms of evenness or uniformity proved a challenge not only to the quantity of luminaires, but also the positioning and the characteristics of the lamps, considering the complex repetition of the upturned boat-hull form of the ceiling. Ultimately, the lighting conditions were achieved that strategically create a pleasant ambience within the spaces that accentuate the sheltering warmth of the timber roof substructure.

Signify expresses the excitement of having worked on one of the biggest SURMHFWV LQ WKH DUFKLSHODJR ZLWK D GHŕŻ&#x2022;QLWLYH lighting scheme of such massive scale and demanding attention to details, to bring out not only the atmosphere and ambiance, but also to celebrate the proud new architectural landmark.

With the illumination and sparkle provided by Signify, there is little doubt that compliments of a coronal nature will abundantly be garnered by the terminal as being truly worthy of the Queen city. Long may she reign.

Workers performing finishing touches on the MCIA T2 pre-departure hall interiors before opening day, which was, at the time the photograph was taken, four days away.

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Signify expresses the excitement of having worked on one of the biggest projects in the archipelago, with a definitive lighting scheme of such massive scale and demanding attention to details, to bring out not only the atmosphere and ambiance, but also to celebrate the proud new architectural landmark.

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The City Who Had Two Navels confronts Philippine architecture with its own demons in our second national participation at the Venice Architecture Biennale Written by Angel Yulo

Photographed by Lawrence Carlos

The Philippine Pavilionâ&#x20AC;&#x2122;s main feature is the two-part 14-meterlong screen that occupies the vast space of an Artiglierie chamber, with its highest point at 4 meters tapering down to 1.8 meters. The structure, shaped like the intersection of a Venn diagram, is meant to represent the overlap between the two navels, which is the main symbol in the curatorial concept for the 16th Venice Architecture Biennale.

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The Venice Architecture Biennale 2018, themed Freespace by Yvonne Farrell and Shelley McNamara, has received its share of critique after the May opening. The loudest dissent comes from the controversial Patrik Schumacher who, in a lengthy Facebook post, decried that most national pavilions were devoid of architectureâ&#x20AC;&#x201D;a pattern he has noticed since 2014.

Zaha Hadid Architectsâ&#x20AC;&#x2122; principal takes a jab at the literally empty British Pavilion: â&#x20AC;&#x153;Pavilions were either given over to one-liner installations which could be absorbed by stepping in and out for 30 seconds, or to themes that have little to do with architectural design and were discussed without presenting works of architecture.â&#x20AC;?

Having visited the pavilion myself, I understand his bewilderment. While it was a timely message about detachment and Brexit, the presentation was highly abstract, programmed ZLWK KDSSHQLQJV DQG FODULŕŻ&#x2022;HG E\ VHHLQJ D GURQH SKRWR RI WKH pavilionâ&#x20AC;&#x201D;the isle-esque roof platform as it related to other elements in the venue. Also making his way through the *LDUGLQL WKDW GD\ ZDV <DVRQ %DQDO ŕŻ&#x2022;OPPDNHU DQG FROODERUDWRU of the Philippine Pavilion. He said he was moved by the British Pavilion, which anchored my thought that, yes, it was a powerful installation; though not of architecture, but of contemporary art.

It is with these encounters that I revisit my own experience of the Philippine Pavilion, The City Who Had Two Navels, curated E\ DUFKLWHFW DQG HGXFDWRU (GVRQ &DEDOŕŻ&#x2022;Q 'LG RXU SDYLOLRQ contribute to, as Schumacher puts it, the loss of architectureâ&#x20AC;&#x2122;s most important exhibition and communication forum?

National participation in La Biennale has been a steadfast HŕŻ&#x201D;RUW E\ WKH 1DWLRQDO &RPPLVVLRQ IRU &XOWXUH DQG WKH $UWV 1&&$ 'HSDUWPHQW RI )RUHLJQ $ŕŻ&#x201D;DLUV ')$ DQG WKH 2ŕŻ&#x2014;FH RI 6HQDWRU /RUHQ /HJDUGD ZLWK WKH VXSSRUW RI WKH 'HSDUWPHQW RI 7RXULVP '27 <HDU LV WKH 3KLOLSSLQHVÖ˘ VHFRQG appearance on this international architectural stage since its GHEXW ZLWK Muhon: Traces of an Adolescent City, curated by Leandro V. Locsin Partners.

According to Senator Legarda, the prime mover behind the comeback of the Philippines to the Venice Biennale and its consistent participation, â&#x20AC;&#x153;architecture has the power to create an urban space of seemingly robotic people ready to accept a

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Inspired by Filipino National Artist for Literature Nick Joaquinâ&#x20AC;&#x2122;s novel, The Woman Who Had Two Navels (1961), the Philippine Pavilion confronts the tension between the vicissitudes of the past and the challenges of constructing contemporary subjectivity. â&#x20AC;&#x153;When you read the submitted curatorial proposals, you really just appreciate the Filipino even much more. But the chosen curatorial concept, which is based on academic research, excites me. It does not look at city as built heritage, built structure, or architecture, but it looks deeper into the people who live in the city, the souls, the whole ecosystem,â&#x20AC;? said Senator Loren Legarda, principal advocate of the Philippine participation in the Venice Biennale. Opposite page: Shot using 4K, Full HD and drones, low-resolution through 360-degree, CCTV, and phone cameras, Yason Banalâ&#x20AC;&#x2122;s video Untitled Formation, Concrete Supernatural, Pixel Unbound at the center of the pavilion explores power structures and subjectivities in critical and poetic ways, evoking history and transformative potentials of the social as architecture.

monotonous life with the belief that development is all about economic progress. But it also has the strength to inspire people to create livable communities that respect history and is in communion with nature.â&#x20AC;? )RU GHFDGHV WKH )LOLSLQR DUFKLWHFW KDV EHHQ FRQVXPHG ZLWK WKH TXHVWLRQ VR ZKDW LV )LOLSLQR DUFKLWHFWXUH" ÖĽ2QFH DQG IRU DOO ano nga ba?â&#x20AC;? You can read it on multiple pages in BluPrintâ&#x20AC;&#x2122;s archive, hear it popped in the middle of interviews, and be one of its many pitchers DW DUFKLWHFWVÖ˘ JDWKHULQJV IRUPDO DQG FDVXDO &DEDOŕŻ&#x2022;Q DOWKRXJK KH admitted that it is not his intention, actually gives us an answer.

0DQ\ )LOLSLQRV QRW RQO\ DUFKLWHFWV DUH VWLOO LQ WKH GDUN EHFDXVH they ask the question incorrectly. There is no â&#x20AC;&#x153;once and for allâ&#x20AC;?

GHŕŻ&#x2022;QLWLRQ RI )LOLSLQR DUFKLWHFWXUH (YHU\ SHULRG LQ RXU KLVWRU\ KDV LWV VHW RI PDWHULDOV PHWKRGV DQG LQ HŕŻ&#x201D;HFW EXLOGLQJV 0DWHULDOV DUH both tangible (stone, steel, etc.) and intangible (ideology). Also note WKDW )LOLSLQRV KDYH DOZD\V EHHQ H[SRVHG WR RXWVLGH LQŕŻ&#x2013;XHQFHV LQ WKH form of colonial masters of the previous centuries and the more recent IRUPV RI PHGLD 2XU DUFKLWHFWXUH LV D MXQFWLRQ RI PDQ\ VWUHDPV 6R WKH next time somebody mutters that ever-burning question, you might as well ask: of when?

The Philippine exhibit at the Arsenale, Veniceâ&#x20AC;&#x2122;s old shipyard, is composed of two sweeping concave walls with displays of collaboratorsâ&#x20AC;&#x2122; works outside and Banalâ&#x20AC;&#x2122;s video installation inside.

The City Who Had Two Navels H[SRVHV ZKDW &DEDOŕŻ&#x2022;Q VHHV DV WKH two forces (two navels) shaping Philippine architecture today: colonialism and neoliberalism.

The pavilion invited students and practitioners across creative ŕŻ&#x2022;HOGV WR VSHFXODWH RQ WKH WZR QDYHOV <DVRQ %DQDO FRQWHPSRUDU\ DUWLVW DQG ŕŻ&#x2022;OPPDNHU SKRWRJUDSKHUV 0DUYLQ 0DQLQJ DQG -LQJJR 0RQWHQHMR 7$2 3LOLSLQDV ,QF 'H /D 6DOOH Ö? &ROOHJH RI 6DLQW %HQLOGH 6FKRRO RI 'HVLJQ DQG $UWV 8QLYHUVLW\ RI 6DQ &DUORV Ö?

6FKRRO RI $UFKLWHFWXUH )LQH $UWV DQG 'HVLJQ 8QLYHUVLW\ RI WKH 3KLOLSSLQHV 'LOLPDQ &ROOHJH RI $UFKLWHFWXUH DQG 8QLYHUVLW\ RI WKH 3KLOLSSLQHV 0LQGDQDR 'HSDUWPHQW RI $UFKLWHFWXUH 7KH ŕŻ&#x2022;UVW QDYHO FDOOHG (Post)Colonial Imaginations explores the politics of representing a nation in an international setting, the DJHQWV ZKR FRQVWUXFW DQ RŕŻ&#x2014;FLDO QDUUDWLYH IRU DQ LQWHUQDWLRQDO audience, identity politics, and attempts to construct a national identity through architectural displays.

Colonialism is the acquisition and control by a nation of another territory and its people. In our case, we have been politically dominated consecutively by Spain and America (and LQWHUPLWWHQWO\ E\ -DSDQ *DLQLQJ VRYHUHLJQW\ DIWHU VXFK D ORQJ period of rule comes with an identity crisis, which I suspect stems from the retreat from the foreign and turning a blind eye to cultural appropriation. Itâ&#x20AC;&#x2122;s the whiplash of independence.

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From February to March of 2018, Cabalfin and the PAVB Coordinating Committee went to Venice to do a mock-up of the exhibit and testing of equipment with WeExhibit. Photo by Andrea Dâ&#x20AC;&#x2122;Altoè/Philippine Arts in Venice Biennale

The irony is that our post-colonial presentations of Philippine architecture remained entrenched in how our former colonizers perceived us: bahay kubo, bulol, primitive, exotic.

While the vernacular has its place in current design practice, it becomes problematic when it becomes the measuring rod for )LOLSLQR QHVV 7KLV NLQG RI WKLQNLQJ EUHHGV WLPLG GHVLJQHUV DQG the prevalence of â&#x20AC;&#x153;modern bahay kuboâ&#x20AC;? in project descriptions. ,I ZH ZLVK WR DFKLHYH SURJUHVVLYH )LOLSLQR DUFKLWHFWXUH WRGD\ which future architects and historians will be tasked to study, we need not be insecure of being cultural hybrids.

The other navel, Neoliberal Urbanism, presents the development of Philippine cities in the midst of privatization, deregulation, a free market, and minimal state intervention.

This section includes photos and video documentaries (vlog entries) that follow various laborers navigating through the daily UK\WKPV RI 0DQLOD &HEX DQG 'DYDR The neoliberal city races towards the bottom line and its citizens are but consumers. And as in any competition, there are winners and losers. No developer wants to lose, so design briefs tend to begin and end with: how much money can I earn here? Thus, most of our urban issues today are borne RXW RI WKLV SURMHFW F\FOH %32V DQG XUEDQ LQVRPQLD PDUNHW ŕŻ&#x2013;RZV DV H[SUHVVHG WKURXJK YHKLFXODU WUDŕŻ&#x2014;F PRYHPHQW DQG LQIUDVWUXFWXUH GHYHORSPHQW 2YHUVHDV )LOLSLQR :RUNHUV DQG their impact on the expansion of residential developments in the city and the sprawl; the rise of mixed-use and shopping malls as alternative urban public spaces; and, informal settlements and their intimate relationship with the growth of the city.

The central section features Banalâ&#x20AC;&#x2122;s multi-channel video installation Untitled Formation, Concrete Supernatural, Pixel Unbound, which investigates the tenuous overlap between the two navels through their contemporary manifestations. Sitting

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on the central bench in the pavilion, one is embraced by a quilt RI YLGHRV VKRW RQ GLŕŻ&#x201D;HUHQW GHYLFHV ZLWK LQKXPDQ YRLFHRYHUV DQG dreamy music. In stitching scenes of our daily environments with quotes mundane and ironic, along with silent and beautiful reprieves, Banal reads our cities as coded translations of identity, PDUNHW DQG DŕŻ&#x201D;HFW Consolidating what The City Who Had Two Navels questioned DQG SUHVHQWHG RQH ZLOO JHW D SLFWXUH RI ZKHUH )LOLSLQR DUFKLWHFWXUH LV LQ 2XU DUFKLWHFWXUH LQ WKH PLGVW RI FRPLQJ WR WHUPV ZLWK LWV PL[HG OLQHDJH LV \RNHG WR WKH IUHH PDUNHW HFRQRP\ 2XU DUFKLWHFWXUH PD\ QRW EH DOO WKDW ZH ZLVK LW ZDV WRGD\ EXW &DEDOŕŻ&#x2022;Q and his collaborators work through all our angst and frustrations to present it at the Philippine Pavilion. If there is anything Schumacher FDQ DFFXVH XV RI LW LV ELQDYHO JD]LQJ 'L]]\LQJ" <HV )XWLOH" 1R

The vernissage was held on May 24, 2018. Like all other previous displays, The City Who Had Two Navels will return to the Philippines for a homecoming exhibit.

Our architecture, in the midst of coming to terms with its mixed lineage, is yoked to the free-market economy. Our architecture may not be all that we wish it was today, but Cabalfin and his collaborators work through all our angst and frustrations to present it at the Philippine Pavilion.

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NCCA Chairman Virgilio Almario’s translation of Freespace into our national language, Pookginhawa, holds a lesson for all designers. We asked him of his choice of “ginhawa” for freedom as “kalayaan” seemed like the more popular word. He shared that, in 17th-century literature, ginhawa for the Filipinos meant a feeling of “lightness,” of being “lighter than light.”

Edson Cabalfin touring NCCA Chairman Virgilio Almario around the pavilion before the vernissage activities begin. Here they pass by the scaled models that TAO Pilipinas created with the community members from the sites they have worked on. Opposite page: The different jeepney signage from Manila, Cebu, and Davao show which developments and points in the metro attract the most traffic. In effect, they tell us which institutions and people are in power in the neoliberal landscape.

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,W UHPLQGV PH RI D SRUWLRQ LQ 1LFN -RDTXLQÖ˘V QRYHO The Woman Who Had Two Navels &DEDOŕŻ&#x2022;QÖ˘V ODXQFKSDG IRU WKH SDYLOLRQ &RQQLH (VFREDU WKH VWRU\Ö˘V SURWDJRQLVW ZDV SUHVVHG WR DQVZHU ZK\ VKH ZDV VR NHHQ WR ŕŻ&#x2022;QG KHU IDWKHU â&#x20AC;&#x153;Because I must know what I am,â&#x20AC;? she said â&#x20AC;&#x153;and how can I know that if I donâ&#x20AC;&#x2122;t know what I came from? When I was little, when we were still living in the old place, I thought I knew. I caught snatches of a voice and glimpses of a face. There were traces of somebody else all over the house. I came upon a sword and a pistol, , VDZ DQ ROG XQLIRUP KDQJLQJ EHVLGH DQ ROG ࣿDJ , IRXQG VRPH ROG ERRNV DQG newspapers. I began to form a picture of what my father was. Oh, he was a hero. But then I grew up and began to notice what people were saying, what the newspapers were saying. Now I donâ&#x20AC;&#x2122;t know which is my real fatherâ&#x20AC;&#x201D;the one in the old QHZVSDSHUV RI WKH RQH LQ WKH QHZ RQHV %XW , GR NQRZ , PXVW ࣞQG KLP Őš %HIRUH WKH 3KLOLSSLQH 3DYLOLRQÖ˘V RŕŻ&#x2014;FLDO SUHYLHZ ZH KDG D JRRG FKDW ZLWK NCCA Chairman Virgilio Almario. Poet and scholar by profession, Almarioâ&#x20AC;&#x2122;s translation of Freespace into our national language, Pookginhawa, holds a lesson for all designers. We asked him of his choice of â&#x20AC;&#x153;ginhawaâ&#x20AC;? for freedom as â&#x20AC;&#x153;kalayaanâ&#x20AC;?

VHHPHG OLNH WKH PRUH SRSXODU ZRUG +H VKDUHG WKDW LQ WK FHQWXU\ OLWHUDWXUH ginhawa IRU WKH )LOLSLQRV PHDQW D IHHOLQJ RI ÖĽOLJKWQHVV ÖŚ RI EHLQJ ÖĽOLJKWHU WKDQ light.â&#x20AC;? The only way to reach heaven is to shed all the bigat (heaviness) from \RXUVHOI ,Q RXU FXUUHQW VODQJ WKH LGHDV KDYH EHHQ LQWHUFKDQJHG )LOLSLQRV WRGD\ consider heaviness as a positive attribute. Anyone of power, consequence, or money is considered bigatin.

We must know who we are. But with what we know now, we must also brave the front of envisioning who we want to be. We have a lot of weight WR VKHG DORQJ WKH ZD\ &DEDOŕŻ&#x2022;Q SRLQWHG RXW WKDW KH VHQVHV WKLV ZLWK WKH QHZ generation of architecture students, whose worldviews have been shaken and made borderless by the internet, as well as community architecture organizations OLNH 7$2 3LOLSLQDV ZKR VHHN LQVLJKW IURP DQG FROODERUDWH ZLWK WKRVH PDGH powerless by neoliberalism.

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Curator Edson Cabalfin, Ph.D.

Senator Loren Legarda and Philippine Pavilion curator Edson Cabalfin. 2018 is the second time the Philippines officially participates in the Venice Architecture Biennale and the first time that the pavilion is at the Arsenale, one of the main exhibition spaces. Legarda considers securing the venue a triumph for the countryâ&#x20AC;&#x2122;s participation, which she has been spearheading since 2013.

Photo by Raymund Isaac

Commissioner Virgilio S. Almario, Chairman National Commission for Culture and the Arts (NCCA) in cooperation with the Department of Foreign Affairs (DFA) and the Office of Senator Loren Legarda

â&#x20AC;&#x153;It was important for me that our representation in Venice be able to bring together the different voices of the people who have a stake in creating our built environment. I wanted them to participate because they have the most access to shaping the future of our cities.â&#x20AC;? E D S O N C A B A L F I N â&#x20AC;&#x153;It was important for me that our representation in Venice be DEOH WR EULQJ WRJHWKHU WKH GLŕŻ&#x201D;HUHQW YRLFHV RI WKH SHRSOH ZKR have a stake in creating our built environment. I wanted them to participate because they have the most access to shaping the IXWXUH RI RXU FLWLHV ÖŚ &DEDOŕŻ&#x2022;Q VWDWHG ÖĽ(DFK UHVSRQVH UHSUHVHQWV a segment of societyâ&#x20AC;&#x201D;the underprivileged and the youth have as much right to demand how cities should be built with their needs in mind.â&#x20AC;?

There are rumblings today. Last year, a Philippine project ŕŻ&#x2022;QDOO\ ZRQ DW WKH :RUOG $UFKLWHFWXUH )HVWLYDO 'LŕŻ&#x201D;HUHQW government agencies are holding design competitions for civic buildings. Studios are cross-pollinating in the form of talks and collaborations. Millennials see and are restoring the value of our built heritage, most notably through RUJDQL]DWLRQV VXFK DV ,&2026 DQG (VFXHOD 7DOOHU 7KHUH LV public outcry for diminishing public space. Young academics are challenging the existing design pedagogy. In future architecture biennale participations, which Senator Legarda assuredly said will happen, it is my hope that we will see the fruits of our questioning take center stage.

Blissfully Yours

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De La Salle-College of Saint Benilde ask and propose what Manila would have looked like in 2050, if the Philippines had firstly, never been colonized (Lusong 2050), and then, if each of the Philippinesâ&#x20AC;&#x2122;s colonizers, Spain and Japan, had won the Spanish-American War and World War II respectively, and had been in power until today. The last proposal imagines a neoliberal, functionalist future, in which augmented reality (AR) and artificial intelligence (AI) have pervaded the Philippine built environment.

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F O CUS

Photography and cinema combine to give a critical reading RI WKH ORFDO EXLOW HQYLURQPHQW DW WKLV \HDU·V 3KLOLSSLQH 3DYLOLRQ Introduction and interviews by Lawrence Carlos

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Previous spread: Cinematic stills of Yason Banalâ&#x20AC;&#x2122;s immersive video installation entitled Untitled Formation, Concrete Supernatural, Pixel Unbound for the Philippine Pavilion at the 16th Venice Architecture Biennale.

Stills courtesy of Yason Banal Left: Yason Banal standing in the center of his video installation, a space which results from the intersection between the â&#x20AC;&#x2DC;two navels.â&#x20AC;&#x2122; Photo by Andrea Dâ&#x20AC;&#x2122;Altoé/Philippine Arts in Venice Biennale

Yason Banal

Visual representation of the built environment is intrinsic to the 3KLOLSSLQH 3DYLOLRQ DW WKLV \HDU·V Venice Biennale beyond the conventional architectural drawings, diagrams, and renders that architects usually produce. Both still and moving image were entwined in Edson $BCBMmO T CJQPMBS OBSSBUJWF PG 'JMJQJOP BSDIJUFDUVSF UP TPCFSJOH FGGFDU "GUFS FYQFSJFODJOH UIF QBWJMJPO JO JUT FOUJSFUZ XF TQPLF UP BSUJTU mMNNBLFS BOE 61 'JMN *OTUJUVUF 1SPGFTTPS :BTPO #BOBM BOE QIPUPHSBQIFS +JOHHP .POUFOFKP CBDL JO UIF 1IJMJQQJOFT BCPVU IPX UIFZ IBWF VOQBDLFE UIF QPTU DPMPOJBM OFPMJCFSBM conditioned urban environment through UIFJS SFTQFDUJWF NFEJVNT

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BluPrint: The title of your video installation in the Philippine Pavilion is Untitled Formation, Concrete Supernatural, Pixel Unbound. &DQ \RX EUHDN GRZQ WKH SKUDVHÕ©V GHࢽQLWLRQ" Yason Banal: Concrete Supernatural SHUWDLQV WR D UHà¯&#x2013;H[LYH remembrance of architectureâ&#x20AC;&#x2122;s geopolitical past, Pixel Unbound a critical emancipation of the present, and the futureâ&#x20AC;&#x201D;an egalitarian dream stillâ&#x20AC;&#x201D;Untitled Formation.

What was the process in composing a montage of the Philippine EXLOW HQYLURQPHQW" Process follows concept and research, as well as planning and play.

Intersections and refractions of systems abound around the concept of â&#x20AC;&#x2DC;architectureâ&#x20AC;&#x2122;â&#x20AC;&#x201D;its own nuanced network, abstract mechanism, and VW\OLVWLF Hà¯&#x201D;HFW SDUWLFXODUO\ DPRQJ VWUXFWXUHV DQG HQYLURQV RI FRUSRUDWH prowess, state power, and cultural heritage. From shopping centers, SVHXGR IDVFLVW HGLà¯&#x2022;FHV DQG OX[XU\ HQFODYHV WR JLDQW ELOOERDUGV KLVWRULFDO UXLQV DQG YDQLVKLQJ DQFHVWUDO ODQGV WKH ZRUN UHDGV Ö¡DUFKLWHFWXUHÖ¢ QRW RQO\ DV D EXLOW DQG YLVXDO HQYLURQPHQW EXW DOVR DV D FRQFHSWXDO GHVLJQ DQG D FRGHG WUDQVODWLRQ RI SRZHU LGHQWLW\ PDUNHW DQG Dà¯&#x201D;HFW Can you share a little bit about what the spoken, subtitled QDUUDWLYH UHYHDOV WR WKH YLHZHU" 7KH VXEWLWOHG YLJQHWWHV DUH HYRFDWLYH RI YDULRXV SHUVSHFWLYHV sites and timelines, combining research, rumination, and poetic imagination. Such phantasmatic characters include a colonizerâ&#x20AC;&#x2122;s VODYH UHVHDUFKHU D QDYLJDWRU DUFKLWHFW D EXULHG FRQVWUXFWLRQ ZRUNHU a hotel cleaner, a technocrat, a homeless person, and a few more. +RSHIXOO\ WKH\ UHYHDO LQVLJKWV RQ KRZ Ö¡DUFKLWHFWXUHÖ¢ FDQ EH YLHZHG IURP LWV Ö&#x17E;DQG WUDYHUVHÖ&#x17E;KLVWRU\ à¯&#x2022;QDQFH DHVWKHWLFV HQJLQHHULQJ cultural studies, urban planning, technology, discourse, and poetics.

The experience of being at the center of the pavilion and attempting to comprehend what is being depicted on the projections in front and behind you is wholly immersive and, at times, disorientating. What were you hoping to achieve in getting the participant to move their body and engaging their SHULSKHUDO YLVLRQ WR ZDWFK WKH YLGHR" The seeming polarities can simultaneously enrich and SUREOHPDWL]H WKH H[SHULHQFH RI DQG LQVLJKW WR Ö¡DUFKLWHFWXUHÖ¢ Immersion and disorientation are manifestations of the so-called neoliberal and neo-colonial condition. Polarity becomes parallelism, RU UHIUDFWLQJ WR D SDUDOOD[ YLHZLQJ DQG XQGHUVWDQGLQJ RI Ö¡DUFKLWHFWXUHÖ¢ 7KH FLWL]HQ YLHZHU LQWHUVHFWLQJ WKH à¯&#x2022;OPLF VSDFH FUHDWHG E\ WKLV HQYHORSLQJ DUFKLWHFWXUDO IRUP à¯&#x2022;OP VFUHHQ FDQ DOVR PD\EH EHJLQ WR grapple with and think about the intersections around â&#x20AC;&#x2DC;architectureâ&#x20AC;&#x2122;, ZKLOH PDNLQJ VHQVH RI WKHLU RZQ SHULSKHU\ SUR[LPLW\ DQG proportion to such things.

What do you think a more observant perspectiveâ&#x20AC;&#x201D;and also a more abstracted reading at thatâ&#x20AC;&#x201D;of the Philippine built environment can say, i.e. through cinema, as opposed to what architects, designers, and developers tend to focus on DQG SUHVHQW" &LQHPD KDV D FRQYHUVDWLRQ ZLWK DUFKLWHFWXUH LQ UHSUHVHQWDWLRQDO WHUPV 7KH Ö¡EXLOW HQYLURQPHQWÖ¢ FDQ EH YLHZHG DQG UHIUDFWHG ZLWK LPDJHV PHDQLQJV DQG UHSUHVHQWDWLRQV WKURXJK à¯&#x2022;OP ODQJXDJHÖ&#x17E; from cinematography, montage, sound, production design, script, DQG GLUHFWLRQ WR WKH à¯&#x2022;OPÖ¢V PRGH RI SURGXFWLRQ DQG GLVWULEXWLRQ LGHRORJLFDO SRVLWLRQ DQG DHVWKHWLF GHYLFHV WKDW FDQ HPEHG UHYHDO DQG YHLO FRGHV ZLWKLQ Ö¡DUFKLWHFWXUH Ö¢ 0XFK FDQ EH OHDUQHG RQ KRZ DUFKLWHFWXUH OLYLQJ DQG FRQVFLRXVQHVV DUH LQWHUWZLQHG YLD FRORQLDO DXWKRULWDULDQ QHROLEHUDO DQG UHYLVLRQLVW FLQHPD DQG DUFKLWHFWXUH )URP VXFK ZH FDQ PRUH Hà¯&#x201D;HFWLYHO\ H[SORUH QRWLRQV RI Ö¡EXLOWÖ¢ DQG Ö¡HQYLURQPHQWÖ¢ DQG PRUH VLJQLà¯&#x2022;FDQWO\ ZKRVH DQG ZKDW LQWHUHVWV WKH\ XOWLPDWHO\ VHUYH DQG SURSHO LQ RUGHU WR UHVLVW VXFK SRZHU VWUXFWXUHVÖ¢ GDUNHU DLPV ,Q WXUQ WKH KRSH LV WR FUHDWH PRUH GHPRFUDWLF LQFOXVLYH SURVSHURXV GLVFXUVLYH DQG KXPDQH HQYLURQV Cinema can help de-construct the stasis and spectacle of â&#x20AC;&#x2DC;architecture,â&#x20AC;&#x2122; and inspire, comfort, educate, and emancipate its VXEMHFWV YLHZHUV $UFKLWHFWV GHVLJQHUV DQG GHYHORSHUV FDQ ZDWFK DQG DQDO\]H DUFKLWHFWXUDO UHSUHVHQWDWLRQV PHFKDQLVPV DQG Hà¯&#x201D;HFWV IURP D ZLGH DUUD\ RI FULWLFDOO\ DFFODLPHG à¯&#x2022;OPV GRFXPHQWDULHV DQG FRPPXQLW\ EDVHG ZRUN SHUKDSV HYHQ LQYROYLQJ à¯&#x2022;QDQFLHUV FRQWUDFWRUV ODERUHUV XUEDQ SODQQHUV HQYLURQPHQWDOLVWV DQG FRPPXQLW\ PHPEHUV WR GLVFXVV GHEDWH ZRUNVKRS DQG LPSURYH on architectural plans as well as conditions of production, societal GHYHORSPHQW DQG HFRORJLFDO VXVWDLQDELOLW\ 0RYLQJ LPDJHV FDQ VHUYH DV Hà¯&#x2014;FLHQW DQG H[SDQVLYH WRROV LQ XQGHUVWDQGLQJ DUFKLWHFWXUH SROLWLFDO HFRQRP\ FLYLO VRFLHW\ DQG UHSUHVHQWDWLRQ +RSHIXOO\ WKHQ VWUXFWXUHV and shelters can be built on more just conditions, on just land.

Moving images can serve as efficient and expansive tools in understanding architecture, political economy, civil society, and representation.

Hopefully then, structures and shelters can be built on more just conditions, on just land.

YA S O N

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The two tapered curved walls warp and stretch the projections to produce a dizzying panoramic portrayal of the Philippine built environment. Visuals through different types of lenses overlaid with subjective anecdotes from various characters recount post-colonial anxieties and the neoliberal urban condition. Photos by Andrea Dâ&#x20AC;&#x2122;Altoé/Philippine Arts in Venice Biennale

Yason Banal is an artist whose work moves between video, photography, installation, performance, text, exhibition making, and pedagogy. He obtained a BA in Film at the University of the Philippines and an MFA in Fine Art at Goldsmiths, University of London. He held visiting lectureships at London Metropolitan University and Tokyo National University of Fine Arts and is currently assistant professor at the University of the Philippines Film Institute. His works have been exhibited widely including the Tate, Frieze Art Fair, Singapore Biennale, Shanghai Biennale, Asia Pacific Triennial, and this year at the Ateneo Art Gallery, National Taiwan Museum of Fine Art, and Daegu Art Factory.

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Jinggo Montenejo

Jinggo Montenejo %OX3ULQW +RZ GLG (GVRQ &DEDOࢽQ JHW LQ WRXFK ZLWK \RX WR SDUWLFLSDWH LQ WKH 3KLOLSSLQH 3DYLOLRQ" -LQJJR 0RQWHQHMR , PHW (GVRQ WKURXJK P\ ZLIH $VD 7KH\ ZHUH EDWFKPDWHV LQ 83 'LOLPDQ &ROOHJH RI $UFKLWHFWXUH (GVRQ has also seen some of my work as a photographer. When he approached me and asked if I wanted to be a contributor to the 3KLOLSSLQH 3DYLOLRQ KH PHQWLRQHG WKDW KH OLNHV KRZ , GR P\ VWUHHW SKRWRJUDSK\ DQG WKH ZD\ , FDSWXUH WKH HQYLURQPHQW , KDYH D MRXUQDOLVWLF DSSURDFK WR FDSWXULQJ VWUXFWXUHV , SUHIHU WR KDYH SHRSOH LQ WKH VKRWV DV LW JLYHV WKH VSDFH FRQWH[W :KDW SHRSOH ZHDU KRZ they act, how they interact with the space and with each other says a lot about the place. This was a dream project for me.

What was the process like in selecting your work for the SDYLOLRQ" :KHQ , VWDUWHG WKH SURMHFW , H[SODLQHG WR (GVRQ WKDW KH ZRXOG get to see all the images that I photographâ&#x20AC;&#x201D;minus of course the bad ones. I didnâ&#x20AC;&#x2122;t want him to be surprised at the last stage of the project and for him to only see the images towards the end.

8QGHUVWDQGDEO\ ZLWK (GVRQÖ¢V VFKHGXOH LW JRW KDUGHU IRU KLP WR JR WKURXJK HYHU\ SKRWR 6R , KDG WR HYHQWXDOO\ GR WKH FXOOLQJ P\VHOI and just present my selections. , VKRW VR PXFK PDWHULDO RYHU WKH WKUHH PRQWKV ZRUNLQJ RQ this project that the selected images were not necessarily the prettiest images photographically but it was more about what best represents the elements of neoliberalism and post-colonialism. I VHOHFWHG LPDJHV WKDW FRQYH\HG (GVRQÖ¢V PHVVDJH EXW IRU LPDJHV that I really liked, I made sure he got to see it. One other thing that we kept in mind was how much time the image would stay RQ WKH VFUHHQ EHIRUH FKDQJLQJ WR DQRWKHU LPDJH *LYHQ WKH VKRUW DWWHQWLRQ VSDQ RI YLHZHUV ZH UHDOO\ KDG WR OLPLW WKH QXPEHU RI SKRWRV IRU WKH H[KLELW

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Friday night commute outside Plaza Victoria, Davao.

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Documenting what the urban environment looks like now and comparing it to how it will look in, letâ&#x20AC;&#x2122;s say, five yearsâ&#x20AC;&#x2122; time carries a lot of power. And it should allow us to seriously consider if the progress is good or not.

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Were they shot with the curatorial theme in mind or did they FRPH IURP \RXU RZQ H[SORUDWLRQV RI WKH EXLOW HQYLURQPHQW" I had some leeway in how to capture a scene and how to SUHVHQW LW FUHDWLYHO\ )RU LQVWDQFH SKRWRJUDSKLQJ WUDà¯&#x2014;F DORQJ &RPPRQZHDOWK $YHQXH WKH FKRLFHV ZHUH WR VKRRW HDUO\ PRUQLQJ daytime or sunset, with fast or slow shutter speeds (to capture PRYHPHQW 6R , VKRW DW YDULRXV WLPHV RI WKH GD\ ZDONHG XS DQG GRZQ &RPPRQZHDOWK $YHQXH VKRRWLQJ RYHU DQG XQGHU EULGJHV ORRNLQJ IRU ZD\V WR PDNH WUDà¯&#x2014;F PRUH FRPSHOOLQJÖ&#x17E;LW DOUHDG\ LV EXW IRU D GLà¯&#x201D;HUHQW UHDVRQ ODXJKV Ö&#x17E;WR D IRUHLJQ DXGLHQFH 7KHUH DUH times I would just get on my motorbike with my camera and just ride aroundâ&#x20AC;&#x201D;park somewhere, shoot, walk around, eat street food, then walk again and shoot. So I already had a pretty good idea of how I would approach this project.

'RLQJ WKLV LQ 'DYDR ZDV MXVW D ELW GLà¯&#x201D;HUHQW VLQFH , GLG QRW NQRZ WKH SODFH DQG , GLG QRW KDYH P\ PRWRUF\FOH ZLWK PH 2Q RQH RI P\ VKRRW GD\V LQ 'DYDR , ZDONHG RYHU NP JRLQJ IURP P\ KRWHO LQ %XKDQJLQ WR 0DWLQD , 7 3DUN )RU PH WKDW ZDV WKH EHVW ZD\ WR H[SORUH DQG VHH WKH FLW\ DQG JHW D IHHO IRU LWV SHRSOH , ZDONHG LQ WKH PRUQLQJV DQG ODWH DIWHUQRRQV XQWLO WKH HYHQLQJ 0\ PHWKRGV IRU H[SORULQJ SODFHV DQG VDWLVI\LQJ WKH UHTXLUHPHQWV RI WKH SURMHFW ZHUH D JRRG à¯&#x2022;W Often photography tends to romanticize or distort reality.

In the context of the Philippine Pavilion and the issues it conveys, urban photography also tends to be viewed from a

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distance. Do you think photographyâ&#x20AC;&#x2122;s power to be a catalyst IRU FKDQJH LV GLPLQLVKHG E\ WKHVH IDFWRUV" 7R FDSWXUH WKH XUEDQ HQYLURQPHQW WR VRPH GHJUHH , DJUHH WKDW LW KDV WR EH YLHZHG IURP D GLVWDQFH WR VKRZ DV PXFK RI LW DV SRVVLEOH But that doesnâ&#x20AC;&#x2122;t diminish its power to change. Documenting what it looks like now and comparing it to how it will look in, letâ&#x20AC;&#x2122;s say, à¯&#x2022;YH \HDUVÖ¢ WLPH FDUULHV D ORW RI SRZHU $QG LW VKRXOG DOORZ XV WR seriously consider if the progress is good or not. With the rapid pace RI GHYHORSPHQW PRQWKV RU D \HDU FDQ EULQJ DERXW D VLJQLà¯&#x2022;FDQW FKDQJH LQ WKH HQYLURQPHQW 5HFRUGLQJ WKH GUDPD XQIROG FDQ EH XVHG IRU JRRG RU MXVW à¯&#x2013;DWO\ LJQRUHG Photography is just a toolâ&#x20AC;&#x201D;the decision to make changes XOWLPDWHO\ OHDGV WR SHRSOH LQ SRZHU %XW ZH DV WD[SD\HUV DOVR FDUU\ this responsibility. Thereâ&#x20AC;&#x2122;s this one photo I took of a long line of SHRSOH ZDLWLQJ IRU D MHHSQH\ LQ 0DNDWL &%' DQG LW PDGH PH WKLQN DERXW ZK\ ZH DUH ZKHUH ZH DUH QRZ 0D\EH LWÖ¢V LQ RXU FXOWXUH WR EH SDVVLYH DQG WROHUDQW DQG MXVW DFFHSW RXU IDWHV WR DOZD\V OLQH XS DQG ZDLW IRU KRXUV RQ HQG MXVW WR JHW KRPH , GLGQÖ¢W QHHG WR KDYH a tighter shot of the commuters and their faces to show what the H[SHULHQFH LV OLNH MXVW VHHLQJ WKH OLQHV VQDNH DURXQG LV HQRXJK WR VKRZ KRZ EDG WKH VLWXDWLRQ LV IRU WKH ZRUNLQJ PDVVHV , GRQÖ¢W KDYH WKH DQVZHUV EXW LW MXVW IHHOV ZURQJ WKDW ZH WDNH WKH VWDWXV TXR DQG OLYH DV LI QRWKLQJ FDQ FKDQJH RXU FRQGLWLRQV ,I DQ\WKLQJ , KRSH WKH LPDJHV PDNH XV WKLQN DERXW WKH FRQGLWLRQV ZH OLYH LQ DQG JLYH XV ideas of how to make change for the better.

Right: Makati Avenue, Makati City.

Below: Waiting for a ride home, Landmark Mall, Makati. Opposite page: Traffic congestion along Commonwealth Avenue, Quezon City.

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)URP \RXU RZQ H[SHULHQFHV WUDYHOLQJ WR GLࢼHUHQW XUEDQ ORFDWLRQV in the Philippines, what do you feel needs to change in order to LPSURYH WKH TXDOLW\ RI RXU FLWLHV" We need really good urban and city planners that can make the GLà¯&#x201D;HUHQW VWUXFWXUHV WKDW ZH KDYH ZRUN WRJHWKHU VHDPOHVVO\ )RU H[DPSOH \RX KDYH WKH HQG RI WKH /57 6WDWLRQ LQ 5RRVHYHOW $YHQXH 4XH]RQ &LW\ ,WÖ¢V ULJKW EHVLGH :DOWHUPDUW :K\ QRW UHTXLUH WKH PDOO RZQHU WR connect their store to the station? By connecting to the mall will it not VHUYH WKH PDOO RZQHUVÖ¢ REMHFWLYHV RI EULQJLQJ LQ PRUH EXVLQHVV WR WKHLU HVWDEOLVKPHQWV" 7KH $\DOD 057 VWDWLRQ LV D JRRG H[DPSOH RI KRZ LW should be done. But itâ&#x20AC;&#x2122;s not consistent.

There are challenges to doing this, but the welfare of the people should be the main consideration when designing structures. How can people use a footbridge that has steps whose irregular treads and risers make it GLà¯&#x2014;FXOW IRU D \HDU ROG QHYHUPLQG D VHQLRU FLWL]HQ" )RRWEULGJHV DFURVV &RPPRQZHDOWK $YHQXH DUH QRWRULRXV IRU WKLV , EHOLHYH PDNLQJ VWUXFWXUHV HDV\ WR XVH PDNHV WKH TXDOLW\ RI RXU FLWLHV EHWWHU 0RUH UDPSV ORZHU steps, stations connected to malls, to name a few, will go a long way in LPSURYLQJ RXU FLWLHVÖ&#x17E;LWÖ¢V KRZ \RX JHW IURP \RXU KRPH WR \RXU GHVWLQDWLRQ within the city as smoothly as possible.

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I believe making structures easy to use makes the quality of our cities better.

More ramps, lower steps, stations connected to malls, to name a few, will go a long way in improving our cities.

J I N G G O

M O N T E N E J O

Jinggo Montenejo is a full-time freelance photographer. After completing an engineering degree at De La Salle University, and working in the semiconductor industry for more than a decade, he pursued photography in the San Francisco Bay Area. He moved back to the Philippines in 2012. View his portfolio on his website www. jinggomontenejo.com or follow his Instagram @jinggomontenejo.

Clockwise from top left: Market stalls inside Plaza Victoria, Davao; street market vendors, Quiapo, Manila; a full commuter bus ride in Metro Manila.

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The ASEAN pavilions at the Venice Biennale 2018 explore DQG FHOHEUDWH WKH FXUUHQW VWDWHV RI WKH UHJLRQ·V DUFKLWHFWXUH Written by Angel Yulo

Photographed by Lawrence Carlos

Google “Southeast Asian architecture” DQG WKH ÀUVW IHZ KLWV ZLOO OHDG \RX WR ancient monuments like Angkor Wat and Borobudur. Our region’s contemporary architecture, which includes thought, phenomenon, issue, and persona, has only been scratched on the surface, save for the seasonal conferences organized by universities and research institutions. Thus, the Venice Biennale becomes a cherished platform for ASEAN architects who get invited, all of whom are conscious of exhibiting our present to an audience who are only familiar with our distant past.

In the Arsenale, where newer nations (usually former imperial colonies) are housed, the conversations we have daily on our streets and our studios are an earshot from our neighboring countries. Curators and collaborators are invited as panelists in each others’ public forums. And, at least for seven months every other year, design cross-pollination is just a short walk away.

At the 16th Venice Architecture Biennale, four ASEAN countries were present: the Philippines, Singapore, Indonesia, and Thailand. We give you an overview of the other three national pavilions as well as snippets from our one-on-one interviews with the curators.

A view of the Sale d’Armi building (left) and the Artiglerie building (right) at the Arsenale, which house the different national pavilions. Photo by Andrea Avezzù, courtesy of La Biennale di Venezia

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S I N GA P OR E No More Free Space?

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At just 720 square kilometers with 5.6 million people, Singapore is one of most densely populated tropical countries today. Throw in “highly-urbanized” into the mix and one is left to ask: is there even any more space to build?

Scarcity of land is something Singaporean architects have constantly battled with, but it has not hindered them in leaping from a post-war backwater into one of the world’s most livable cities. Now, they have the steely wills on a new agenda: to become a lovable city. This is what 2018’s curatorial team hoped to explore with their pavilion entitled No More Free Space? “Our profession is now challenged to respond to a greater calling—to create places enjoyed by all, to create places that delight,” they write in their RௗFLDO VWDWHPHQW There is a shift from pragmatism, a salient feature of the nation’s design, to attention to quality, which is hardly ever represented by facts and numbers. “The soft power of architecture is really beginning to take hold in Singapore,” said curator Wu Yen Yen.

Top left: “No more free space? We reuse.” Enabling Village by WOHA adapted a former vocational institute into an inclusive space—integrating education, work, training, retail, and lifestyle—that connects people with disabilities to residents in nearby housing estates and to the wider community. Right: The acrylic cloud being assembled by curator Jason Lim Teck Chye at a Singapore University of Technology and Design (SUTD) lab. Although SUTD took the lead in this year’s pavilion, the other stakeholders of Singapore’s architecture (National University of Singapore, private practices, and the Singapore Institute of Architects) were represented by members of the curatorial team.

Bottom left: “No more free space? We learn in the mall.” Library@Orchard

by Singapore Polytechnic, New Space Architects, DIA Brand Consultants, and National Library Board conceived a more engaging public library in a shopping mall, using design-thinking to study the needs and interests of library users and the community. Photos courtesy of the Singapore Pavilion

That is why our title is a pun because Freespace is split into two words. So it’s a tongue-and-cheek reference to “free” as quantity and as quality.”

The curators selected 12 projects that have turned constraints into possibilities. “We already get a lot of things for free: lush gardens everywhere without asking for it, climate for indoor and outdoor spaces, a lot of rain. The featured projects borrowed from this and transformed it for everyone,” shared curator Chong Keng Hua. “Another resource is our people. So we look at how people are participating in making the city more endearing for everyone.”

Scenes from these 12 spaces are projected on the ground. A JLDQW FORXG RI DFU\OLF NQRWV SURJUDPPHG ZLWK OLJKW ௖RDWV DERYH the projections. The cloud is responsive as portions of it light up and even change color as viewers move through the installation.

The almost-invisible cloud coming “alive” with human interaction LV D ௕WWLQJ PHWDSKRU IRU WKH SDYLOLRQ֢V VWDWHPHQW DV IUHH VSDFH ZLOO always be available to designers who have the ingenuity to create it.

Curatorial team Lead Curator: Prof. Erwin Viray Curatorial Collaborator: Prof. Ho Puay-Peng Curator: Dr. Chong Keng Hua Curator and Exhibition Designer: Dr. Jason Lim Teck Chye Curator: Tomohisa Miyauchi Curator and Exhibition Designer: Wu Yen Yen Commissioners DesignSingapore Council: Mark Wee Urban Redevelopment Authority: Larry Ng

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I N D ON E S I A Sunyata: The Poetics of Emptiness Spans of paper hang like giant hammocks from the top corners of the room. There are gaps between the sections through which heads peer through, as well as two rounded voids—the longer one in line with the doorway, and the smaller one closer to the wall. As you walk through, you can hear trickling—as if water and small pebbles were rolling down the white slopes, causing a double-take because there is nothing there except light. The Indonesian Pavilion interprets the biennale’s Freespace theme into Sunyata: The Poetics of Emptiness.

Sunyata is a Sanskrit word that denotes an active emptiness that injects order into voids without the use of grids, a concept that runs deep in Indonesian architecture. Lead curator Ary Indra tells us his team decided on that direction because present-day designers have become “imprisoned by the eyes,” pertaining to the obsession with visualcentric approaches.

To further illustrate this, the pavilion team selected 27 historical and contemporary buildings that have the transformative void as the crux of their spatial organization. Some of these are: the Taman Sari ruins in Yogyakarta, the Tulang Bawang Barat mosque by Andra Matin, and Jonas Studio in Bandung by Willis Kusuma Architects. The projects are presented on clusters of pedestals surrounding the main installation.

And QR codes in each board lead to more information on each project on a mobile app made especially for the pavilion.

“We wanted to zero in on the essentials: space and the whole of human body as the tools for architecture,” Ary said. “The poetics of emptiness is present where people are able to liberate themselves from the oppression of material and form. It’s not about creating a form but about creating a space for all of the senses.”

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Legend Emptiness/events Context/porosity

Above: Jonas Studio is a 4-storey commercial space in Bandung by Willis Kusama Architects. The central atrium is a point of departure towards the upper floors. The shifting voids allow people to observe activities from subsequent levels.

Y-shaped columns supporting the canopy echo the silhouette of the copious trees that dot the complex. A number of the trees are actually preserved specimens that were part of the lot even before the complex was built. The rainwater collected from the canopy are filtered and stored into rainwater storage tanks. The rainwater harvesting system of South Beach can actually cater to 100% of the irrigation needs of the complex’s abundant shrubbery.

Clockwise from top left: From the Arsenale door, one can walk through the long rounded void leading to the next chamber or choose another vantage point: the gaps between paper slices, benches on the side, or a smaller hole accessed only by crawling Curatorial team beneath the sheet closest to the Lead Curator: Ary Indra wall; Mesjid 99 stands as Andra Research and Content: Matin’s centerpiece for the Tulang David Hutama Bawang Barat master plan in Lampung. The mosque combines Pavilion Design: a dome and a minaret through a Dimas Satria, Ardy Hartono large and tall tower as the main Technology: Jonathan Aditya, Johanes mass. The tower, with 99 light Adiika openings atop, creates a towering dramatically-lit void at the heart of the mosque; Paper, in response Commissioners to gravity, slices the Indonesian Indonesian Agency for Creative Pavilion concavely Gazetted buildingsand findcreates new life in South Beach. The Beach Road military camp buildings Economy: Ricky J. Pesik a voidrequired in whichby visitors can (Urban Redevelopment Authority) to be restored and adaptively were the URA Indonesian Institute Architects: positionby themselves anywhere to Seen here is Block 1, the oldest of reused the lot’s new tenants. the four of structures and Ahmad Djuhara experience space. formerly anthe armory, now known as South Beach Quarter, home to two restaurants.

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Curatorial team Lead Curator: M.L. Varudh Varavarn Vasu Virajsilp Chutayaves Sinthuphan Nantapon Junngurn Sompoom Tangchupong Buttriya Ruamthamarak Nawanwaj Yudhanahas Commissioners Office of Contemporary Art and Culture, Ministry of Culture: Vimolluck Chuchat The Association of Siamese Architects under Royal Patronage: Atchaphol Dusitnanon The Thailand Pavilion is a moodily-lit portion of an Arsenale chamber. A black mat with black recliners occupy the center. Whatever congregation there is seems to triple in number thanks to the mirrored surfaces of the exhibition panels on both sides. Photo by Francesco Galli courtesy of La Biennale di Venezia

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The Thailand Pavilion does not stay put. Every time we passed by, the wedgeshaped pillows shifted around the mat and a new set of visitors were reclining on them. Entitled Blissfully Yours, inspired by acclaimed Thai director Apichatpong :HHUDVHWKDNXOÖ˘V DWPRVSKHULF DQG HURWLF DUW ŕŻ&#x2022;OP WKH SDYLOLRQ ORRNV FORVHU DW WKH OLIH RI spaces after architects surrender control to the users.

Diverting from direction of beautiful photos and scaled models the pavilion took in its past exhibits, lead curator M.L. Varudh Varavarn wanted to present the ten selected SURMHFWV D PL[ RI SXEOLF SODFHV SULYDWH KRPHV FRQŕŻ&#x2013;LFW DŕŻ&#x201D;HFWHG DUHDV DQG RŕŻ&#x201D; OLPLW buildings) in their least polished anglesâ&#x20AC;&#x201D;their most lived in or pedestrianized states. The SDYLOLRQÖ˘V RŕŻ&#x2014;FLDO V\QRSVLV VWDWHV ÖĽ,QWHQWLRQDOO\ DQG XQLQWHQWLRQDOO\ WKH QHZ FRQFHSWV RI space and relationship between people and architecture are established.â&#x20AC;? â&#x20AC;&#x153;These are things that an architect cannot forecast. And it is good for them to see and learn from what really happens to their project after inauguration,â&#x20AC;? Varavarn shared as we sat on the recliners. This not just a place to relax. It talks about â&#x20AC;&#x2DC;Thai-ness.â&#x20AC;&#x2122; We are informal. We like to recline and sit everywhere. Even the jury sat down, just like us now, during our interview. So this space is a way to break down the barrier between our architecture, which stems from our culture, and the audience.â&#x20AC;? )RXU UHQHJDGH ŕŻ&#x2022;OPPDNHUV ZHUH HDFK SDUWQHUHG ZLWK WKH SURMHFWVÖ˘ DUFKLWHFWV RQ WKH ŕŻ&#x2022;OPV 7KH YR\HXULVWLF GRFXPHQWDULHV VXUURXQG WKH FHQWUDO PDW DQG DUH YLHZHG WKURXJK The towerâ&#x20AC;&#x2122;s east and west façades are slits in the mirrored panels, evoking a peeping Tom experience.

Complementing these wrapped with a screen incorporating are hand-drawn illustrations and photo essays. â&#x20AC;&#x153;There was lot of friction between thefilter louvers and horizontal shading to creatives but the friction was a source of new ideas. Itâ&#x20AC;&#x2122;s what we wanted to test with our heat and light, while still providing unobstructed views of the city. Sky ŕŻ&#x2022;OPV ÖŚ DGGHG 9DUDYDUQ gardens withof endemic Before we left, the curator pointed that the pavilion itselfpopulated is the subject an 11thplant species break the façade at irregular documentary as footage from the CCTV cameras above us will be used for a separate intervals to connect tower denizens ŕŻ&#x2022;OP ZKLFK ZLOO EH VFUHHQHG DW D ODWHU GDWH LQ WKH ELHQQDOH +H WKHQ JDYH XV IROGLQJ with the outdoors. The southern mats, which we could use anywhere we please to carve out our own nook of public and northern facades have a faceted space in any place. All the elements of the elements glazing of the Thailand Pavilion treatment; upwardwere facing glass meticulously integrated, only to be released to the liberties of the general public.

And the panes deflect heat and light while we felt like blissfully celebrated end-users of architecture. downward side reflects the city.

Left: The documentaries are housed inside the exhibition panels and can be viewed through a slit on the golden surfaces. One can either sit down or bend to peer through and watch the videos. Above: 10 Cal Tower by Supermachine Studio. This red concrete labyrinthine staircase was built as a playground that offers several variations of routes. Its corners and turns were designed for adults and kids to play hide and seek—and in a way, to try to ‘meet each other’. The community, however, embraced it beyond its original playful function, treating it as a viewing platform, a backdrop for freerunning, and as a shelter for family members to picnic under its shadow. Below: Co-create Charoenkrung by Shma SoEn was a seven-day urban experiment. The main component was a landscape project in front of the Grand Postal Building. With its location in a very dense part of the city where green space is needed, the designers turned a barren and unshaded plaza into a green space which encouraged a variety of activities to take place. Creative workshops, performances, and family gatherings were among the activities that happened during the week. Photos courtesy of the Thailand Pavilion

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The expansive canopy, with the public spaces below, is what greets first-time visitors entering South Beach Complex. It unites the different components of the complex and shields low-lying structures underneath from Singaporeâ&#x20AC;&#x2122;s harsh tropical heat. The canopy is a pivotal element in the complexâ&#x20AC;&#x2122;s overall environmental strategy.

Strategically positioned glass apertures allow enough light into the spaces but keep out rainwater during downpours. Some of these apertures however are left open to achieve the desired cross ventilation.

A R C H I T E C T U R E

Tropical Heights Foster + Partners successfully weaves together an environmental, historical, and cultural narrative with the eye-catching South Beach Complex in Downtown Singapore Written by Patrick Kasingsing

Photographed by Nigel Young

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Singapore is not lacking in lofty, architectural eye-candy. In a country of over 5.6 million with limited real estate, the skyscraper typology was the most logical IRUP WR IXOŕŻ&#x2022;OO WKH UHVLGHQWLDO RŕŻ&#x2014;FH DQG FRPPHUFLDO GHPDQGV RI LWV EXUJHRQLQJ HFRQRP\ $QG ZKLOH WKH VOHQGHU WRZHULQJ IRUPV RI WKH VN\VFUDSHU DUH EHQHŕŻ&#x2022;FLDO LQ terms of space planning, they are often seen as aloof and inward-lookingâ&#x20AC;&#x201D;daunting LQ VFDOH DQG RIWHQ LQGLŕŻ&#x201D;HUHQW WR XUEDQ DFWLYLW\ DW VWUHHW OHYHO :KDWÖ˘V PRUH WKH VN\VFUDSHU LV QRWRULRXVO\ NQRZQ IRU EHLQJ KLJK PDLQWHQDQFH HQHUJ\ VLQNV )RVWHU 3DUWQHUÖ˘V 6RXWK %HDFK &RPSOH[ ZKLFK KRXVHV WZR PHWHU WDOO RŕŻ&#x2014;FH DQG UHVLGHQWLDO WRZHUV ORZ ULVH SRGLXP EXLOGLQJV DQG IRXU FRQVHUYHG KHULWDJH structures in a 34,946-square-meter lot, succeeds where it counts. The project, FRPSOHWHG LQ RSHQV XS WKH VN\VFUDSHU W\SRORJ\ WR WULHG DQG WHVWHG YHUQDFXODU DQG passive responses to the tropical clime, which netted the development with the highest %&$ *UHHQ 0DUN 3ODWLQXP FHUWLŕŻ&#x2022;FDWLRQ 7KH GHVLJQ KXPDQL]HV WKH W\SRORJ\ ZLWK WKH LQFOXVLRQ RI D ZHOO VKDGHG IUHHO\ DFFHVVLEOH SXEOLF VSDFH WKDW QRW RQO\ DLGV SHGHVWULDQ PRELOLW\ EXW DFWXDOO\ HQFRXUDJHV WKH VXUURXQGLQJ FRPPXQLW\ WR OLQJHU DQG HQMR\ WKH JHQHURXV RSHQ VSDFHV ÖĽ:H ŕŻ&#x2022;QG LW D V\PEROLF JHVWXUH RSHQLQJ XS WKLV ORW ZKLFK ZDV RQFH DQ RŕŻ&#x201D; OLPLWV KLVWRULFDO DUP\ FRPSRXQG WR WKH XVH DQG HQMR\PHQW RI WKH SXEOLF ÖŚ VD\V )RVWHU 3DUWQHUV SDUWQHU DQG WKH SURMHFWÖ˘V SULQFLSDO DUFKLWHFW 5RODQG 6FKQL]HU 7KH RYHUDOO DUFKLWHFWXUDO ODQJXDJH RI WKH GHYHORSPHQW LV ŕŻ&#x2013;XLG FXUYDFHRXV DQG RUJDQLF LQ IHHO ZLWK DQ HDUWK\ SDOHWWH RI EHLJHV DQG EURZQV ,W VXFFHVVIXOO\ unites the village-like layout of the towers, the low-lying podium volumes, and KHULWDJH EXLOGLQJV LQ D YLVXDOO\ FRKHVLYH ZKROH WKDW LV VHQVLWLYH WR LWV KLVWRULFDO XUEDQ FRQWH[W 7KH WZR VN\VFUDSHUV VLWXDWHG DW WKH QRUWK DQG VRXWK RI WKH ORW FDUU\ XQGXODWLQJ IRUPV WKDW VHHPHG WR EH FDUYHG RXW E\ WKH ZLQG 7KH\ DUH SHULRGLFDOO\ EURNHQ XS E\ PHWHU KLJK VN\ JDUGHQV DQG LQ WKH FDVH RI WKH KRWHO and residential tower, manage to incorporate a multi-level air well that makes cross-ventilation an option for future residents.

â&#x20AC;&#x153;We originally wanted to use bamboo for the ceiling finishes of the canopy,â&#x20AC;? says Roland Schnizer, South Beach Complexâ&#x20AC;&#x2122;s project principal architect, desiring to incorporate as much local flavor into the project as possible.

The impracticalities presented by bamboo, however, especially in its maintenance, had the team opting to use aluminum panels instead, but in natural shades of beiges and browns. Opposite page: With forms that appear to be carved by wind currents, South Beachâ&#x20AC;&#x2122;s two 218-meter towers bookend the north and south points of the complex. The North Tower (background) houses the offices of multinational companies like Facebook, Instagram, Sanofi, and Lego, to name a few on its 35 floors; sky terraces at levels 11, 21, and 34 provide much-needed breakout spaces. The 45-storey South Tower contains the hospitality and residential portion of the complex, hosting a 654-room hotel and 190 residential units above a triple-height sky garden. A split core setup allows for passive cooling and natural ventilation for the residential floors, not something a lot of skyscrapers can boast about.

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A stairway of folded steel plates painted to look like the rusting Corten steel washbasin in the water courtyard goes up from the basement to the second storey. The owner of the house has a spiral staircase of her own, which takes her from the first floor to her bedroom foyer on the second floor, and the master study and glass house on the attic level. Below left: With so much unprotected glazing, the afternoon sun bears down directly on the living area. A large glass door swings out to the garden where the lap pool is just a few steps away. One of the sonsâ&#x20AC;&#x2122; rooms overlooks the living area.

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The complexâ&#x20AC;&#x2122;s design humanizes the skyscraper typology with the inclusion of a well-shaded, freely-accessible public space that not only aids pedestrian mobility but actually encourages the surrounding community to linger and enjoy the generous open spaces.

as a wind scoop and funneling the air into the development. It XQGXODWHV DQG ULVHV DERYH FLUFXODWLRQ SDWKV WR NHHS KRW DLU DZD\ DQG GLSV ZKHQ LW PHHWV EXLOGLQJV 7KH FDQRS\Ö¢V SULPDU\ IXQFWLRQ LV WR VKLHOG WKH VTXDUH PHWHUV RI SXEOLF VSDFH EHORZ ZKLFK DOVR VHUYHV DV WKH FDWFKPHQW EDVLQ IRU WKH FRPSOH[Ö¢V UDLQZDWHU FROOHFWLRQ IHDWXUH 7KH ZDWHU is funneled down the columns and recycled, either into large UDLQZDWHU VWRUDJH WDQNV IRU XVH LQ WKH LUULJDWLRQ RI WKH GHYHORSPHQWÖ¢V lush vegetation, or stored in large storm water tanks for delayed GLVFKDUJH WR WKH FLW\Ö¢V V\VWHP 3RUWLRQV RI WKH FDQRS\ ZHUH DOVR RXWà¯&#x2022;WWHG ZLWK VRODU SDQHOV WR KDUYHVW WKH DEXQGDQW OLJKW HQHUJ\ DYDLODEOH $W QLJKW WKH KDUYHVWHG HQHUJ\ LV XVHG WR SRZHU DOO H[WHULRU lighting of the structure. $GDSWLYH UHXVH LV DQ HQYLURQPHQWDOO\ VXVWDLQDEOH ZD\ RI preserving and prolonging the lifespan of heritage structures. The 6RXWK %HDFK SORW KDV IRXU EXLOGLQJV JD]HWWHG IRU FRQVHUYDWLRQ which Foster + Partners, along with local architectural restoration DQG UHVHDUFK FRQVXOWDQF\ 6WXGLR /DSLV DVVLPLODWHG LQWR WKH development, restoring the modernist façades of the structures while creating new uses for them as function halls and recreational areas for the tenants, guests, and surrounding community.

Y-shaped columns supporting the canopy echo the silhouette of the copious trees that dot the complex. A number of the trees are actually preserved specimens that were part of the lot even before the complex was built. The rainwater collected from the canopy are filtered and stored into rainwater storage tanks. The rainwater harvesting system of South Beach can actually cater to 100% of the irrigation needs of the complexâ&#x20AC;&#x2122;s abundant shrubbery.

Gazetted buildings find new life in South Beach. The Beach Road military camp buildings were required by the URA (Urban Redevelopment Authority) to be restored and adaptively reused by the lotâ&#x20AC;&#x2122;s new tenants. Seen here is Block 1, the oldest of the four structures and formerly an armory, now known as South Beach Quarter, home to two restaurants.

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For Foster + Partners, however, aside from the green credentials and aesthetic success of the project, the appreciation and embrace of the local community to the newcomer is something they regard with pride.

7RGD\Ö¢V WHFKQRORJ\ KDV DOORZHG DUFKLWHFWV WR SUHGLFW VWXG\ DQG WHVW D SURMHFWÖ¢V HQYLURQPHQWDO Hà¯&#x201D;HFWLYHQHVV ZLWKRXW OD\LQJ D EULFN EXW DW WKH end of the day, all these are still assumptions; it is QRW XQWLO WKH VWUXFWXUH LV DFWXDOO\ EXLOW WKDW RQH à¯&#x2022;QGV RXW ZKHWKHU WKHVH HGXFDWHG JXHVVHV FDQ EH proven correct. )RVWHU 3DUWQHUV HPEDUNHG RQ D PLFURFOLPDFWLF SRVW RFFXSDWLRQ VWXG\ RI 6RXWK %HDFK WR FKHFN whether the design performed as intended. The à¯&#x2022;QGLQJV UHYHDOHG D GLVFUHSDQF\ RI XS WR r& EHWZHHQ JURXQG VXUIDFH WHPSHUDWXUHV ZKLFK KDG D UHDGLQJ RI r& RXWVLGH WKH FRPSOH[ DQG WKH IHOW WHPSHUDWXUH r& LQVLGH WKH FDQRS\ 7KH VRODU KHDW JDLQ XQGHU WKH FDQRS\ KDV EHHQ UHGXFHG E\ $QRWKHU à¯&#x2022;QG LV WKDW WKH ZLQG VSHHGV LQVLGH WKH GHYHORSPHQW DFWXDOO\ LQFUHDVHG LQ FHUWDLQ VSDFHV E\ DV D UHVXOW RI WKH Ö¡FRPSUHVVLRQÖ¢ DQG Ö¡IXQQHOLQJÖ¢ RI the wind, thanks to the carefully-studied undulating geometries of the canopy.

Our visit, in the height of the tropical summer, was living proof that WKH FDQRS\ ZRUNHG 7KH GLà¯&#x201D;HUHQFH LQ WHPSHUDWXUH RXWVLGH DQG ZLWKLQ WKH VKHOWHU RI WKH FDQRS\ ZDV SDOSDEOH 6WUROOLQJ DURXQG WKH SXEOLF VSDFHV ZKLFK DUH à¯&#x2022;OOHG ZLWK DEXQGDQW JUHHQHU\ FRQVHUYHG WUHHV DQG VWUDWHJLFDOO\ SODFHG ZDWHU ERGLHV ZDV FRPIRUWDEOH HYHQ DW PLGGD\ )RU 6FKQL]HU KRZHYHU DVLGH IURP WKH JUHHQ FUHGHQWLDOV DQG DHVWKHWLF VXFFHVV RI WKH SURMHFW WKH DSSUHFLDWLRQ DQG HPEUDFH RI WKH local community to the newcomer is something he regards with SULGH Ö¥7KHUH ZDV WKLV RQH HYHQLQJ ZKHUH , FKDQFHG XSRQ D =XPED demonstration taking place in one of the outdoor spaces, and there DUH DOVR RXWGRRU PDUNHWV EHLQJ RUJDQL]HG IRU WKH VSDFH Ö¦ 6FKQL]HU VD\V Ö¥6HHLQJ KRZ WKH FRPPXQLW\ PDNHV XVH RI WKH VSDFH PDNLQJ LW D SDUW RI WKHLU OLYHV DQG URXWLQHV LV VRPHWKLQJ , DP YHU\ SURXG RI Ö¦

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The towerâ&#x20AC;&#x2122;s east and west façades are wrapped with a screen incorporating louvers and horizontal shading to filter heat and light, while still providing unobstructed views of the city. Sky gardens populated with endemic plant species break the façade at irregular intervals to connect tower denizens with the outdoors. The southern and northern façades have a faceted glazing treatment; upward facing glass panes deflect heat and light while the downward side reflects the city.

South Beach complex at night

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Picturesque unobstructed views of the iconic Singapore skyline greets visitors and tower denizens at the South Beach skygardens.

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3mm thin wood-finish porcelain tiles veneer the vertical aluminum fins covering the second to seventh-floor podium parking levels, and also a portion of the upper façade of the skyscraper.

Opposite page: The 32-storey Menarco Tower (center) is located on 32nd Street on a relatively compact lot between One World Place (right) and the Ecoprime Tower (under construction).

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Working Well AIDEA and CS Design Consultancyâ&#x20AC;&#x2122;s collaboration with an entrepreneurial wellness advocate sets an aspirational standard for healthy working in the city Written by Lawrence Carlos

Photographed by Ed Simon of Studio 100

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For most millennials, an office environment that exemplifies healthy and environmentally conscious practices is just as much a consideration as how much they earn and the benefits they receive. So when Carmen Jimenez-Ong, managing director of Menarco Development Corporation, embarked on her first high-end real estate project, Menarco Tower, she orchestrated what would be the first building in the Philippines to register for WELL Certification (one of only nine across the ASEAN region at the time of writing).

The WELL Building Standard, launched in 2014 by the International WELL Building Institute (IWBI), measures and monitors the performance of building features that affect users’ health and well-being. There are seven ‘concepts’ that a building is assessed on: air, water, nourishment, light, fitness, comfort, and mind. With AIDEA as the architect of record and CS Design Consultancy as the concept architect and architectural interior designer, Menarco Tower also achieved a pre-certified LEED Gold rating, further enhancing the building’s green credentials. the building’s green credentials.

Menarco Tower also achieved a pre-certified LEED Gold rating, further enhancing the building’s green credentials. But what does the fulfillment of green and wellness criteria actually mean in terms of tangible user benefits from its design?

After the project was awarded the Best Green Development at the Philippine Property Awards in 2016 (it was ‘Highly Commended’ for 2016 Best Office Development and 2015 Best Office Architectural Design), Jimenez-Ong told the media : “I hope that we are able to redefine the Philippine workspace—a place with natural light shining on your desk, where you breathe clean, filtered air, where you can exercise and walk up and down the stairs while seeing the sky and listening to music, where there are virtually no pests or bugs that could invade your space, where the bathrooms are fresh and clean like your own home, and where the art features museum-quality work by select contemporary Philippine artists.”

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The front entrance to Menarco Tower. Below: The rear lobby feature wall is a natural Crema Italia stone, which is pre-sealed and protected with BIOprot liquid treatment that significantly reduces the likelihood of bacteria clinging onto it. Real timber beams are suspended from the ceiling inside the foyer.

Habana Dark natural stone encases the elevator lobby volume. The client’s affinity to the warmth of wood is clear in its use to lead the eye and as a guide to defined spaces. Below: Backlit Krion panels—which have no pores, are anti-bacterial, and 100% recyclable—overhead and above the elevators evenly illuminate the elevator lobby.

With AIDEA as the architect of record and CS Design Consultancy as the concept architect and architectural interior designer, Menarco Tower also achieved a precertified LEED Gold rating, further enhancing the building’s green credentials.

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As we learn from our visit, the holistic philosophy not only embraces architectural design and building technology but also extends to how the building actively promotes healthy working and living habits through visual prompts.

Signage, often just glanced at, is integral to the building’s WELL credentials in encouraging its occupants to practice a healthy lifestyle. On the unfinished eighth-floor communal canteen, nutritional advice is displayed on permanent signage: “Don’t drink your calories. Consumption of large amounts of sugary drinks increases the risk of obesity, Type 2 Diabetes, and tooth decay. Drink water instead,” reads one. Advertising of unhealthy foods is prohibited on the premises. Stairs are signposted with “Free workout,” while there are others indicating bike storage in the car parks. Jazz music calms the disposition as you move through the building. Health is wealth, as they say.

On the dining decks on both sides of the tower, which top the podium parking levels and give the office plates a setback from its neighbors on either side, edible plants line the edge of the property. Once the canteen is in full operational use, there is sure to be a queue outside for eager green thumbs to get a portion of ginger, gabi, or pandan for their next home-cooked meal. All of this, of course, generously provided by the building owner to any tenant employee.

Architecturally, then, the building has been designed to solidify these concepts further. The spacious ground floor foyer

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Left: Wayfinding signage was designed by Answer Signs. Simple and effective, the aesthetic subtly complements the high-end stone and wood material palette of the building. Right: As part of the WELL certification, additional stainless steel signage was also included to help promote user well-being and healthy practices. Top: All comfort rooms are fitted out with Porcelanosa bathroom fittings and fixtures.

The unfinished eighth-floor food hall leads to an al-fresco dining terrace. Banaba trees, pandan, gabi, lemongrass, tarragon, ginger, and kamuning will all be grown for the tenants to harvest upon requesting gardening tools. Below left: The ninth floor is home to the health and fitness facilities in which tenants and visitors can receive spinal care treatment or take part in yoga classes. Below right: Artworks by National Artists will be hung on the walls of each elevator lobby as part of an initiative to make the building a ‘vertical museum’, and complying further with the WELL certification to give visual amenity to its occupants and guests.

exhibits a sleek Miesian aesthetic, whose natural stone walls await embellishment with purchased artworks by National Artists, completing the sense of arrival. Pieces are already being hung on the office level elevator lobbies to form what will be a ‘vertical museum’. The beautifully curated palette of high-end materials becomes Jimenez-Ong’s setting for art and a source of creative inspiration for company staff and guests alike.

A typical office floor plate, approximately 1,100 sqm. can be leased by up to four tenants, with 22 office floors in total and over 25,400 sqm. of gross leasable area. In whatever fashion the interior design takes, all tenants are encouraged to use low-VOC products within their space, a recommendation for both WELL and LEED. The spaces are supplied with fresh, filtered, pre-cooled air with MERV 13 filters—a rating which ensures that even airborne contaminants including microscopic allergens, mold spores, and virus carriers stay clear from workstations.

Two 5,000-cubic-meter water tanks sit atop the building; one treats incoming water from the district water supply to serve all kitchens and bathrooms while the other stores graywater and atmospheric condensation for the building’s irrigation and maintenance needs. Tap water is drinkable although its occupants haven’t quite warmed to the idea just yet.

Green does not need to be seen to be an exemplary case study of a sustainable and user-centric workplace. Although the client was intent on Menarco Tower being a showcase of Filipino collaboration, she was just as contrarily steadfast in keeping appearances simple, not flashy.

Although the client was intent on Menarco Tower being a showcase of Filipino collaboration, she was just as contrarily steadfast in keeping appearances simple, not flashy.

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If the design of Menarco Tower is evidence of Jimenez-Ong’s character, then it’s clear as day that its tenant employees, who spend a significant amount of their waking hours inside the building, are well and truly taken care of.

Project architect from AIDEA Bernadette Mendoza gives some insight into how Jimenez-Ong’s hands-on collaboration made the building a resounding success: “She was so meticulosa! Sobra! She attended all the design coordination meetings, always asked a lot of questions. And remembered everything! Lahat na-absorb niya.”

There’s nothing like the first. And it shows.

If the design of Menarco Tower is evidence of Jimenez-Ong’s character, then it’s clear as day that its tenant employees, who spend a significant amount of their waking hours inside the building, are well and truly taken care of. When she’s around, she is known to take selfies with tenant employees. The project’s real flair lies in every element, detail, decision, and act that are all geared towards establishing the highest standard possible for a healthy work and, indeed, living ethos.

With BGC’s big-city bustle being its main draw, Menarco Tower works extremely well in taking the pace off the rat race.

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Once the completely open-plan floor space is leased, tenants are able to design their own spatial arrangements to take advantage of the architect’s health-oriented design features. At least 75% of frequently occupied spaces are within 7.5 meters of windows with a view. In this instance, partition wall openings still offer a visual connection to the outside for inner-plan workspaces. Top: An example of a communal space for employees where they can take a break from the rigors of a working day.

Opposite page: A view of the front elevation of Menarco Tower as seen from 30th Street.

South Beach complex at night

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130 bicycle parking spaces are provided for those who wish to commute on two wheels.

Showers are provided for cyclists and those who use the fitness center. Left: Ten floors of parking offer a total of 383 car parking spaces. Perforated metal screens on the podium parking levels admit airflow and daylight to reduce the need for the space to be conditioned or artificially lit.

Twenty priority parking spaces are given for Low-Emitting and Fuel-Efficient Vehicles (LEFEV) on the second floor parking area.

There are 37 mechanized parking lifts to accommodate doubledeck parking spread across both a podium-level parking level and basement-level parking.

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Exacting Enactment %FTJHO 4UVEJP SBJTFT UIF DVMUVSBM QSPmMF PG 61 #BHVJP XJUI B UIFBUSJDBM EFTJHO QFSGPSNBODF SPPUFE JO UIF $JUZ PG 1JOFT Written by Lawrence Carlos

Photographed by Ed Simon of Studio 100

The “clamshell” shape of the building, as described by Go, was derived from the location of the existing vegetation at its front and Governor Center Road behind it. The stepped standing-seam roof rises according to the slope of the amphitheater, while also forming a hard edge against the ever-busy road next to it.

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When one reaches the end of the descent from the campus car park, a view to the theater site opens up. The massing of the building is a response to the crescent wedge-shaped site, while the terraced landscaping addresses its various levels. Opposite page: The main entrance to the theater sits under a canopy extending over the pathway connecting to the accessible outdoor ramps. A lone glulam column punctuates the compressed human-scaled entranceâ&#x20AC;&#x201D;a hint at the rest of the structure, which expands in front of you as one enters.

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When the Chancellor of University of the Philippines (UP) Baguio called up 90 Design Studio to design a spate of new campus facilities, the university wanted world-class buildings. Aris Go, the principal of WKH %DJXLR EDVHG à¯&#x2022;UP ZDV TXLFN WR UHWRUW WKH UKHWRULF DQG LQVWHDG EH PRUH SUDJPDWLF JLYHQ WKH OLPLWHG EXGJHW WR PD[LPL]H XWLOLW\ DQG VSDFH LQ DGGLWLRQ WR IXOà¯&#x2022;OOLQJ WKH FOLHQWÖ¢V DVSLUDWLRQV DQG QHHGV ZKLOH HQKDQFLQJ WKH H[LVWLQJ FDPSXV H[SHULHQFH 7R SDUDSKUDVH WKH à¯&#x2022;UPÖ¢V H[SORUDWLYH FUHDWLYH SURFHVV LV Ö¥RQH WKDW LQYROYHV WKH DEVWUDFWLRQ RI SDVW IRUPV SUHVHQW LQ ORFDO FXOWXUH DV DQ DWWHPSW WR FUHDWH QHZ IRUPVÖ¦ LQ RUGHU WR Ö¥HQFRXUDJH FULWLFDO WKLQNLQJ LQ WKH VWDWH RI FXOWXUH DQG DUFKLWHFWXUH LQ %DJXLR &LW\ Ö¦ 2SHQHG LQ )HEUXDU\ 7HDWUR $PLDQDQ UHSUHVHQWV WKH ODWHVW FRPSRQHQW LQ DQ RQJRLQJ PDVWHUSODQ WR WUDQVIRUP WKH FDPSXVÖ&#x17E;WKH RWKHUV EHLQJ WKH $JKDP /DERUDWRULHV RSHQHG 'HFHPEHU 0XVHR .RUGLO\HUD RSHQHG -DQXDU\

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The existing site was an untended garden with a dated shed, which contained a space for art and also functioned as storage (right).

The fence and walled drop meant that there was previously no direct access between the Communication and Arts Building (left) and the library (background). The site was chosen due to a lack of available space elsewhere on the campus which could accommodate the spatial requirements for a micro-theater.

Below: The trees on site have been kept to provide shade to areas of the open space.

A fallen tree, which was integrated into the design, reaches across the space seemingly at odds with the formal design of the ramp.

In a tight corner between the UP Baguio Library, the Communication and Arts Building, and the meandering one-way thoroughfare of Governor Center Road, a kinking, organic form rises and falls.

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The timber deck steps encourage people to sit and socialize in the open space. The blank walls await creative expression from students in the adjacent Communication and Arts Building. Below: Selected plants were retained to provide visual amenity to the new public realm that the architects have sculpted. Porous pavers have been laid to assist with site drainage when the Baguio rains fall. The architects have specified this type of paver for the rest of the pathways to also upgrade the visual consistency across the UP Baguio campus.

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The amphitheater can seat up to 120. The green carpet and the timber interior was designed to evoke Рђю1950s Baguio.РђЮ

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A view of the stage from the seating. The close proximity of the stage to the audience and the radial layout creates an intimacy between the subject and the spectators.

Adding to the grain and tactility of the amphitheater is an interior completely lined in timber slats. As the architect reiterates, timber has a Рђюhistorical resonance among the local people who have, for a long time in the past, been surrounded with timber in their houses, public places, and in ritual.РђЮ Here, timber is celebrated.

Going up to the viewing gallery allows one to fully appreciate the glulam structure and timber finishes.

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The art gallery below the amphitheater is a more austere affair with a space free to be configured for art exhibits held by the Communication and Arts Building next door. Timber-framed openings admit daylight and offer views of Baguio.

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Gathering and circulation space Main entrance Secondary entrance Amphitheater Control Preparation room Office Storage Communication and Arts Building

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Site boundary and existing shed Location of the new micro theater Micro theater, art space, and outdoor gathering area Resulted form defined by the terrain, nearby vegetation, existing buildings, and proposed programs Inserted gathering space between existing trees while establishing an accessibility ramp and circulation area Teatro Amianan

Perspective section

South Beach complex at night

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Igniting Inclusivity AECOM is striving to make winners out of everyone with the Bagong Senado Written by Lawrence Carlos

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Images courtesy of AECOM

A nighttime aerial perspective of Bagong Senado.

24 senators will each get an equal-sized corner office with a view looking out to the city, while also getting access to a terrace to look down onto the elevated plaza.

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The new symmetrical Bagong Senado features a three-storey â&#x20AC;&#x2DC;bridgeâ&#x20AC;&#x2122;, where the Senate chamber is situated. Raised three storeys from street level, it connects the four twelve-storey buildings that house the Senatorsâ&#x20AC;&#x2122; offices.

Opposite page: Approaching a side entrance where the niche between two towers reduces in width to address the scale of entry by either public or private staff drop-off.

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Every Senate office has access to a stepped-back terrace, which reference the rice terraces of the Cordillera. A new open space above the Senate chamber gives views across to the rest of the city, although the lack of shading will affect how much this space is used during the hottest hours of the day.

The notion is to create an institution that does not turn its back on its neighbors and, instead, faces them in equal measure all around.

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The naturally-daylit Senate chamber at the heart of the building. Staff members and invited guests may peer into the chamber to witness the democratic process take place, echoing the configuration seen at the Reichstag Building in Berlin, Germany.

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Project Team Architecture Colin Franzen Bryan Chow Armando Casibang Sylvester Wong Interior Design Patrick de Louwere Landscape Architecture Arch. Mary Anne Espina Sustainability Architect Arch. Lui Daya-Garcia Engineers Dr. Ernesto de Castro Engr. Jaime Esperanza

The outer façades are wrapped in latticelike perforated skin which act as the primary mitigating element against solar gain. Air is permitted to pass through to the operable low-E insulated glazing and thereby naturally ventilating the spaces inside via cooling equipment.

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Bonifacio Boulevard Pasong Tamo Extension Public vehicular entrance Staff private vehicular entranace 5 Public entrance plaza 6 Landscaped plaza 7 Property boundary 8 Setback 9 12F 10 6F

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Concept An abstraction of the sun rays of the Filipino flag into a radiating form..

Four plazas Four plazas are created along the two main axes of the projects at the ground floor

Four pillars of democracy The four identical building forms correlate to the tenets of democracy

Functional interrelationship Th he four Senator offices on a typical leve el have e equidistant circulation routes which le lead ead directly to the Senate chamber in the center.

Combined programs The external and internal programs radiate around the Senate chamber chamber, the heart of the building

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Tran Thi Ngu Ngon and Nguyen Hai Long, founders of Tropical Space, at their home-office in Ho Chi Minh City

e asked Tropical Space the question many observers of their work wanted to pose: why the love for bricks? Studio co-founder and principal Tran Thi Ngu Ngon gives one of her frequent smiles and answers with what she often says to many, but for the record, â&#x20AC;&#x153;It simply works in our climate,â&#x20AC;? she says. â&#x20AC;&#x153;It is a material that adapts with the hot and cool of the tropical region. Its economical, modular form makes it easy to work with and itâ&#x20AC;&#x2122;s easily sourced here in Vietnam; its textures and color grant our architecture a natural character.â&#x20AC;?

It is this pragmatic approach to materiality that pervades the studioâ&#x20AC;&#x2122;s small but growing portfolio, one given a distinct local twist with their playful formal experimentations of locally available materials. The red clay brick, their current favorite, is actually a traditional Vietnamese material that is still manufactured aplenty throughout the country. Its local history can be traced back to the brick WHPSOHV RI WKH &KDPSD DQ ,QGLF FLYLOL]DWLRQ WKDW ŕŻ&#x2013;RXULVKHG LQ FHQWUDO DQG south Vietnam, back in the 13th century. To this day, each region of Vietnam produces their own varieties and interpretations of this material in response to cultural context and climate, one that Tropical Space is keen to explore.

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Laying the foundations Tropical Space started out with the husband and wife duo of Nguyen Hai Long and Tran Thi Ngu Ngon abandoning their previous architecture jobs seven years ago to start their own company. The studio name carries the crux of the duoâ&#x20AC;&#x2122;s mission-vision, which is to create beautiful modern homes in Vietnam that work with the tropical climate, providing their clients with comfortable living spaces.

Starting out from sharing a small space with another architect friend for their RŕŻ&#x2014;FH WKH FRXSOH HYHQWXDOO\ SXUFKDVHG D ŕŻ&#x2013;DW LQ +R &KL 0LQK &LW\ ZKLFK VHUYHV DV ERWK WKHLU KRPH DQG RŕŻ&#x2014;FH D ERRQ IRU WKH FRXSOH ZKR EDODQFHV KRXVHKROG chores, rearing their two kids, and running their now ten-man strong operation.

When asked about how they run the company, Ngon beams, â&#x20AC;&#x153;Weâ&#x20AC;&#x2122;re really like an extended family; I consider my employees like younger brothers and sisters. We work together, eat together, or sometimes spend afternoons just drawing.â&#x20AC;?

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Building Blocks Vietnamâ&#x20AC;&#x2122;s Tropical Space delivers on the promise of their nomenclature, one brick at a time Written by Patrick Kasingsing

Photographed by Ed Simon of Studio 100

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The Tropical Space office is a homey and informal affair (being the actual home of the founders and their two kids); Two large wooden tables in the kitchen area serve as both workplace and dining table. On less busy days, the amiable couple even lets employees nap in one of the rooms.

Brick love 7KH ORYH IRU FOD\ EULFN JUHZ VRRQ HQRXJK DIWHU WKH ŕŻ&#x2022;UPÖ˘V establishment. â&#x20AC;&#x153;We began using bricks in a few of our projects in small portions; but then we started noticing its admirable functional qualities and began to use it in larger areas and with more frequency,â&#x20AC;? Ngon says. This eventually climaxed into their ŕŻ&#x2022;UVW DOO EULFN SURMHFW WKH PXOWL DZDUG ZLQQLQJ 7HUPLWDU\ House in Da Nang, Vietnam. Its memorable perforated cube VKDSH KRXVHV D VSDWLDO FRQŕŻ&#x2022;JXUDWLRQ WKDW ZDV LQŕŻ&#x2013;XHQFHG E\ WKH LQQHU ZRUNLQJV RI D WHUPLWHÖ˘V QHVW ÖĽ:H ORYH WR ŕŻ&#x2022;QG LQVSLUDWLRQ in nature; we admire the interiors and dim lighting of caves, the hulking forms of the mountains, or even the dappled lighting of trees,â&#x20AC;? co-founder Nguyen Hai Long adds.

Beyond the brief â&#x20AC;&#x153;We like to joke when we are asked about our design process,â&#x20AC;?

Ngon grins. â&#x20AC;&#x153;After we interview a prospective client, we forget the EULHI DOWRJHWKHU DQG RŕŻ&#x201D;HU WKHP VRPHWKLQJ HOVH ÖŚ VKH ODXJKV :KLOH

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â&#x20AC;&#x153;We began using bricks in a few of our projects in small portions; but then we started noticing its admirable functional qualities and began to use it in larger areas and with more frequency.â&#x20AC;?

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this may sound alarming, what Tropical Space actually intends is to go beyond what the client wants (with basic requirements in mind, QDWXUDOO\ DQG RŕŻ&#x201D;HU WKHP VRPHWKLQJ WKH\ WKLQN ZLOO XOWLPDWHO\ EH PRUH EHQHŕŻ&#x2022;FLDO WR WKHP ÖĽ, UHPHPEHU KDYLQJ WKLV FOLHQW ZKR ZDQWHG to open a cafĂŠ in Da Nang,â&#x20AC;? Ngon recalls. â&#x20AC;&#x153;But Vietnam is already ULGGOHG ZLWK WRR PDQ\ FRŕŻ&#x201D;HH VKRSV , WROG KLP ÖĽ, GRQÖ˘W ZDQW WR GHVLJQ D FRŕŻ&#x201D;HH VKRS /HWÖ˘V GHVLJQ DQ DUW JDOOHU\ ZLWK D FDIÂŤ LQVWHDG ÖŚ The client was eventually convinced. When asked whether theyâ&#x20AC;&#x2122;ve said no to clients, Ngon responds that she rarely refuses a project, trusting the possibility that should the client err in judgment and taste, they can convince them to play on their side.

Small talk 7KH ŕŻ&#x2022;UPÖ˘V VL]H OLPLWV WKH QXPEHU RI SURMHFWV WKH\ FDQ WDNH RQ in a year but Ngon and Long are dismissive when it comes to how many projects they are designing. Quality over quantity is the dictum they abide by. â&#x20AC;&#x153;At the end of the day, the number of projects we get is not important. I think even having just one project is good enough, as long as itâ&#x20AC;&#x2122;s done ZHOO 2QHÖ˘V SURŕŻ&#x2022;FLHQF\ LV RIWHQ MXGJHG QRW E\ WKH QXPEHU RI things you know how to do but how well you do a certain thing,â&#x20AC;? Long says. The studioâ&#x20AC;&#x2122;s lean numbers do not however VWRS WKH WHDP IURP VXEPLWWLQJ GLŕŻ&#x201D;HUHQW SURSRVDOV IRU D FOLHQW WR SLFN IURP ÖĽ, RIWHQ JHW DVNHG E\ P\ VWDŕŻ&#x201D; ZK\ , GHFLGH WR send so many proposals for a client to select when they just ask for one or two,â&#x20AC;? Ngon says. â&#x20AC;&#x153;I love to come up with new ideas and solutions and canâ&#x20AC;&#x2122;t help but create more options than necessary. I think this exercise of crafting numerous design VWXGLHV LV DOVR EHQHŕŻ&#x2022;FLDO WR P\ VWDŕŻ&#x201D; DQG WKHLU SRUWIROLRV LW KHOSV GHYHORS DQG GHHSHQ WKHLU XQGHUVWDQGLQJ RI WKH ŕŻ&#x2022;HOG WR EH PRUH experimental, and enriches their experience of the craft.â&#x20AC;?

â&#x20AC;&#x153;3D renders may be in fashion now but nothing still beats the tactile quality and sense of scale offered by handmade models,â&#x20AC;? Ngon remarks. The studioâ&#x20AC;&#x2122;s penchant for architecture models is made plain as soon as you enter the unit, with various specimens housed in shelves, tables, and ledges. The intricate detailing and meticulous craftsmanship that shapes these models are qualities that are also very much apparent in Tropical Spaceâ&#x20AC;&#x2122;s built work.

Passing the torch Like many of Vietnamâ&#x20AC;&#x2122;s burgeoning architectural practices, Tropical Space sees a value in staying small and compact as a team, which Ngon says help them maintain the quality of their projects.

The need for extra hands, as well as an innate desire to broaden the reach of their mission, however has led the co-founders to consider taking in interns. This proved to be an eye-opening experience for 1JRQ ZKR IURP WKH EHJLQQLQJ GLGQÖ˘W VHH D QHHG IRU LW ÖĽ2XU ŕŻ&#x2022;UVW ever intern was a Vietnamese student born in Canada. I took her in because she loved our work and spoke Vietnamese. But more than just her learning from us, we also learned a lot from her as well.â&#x20AC;?

This prompted the couple to open the studio to interested interns, which they limit to two to three a year.

During our visit, they were mentoring a Japanese architecture student, Kota Sakurada. â&#x20AC;&#x153;What I liked about this studio is they really helped me discover what I want to do as an architect,â&#x20AC;? Kota says of his mentors. â&#x20AC;&#x153;They didnâ&#x20AC;&#x2122;t push me to do things their way but helped me develop and recognize what approach it is that I want to inform my brand of architecture,â&#x20AC;? he adds.

When asked about employees leaving the studio to form their own practices, Tropical Spaceâ&#x20AC;&#x2122;s amiable founders welcome it. â&#x20AC;&#x153;We will be happy and proud of them. Weâ&#x20AC;&#x2122;d like to think that we make beautiful buildings and we hope that Vietnam is blessed with more of them through what our employees have learned from their stay here,â&#x20AC;?

Ngon says. â&#x20AC;&#x153;We want to groom and train the next generation of Tropical Space, architects who carry our principles and philosophy in their work. Ngon and I canâ&#x20AC;&#x2122;t do it alone,â&#x20AC;? Long adds.

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â&#x20AC;&#x153;I think this desire to achieve and surprise with scarce resources is what makes Vietnamese architecture exciting to watch.â&#x20AC;? T R A N T H I N G U N G O N

Digital fame The worldâ&#x20AC;&#x2122;s window to the exciting Vietnamese architectural landscape is online. Social media and architecture websites like Dezeen and ArchDaily fawn over Vietnamese projects with regularity. When asked why this is so, Ngon attributes this to the innate resourcefulness of the Vietnamese as a race, ÖĽ(XURSH $PHULFD DQG RWKHU ULFK FRXQWULHV FDQ DŕŻ&#x201D;RUG WR FUHDWH good and amazing architecture with plentiful resources. In Vietnam, where things arenâ&#x20AC;&#x2122;t as plentiful and abundant, and the government isnâ&#x20AC;&#x2122;t as supportive of local talent, we make do with what we have and strive to form exciting and unexpected things with what little resources we have,â&#x20AC;? she says. â&#x20AC;&#x153;I think this desire to achieve and surprise with scarce resources is what makes Vietnamese architecture exciting to watch.â&#x20AC;?

Having a prevalent and frequent online presence however is a double-edged sword, especially when clients are concerned.

1JRQ VD\V WKDW PRVW RI WKHLU FOLHQWV ŕŻ&#x2022;UVW ŕŻ&#x2022;QG WKHLU ZRUN RQOLQH However, this wealth of information online has, in a way, encouraged a propensity for local clients to treat the architecture of their own house like fashion, falsely assuming that façades can be worn and discarded when out of vogue. As a result, there are a lot of me-too houses and costly renovations done in the name of keeping up with whatâ&#x20AC;&#x2122;s on trend. Ngon even shares that some clients think that they donâ&#x20AC;&#x2122;t need an architect when they can refer to their mood boards online.

Tran Thi Ngu Ngon and Nguyen Hai Long at NDC House (opposite page, photographed by Quang Dam), a compact, brick-clad four storey home in Ho Chi Minh City which they completed in 2016.

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Bricks and beyond Tropical Spaceâ&#x20AC;&#x2122;s distinct brick vernacular has gained its share of admirers and has been successful in scooping architectural awards worldwide. As of writing, the studio has recently garnered the 2018 Wienerberger Brick Award for Terra Cotta Studio in Quang Nam province, their second accolade from the award-giving body, and the lone Asian entry. â&#x20AC;&#x153;The role of DZDUGV IRU XV LV WKDW LW JLYHV XV DŕŻ&#x2014;UPDWLRQ DQG FRQŕŻ&#x2022;GHQFH WR keep doing what weâ&#x20AC;&#x2122;re doing,â&#x20AC;? says Ngon. â&#x20AC;&#x153;It also connects us with new people, and gain new friends around the world.â&#x20AC;?

When asked whether they consider their copious use of brick as their style or characteristic of a signature aesthetic, Ngon responds, â&#x20AC;&#x153;Weâ&#x20AC;&#x2122;re always open to working with other materials in our projects,â&#x20AC;? she pauses. â&#x20AC;&#x153;But I think weâ&#x20AC;&#x2122;re enamored and having too much fun with the possibilities clay bricks can still RŕŻ&#x201D;HU , WKLQN ZHÖ˘OO NHHS ZRUNLQJ ZLWK LW XQWLO ZHÖ˘YH H[KDXVWHG LWV full potential.â&#x20AC;?

A D A P T I V E

R E U S E

Michael Seum, Vice-President of Design, Grohe AG

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Michael Seum minces no words. During our interview with Grohe AGâ&#x20AC;&#x2122;s Vice President for Design in Singapore, the industrial design veteran quickly shot down perceived notions and clichés DERXW WKH LQGXVWU\ )RU H[DPSOH KH à¯&#x2022;QGV WKH LGHD RI KDYLQJ D â&#x20AC;&#x2DC;creative processâ&#x20AC;&#x2122; limiting and inaccurate, as it insinuates a process WKDW LV OLQHDU SURFHGXUDO DQG à¯&#x2022;[HG Ö¥7KHUH LV UHDOO\ QR RQH ZD\ RI DSSURDFKLQJ FUHDWLYLW\ QR GHà¯&#x2022;QLWH SURFHVV RU VWHSV Ö¦ VD\V 6HXP On the subject of aiming for design awards, he starts with a grin DQG VD\V Ö¥, KDWH GHVLJQ DZDUGV EXW , ORYH GHVLJQ DZDUGV Ö¦ EHIRUH proceeding to unpack the contradiction. But more than aiming to shock, Seum points to how his learnings from such an illustrious FDUHHU KDV KHOSHG KLP UHà¯&#x2022;QH DQG UHIRFXV KLV HQHUJLHV RQ ZKDW ultimately matters in the realm of product design: user empathy.

BluPrint: Youâ&#x20AC;&#x2122;ve had your share of creative stints for multinational companies. What insights have you gained in your career that helped you the most in your present position at Grohe?

0LFKDHO 6HXP , UHDOO\ OLNH WKLV TXHVWLRQ $V D GHVLJQ OHDGHU P\ MRE KDV FKDQJHG LQWR NLQG RI D FKHPLVW RI FUHDWLYLW\ , JDWKHU my team, have a look at whatever problem we are solving, and SXW WRJHWKHU WKH ULJKW PL[ RI WDOHQW WRJHWKHU WR JHW WR D VROXWLRQ , ZRXOG VD\ WKDW WKH EHVW DGYLFH , JRW HDUO\ RQ LQ P\ FDUHHU ZDV WR H[SHULHQFH PDQ\ GLà¯&#x201D;HUHQW GHVLJQ GLVFLSOLQHV EHIRUH GHFLGLQJ ZKHUH RQH LV PRVW SDVVLRQDWH DERXW ,Ö¢YH DOVR SLFNHG XS D ORW RI OLWWOH WKLQJV WKDW DOO DGG XS WR ZKHUH ,Ö¢P DW QRZ )RU LQVWDQFH , UHDOO\ OLNH VLWWLQJ down with my team and working directly with each designer, and LQ RQH SDUW RI P\ FDUHHU ,Ö¢YH KDG D PDQDJHU WKDW UROH PRGHOHG WKDW , ZRXOG VHH KLP WZLFH D GD\ DW P\ GHVN DQG UHDOO\ VSHQG WLPH WDONLQJ DERXW SURGXFW GHWDLOVÖ&#x17E;WKDW OLWWOH KXPDQ WR KXPDQ interaction became an important moment in my career.

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What is the design ethos that informs your work? ,Ö¢P PDUULHG WR D GHVLJQHU DQG VR , OLYH EUHDWKH DQG VOHHS GHVLJQ ODXJKV , FDQQRW HVFDSH LW , WKLQN PRVW GHVLJQHUV DUH WKLV ZD\ 'HVLJQ HWKRV" :HOO WKH à¯&#x2022;UVW RQH LV WKDW \RX KDYH WR EH all in with design. You are constantly collecting inspiration and VHDUFKLQJ IRU LW , DOVR GRQÖ¢W OHW P\ SHUVRQDO SKLORVRSK\ LQWHUMHFW LQWR WKH FRPSDQ\ SKLORVRSK\ 7KLV LV WKH WULFN\ EDODQFH \RX KDYH WR GHDO ZLWK ZKHQ \RXÖ¢UH SDUW RI DQ LQ KRXVH GHVLJQ WHDP <RX have to think in terms of the brand and the investment, and where WKH EUDQG ZDQWV WR WDNH WKDW ,WÖ¢V JUHDW WKDW , DOLJQ ZLWK WKH EUDQG values.

Interesting to hear this. But then you have some companies who particularly seek out certain designers in a bid to reinvent or rejuvenate themselves with the brand and the values that a chosen designer represents. /HW PH EH UHDOO\ FOHDU ZLWK \RX RQ WKLV RQH :KDW , ZDQW GR with the Grohe brand is to help drive meaningful change and LQQRYDWLRQ WKURXJK GHVLJQ , WKLQN WKH DSSURDFK WR EULQJLQJ LQ another designerâ&#x20AC;&#x2122;s name into the mix is oftentimes, not every time, D PDUNHWLQJ YHKLFOH ,WÖ¢V YHU\ RIWHQ WKDW WKH EUDQG LV QRW DV VWURQJ as the name that they are hiring. And to me then, youâ&#x20AC;&#x2122;ve shifted WKH VWUHQJWK RI \RXU EUDQG RYHU WR D FHOHEULW\ RU D VWDU GHVLJQHU ,Q reality, itâ&#x20AC;&#x2122;s not really a critique of that particular designer. Designers QHHG WR IRFXV RQ PHDQLQJIXO LQQRYDWLRQ DQG FKDQJH ,Ö¢P IRFXVHG on delivering products that have great design, but also change behaviors around, maybe reduce bottled water consumption, or DGGUHVV WKH LQFLGHQFH RI ZDWHU GDPDJH DW KRPH 7KLV LV DERXW GULYLQJ innovation, not just style or marketing of a celebrity name.

Letâ&#x20AC;&#x2122;s now shift to personal aesthetics. Has your personal aesthetic ever been at odds with the demands of the market? How much of your design is dictated by market forces and trends?

Great question. My personal aesthetic tends to beâ&#x20AC;¦itâ&#x20AC;&#x2122;s like Nordic meets Japan (laughs), or Scandinavian Japanese. You can SUREDEO\ VHH VRPH RI WKDW LQ WKH QHZHU SURGXFWV WKDW , GHYHORSHG , WKLQN , UHDOO\ GRQÖ¢W OLNH DXWKHQWLF GHVLJQ RU FODVVLFDO ROG GHVLJQ EXW WKHUHÖ¢V D UROH IRU WKDW LQ PDUNHWLQJ VR , KDYH WR VHSDUDWH WKDW from my personal preferences. And sometimes thatâ&#x20AC;&#x2122;s hard but it FDQ EH GRQH ,Ö¢YH GHVLJQHG RQH RI WKH EHVW VHOOLQJ FODVVLF IDXFHWV WZHQW\ \HDUV DJR DQG LWÖ¢V VWLOO VHOOLQJ OLNH FUD]\ EXW , ZRXOG QHYHU put it in my house (laughs).

Design, Unlimited

Groheâ&#x20AC;&#x2122;s VP for Design Michael Seum debunks industry clichés and talks career learnings Interview by Patrick Kasingsing

Images courtesy of Grohe

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Youâ&#x20AC;&#x2122;ve probably been asked this question countless times but for the record, when you design, where do you derive inspiration from?

(YHU\ZKHUH 7KLV JRHV EDFN WR WKH GHVLJQHUÖ¢V HWKRV TXHVWLRQ As a designer, you cannot shut down your creative mindset. So, OLNH ,Ö¢YH VDLG EHIRUH \RX KDYH WR EH RQ FRQVWDQW DOHUW DV LW FDQ FRPH from anywhere.

Whatâ&#x20AC;&#x2122;s an object or design challenge youâ&#x20AC;&#x2122;ve always wanted to do? <RXÖ¢UH JRLQJ WR ODXJK ZKHQ , VD\ WKLV EXW , ZDV KDYLQJ D FRQYHUVDWLRQ ZLWK VRPHERG\ DQG , VDLG ,Ö¢G ORYH WR GHVLJQ D VH[ WR\ VRPHGD\ EHFDXVH , WKLQN WKH GHVLJQ LQGXVWU\ WKHUH KDV EHHQ VR EDG ZLWK WKDW ODXJKV , ZRXOG ORYH WR GHVLJQ HOHYDWRU EXWWRQV you know, just the simple things in life. Light switches for hotels, OLNH QRERG\ KDV à¯&#x2022;JXUHG WKLV RXW /HWÖ¢V VHH , ZRXOG ORYH WR GHVLJQ D ZDOOHW $ ZDWFK , FRXOG WKLQN RI VR PDQ\ REMHFWV I guess thereâ&#x20AC;&#x2122;s a link in there somewhere between faucets and sex toys (laughs). Okay, so whatâ&#x20AC;&#x2122;s one material you wish more industrial designers should use or pay more attention to?

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What do you think should be the role of design awards for designers?

2ND\ , KDWH GHVLJQ DZDUGV EXW , ORYH GHVLJQ DZDUGV 'R \RX get the dilemma? (laughs) We really do our homework on design DZDUGV DW *URKH :H DFWXDOO\ DSSOLHG WR GLà¯&#x201D;HUHQW FRPSHWLWLRQV this year. We however only apply to the ones we believe, the ones WKDW FDUU\ FUHGLELOLW\ DQG UHVSHFW 7KHUH DUH VR PDQ\ Ö¡DZDUGVÖ¢ RXW there that are just, you know, nonsense, just garbage, those are the RQHV , KDWH :H MRLQ WKH RQHV WKDW SXW WKH ULJRU LQWR WKH MXU\ WKH process, and the intellectual discussions behind the design.

You talked a lot about design empathy yesterday in your 3HFKD .XFKD VHVVLRQ )RU WKH UHFRUG FDQ \RX GHࢽQH ZKDW design empathy is?

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Quiapo Church

Speaker photos and Quiapo Church photo courtesy of BEX. Zuellig Building photographed by Hariboneagle927 via Wikimedia Commons

Left: Eduardo Manahan

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РђюJust like safety could never be ensured through a checkbox approach, sustainability is also not guaranteed just by complying with a list of items.РђЮ K E R R Y W O N G

Right: Kerry Wong

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Green Screen Eco-friendliness is the new sexy in architecture.

Can you name the architects of these TUSVDUVSFT UIBU QSPWF HSFFO JT EFmOJUFMZ JO Written by Mel Patrick Kasingsing

Illustrated by Eldry John Infante 1

Bosco Verticale

Trees on buildings? This quintessential example has 900 trees, 5,000 shrubs, and 11,000 floral plants distributed between two residential towers, aptly named Bosco Verticale, in Milan, Italy. The multi-awarded development was designed not just to spur urban development in the business district of Porta Nuova but to encourage more green spaces in the city and contribute to better air quality. The logistical and construction challenges a project of this nature (pun intended) required the involvement of a battalion of botanists and horticulturists who were consulted on its feasibility, upkeep, and sustainability. 28-cm thick steel balconies and 1.3-meter parapets help keep the plants and trees rooted and sufficiently supported.

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Our next building hoards hoa up the green credentials like it’s going out of style. For Fo starters, Sydney’s One Central Park towers’ design incorp incorporates the world’s tallest vertical garden system on its façade, rising the full length of the East Tower’s This living wall is home to 250 species of 166-meter height. Th endemic Australian p plant life and was designed by the inventor of the green wall himself, him botanist Patrick Blanc. To ensure enough sunlight reaches reac the development’s landscaping below, an array of 220 fixed mirrors, called heliostats, cantilever Tower’s 28th floor, and reflect light captured from the taller East To by an assembly of motorized mo mirrors 100 meters below the cantilever, on the roof of the shorter West ca Tower. Come dusk, the heliostat array To doubles as a light installation crafted by do renowned light artist Yann Kersalé. Aside ren fro from having its own low-carbon natural gas power plant, something your condo probably po couldn’t co ouldn’t brag about, One Central Park is also als so home to the world’s largest membrane bio oreactor recycled water facility, which bioreactor he elps process the rainwater collected from helps va rious parts of the development. various

San Miguel Corporation Building

A modernist ziggurat occupying one of the last patches of green in the increasingly crowded business district of Ortigas Center, the San Miguel Building is a pioneering landmark that made the integration of greenery and eco-friendly features fundamental to its design. The building incorporated ample greenery on its terraces and had slanted windows that helped deflect unwanted heat and light. The landscaping was lush and replete with decade-old trees which remain to this day.

Changes, like the addition of parking spaces, ate up some of the green spaces. Likewise, the desire of the original landscape architect to have soft plant barriers instead of walls to demarcate the lot has given way to present-day security needs. The architects were said to be heavily influenced by the forms of the Banaue Rice Terraces, something that also inspired p the architecture of its unluckyy neighbor, g the nowdemolished Benguet Center by Leandro V. Locsin Locsin.

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Oasia Hotel O

The Oasia O Hotel is a definite standout amid amidst the glass and metal-clad Singapore skyline. Incorporating a Singa striking red aluminum mesh façade striki interspersed with lush greenery, inters this 27-storey 2 hotel was designed to att attract biodiversity back into the city. Achieving a green-to-plot ratio of 1,100%, 1,1 it effectively atones for the e environmental sins and lack of green spaces of ten of its neighboring gree buildings. 21 species of creepers make build e their way up the tower’s rounded form, m, which is punctured by multi-storey sky whic y gardens. These outdoor public spaces garde were designed by the architects as oversized verandas, allowing cross overs venti ventilation to occur. Outdoor furniture queen and Renaissance woman quee Patricia Urquiola takes command of the Patri hote hotel’s tropical-inspired interiors.

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One Central Park

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The Babylon

No points for anyone who’s figured out this hotel’s namesake. Unlike the Hanging Gardens of Babylon though, The Babylon Hotel in Da Nang exists, but only if you can find it under the copious greenery that covers it. An L-shaped three-story structure covered with 5-by-15cm vertical concrete louvers, The Babylon makes use of its ‘green screen’ to provide privacy for its guests, sheathe the hotel from the main road, as well as help the structure blend in with its natural surroundings. With the abundance of plants deflecting direct sunlight and, thus, aiding in the cooling of the interiors, the architects go so far as to call the hotel’s façade, ‘heat resistant’.

Answers: 1. Stefan Boeri and Boeri Studio, 2. Mañosa Brothers and IP Santos, 3. Ateliers Jean Nouvel, 4. WOHA, 5. VTN Architects

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