6 Circle
Editor: Amierielle Anne A. Bulan
MARCH 29, 2017
Surveying the vernacular architecture of Francisco Mañosa WELL-KNOWN for his vernacular approach to architecture and design, veteran architect Francisco “Bobby” Mañosa showcases the studies and photographs of his most popular works in Mañosa: Beyond Architecture, an exhibit of landmark projects that date back to the 1950’s. The exhibit, running until May 31 at the National Museum of the Philippines, displays almost 50 of Mañosa’s architectural projects, including his notable edifices Coconut Palace in Manila, the Edsa Shrine along the Epifanio delos Santos Avenue, the Mary Immaculate Parish in Las Piñas City and the Pearl Farm Resort in Davao City. The projects—both recent and archival—are presented through photographs, examples of indigenous materials, interior design elements, furniture, audiovisual presentations and drawings and models. Mañosa, who graduated with a BS Architecture degree from the University in 1953, has been a practicing architect for over 60 years. He is noted for pioneering vernacular architecture, the practice of translating a local or traditional culture into architectural designs. Exhibit curator Gerard Lico said Mañosa evolved the vernacular style to capture the Filipino psyche. “ W he n the country emerged from the American occupation, Mañosa
saw that moment as a chance to reconnect with our past to rediscover our Filipino identity as we become an independent nation,” Lico told the Varsitarian. Mañosa eventually championed the use of indigenous materials on his projects. “He does not use indigenous materials in their raw form,” Lico said. “Instead, he processes it using new technologies and technique to find more applications rather than mere decorative.” The exhibit featured various swatches of indigenous materials used in Mañosa’s projects such as bamboo, sawali, abaca, rattan, coconut husk, coco lumber, shells and various Philippine hardwoods and textiles. T h e e x h i b i t displayed studies of probably Ma ñosa’s most famous
work, the Coconut Palace (known as the Tahanang Pilipino) features the advancements he processed on bamboo, nipa, rattan, shell, coconut and adobe. Mañosa is also noted for injecting visual and thermal qualities to conform to the country’s tropical climate. His trademark designs such as the high ceilings, steep and sloping roofs, large windows, low eaves and angular overhangs portray the tropical profusions that are responsive to the local climate and culture. Mañosa’s architectural firm Mañosa & Company, Inc. is known for offering modern designs based from the traditional psyche of the bahay kubo. “ B u t Mañosa is not into traditional m i m ic r y,” Lico clarified. “He is rather into the appropr iation of the spatial
Mañosa Photo courtesy of Mañosa & Partners
concept and tropical properties of the bahay kubo as a space of Filipino social encounters.” Born on Feb. 12, 1931 in Manila, Mañosa received critical acclaim for his work on the Amanpulo Resort in Palawan for which he received the Asia Pacific Interior Design Award and the Best Beach Resort Worldwide by United Kingdombased Gallivanter’s Awards for Excellence. “Mañosa looked to the past to illuminate the future of Philippine architecture,” Lico said. “Everyone should emulate Mañosa, because he was able to create a unique Filipino expression based on familiar and old traditional paradigm.” AUDRIE JULIENNE D. BERNAS
JAMILLAH N. STA ROSA
Proposed design for EDSA Shrine by Mañ osa
Annual 'Tribute' concert pays homage to music of Saint-Saens
JAMILLAH N. STA ROSA
UST Symphony Orchestra
THE MUSIC of French composer Camille SaintSaens was the main feature in the annual Tribute to the Thomasian concert by the UST Symphony Orchestra at the Cultural Center of the Philippines (CCP) last March 12. Mostly Camille: The Music of Camille SaintSaens featured a repertoire of Saint-Saens’ classics along with songs by acclaimed European composers from the 19th century. Music professor Herminigildo Ranera and oboeist Reynato Resurreccion Jr. conducted the performances. “The concert featured the music of Camille SaintSaens to pay homage to his remarkable contributions to music as suggested by former Music dean Raul Sunico,” Ranera told the Varsitarian. The concert opened with Resurreccion leading the UST Symphony Orchestra in Giuseppe Verdi’s “La Forza Del Destino” (The Power of Fate), an Italian opera overture based on the popular Spanish romantic drama, “Don Álvaro o la fuerza del sino.” As Ranera took hold of
the baton, Music faculty member Randy Gilongo treated the audience to soulful renditions of “Cielo e’mar,” from the 1876 opera, “La Gioconda,” by Amilcare Ponchielli, and “Le Reve” from the French opera, “Manon,” by Jules Massenet. It was followed by a two-movement piano performance of Saint-Saens’ “Piano Concerto No. 4 in C Minor, Op. 44” by Music faculty secretary Peter Porticos. The piano concerto started with an allegro moderato (moderately quick tempo) that transitioned into an andante (moderately slow tempo) and allegro vivace (very quick and lively tempo). Saint-Saens’ “Symphony No. 3 in C Minor, Op. 78” concluded the concert with faculty member Victor Victorino on the organ. Saint-Saens, a musical prodigy of the Romantic era, is best-known for compositions scattered throughout almost all musical genres—from symphonies, concertos, sacred music, secular music and opera; including his widely performed
Visual artist Villaseran tackles mental illness By KLIMIER NICOLE B. ADRIANO AFTER being diagnosed with bipolar disorder last year, Thomasian artist Rom Villaseran channeled into painting his thoughts about his illness as a form of therapy. A year later, he mounted his works in Ilaw ng Buwan, a solo exhibit at Galerie Stephanie in Quezon City. As the title suggests, “Ilaw ng Buwan” sheds light on the darkest depths of the mind of someone with a mental illness. Bipolar disorder is a mental health condition that causes unusual shifts of depressive and manic episodes in between normal moods. If left untreated, the disorder increases risk for severe depression and suicide attempts. Villaseran, who studied architecture in UST, displayed a series of paintings dipped in a neo-surrealistic approach, a revival of surrealism mixed with pop art. “What you will always be looking
Gilongo and Ranera
opera, “Samson and Delilah.” “The concert is a way of honoring the Thomasian community through showcasing the many talents of the Conservatory,” Music regent Fr. Jose. Ma. B. Tikono, O.P. said in his message. Tribute to the Thomasians was previously held in January in celebration of UST’s foundation anniversary but in 2015, after the Papal Visit and academic calendar shift, the annual concert was moved to March. It is led by the UST Symphony Orchestra in partnership with CCP. The 70-member orchestra is the official orchestra of UST and the only campus orchestra that is a resident performer at CCP. It was founded in 1927 by Dr. Manuel Casas of the College of Medicine. CHELSEY MEI NADINE B. BRAZAL
“Sibol” and “Pusang Itim” by Villaseran
at when you view my work is the world that exists in my mind,” Villaseran told the Varsitarian. “This is me trying to connect with you. This is me constantly giving you my warmest handshake.” Greeting exhibit-goers is Villaseran’s 5 x 4 ft painting “Sibol,” a dark-hued portrait of his wife Kara de Dios clad in a black velvet coat accented by a bright yellow-colored flower and bumblebees. “Both of Me,” a painting of two skeletons positioned back to back with each other, focuses on dual personality. Villaseran rendered a large human figure with ram-like horns enveloped by dark shadows in “I Am,” a painting he felt very personal to because it made him feel “a lot more naked.” Despite his psychological condition Villaseran felt challenged to showcase his works. “I decided to talk about myself for a change,” Villaseran said. “It has been very taxing. A considerable amount of time will have to pass before I choose to do this again.” Villaseran took up BS Architecture until his junior year in the University. In 2014, he held his first solo exhibit titled Orchestra at Galerie Stephanie. He has been participating in numerous premiere art fairs nationwide and worldwide. He has also been featured in popular art publications including Art+ Magazine, Hi-Fructose and Art Republik.
JAMILLAH N. STA ROSA