A short Presentation regarding the Evolution of Philippine Architecture

Tahanang Pilipino ( Coconut Palace)

Ang Tahanang Filipino (The Coconut Palace), Manila by FMaosa The Architect

Architect Francisco Maosa Filipino architect Francisco Bobby Maosas has been known for creating cultural architectural designs. With the use of native , Filipino materials like bamboo and nipa, Francisco Maosa creates contemporary designs. He has been known to use the elements of Filipino culture, tradition, and idealism to his every work of art. He can use all matters and bind it that will form an art. As the founder of Francisco Maosa & Partners, Maosa has provided a touch of the Philippine culture to every architectural design he made. Though he is challenged with a multitude of international clients, Maosas firm, which has provided to the industry for the past two decades, has met those expectations with flying colors. Their effort to translate their design needs and objectives as best as they can has given them an elite position as an architecture firm, Francisco Maosa and partners design was change when they got international client,we known that Francisco Maosa and the partners design filipino and their design are totally filipino stylem both nationally and internationally. Francisco Maosa is also good in restoring strcuture and He has been famous for designing

churches such as the Shrine of Our Lady of Peace and the Mary Immaculate Parish Church in Las Pias City; for restoring the historical Las Pias Church, for designing the modern and practical stations of the Metrorail Transit System; for developing the Quezon Memorial Circle; and for developing, restoring, and landscaping the beautiful Corregidor Island. Truly, he is both a native and modern architectural visionary. Maosa has also been known for designing the Coconut Palace, also known as Tahanang Pilipino, which, according to Maosa, showcases the numerous uses and versatility of the coconut. Built in 1978, the Coconut palace is made of several types of Philippine wooden materials, such as coconut shells, and a specially engineered coconut lumber. The palace is shaped like an octagon, while the roof is fashioned like a traditional Filipino hat. With coconuts as the general inspiration Architect Francisco Maosa, showcase, for the first time, tropical and contemporary Filipino architecture. Francisco Maosa known as Bobby Maosa. he has been described as the most out sopken champion of an indigenous Filipino Architecture. His style is express in our tradition, vernacular form, he is also a techno wood architect. because he make use of it, technology to familiar native material that can be found in the philippines. such as bamboo, nipa, rattan, and coconut.. where Francsisco Maosa use the coconut tree as a basic form and concept of the Coconut Palace or the Tahanang Pilipno. The architect Francisco Maosa says: I design Filipino, His forms are reveal deep roots and reflect to the past. and his target is designing flipino style for the country. Francisco Maosa and Partners Architect Francisco Maosa decide to make his own Architectural Firm Office, Francisco Maosa and Partner is striving to meet the diverse design needs of the different clients. their target is to make the country proud of having Philippine Architecture and be a inspiration to others. The Coconut Palace

The Coconut Palace, also known as Tahanang Pilipino or Filipino Home, The Coconut Palace is located in Manila, Philippines, idea of the former first lady Imelda Marcos. The Frist Lady Imelda Marcos want to build a palace for the country and for the Pope John Paul the Second , Pope John Paul the Second will visiting our country during 1981 and Imeldas Husband President Marcos. It is the time of the Marcoses, The Marcos are man power and political power. Marcos change the country ( Philippines). He establish the Martial Law where the time of the breakdown of the Philippines.

The First Lady Imelda Marcos has the hand to beautify our country, when the Pope John Paul II visit in 1981, However, the Pope declined the offer of the First Lady Imelda Marcos. saying that is was too ostentatious a pace to stay while the poverty-stricken Philippines The First Lady Imelda Marcos was disappointed what the Pope say, The First Lady and the President dont think about the Problem of our country. The Coconut Palace, is Built in 1978, it is made of several types of Philippine Materials, hardwood, Coconut shells, and a specially engineered coconut lumber apparently known as Imelda Madera, I think this is a kind of cut of Coconut. The Coconut Palace or The Tahanang Philipino is The Guest house of the Marcos, and when the end of the Marcos, the Coconut Palace is turn over to the Philippines. The government take care of it. and it is open to the public for special proposes. The Architect of the Coconut Palace or the Tahanang Pilipino is Architect Francisco Maosa, Architect Francisco Maosa clamed that the Tahanang Pilipino is a showpiece on the versatility of the coconut and its viavility as an export, and it was planned long before the Pope will visit the country. Every Piece in this Palace has its own meaning and tradition. The Palace is shaped like an octagon to represent the coconut serving. while the roof is shaped like a traditional hat of the Philippines. mainly the farmer use it. the Filipino salakot or hat. their is some of its highlights are the 101 coconut shell chandelier. and the dining table made of 40, 000 ( forty thousand) tiny pieces of inlaid coconut shells, and more. why it is called the Coconut Palace, as a citizen of the Philippines, coconut is widely known in our country. coconut give us food, money, and everything, Thats why Coconut Palace is made of Coconut. and Coconut is known as Tree of life. from the coconuts roots to its trunk, bark, fruit, flower and shell. the Palace is design , form and ornamentation echo these elements. The coconut Palace manila is named because the architectural structure is made of 70 percent treated coconut lumber. Most of the materials in the Palace are native materials. The Coconut Palace is located along Roxas Boulevard in manila and next to the Cultural Center of the Philippines Complex, Cultural Center of the Philippines is one of the project and plan of The First Lady Imelda Marcos. The Coconut Palace is an interesting work of Architecture, a wonderful work and piece of art that sublimed the feeling of the Pilipino People. Even the country is under the Martial law. They manage to built a Palace that showcase the tradition and culture of our country. and it is also a unique art of the coconut as the ultimate Tree of life and it is also symbolize the hard working of the people in the Philippines. Today The Coconut Palace or the Tahanang Pilipino is already open to the public, tour, wedding, reception and others. Many famous people want to be the Coconut palace to be their Reception

when two Pilipino got married because the Palace is to romantic and peaceful. it is natural and the feeling of being Pilipino is in their. For me, as a student of architecture. this Architectural structure is one of the example of home made architectural piece. the structure you can see and any angle you can see the structure itself symbolize that is Philippines and it is also symbolize the creativeness of the Pilipino people. every piece of materials in the Coconut Palace gives you a big important. Architect Francisco Maosa is one of the founder of the architecture in Philippines. He is one of the architect who start to call the attention of the Philippines people to be part of the organization to rebuild and make the country presentable and beautiful. Arch. Francisco Maosa is the Favorite Architect of The First Lady Imelda Marcos when the Time and rule of the Marcos. I think when Arch. Francisco Maosa started to think and study the upcoming project which is the Coconut Palace or The Tahanang Pilipino. I think Arch. Francisco Maosa use the Country as his inspiration and concept of his design. that reflect to the Pilipino people. i believe that their is a Philippine architecture in our country. some architect they dont believe that their is a Philippine architecture. you can see, that the Coconut Palace or known as the Tahanang Pilipino is already a piece and one structure that can prove to us that their is a Philippine architecture. and the next example or fruit of the Philippine Architecture is the new generation of the new architects in the Philippines.

The Philippine Architecture

The Philippine architecture from 1945 to present. Old time going to the present time. As a student of architecture I imagine what is architecture that time. I wonder what is the architecture during that time. because Im new in architecture. And I dont have any idea what is real architecture during 1945. Just I know is the present time., the modern time Philippines is known for island and heritage places because of the historic event happen during the past. The architectural structure during the 1945 is more on Spanish colonial period. But the Philippine architecture is also influenced by the Japanese people, Japan share theirs tradition, art, and they also help us to improve our architecture. Even they bring us chaos during the time of our ancestors. Malay also influence the Philippine, Malay is known for native structure thats why we have many native houses and structure. Even other country have different native structure. Because of the influence of other countries. The Hindu also bring different style to our country (Philippines) and it also influence us. Hindu are also known for there native structure or the nature structure thats why we have houses that can relate to nature. Some of this is the Bahay kubo every country influence this kind of

house thats why there are many type of this house. The next country that bring us to the next level of architecture is the Chinese, Chinese people are known to art and passion. They have different culture and tradition compare to others. Chinese people stay in our country(Philippines) for a long time and they even built a Chinese town to our country. Even this present time Chinese people bring huge important to our country (Philippines) because of there tradition and way of life that help us in our daily needs. Some of Chinese people in our country (Philippines) our already prominent. The last and not totally the last country that bring different architecture style to our country (Philippines) is the American people. American also influence the country (Philippines) by mean of culture. American culture is known to be high tech, elite compare to other country specially to us. The American architecture is known for skyscraper , high builds, normal builds and modern type of architecture. The American architecture are all modern and different to our country(Philippines) even around 1945 there works and structure are already look like modern type or look like the present time. Stunning to the eyes of other people. Think about it if this works and structure really exist. The best example of that time is the World Trade Center it is also one of the skyscraper of all time. But it end when terrorist attack the World Trade Center during 2001. American bring to us the next level of architecture and style to improve and learn what is architecture and help us and bring us also more meaning about architecture.

During the pre-colonial architect of the our country(Philippines) consisted of the Nipa hut. Nipa hut this is the first house in our country (Philippines). But the early people in our country (Philippines) live in cave. This is the origin of the architecture of the our country (Philippines). Nipa hut are made of nature or natural materials thats why Hindu and Malay has a connection to this period. And the Spanish people colonize us. And it also influence us and bring more important to architecture here in Philippines. The main example for this is the Intramuros in the country(Philippines).

Intamuros is a historical city and it bring more idea about the the Philippine architecture. When Intramuros built and finish. It is the city of the Philippines some people define Intramuros as European city or romantic city that time. when world war 2 happen the city became the war field of other country. After years of battle and it was over, Intramuros it there but the side of it. Today Intramuros became ruin of the Philippines. Even it is a ruin, some architects of the Philippines are starting to rebuild it and and to bring back the Intramuros. Some aarchitect are wondering about the studies of Intamuros. Some architects are Modern and Post-modern this time. only few whos base is heritage structure. But today the I think Intramuros is under the process of change. Old time going to the present time. During the Spanish colonize our country (Philippines) some of structure, houses are influence by the Spanish culture and the Philippine architect was dominated.

The Bahay na Bato or the Stone house, this is the tradition house during that time. this is the transition of house, or the evolution of houses that time. first is the Nipa hut and the next is the Bahay na Bato nature material or the light material going to hard materials. Here you can see the improvement of our country (Philippines) and the next is the present day. Right now all I can say is, its different from the past than today.. today Philippines is already moving up by mean of its own culture and its own fruit. The fruit of improvement is base on the architect that we have. Architect today is modern and post modern. I can say to myself Im one of it. The Tale of Two Facades The Planned Demolition of our the Historic Dingras Church Facade A call to arms and a sound of alarms! Once again, a historic structure in our country is threatened. What makes it even more alarming is that it happens in the same province, Ilocos

Norte in almost the same period of time. First the planned demolition of the Laoag Central Elementary School, a perfectly usable, intact and beautiful example of 1920's education architecture in exchange for a mall, and now the proposed demolition of the centuries old faade of the Church of San Jos de Dingras to be replaced by what would most likely be a poor replica of the former. What gives? Dingras is one of the most picturesque facades in the country not due to its Baroque grandeur, but because of its perfectly beautiful proportions, the patina of the ancient bricks and more importantly its enduring and eternal visage of a ruin. The church of Dingras like most colonial churches in the country experienced numerous re-buildings during its course in history, and like similar structures in Ilocos have conflicting information. An earlier structure, presumably made of light materials was built before 1620, which was damaged during the earthquake of November 11 of the same year. Another conflicting report this time by Captain Don Lucas Mariano de Ochoa, together with his barangay heads in 1710, mentions that the church of Dingras had been constructed by their minister Fray Alonso Cortes OSA 30 years ago, c. 1678-1680 and that by the year of writing, 1710, only the brick walls remained. Noted Church historian Regalado Trota-Jose on the other hand mentions a brick church being built in the late 1670's collapsing in the earthquake of 1707. Whichever information is correct it is presumed that this solid structure may be surmised as the second church of Dingras.

This structure may have undergone rebuilding but was subsequently consumed by fire in 1838, which also gutted the whole town. Father Pedro Galende OSA mentions that in 1879, Fray Damask Vieytez OSA built the present church, which is described as being huge and massive. But Trota-Jose corrects this by stating that the church was built sometime during the priorship of Fray Vieytez from 1846 to 1854, the year the said builder died. The church again underwent renovation, this time fixing the roof and replacing it with metal sheets during the incumbencies of Fray Ricardo Diaz OSA (1879-1893) and Fray Fidel Franco OSA (1894-1898), whom Galende identifies as Saturnino Franco. Fire and earthquake again destroyed the church in 1914 and 1931, which made the structure unsafe and subsequently abandoned. A smaller concrete

structure was built on the plaza across the street, which served as the house of worship for the town. The ruins of the old church remained standing throughout this time and became a beautiful and nostalgic setting for pictorials and even concerts. In the past decade the church has been reopened and masses again have been conducted inside the refurbished and retrofitted structure.

The architecture of Dingras is also significant not only in the annals of Philippine architectural history but more importantly Ilocos Architecture for this together with the facades of the churches of San Nicolas, Piddig, and the original pre-1984 facades of Sarrat and Vintar follow the manner and character of the Vignola masterpiece of the Church of Il Gesu in Rome. Sadly with the proposed demolition of this faade gone would be this fine example, with only that of the Church of San Nicolas serving as the only remnant to this once popular style.

Why demolish this ancient brick faade? It would appear that the ruin is precariously leaning on to the newly built gym like shed built by the parish during the early parts of this century. After standing and buffeting typhoons, earthquakes, wars, pollution and other unknown forces, the faade, though showing its age is still massively strong and with the proper methods of conservation and shoring would allow it to continue gracing and serving the populace of Dingras and people who appreciate and understand the meaning of continuity.

Other leaning facades have been shored up and made safe for people to appreciate. One does not need to travel far to see how, through a concerted effort, a historic ruin was saved and even elevated to become not just an icon of a community but a whole promotional tool of a region, a people and a country. Macao's world renowned ruins of the Jesuit Church of Saint Paul are a prime example of how a faade could be shored up, strengthened and saved for generations to come. Began in 1602, the church like those in the Philippines suffered numerous travails in its colorful history. In 1835 fire destroyed the church leaving only a pile of rubble and a wonderful faade standing. Restoration efforts in the early 1990's resulted in supporting the ruins by building a concrete inner stencil that would serve as a reinforcement of the Baroque faade. Today, the ruins of St. Paul are the must see tourist destination aside from the Casinos that litter today Macao's quaint islands.

What was done in Macao, can be done in Dingras. Economically speaking it may even be more prudent to just build a retaining inner wall than to tear down a heavy masonry faade and rebuild it following the same lines and specifications of the original. Artistically and technically speaking, the methods, know-how and artistry of today compare poorly to the craftsmanship of the 19th century. Finally, do the people of Dingras understand the repercussions of loosing a vital piece of their heritage even if the faade were to be replaced by a replica! A replica remember does not replace the original, for whatever reason one gives. The best is still the original, and a replica is but considered a fake. One wonders why this project is even being considered. True, the need to shore up the faade is pressing. The safety of anyone visiting this shrine of faith is the paramount concern of the parish. But do the necessary agencies both local and national know of the proposed demolition of this historic faade! If they do, are they inept enough to even suggest the demolition instead of alternative processes of rehabilitation of a vital monument! One wonders again at the ineptitude of government and the people elected therein in suggesting the opposite of the complete conservation, preservation and rehabilitation of such vital infrastructure. Though the building is a private structure, its heart and soul lie deep in every Catholic and Filipino that roams the land.

161. The Carnival Architects: MAPUA, BARRETTO, ARELLANO

The splendor of the Carnivals owes much to its fabulous edifices that did not fail to impress and awe from the imposing Carnival Gate, the majestic Coronation Throne, the expansive Hippodrome to the provincial booths and displays that vied for the spectators attention. The first Carnival did not have a definitive visual theme, a merry mix of American and Philippine motifs, with inspirations drawn from mythology, European fantasy and royalty. Committees were organized to handle and manage every aspect of the Carnival activities like Promotion, Program, Decoration, Tickets, Invitations, Sanitation, Security, Music, Dances, Sports Competition, Transportation and Masquerade Balls. The construction of the Carnival infrastructures fell into the hands of several key people. In charge of building the main edifices was Col. Mark L. Hersey, while the Hippodrome was put under Col. George Langhorne, who also multi-tasked as the King Consort of the Queen of the Occident. Mauro Prieto headed a team of that included Armando Campa, Manuel de Iriarte, Vicente Singson, C. Rodriguez and B. Roxas that designed and built the Carnival stage of 1908.

As the Carnivals became even more elaborate in the succeeding years, architects were hired to render their professional and expert services in designing the overall Carnival look, including its fabulous buildings and structures. Returning Filipino architects who were sent as pensionados to study in the beaux arts schools of the American East Coast, were the first to be employed for these all-important tasks. Three of them would go on to achieve national recognition and earn their well-deserved place as leading lights of Philippine architecture: Tomas Mapua, Carlos Barretto and Juan Arellano. Tomas B. Mapua (b. 21 Dec. 1888/ d. 22 Dec. 1965) was the first registered architect of the Philippines who designed the 1917, 1920 and the 1921 Carnivals. The son of Juan Mapua and Justina Bautista, he was sent to America by the U.S. government for his high school and college education. He earned his Architecture degree from Cornell in 1911. For the 1921 Carnival, he executed the magnificent Magallanes Exposition Building, that had 5 high entrance arches surmounted by figural statues and the Main Entrance to the Carnival that had five expansive gateways book-ended with domed structures topped with fancy spires. Inside, the Throne Hall of the Auditorium featured an ornate central dome supported by columns, sheltering the throne of the Queen like a baldochine.

Mapua would go on to design and build the Manila City Hall, Manila Customs House, Agrifina Circle, the Post Office Building and the Leyte Capitol. In 1925, he founded the Mapua Institute of Technology (now Mapua University), which became the premier architecture and engineering school of the country.

Carlos Barretto holds the distinction as the first pensionado architect, having graduated three years earlier than Mapua, earning his degree in 1908 from the prestigious Drexel University in Philadelphia. He was the second (after Mapua) to be officially registered as an architect in 1921, as required by law that was passed by the National Assembly that year, one of 22 Filipinos.

Barretto designed the Carnival infrastructures of 1935, built on exuberant Art Deco motif that was the prevailing style of the Commonwealth years. After the Liberation, a group of Filipino architects that included Barretto, organized themselves into the Philippine Institute of Architects which proved to be of great help to the Philippines post-war recovery.

Juan Marcos G. Arellano (b. 25 April 1888/ d. 5 Dec. 1960) was the Tondo-born child of Luis Arellano and Bartola de Guzman. His first interest was painting, studying under Fabian de la Rosa and Lorenzo Guerrero. After graduating from Ateneo in 1908, he pursued architecture as a government scholar at the Pennsylvania Academy of Fine Arts in 1911, before finishing his course at Drexel, where Barrettoo had finished a few years before. Trained in Beaux Arts, Arellano worked briefly in New York before his return to to the Philippines. In 1922, he was named as the chief architect of the Manila Carnival, creating the grand neoclassic edifices that complemented the Graeco-Roman theme of the national fair. Arellano would go on to design the Metropolitan Theater in 1935, his best-known work, plus the Jones Bridge, the Legislative Building, the Bank of the Philippine Islands and the Malcolm Hall of the University of the Philippines and the U.S. Embassy. After his retirement in 1956, Arellano returned to painting, his first passion.

For at least 2 decades, the Carnival City of Manila was transformed by these accomplished architects, with their gift of designcreating landscapes of sheer fantasies and building gateways to new worlds of romance, royalty and revelry, fascinating feasts for all the nations eyes to see.