Polytechnic University of the PhilippinesCollege of Architecture and Fine Arts

Compiled Reports onHistory of Architecture 4

Abejo, JhebelCampo, Rustan Lorenz

Carcer, PatrickCerbulles, Kaycelin

Cruz, AndreaConcha, Arvin MarcoDayandante, ElijahDel Rosario, Jomar

Domingo, Shekinah MizpahNaces, ShaneySta. Ana, Sarah

Vilanueva, Nikko

ARCHITECTURE 3-2

Dr./ Archt. Jocelyn Lutap

Rise from the RuinsThe 1945 battle for Liberation witnessed the massive decimation of Manila's urban-built heritage and the irreplaceable treasures of colonial architecture.

it resulted the increase of shanty towns in many unpopulated areas like Pasig. Light materials were used to address massive homelessness

MODERNISM Modernism took a while before reaching the Philippine shores. Another reason is the lack of material, absence of knowledge in new building methods, lack of

technology and equipment and post-war austerity. Osmena took a step by building the Commonwealth government and reconvening the Congress

afterward to address the problems of rehabilitation. Louis P. Croft was an American designer who influenced the urban architecture in the

Philippines. He visited various sites and prepared preliminary reports. Supervised the Frost plan 1941

What is the Frost plan?

The frost plan was a draft to turn the Quezon City into the Philippine's very own Washington DC. It was delayed because of world war II It also planned to turn the Quezon City as the Capital of the Philippines. In 1948, the relocation of the main government buildings in the country and the provision for

housing of the city’s employees were part of the Frost plan but failed because of Marco’s retraction

Marcos ended the plan by turning the Metro Manila as the Capital of the Philippines. Today, the only parts of the Frost plan that were forced are Projects 1-8 and the lower areas of

Diliman. Meanwhile, the upper part of the Commonwealth was turned into private subdivisions and some

were taken by informal settlers.

Croft also prepared a reconstructed plan for the burnt area of Tondo. But this plan of making the Tondo a model community was frustrated because of the World War.

Cooperated with Filipino Architect like Antonio C. Kayanan and the American corps of engineers, croft also prepared the Metropolitan Thoroughfare Plan for Manila in 1945

The Metropolitan Thoroughfare Plan for Manila is the Proposal of laying 6 circumferential Roads and 10 Radial roads from the old Manila until the Bulacan Rizal Boundary up to the Marikina.

It was partially prevented by the financial expenditure demanded by the Hukbalahap rebellion. Lack of planning and control, de facto developments and the congestion of the city itself was also

the reasons for the failure of The Thoroughfare Plan for Metropolitan Manila.

The Philippines became an independent country because of the Tydings-Mcduffe Act of 1946 with Manuel L. Roxas as the elected president

Contribution of Tydings Sponsored the Philippine Rehabilitation Act, which costed up to $620 million for war damages. But the reconstruction package had certain downsides which the Philippines could not refuse. So this enabled the American to enjoy the same rights as of the Filipino citizens and exploit the

natural resources of the Philippines. And also operate the public utilities in the country. The Tydings Rehabilitation act funded the rebuilding and designing the necessary infrastructures

for the nation to be fully operational in the shortest possible time. So The US War Damage Rehabilitation Funds was also instrumental in resurrecting to their

original splendour the pre-war neoclassic government buildings.

Private owned buildings also underwent reconstruction but without the same logistical backing that sustained government infrastructure.

The reason for this was the haste to erect the building at the lowest possible cost. Art Historian Winfield Scott's excerpt appraising the mid-century architecture development in

the Philippines

"The uncontrolled and to hasty building and rebuilding from the extreme shortage of buildings for living, work, and recreation brought about the worst examples of architecture in the Philippines. The early post-war years were a period dominated by fly-by-night contractors, builders, and mediocre designers whose collective architectural capacity did not exceed the ability to resurrect in three dimensional forms the dramatic photographs published in architectural magazines. It was a field day for the architects, and the public was treated to magnificently mad display of architectural trash ranging in style from classic to garish and hopelessly misunderstood interpretations of "modern architecture" (Smith 1958-55)"

The war damages also have a brighter side, the inactive architects started to practice their profession by designing a new and radical architecture.

Some studied abroad and reoriented their design with the accordance to the Philosophy preached by the masters.

Those who cannot afford the foreign education had to be content with the visual approximation offered by the imported architectural magazines.

There was also a need for new government which was greatly felt during the 1950s This was because the old government buildings could no longer accommodate the state's

increasing bureaucracy and expansion of services. This revised the old policy that only the government architects can design the government

buildings. In this period, private practitioners also participated in the preparations of designs. so this policy sprouted a diversity of modern government design structures and playful

exploration of new forms. There was an economic recovery in 1950s that also resulted in the surge in architectural

production. it was predominantly handled by young generation architects so called ‘third-generation

architects’ they addressed every demands of the clientele who are eager to embrace the modern life and

ideas. Third Generation ArchitectsOtilio Arellano, Carlos Arguelles, Cesar Concio, Cresenciano de Castro, Gabriel Formoso, Leandro Locsic, Alfredo Luz, Felipe Mendoza, Angel Nakpil, Jose Zaragoza, Francisco Fajardo, Augusto Fernando, Carlso Banaag, Gines Rivera, Antonio Heredia, and the Manosa Brothers (Jose, Francisco, and Manual Jr.) among others.

The architecture of 1960s maintained the fervor set in the 50s. Oriental theme and traditional bound interior design and architecture became the main thematic

preoccupation.

Prepared by:Campo, RustanNaces, Shaney

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Mapping the Modern

Modernism was the leading movement of the twentieth century architecture, whose official history was written in the West. According to this account, which has become a key component of the mainstream cultural history of the twentieth century, “Modernism,” or “Modern Movement” as it was then called, encompassed a revolutionary aesthetic canon and a scientific doctrine in architecture originating in Europe during the interwar period. The use of reinforced concrete, steel, and glass, the primacy of cubic forms geometric shapes, and Cartesian grids, and above all, the absence of decoration, stylistic motifs, traditional roofs, and ornamental details have been its defining features in the twentieth-century aesthetic consciousness. For most people, the works of masters Le Corbusier, Walter Gropius, and Mies van der Rohe epitomized this modernist aesthetic. Notwithstanding its European origins, it was a doctrine that had claimed universal validity and rationality. The new needs, tools, and technologies of complex industrial societies that informed this modernist vision were presented as necessary ingredients for a rationally progressing universal history-an epochal force that no nation, culture, or geography could evade.

The terms “modernity,” “modernization,” and “modernism” are intricately linked, but each them needs further distinction. Behind the semantic subterfuge, we can define these terms as follows: modernity as historical stage; modernization as a social process that attempts to construct modernity; and, modernism as a cultural pro cess that takes place at several points along the development of capitalism.

In broad sweep, modernism encompasses a constellation of intellectual and artistic movements, which includes movements such as impressionism, symbolism, cubism, futurism, art nouveau, imagism, international style, and so on. As an aesthetic and cultural tendency, modernism can be broadly defined as a movement grounded in the rejection of classical precedents and styles. It is said to coincide with “modern history” or a period “including the present but excluding the Greek and Roman epochs.” Thus, modernism is characterized by the deliberate divergence from tradition and the use of innovative forms of expression that distinguish many styles in arts and architecture.

Though modernism takes place in different cultural fields, it could be commonly characterized as being: positivistic (knowledge and truth systems is verified by way of scientific inquiry); techno centric (progress in knowledge and achieved through advances in technology); rationalistic (knowledge is achieved by the application of reason); and marked by strongly held beliefs in universal progress, the

possibility of absolute truth, and the rational planning of ideal social orders. It cogently professed the ideals of democratic collectivism, industrialization and machine aesthetics, devotion to a utopian future, and aspiration towards the creation of a universal culture.

Modern architects, in the quest for pure architecture, believed that buildings should strip themselves of pretension and truthfully reveal their function, their construction, and their organization. They believe that buildings were intended to be experienced not only in space but also in time. To wholly appreciate the experience of architecture, they thought that one should move through its spaces, which are simply shaped by light and massing. The tectonic components and material capabilities of the new age should be shown, not disguised and concealed behind ornamentation. Applied decoration was, hence, no longer necessary or desirable. In the quest for a universal architectural language, context and symbolism became immaterial. Devoid of a cultural or social framework for understanding building, modernism could become a style for the entire globe.

Modern architecture was, to a certain extent, a reaction to the extreme ornamentation of buildings of the nineteenth century, an antithesis to grand symmetry and highly decorated surfaces of the architecture of the period. It was also a political and social statement by Europeans to divorce Europe and its architecture from its aristocratic image. If anything was implied by the movement, it was the rejection of the past and denial of historical precedents.

In the United States architects like Louis Sullivan and Frank Lloyd Wright began to break with the past. Sullivan coined the phrase “forms follows function”, a mantra for modernists ever since. The phrase meant that the appearance of a building should be derived solely from its use or should grow from its intended purpose. Viennese architect Adolf Loos also made his famous attack on architectural ornaments “Ornament is a crime, like a tattoo on the human body; a sign of degeneration” which became the modernist’s rallying call for the proscription of arbitrary applied decoration.

After World War I, Germany’s Bauhaus became the locus for modern design. Artists and designers of this school wanted to gain autonomy from symbols of European aristocracy, including the Beaux Arts, and used the machine as the paradigm for their aesthetic. The experimented with forms and design products that captured the simple beauty of mass-produced forms. They also used the machine itself as a motif. Ocean Liners, trains and skyscraper fascinated them as harbingers of a new age. Many Bauhaus architects, later fled from Adolf Hitler’s Nazi regime and sought refuge in the United States. Yet, the influence of Bauhaus on modernist architecture was profound. The demand for standardization, the experiments in mass production and the pioneering concept of industrial design all influenced the modernist approach to buildings and design.

Proponents of architectural modernism insisted that it was a universal for-language, which was applicable to all cultures and societies at all times. It was perceived as a logical consequence of rational design intervention and engagement with new materials reiterate the notions of formal economy and the dicta of “less is more.” In the almost prescriptive catalog for the 1932 museum of modern art exhibition, Hitchcock and Johnson summarized the modernist stylistic principles in these words “There is, first, a new concept as volume rather than a mass. Secondly, regularity rather than axial symmetry serves as the chief means of ordering design. These two principles, with a third proscribing arbitrary applied decoration, mark the production of the international style”.

Divorcing from the tradition meant the uninhibited exploration of new materials and methods. Applied ornaments were seen as carapace that diverts onlookers from the architectural essence and inner truths of a building, which ultimately interfered with its utility. With this philosophical basis, the utilization of reinforced concrete, steel and glass; the predominance of cubic forms, geometric shapes, and Cartesian Grids; and most of all the absence of decoration, stylistic motifs, traditional roofs, and century architectural consciousness. Modern architecture’s simplified geometries were accordance to the demands of honestly expressed in materials, structure and forms; navigated in restraint rather when indulgence; and valuing simplicity instead of complexity.

Prepared by:Naces, Shaney

The Capital DilemmaErection of capitol buildings and the development of a new capital site was already the proclamation of the new regimes, which eventually classify the city and its rightful existence of a new state in the global arena. In response to this need, Modern Architecture provided the appropriate architectural image that represented the growth, progress, advancement as well as decolonization.

The adaptation of Modern Architecture as the official architectural style was a strategic choice for it had a symbolic appeal of technological advancement, economic prosperity, and cultural progress that the nation aspires for.

Through modern architecture and modernism, the newly independent Philippine state had created a new built environment that also conveyed freedom from the colonial past. However, despite how modernism had represented the progress, it also offered a distinct abandonment and that the old colonial styles of architecture were not acceptable and indigenous and traditional architecture was viewed as primitive, rural and backward.

As Burnham’s plan of the city was all reduced into rubble, leaving only a faint intimation of the American Empire, President Manuel Roxas has tasked and formed a Capital Site Committee, entrusted with the responsibility of choosing the most appropriate site for the capital of the Republic City.

Senator Melencio Arranz, head of the committee had put in a whole year’s work of research, investigation and inspections. 16 sights were considered in special relation to general sanitation, public works development, strategic considerations, scenic resources, and administrative coordination.

Some of the other options to Novaliches were Tagaytay, Cebu, Davao, San Pablo, Baguio, Los Baños, Montalban, Antipolo and Fort Mckinley (Currently Fort Bonifacio). The Committee was also said to consider the Boracay Islands.

The Final choice was the Old Quezon City, Novaliches Area. With the announcement of the new site capitol, land values went up from one peso to 3.50 pesos per square meter around the vicinity of the new city.

In the summer of 1947, mission of Filipino Architects and engineers on a study-dispatch of the United States, South America and Central America, included were architects Juan Arellano, Juan Nakpil, Cesar Concio and Engineer Manuel Mañosa Sr. among others, bringing with them in return ideas influenced from modern architecture.

Republic Act No. 333, signed July 17, 1948, The creation of the New Capital City of the Philippines and the Capital City Planning Commission for the master plan preparation.

October 22, 1949, Quezon City’s inauguration as the capital city was marked by the laying of the cornerstone for the Capitol Building in Constitution Hills. The city remained the capital until the enactment of Presidential Decree No. 940 on June 24, 1976, that reverted back to the City of Manila.

In the master plan, the entire Capital City site was to be divided into four major districts; the Metropolitan Area, the North Neighborhood District, West Neighborhood District, and the South Neighborhood District.

The Metropolitan Area (7,627 hectares) was divided into 3 main units that formed a triangle. Constitution Hill (northeast), Executive Center, that consisted of the Executive Department, Bureaus, and main housing projects for government employees (south part), and the Business Center (west).

The master plan also specified allegoric names to be given to the main buildings of the Constitution Hill to approximate the democratic aura of the parliamentary edifices of Europe and America.

“Palace or Houses” will be imperative to that of the symbolic and dignified names (i.e the Palace of Justice and the Buckingham Palace in London). Also being Democratic, The House of Congress could be appropriately and symbolically the House of Wisdom, Palace of the President, House of Prudence and the Office of the Supreme Court and other moderating bodies, the House of Justice.

1955, administration of President Magsaysay, the national government had perfected the plan to move all national offices from Manila to Quezon City. And in 1956, proposed design and scale models of buildings for the Legislative prepared by Frederico S, Ilustre, estimated 30 million budget. However, he was criticized for the flamboyant and excessive use of the building height which was impractical and had no practical value. The use of Philippine design motifs, that had the scale reaching 100 meters and taking the form of the Kalinga kalasag (tribal shield), as centrepiece of the whole composition.

February 1958, construction phase started despite being bombarded. The first building to be constructed was the House of the Representatives of the Legislative Group; this was supposedly the tallest building having 13 floors, excluding the roof deck with a total height of 52 meters. Due to fund insufficiency, the construction was stopped at August 1960 leading to the abandonment of the entire project. The eleven storey structural steel framing remained that cost some P7.5 million. The steel framings were to remain exposed until 1976 when the government of President Ferdinand Marcos revived the plans for parliamentary complex. The very same steel framing supported the structure Pambansang Batasan, designed by Felipe Mendoza and finally completed in 1978.

The current capital, Manila was established through the Presidential Order on June 24, 1976.

Prepared by:

Concha, Arvin Marco

Post Independence Architecture

On July 4, 1946 (1946-1961)

Treaty of General Relations was signed both by US and the Republic of the Philippines for the recognition of the independence of the Republic of the Philippines and the American sovereignty over the Philippine Islands.

In exchange, the treaty further required U.S. citizens and corporations be granted equal access to Philippine minerals, forests, and other natural resources.

The Philippines currently celebrates its Independence Day on June 12, the anniversary of Emilio Aguinaldo's declaration of independence from Spain in 1898.

The declaration was not recognized by the United States which, after defeating the Spanish in the Battle of Manila Bay in May that year, acquired the Philippine Islands via the Treaty of Paris that ended the Spanish-American War.Immediately after being independent, the architects and engineers in the Division of Architecture were urged to create a new form of architecture - not as symbol and style but a distinguishing expression of Filipino character and personality.

They have arrived in the resulting design as Psedoclassicism because of the need in new municipality buildings and other civic buildings to serve the city.

Pseudoclassicism- has a distinct character of marked severity in lines and masses and the absence of ornaments and mouldings in the façade and interiors.

Federico S. Ilustre

-The Consulting Architect of the Bureau of Public Works

-The state architecture were produced primarily by the government architects of the Division of Architecture

They executed new design concepts for government buildings in 1950’s with preference to Modernism as the springboard for design.

-State architecture was produced

-Received degree of Architecture in MAPUA

-Worked as draftsman in the office of Juan Nakpil

-Best remembered in his work- Quezon Memorial Monument in QC

Result of national design competition held in 1951

Modernism movement under Federico Ilustre

List of some Architects and their prominent works and contribution to post-war years

Jorge Y. Ramos- GSIS Building

Juan M. Arellano- Bureau of Public Works Bldg.

Juan F. Nakpil- SSS Bldg.

Later on the design trend became more rational, functional, formal, and rhythmically uniform in aspect. Thus, contemporary structural design was uses. Buildings that fall under this type are:

Juan M. Arellano- Philippine Postal Savings Bank is based in the Manila Central Post Office Building

-Independence Grandstand

Leandro Locsin- Manila International Airport

List of Federico Ilustre’s works and contribution

-Old GSIS Building in Arroceros

Included in the 15 Heritage Buildings in Manila

One of the first new buildings programmed for the New Republic

Façade generated a series of soaring fluted pillars and a simplified modern composition yet, at the same time, it evolved classical massings and proportions.

-The Veterans Memorial Building(1957-2007)

Demolished in 2007

Has a modern semicircular convex façade countered by a dome structure

Motor Vehicles Office (1957) along East Avenue

Department of Agriculture and National Resources Building (1959)

Symmetrical plan was rectangular

Slight convex curvature to conform to the arc formed from the elliptical road

Vertical slabs placed at both ends of the façade with Carabao motif- symbol of Philippine Agriculture

The People’s Homesite and Housing Corporation Building (1958)

Expression of Avant-gardism

It’s southern block, seemed to float as it was suspended through a system of pilotis.

Pilotis- a column of iron, steel, or reinforced concrete supporting a building above an open ground level.

Summary

To summarize, the Philippine Architecture during the post-war years were founded by Federico Ilustre who executed the design concepts where all the other architects followed.

Ilustre’s works were designs that evoke Filipino Vernacular silhouettes.

Prepared by:

Sta. Ana, Sarah

Philippine Coconut AdministrationPHILCOA (1958)

Buoyant, rectangular volume supported by stilts Designed by Federico Ilustre The architect created a principal elevation that was entirely protected by latticed screen of open-

work masonry as shield to heat and glare The vertical space left was covered by a number of glass windows The verticality was further heightened by two equally spaced, upright louvers running the height

of the building.

QUEZON MEMORIAL CIRCLE (1950)

The focus of the government center on the Elliptical Road in Quezon City Designed by Federico Ilustre Aesthetically a testament to the pertinence of art deco 66 meters from base ( represented the late President Manuel Quezon’s age when he succumbed to

tuberculosis) Spiral staircase led to the top (observation platform) The winged figures represented LUZON, VISAYAS and MINDANAO discerned in the

traditional costume they were clothed in

VETERANS MEMORIAL HOSPITAL COMPLEX (1950)

Designed by Enrique J.L Ruiz One of the hallmarks of Phil-American cooperation and was presented as a gift of the American

to the Philippines as a sign of gratitude of the Filipino soldiers who fought in the World War II The design was characterized by no-nonsense composition, symmetry and axial spatial

configuration for efficient delivery of medical services

MANILA INTERNATIONAL AIRPORT (1962)

Designed by Federico Ilustre Reputed to be the largest and most modern in the Southeast Asia region Designed along a finger type plan Total area: 22,773 square meters Divided by four functional buildings interconnected by sheltered passageways Used wide expanse of tempered glass fronting Provided with an overhanging control tower with a view of two runways to facilitate efficient

ground control of incoming and outgoing flights Burned down in 1981

NATIONAL THEATER

Composed of national theater, national library, and national museum at the Wallace field, Luneta To improve the setting, Rizal monument was improved and provided with a reflecting pool A retrofitting for the monument commenced with the super-imposition of stainless glass shaft

over the obelisk that increased the height from 12.7 m to 30.5 m The towering shaft was installed with a beacon light on top

NATIONAL THEATER (1959)

Juan Nakpil’sunbuilt National Theater was an edifice that combined a concrete folded plate and spherical thin shell roof to achieve a sculptural and monumental effect

The large thin shell roof has a radius of approx 76 meters and span of 110 meters that covered a 2,600 seater hall

The spacious lobby would be shaded from the afternoon sun by gold anodized aluminum or copper diffusers. At night, the grille and glass façade would be well-lighted

Philippine Identity was reflected in the traditional motifs used ( sampaguita, ilang-ilang, pencil thick stainless steel rods shaped like bamboo)

RIZAL THEATER

The National Library failed to materialize on Wallace field With a revised plan and less grandiose scheme, it rose in Makati and became Rizal Theater However, it was demolished in the 1980s to give way for Shangri-La Hotel

NATIONAL LIBRARY (1962)

Designed by Hexagon Architects ( composed of Jose Zaragosa, Francisco Fajardo, Edmundo Lucero, Gabino de Leon, Felipe Mendoza and Cesar Vergel de Dios)

Plain rectangular prism whose façade was wholly covered by grids of vertical slats except at the center

Divided into 5 vertical sections defined by planes of glass

RIZAL PROVINCIAL CAPITOL (1962)

Designed by RupertoGaite One of the important postwar capitol edifices that deviated from Beaux Arts Formalism Diamond-shaped concrete supports, Replete with louvers and sun baffles, extensive use of

concrete and repetitive façade details

Whole complex was laid out in classical proportion and axial symmetry

QUEZON CITY ASSEMBLY HALL (1960)

Designed by RupertoGaite Achieved visual weightlessness of massive, elongated, octagonal structure with the use of two

tapering stilts Octagonal structure with surface dimension of 10 by 40 meters Setting for relief sculptures carved out of adobe depicting the life and accomplishments Manuel

Quezonas a national leader

DEPARTMENT OF EDUCATION COMPLEX (1967)

Designed by Federico Ilustre The complex featured a rectangular block whose mass was suspended by sculptural stilts to attain

visual weightlessness The surface of the block was accented with vertical louvers With thin shell dome, whose geometry was sectioned-off to taper before reaching the ground

ARCHITECTURE FOR THE PREMIERE STATE UNIVERSITY

William Parsons- Diliman’s master planner in 1939 William Parsons designed the University Avenue, Benitez and Malcom Halls By 1949, the responsibility of building UP Diliman was given to Archt. Cesar Concio who

designed Palma and Melchor Halls Church of the Holy Sacrifice (1955) by Leandro Locsin Student Services Center of Vinzons Hall (1957) by Cesar Concio University Health Services or Infrimary (957) by Esperanza SiochiCayco Conservatory of Music or Abelardo Hall (1960) and old Univ. Theater or Villamor Hall by

Roberto Novenario Faculty Center or Bulwagang Rizal (1964) by Carlos Arguelles Law center and International Center (1968) by Victor Tiotuyco

Prepared by:

Domingo, Shekinah

The Rise of the Suburbia and Bungalow Housing

THE HISTORY

DEFINITION

Suburbia or Suburb A suburb is a residential district located on the outskirts of a city. A residential area or a mixed use area, either existing as part of a city or urban areaas a separate

residential community within commuting distance of a city

Suburb comes from Latin: sub means "below or near" and urbis means "city." You also will recognize this root in urban. Suburbs have more single-family homes than apartment buildings, and living there, you are more likely to have a yard with trees and grass. The downside is, if you work in the city, you might have a long commute that adds to the time you are away from your family.

POST – WAR

Subdivision Development Homelessness Patterned after the American Suburbia Automobile culture Suburban community to the urban core Based from planning concepts of the 20th century

o “Garden City” by Ebenezer Howard

Sir Ebenezer Howard OBE is known for his publication Garden Cities of To-morrow (1898), the description of a utopian city in which people live harmoniously together with nature. The publication resulted in the founding of the garden city movement, that realised several Garden Cities in Great Britain at the beginning of the 20th century.

Garden Cities of To-morrow is a book by the British urban planner Ebenezer Howard. When it was published in 1898, the book was titled To-morrow: A Peaceful Path to Real Reform. In 1902 it was reprinted as Garden Cities of To-Morrow. The book gave rise to the garden city movement.This book offered a vision of towns free of slums and enjoying the benefits of both town (such as opportunity, amusement and high wages) and country (such as beauty, fresh air and low rents). Howard illustrated the idea with his "Three Magnets" diagram. His ideas were conceived for the context of a capitalist economic system, and sought to balance individual and community needs.

Two English towns were built as garden cities, Letchworth and Welwyn. Though they did not completely measure up to the ideal, they provided a model for controlling urban

o “Neighborhood units” by Clarence Perry

Clarence Arthur Perry was an American planner, sociologist, author, and educator. He was born in Truxton, New York. He later worked in the New York City planning department where he became a strong advocate of the Neighborhood unit. He was an early promoter of neighborhood community and recreation centers.

The concept of the neighbourhood unit, crystallised from the prevailing social and intellectual attitudes of the early 1900s by Clarence Perry, is an early diagrammatic planning model for residential development in metropolitan areas. It was designed by Perry to act as a framework for urban planners attempting to design functional, self-contained and desirable neighbourhoods in the early 20th century in industrialising cities. It continues to be utilised (albeit in progressive and adapted ways, see New Urbanism), as a means of ordering and organising new residential communities in a way which satisfies contemporary "social, administrative and service requirements for satisfactory urban existence".

The core principles of Perry's Neighbourhood Unit were organised around several physical design ideals:

1. "Centre the school in the neighbourhood so that a child's walk to school was only about one-quarter of a mile and no more than one half mile and could be achieved without crossing a major arterial street. Size the neighbourhood to sufficiently support a school, between 5,000 to 9,000 residents, approximately 160 acres at a density of ten units per acre. Implement a wider use of the school facilities for neighbourhood meetings and activities, constructing a large play area around the building for use by the entire community.

2. Place arterial streets along the perimeter so that they define and distinguish the "place" of the neighborhood and by design eliminate unwanted through-traffic from the neighborhood. In this way, major arterials define the neighborhood, rather than divide it through its heart.

3. Design internal streets using a hierarchy that easily distinguishes local streets from arterial streets, using curvilinear street design for both safety and aesthetic purposes. Streets, by design, would discourage unwanted through traffic and enhance the safety of pedestrians.

4. Restrict local shopping areas to the perimeter or perhaps to the main entrance of the neighborhood, thus excluding nonlocal traffic destined for these commercial uses that might intrude on the neighborhood.

5. Dedicate at least 10 percent of the neighborhood land area to parks and open space, creating places for play and community interaction".

People’s Homesite Corporation (PHC)

First government housing agency Created by Commonwealth President Manuel Quezon October 14, 1938 Created for the families with a low income bracket First resolution was the purchase of a tract of land from Donya Teresa Tuazon for the Diliman

estate Financed P2 million for the development of the area.

o On October 14, 1938, the People’s Homesite Corporation was organized and incorporated by the National Development Company. Don Alejandro Roces Sr. was appointed General Manager. Shortly thereafter, the Corporation purchased form the Tuazon a portion of the Diliman Estate with an area of 1,572 hectares at P0.05 per square meter—P500.00 per hectare or for P786,000.00. At the same time, the Tuazon donated to the government the present site of the University of the Philippines consisting of 493

hectares on the condition that the land would be used as the new site of the University of the Philippines. Quezon accompanied by his friend and physician Dr. Antonio Sison, surveying the area from a high point, envisioned a modern university, the best in the Orient, near Manila but undisturbed by the hustle and bustle of a port city. The sum of P17, 500,000.00 was authorized for the construction of buildings and purchase of equipment.

National Housing Corporation (NHC)

Created seven years later, on 17 September 1945 Constructed Heroes Hill in 1947

o First Housing projecto Residential units for the officials

Philippine War Damage Commission Joint US Military Advisory Group (JUSMAG)

o 55 single detached residential structureso 38.8 hectareso Bisected by a network of five asphalted streets.

People’s Homesite and Housing Corporation (PHHC)

The PHC and the NHC were merged on October 4, 1947 Designed and developed new and expansive suburban communities

o National Planning Commissiono Director Anselmo T. Aquinto

Both architect and civil engineer who was a prewar government pensionado to Harvard University on town planning and landscape and a 1949 United National fellow in Europe for town planning and housing)

Mass fabrication of low – cost bungalow units.

Housing projects:1. The Kamuning Housing Project, 19402. Project 1, Roxas District, 19493. Project 2, Quirino District, 19514. Other housing project in Project 3, 4, 5, 6, 7 and 8, Quezon City5. Project 16, Caloocan City

To its credit, the People’s Homesite and Housing Corporation played a major role in the development of Quezon City. It was responsible for the development of various housing projects – Projects I (Roxas Homesite), 2, 3 and 4 (Quirino District, 6, 7 and 8 and the GSIS Village>.

Boundaries of Quezon City

Quezon City was carved from the towns of Caloocan, San Juan, Mariquina, Pasig, Montalban and San Mateo. Under Commonwealth Act No. 502, known as “An Act to create Quezon Ctiy” specified the boundaries of the new city: included in its 7,355 hectares – one third of which was owned by the government were the following places, the barrios of Galas, La Loma, Sta. mesa Heights, San Jose, Balintawak and Kaingin were taken from the town of Caloocan; the barrios of New Manila, Cubao, San Francisco del Monte, Kamuning and Roxas were taken from the town of San Juan; the barrios of Jesus de Ka Pena, lower Barranca, the U.P. site, Cruz Na Ligas, Balara and Varsity Hills were taken from the town of Mariquina; the barrios of Ugong Norte and Santolan Libis were taken from the town of Mandaluyong.

Under Commonwealth Act No. 559, June 21, 1941, the area of Wack Wack Golf and Country club was reverted to Mandaluyong, and the barrios of Jesus de la Pena and lower Barranca were reverted to Mariquina. On the other hand, the area of Camp Crame was taken from the town of San Juan and added to Quezon City. Under Republic Act No. 333, July 17, 1948, the Barrios of Baesa, Talipapa, San Bartolome, Pasong Tamo, Novaliches, Banlat, Kabuyao, Pugad Lawin, Bagbag, Pasong Putik, and others, with an area 8,000 hectares were taken from Caloocan.

Eight big estates were acquired in forming of the new city. These were the Diliman Estate with 15,732,189 square meters; Santa Mesa Estate with 8,617,883 square meters, Mandaluyong Estate with 7,813,602 square meters, Magdalena Estate with 7,644,823 square meters, Piedad Estate with 7,438,369 square meters, Maysilo Estate with 2,667,269 square meters, and the San Francisco Del Monte Estate with 2,575,388 square meters.

The open lay out of these development and the bounding greenbelts were in accordance with Ebenezer Howard’s concept of a “Garden City” putting the economic and cultural advantages of both city and country living.

The PHHC envisioned a unitary planning feature o A site for school houseso A school playgroundo Churcho Hospitalo Market placeo Commercial lotso Residential districts

Bungalow Housing

Derived from “bangala”o Term for small, tatched house with a porch or verandah

Features verandas, plenty of windows, and open interiors for cross ventilation Made transit to England by 1870s (serves as vacation homes for the middle class either in country

or the seaside, billowing roof lines) Gained popularity in the US by 1890 – 1920 (flat roofed, one storey house)

A typical Bungalow consists of: A low, one storey; Spacious building Partitioned into separate living, dining, and bedrooms; The latter with attached bathrooms Verandah, attached outside the walls

Locally, it is a one storey house with large windows and sometimes, with a lanai. Lanai derived from the Hawaiian residences, roofed terrace walled on one, two or three sides. It was introduced by the Americans to the Philippines . It is modeled for low costing housing for postwar homelessness. Standard schemes and components designed by the PHHC to lend bungalow for mass production. Varied to either, single unit and the twin or duplex units.

Bungalow housing in the Philippines A unit had one small living room, one or two bedrooms and a bathroom. For the middle class, a unit had a carport, a living and dining area, a kitchen, two or three

bedrooms, a small garden in the front and a service area at the rear. Covers a lot area of 200 to 400 sq m.

The PHHC Projects for residential Units

Types of residential units Three-storey row house-type dwelling Single-detached-type house (Letter S, i.e 35 – S) Twin or duplex type (Letter T, i.e 40 – T)

Single and the duplex type were architecturally plain and uniform and designed to cater employees with a family income bracket of P150 – P350 per month. PHHC Model Houses were designed for an average of 5 members/individuals Filipino family per unit

The Twin or duplex type Designed for two families 47 sq meters Built on a 200 sq meter lot Reinforced concrete hollow block exterior walls Interior partitions Floor made of concrete slab Roofing made of cement asbestos sheets on wooden framework (it was not yet known that it

causes certain cancers) Installation of ceilings was considered unnecessary Seperated entirely by a concrete hollow block fire wall from floor to rafter Four to five meter setback from the road The unit covered forty percent of the lot Contained 2 bedrooms, with an approximate area of 9 sq m. Living and dining occupied almost half of the dwelling Used ample windows (wooden jalousies) for proper ventilation

Other housing agencies:

Philam Life Homes, developed in 1995, by the Philippine American Life Insurance Companyo Housing for families with P600 monthly salary o 45 hectare site in Quezon Cityo 400 meters north from the intersection of EDSA and Quezon Avenue.o Their first and second community development project were in Iloilo city and Baguio

City.

Philam Life Homes house design:

o House design in a modular design systemo Used typical, prefabricated millwork and structural members

o Carlos Arguelles came up with 24 schemes for a bungalowo Bungalow units have 450 sq m lot area, and either 75 or 95 sq m floor areao Some units with 700 sq m lots had 120 sq m floor area

Ayala y Companiao Developed their first subdivision in Singalong, Manilao Marketed to the middle class in 1930so Development of the New Makati was attributed to the Ayalaso Transformed 930 hectares of the original Hacienda Makati into an integrated residential

and business communityo Created a 38 hectare area into Ayala Centero Forbes Park became an sxclusive residential enclave by 1950so Also developed San Lorenzo village, Bel-Air village, Urdaneta Village, San Miguel

Village, Magallanes Village, and Dasmariñas Village, in Makati.

In the late 1960’s Through the works of architects Luis Ma. Araneta, Leandro Locsin, Gabriel Formoso, Mel

Calderon, and Marcos de Guzman, residential architecture blur the boundary between the exterior and the interior by integrating gardens within domestic spaces.

Locsin Residence (1963)o Challenged the climate – insensitive, dysfunctional and noncontextual houses copied

from American Suburbiao Integrated indigenous materials into a modern buildingo Locsin interpreted aspects of bahay na bato,

Lattice work Adobe walls Boladas (window galleries) Organic continuity and arrangements of spaces

On July 31, 1975, PHHC was dissolved by virtue of P.D. 757 and the National Housing Authority was created. In 1939, the population was estimated at 57,880.

Prepared by: Dayandante, Elijah Diane L.

Liturgical Architecture tackles about churches/ Religious SpacesFrom the word "Liturgy" which means a a fixed set of ceremonies, words that are used during public worship in a religion.

New geometries were adapted in the worship spaces in the mid-twentieth century.

Victorias Chapel (1949)o Built in Negros Occidental

o First Modern church in the Philippineso Designed by Antonin Raymondo The Facade and the Baptistry has glass mosaic murals by Ade de Bethune

Liquid Stoneo also known as "Poured Concrete", discovered in 1950so It has the plastic quality of concrete that results into ecclesiastical gemso Ex. (Church of the Holy Sacrifice (1995), Church of the Risen Lord (1995) )

Church of Our Lady of Perpetual Help( 1950)o Built in Baclarano Designed by Cesar Concioo Modern Facade and a ceiling that captured the complexity of Gothic architecture'so ribbed vaulting translated in concrete.

Jose Ma. Zaragozao Liturgical Architecto Santo Domingo Church o This church was built in Quezon City which shows the plainness and simplicityof

concrete using a modern, unornamented rendition of the Hispanic Mission Revival.

Leandro Locsino Residences of Bel-air, Makatio Church of Saint Andrew

Churches of the Philippine Independent Church, more popularly known as the "Aglipayan" church,

o resemble those of the Catholic Church, since the Aglipayans did not significantly deviate from Catholic rites.

Cathedral of the Holy Child (1996)o Located in Taft Avenue, Manilao Designed by Carlos Arguelleso Rectangular Nave and Apse with an east window.o Exterior: Suspended block with sloping trapezoidal walls and textured with horizontal

grooves all throughout.

Modernists like Juan Nakpil and Carlos Santos Viola interpreted the patterns of Gothic Architecture that was being followed

o in all churches or kapilyas of the Iglesiani Cristo (INC). The design halllmarks of the INC churches are pointed arches, triangular or

o tudor arches, towers and spires and wall traceries.

Union Church(1975)o Inspiration: Niemeyer’s cathedral in Brasilia, Anahaw leafo Located in Makatio by Jose Zaragoza

Manila Mormon Temple(1983)o Located in Green meadows, Quezon Cityo Designed by Felipe Mendozao It reflects the trademarks of Mormon temples with its precipitous roof and impressive

spires

Prepared byAbejo, Jhebel

Tropicalizing the International StyleFilipino Architects in the 1950s experimented with climatic designs with the use of brise soleil (sun breaker), deep over hangs, and pierced screens to control the effects of the sun.

The presence of sun shading devices are nonetheless:

• Innovative

• Created a strong, startling, formal effect of ever changing contrasts of light and shades

Purpose

To maintain cultural differences in the era of homogenizing the International Style To ensure that the built forms were responsive to both the meteorological and cultural givens of

the tropical site.

Architectural design becomes an expedient transformative intervention that coincides with the process of liberating oneself from the political and taste-dictates of the former colonial masters.

This is attained by transforming the imported vocabularies of modern architecture in accordance with the context of tropical and cultural environment.

Few architects have succeeded in giving justice to the ideals of tropicalism, as architectural structures that belong to this category are expected to bear symbols of local culture and at the same time, be responsive to climatic givens without leaning to superficiality of form.

The predictable tropicalist response has been to create a pastiche by grafting a pitched roof to a high-rise.

Another instant approach would be the application of the ubiquitous brise soleil or sun breakers, invented in the 1930s.

Brise Soleil is an architectural baffle device placed outside windows or projected over the entire surface of the building’s façade.

The device became the readily made solution to refashion modern buildings of the 1950s and 1960s to address the solar radiation in the tropics.

However, it is degenerated it into a cliché architectural accessory of the period.

Some brise soleil departed from their pragmatic tropical application, disregarding the knowledge of correct solar orientation and sun path and thereby reducing them into mere useless fashion accessories and expensive decorative appendages of modern edifice.

The use of open-work masonry, an ornamental or structural work that is perforated, pierced, or lattice like, offered more a delicate faced than brise soleil in the 1960s.

Pierced Screen functioned mainly as diffuser of light and doubled as exterior decorative meshes.

It became popular not only as ready-made climate-modulating device but also as an ornamental contrivance that redressed the monotonous planes and boxes of modernist structures.

In Escolta, modern buildings rose in 1950. Examples of these are Luis Ma. Araneta’s Botica Boie Building, Araneta-Tuason Building, Antonio Manalac’s Madrigal Building, Juan Nakpil’s Rehabilitation and Finance Corporation and Rufino Antonio’s Tuason-Araneta Building.

Prepared by:

Carcer, Patrick John

Rebellion against the International StyleAdaptation of Neo-Vernacular Architecture

Background

The International Style was a very significant movement in architectural history. It, however, has resulted in the destruction of many traditionally built environments. It led to a style that aspired a common theme for the built environment without any reference to the local culture, tradition, climate, or identity of the place.

Architects, ever creative and with a sense of individuality, responded with attempts to break free from the International style, just like how the International style broke free from grip of Classical architecture.

The Drive for Self-Identity

At first, architects still designed in the International style but they began to incorporate elements that referred to a local architecture. These usually led to stylistic, superficial, and copyist architecture and were merely based upon image-making. To quote the textbook, “traditional forms, colors, motifs, and other elements of nativism were merely applied to the facades of international style designs.

This then produced an interest in the study of local and vernacular traditions. Previously thought of as products of the uncultured, vernacular architecture began to be studied intensively by architects and their importance appreciated. Elements of vernacular architecture were slowly incorporated in various designs.

Folk Architecture: An attempt to connect with and indulge in lost identity

These produced Folk Architecture, arguably an attempt to connect with and indulge in lost identity.

Folk Architecture can be described as architecture that is incorporated with design motifs and elements prevalent in the site it shall be erected. In the Philippine setting, imagery like that of “high ceilings, large capiz windows, tukod-like (awning) windows, traditional carving and decorative interior details, and the use of indigenous botanical materials and earth-toned or sepia-varnished interiors” were created. Prevalent design strategies include choosing a local design element and exaggerating it for focal effect. These elements usually involve roof forms, traditional vessels, and elaborate carvings and motifs.

Building examples include:

Juan Arellano’s Old Cotabato Municipal Hall

Juan Arellano’s Metropolitan Theatre in Manila

William Parsons’ Designs as Chief of the Bureau of Public Works including:

Typical Schools

Philippine General Hospital

Orientalism

Another response to the self-identity is Filipina-Exotica, a design approach that attempts to appeal to an international image through Orientalism.

Orientalism, as defined by Oxford dictionary, is the representation of Asia in a stereotyped way that is regarded as embodying a colonialist attitude.

It was unwittingly adopted by local architects to try to create a unified “Filipino” architecture that can arguably be described as “not Filipino.” The design process of Filipina-Exotica involves the usage of native motifs that are stereotyped and used in excessively stylized manners to the extent that justifies its label as “exotica.”

It can arguably be categorized as an outgrowth of the Polynesian Tiki subculture. Its elements, involving exposed wood members, A-Framed roofs, and tiki motifs, were adapted by the Filipino-exotica designers except that they used traditional Filipino motifs in place of tiki motifs.

Examples of this style include:

Mañosa Brother’s Sulo Hotel and Esso (Petron) Gas Stations

Francisco Fajardo’s Max’s Restaurant and Luau Restaurant

Felipe Mendoza’s Holiday Hill’s Golf Club House

Otilio Arellano’s FILOIL Service Stations

Gabriel Formoso’s Valley Golf and Country Club Main Clubhouse

An International Philippines: The Golden Age of Philippine Architecture

While drive for self-identity is on its way, the Philippines is also attempting to project itself in the World stage. In the architectural scene, the Philippines joins International Fairs and Expositions to showcase its architecture including its culture and economic standing.

In the 1953 Philippine International Fair, which the Philippines hosted, the Philippines called on the design of Otilio Arellano for a symbolic gateway as the centerpiece of the fair. It was made up of a series of huge pointed arches, the summit of which was crowned by a conical salakot.

In the 1958 Brussels Universal Exposition, the Philippines used the design of Federico Ilustre for the Philippine pavilion. It was a bahaykubo made up of then modern materials – plastic or perspect glass and simulated sawali sidings. It was an attempt to express “a symbolic summation of the cultural and scientific achievements of the Filipino people.”

In the1962 Seattle World Exposition, the Philippines rode on the appeal of Filipino-exotica utilizing the design of Luis Ma. Araneta for its pavilion. This pavilion was a two-storey pavilion whose centerpiece was the Pavilion of Handicrafts and Industries characterized by its exaggerated surface ornaments in the form of wooden tribal artifacts and its entrance that simulated a fearful precolonial tribal deity whose mouth was exaggeratedly open. It, however, was more Polynesian than Filipino.

In the 1960s, the world was audience to the space race between the USA and the USSR. This Space Race stimulated the imaginations of people around the world conjuring images of a high-tech future for human civilization – the so called Space Age. The 1964 New York World’s Fairreflected this “future,” influencing the Philippine pavilion designed by Otilio Arellano. The pavilion follows a circular plan that seemed to float over a body of water. It was an attempt to combine native and space-age aesthetics. It, however, was literally a salakot posing as a flying saucer on what looked like a launching pad.

In the 1970 Osaka World Exposition, the Philippine pavilion was designed by Leandro Locsin.It was made of steel, concrete, and Philippine hardwood. It is remembered for its sweeping curved roofs that can be described as an allusion to a bird in flight or the prow of a Muslim vinta. It symbolizes the nation’s noble aspiration of reaching noble heights. An aspiration, President Ferdinand Marcos’ New Society, will echo two years later.

This New Society includes a systematic cultural revivification program. It would, despite its excesses, would usher in a Golden Age of Philippine Architecture that would try to create a one and unified Philippine Architecture through “the reinvention of a precolonial, barangay-based vernacular heritage.

Prepared by:

Jomar R. del Rosario

Redefining the Metropolitan SkylineBotica Boie was a pharmaceutical company in the Philippines. It has seven horizontal bands of concrete which serve as horizontal railings.

Araneta-Tuason Building was an eight-storey building with a series of a lean solar shades designed by Luis Araneta.

Madrigal Building has thick bands divided the five floors and these bands resulted in a recessed pattern; horizontal and vertical.

Rehabilitation and Finance Corporation was a seven-storey building. It has a rectangular façade and one of the largest buildings in Escolta.

Tuason-Araneta Building was the first one to use vertical brise soleil as a decorative feature.

National Press Club Building, one of the landmarks, was designed by Angel Nakpil I 1954. This National Press Club Building was influenced by the early works of Walter Gropius. Angel Nakpil adapted some of the concept of Walter Gropius like the cylindrical glass tower for the stairs and elevator shaft.

Angel Nakpil also designed the Lopez Museum in 1960. It used cantilevers to suspend the upper floors of the triangularly planned.

High rise apartments were used to provide modern housing to Filipinos.

The Carmen Apartment was designed by Carlos Arguelles. It was known for its curved plan and elegant contrast. It also has cantilevered balconies for entertainment and sun shading.

Next, the Monterey Apartment was designed by Leandro Locsin under the Ayala Corporation. It included extreme transparency and strips of glazing.

In 1950s, there’s a thirty meter height restriction for the buildings not because of structural imperatives but due to the difficulty in bringing water to higher heights due to the absence of commercially available water pump and overhead tanks.

Manila Ordinance No. 4131 on May 5, 1959, the maximum height of the building increase form thirty to forty-five meters.

Picache Building was designed by Angel Nakpil in 1962, a twelve-storey building. It was the first skyscraper in the Philippines. It has thin, vertical mullions on the window ledges.

Cesar Conchio’s Insular life Building in Makati is the first office building to surpass the thirty meter height restriction.

Gabriel Formoso led the Architectural Center along Ayala Avenue in 1962. This eight-storey building served as a venue for people engaged in arts and design. This building also used closely vertical louvers in façade.

The Asian Development Bank Headquarters Building was a fourteen-storey building, facing Roxas Bouleverd, was designed by Cresenciano de Castro in 1964. It’s the Department of Foreign Affairs today. It featured brutalist finish and architectural detailing.

Manila Hilton Hotel is another skyscraper and tallest building in 1967. It was designed by Welton Becket and Carlos Arguelles. The roof form was shaped after the salakot, an attempt to mix modern and traditional. A tall hotel slab rose above a podium enclosed in a twelve-meter solar screen of timber slats.

Ramon Magsaysay Center in 1968 was composed of massive rectangular block carried by massive square columns. The mass of the slab was carried by the central structural core. The surface is smooth and rows of recessed windows.

Cresenciano de Castro introduces the use of the aggregate finish, because of this there’s no need to paint exterior surfaces. In 1969, Leandro Locsin applied the use of a rough textured finish.

In the 1960s, new building technologies were also introduced. Precast construction and prefabrication were introduced to industrialize building methods.

Arguelles’s Philippine National Bank Building, 1966, is the most spectacular example of high-rise, precast construction in the Philippines.

Oustanding prototypes of prefabricated concrete were the Filipinas Cement and the Aircon Plant.

Greenhills Theater in 1968 was designed by Angel Nakpil, was the first structure to use the technology of the post-tensioned structural system, which allowed a clear span of fifty-two meters and an overhang of six meters.

Brutalism – French word beton brut which means rough concrete. The roughness of concrete or the heavy simplicity of its natural forms is considered brutalist.

Brutalist architects, Leandro Locsin and Cresenciano de Castro

Prepared by:

Cerbulles, Kaycelin

Space Age and Technology inspired Architecture

Architecture during the fifties and sixties drawn its inspiration and imagery from science and technology. Many discoveries fueled much faith in technology and in the future, that is later on transcoded in architecture and design.

Its new aesthetic mode was characterized by:

New forms – soft and organic

Novel patterns – under the influence of Jackson Pollack and Joan Miro

Innovative materials – formica and synthetic fibers

Fresh images – inspired by science

The Space Age is a time when the future seemed glamorous and without a threat. Although fresh from the ruins of war, the nation had a strong economy. And as the nation rise from the trauma of war, Architects began to experiment with bold and new forms that emphasized the materials and functional simplicity.

The enthusiasm for air and space travel is visually translated into long, lean horizontal lines, soaring upright structure and parabolic arches directs the eye to the sky, and sharp contrasted angles expressing speed.

Advances on materials included reinforced cement, plastics and steel. Advances on building technology included prefabrication and post tensioning.

Short history of industrialized construction in the Philippines:

1960 is the beginning of industrialized design and construction in the Philippines and at the same time, the establishment and operation on Philippine Pre-stressed Concrete Co., Inc. (Philstress).

An industrialized construction system is a set of building parts which may be combined or assembled and mass produced in a highly organized production line of equipment and labor.

3 types of building system:

1. Box system or modular- a 3 dimensional space enclosing a unit which is manufactured at an off-site location.

2. Bearing panel system- precast panels widely used in the Philippines3. Off-site fabrication- components are fabricated in the factory Advance engineering techniques and mathematical computation made possible new shapes that

were devised from: Thin concrete shells- generated geometrical shapes like hyperbolic paraboloid and

spherical dome Concrete folded plates- roof structure in which the strength and stiffness is derived from

pleated or folded geometry Space frame structures

Examples

Church of Holy Sacrifice (Archt. Leandro Locsin and Engr. Alfredo L. junio, 1955)

The overall composition of the worship space seemed to defy gravity with its bisually buoyant, spherical dome and imagery reminiscent of a flying saucer.

Science Pavilion (Archt. Cresenciano de Castro, 1960s)

Thin shell concrete domical structure resting on two-storey glass cylindrical base.

Planetarium (Archt. Cresenciano de Castro, 1960s)

Thin shell, yoyo shaped structure with highly textured staggered base.

Araneta Coliseum (J. Amado Araneta, Progressive development Corporation, 1959)

Reinforced concrete cylinder capped by an aluminum dome structure.

Philippine Atomic Research Center (Archt. Cresenciano de Castro)

Arc shaped nuclear laboratory building and an egg shaped reactor building of the Philippine Atomic Energy Comission.

With 50,000 gallon water tank inspired by the jet age.

Structures with folded plates as structural shells:

Rizal Theater in Makati

Rufino Building on Ayala Avenue

Commercial Bank and Trust Building on Quezon Avenue

SSS Building (Juan Nakpil and Sons, 1965)

Example of ingenious use of modern concrete to provide beauty and utility.

UP International Center (Archt. Victor Tiotuyco and Engr. Cesar Calirawa, 1968)

Renowned for its lobby building built from large span folded plate.

A strain of modern architecture that adapted the space age styling is called Googie.

Buildings of this type were car oriented, commercial and popular.

Visually arresting as it exaggerates building elements Uses elaborate roofing system Visual theatrics Futuristic overtones

Examples

Hotel Timberland (Archt. Marcos C. de Guzman, 1965)

Playful spirit of space age aesthetic was executed.

Residence of Artemio Reyes (Archt. Marcos C. de Guzman, 1959)

The familiar pateriform on saucer shape motif was playfully unraveled.

Residence of Ignacio Arroyo (Mañosa Brothers, 1960s)

Cutting-edge design on a cliff in Marikina, out from the landscape like a space craft.

Residence in Baguio City (Aida del Rosario, 1960s)

Octagonal concrete shell inspired by sci-fi flying saucer.

Prepared by:Cruz, AndreaPiloneo, Artlyn