AR 2231

Plenary 3
Spanish Colonial Developments
Town planning
Public buildings
0. THE SPANISH EMPIRE
The activities led by the Spanish
Crown on the Philippine
Archipelago lasted almost four
centuries. They began in 1521,
when the expedition of Magallanes
and Elcano sighted for the first time
the coasts of Cebu Island, and
invited the Rajah to submit to the
King of Spain. Later explorers in
1527 and 1529 reconnoitred the
Islands of Samar, Leyte, Cebu,
Mactan and the north coast of
Mindanao. They developed the first 1565 was the year of an outstanding
maritime routes between the expedition: López de Legazpi founded the first
islands, the first commercial settlement in the Philippine Archipelago -San
relationships with China (Walker Miguel-, located on the east coast of Cebu.
1979; Falcón 1989), and even the About two hundred new villages and presidios
tornaviaje (the maritime return (fortresses) followed, spread over the islands,
route) to Acapulco in Mexico across and mainly at the coast: the most important
the Pacific Ocean (Schurz 1939). was Manila (1571), founded over an existing
native commercial settlement.
The oldest colonial settlements on the Philippine Archipelago were isolated forts
and villages, surrounded by hostile Muslim territories and located at the coast. All
of them were designed according to the provisions of the Leyes de Indias (Indies
Legislation)5, enacted in 1573 by King Philip II of Spain. The repercussions of these
laws on the new Philippine foundations had not then been studied.
1. SPANISH URBAN PLANNING
 LAWS OF THE INDIES (Leyes de Indias)
-Perhaps, the most significant
set of planning guidelines as
it became the basis for the
layout of many towns in the
Americas.

-The “Laws of the Indies” were

decreed by King Philip II in
1573.

- The laws guided Spanish

colonists on how to create
and expand towns in Spanish
territories in America and in
the Philippines.

-There were about 148

guidelines.

-The laws established the church

as urban landmark and plaza
public space. http://www.aisf.or.jp/sgra-in-english/seminar16/TomeldanPRES.pdf
 Spanish Colonial Town Planning
• The Spaniard evolved a common set of ideas for town planning and
construction throughout their empire that seem remarkably familiar to
date. Inspired by Italian Renaissance theorists and by their own
experiences in the Americas, these ideas were codified in ordinances
promulgated by King Philip II two years after Legaspi formally organized
Manila.
• These laws provided guidelines for site selection; layout and dimensions of
squares, streets, and other land uses (principal buildings and houses,
recreation space, cultivation and pasture lands, sites for
garbage-producing uses); and the main phases of planning and
construction. They also prescribed the appropriate Spanish relations with
the natives to be maintained in the plans and processes. This feature may
seem peculiar to colonial planning, but perhaps its only difference was
that it was more explicit (and more humane in some respects) than the
relations set between modem urban enclaves and outsiders.
http://lynchlibrary.pssc.org.ph:8081/bitstream/handle/0/4071/07_Planning%20and%20Development%20of%20Prewar%20Manila.pdf
 According to the royal
ordinances, each town
should be located on vacant
and high ground, properly
oriented to sun, wind, and
water areas, and on or
near fertile and, sources
of fuel, timber, water, and
means of access.
It should have a grid
layout, with the main
plazas the starting point
for construction.
The main and smaller plazas should be surrounded by the principal buildings,
the main plaza by: .
- principal church,
- Royal and Town Council House,
- Custom-House,
- Arsenal, and the
- Hospital adjoining the church.
http://lynchlibrary.pssc.org.ph:8081/bitstream/handle/0/4071/07_Planning%20and%20Development%20of%20Prewar%20Manila.pdf
 FURTHER GUIDELINES
1/ to find the most appropriate place to develop their main activities in safe
harbours on inlets, bays, and river banks; as headlands to control the territories
or the farming settlements in fertile plains; it was also necessary to provide the
easiest terrestrial and maritime connections to other settlements;

2/ to choose the most healthy places;

3/ to apply the regular grid as an easy suitable way of defining the new urban
structures, easily separating the Spanish from the native quarters;

4/ cities should have at least ten residents, preferably farmers and

cattle-raisers, to whom a block in the city and four leagues of land was given,
as well as other privileges;

5/ building and public space design should be admired by the natives, as urban
design and architecture played an essential role in the political propaganda and
image of the Spanish Empire (Figs.4. and 5.); 6/ to prevent damage to native
settlements and their rights.
 THE PLAZA

The plaza complex (an empty space for plaza mayor, church and other
public buildings) can best illustrate the structure of the colonial
government. The houses of the natives were situated around a plaza or
town center to bring them close to the church, the convent, the
marketplace and the cemetery. This setup allowed the Spaniards to
effectively control and administer the natives.
https://en.wikipedia.org/wiki/Laws_of_the_Indies#/media/File:Manila_Cathedral_(1792
)_by_Brambila.jpg
Argao, plaza
Argao, plaza
Argao, plaza
Argao, plaza
 Argao, Plaza
https://www.google.com.ph/search?q=U
nity+Plaza+Argao&source=lnms&tbm=isc
h&sa=X&ved=2ahUKEwjI98n7lunnAhXaUt
https://www.google.com.ph/search?q=Unity+Plaza+Argao&source=lnms&tbm=isch&sa=X&ved=2ahUKEwjI98n7lunnAhXaUt4KHe2OCV
4KHe2OCVAQ_AUoAnoECAwQBA&biw=1
AQ_AUoAnoECAwQBA&biw=1680&bih=946#imgrc=tqqTnvevUlCByM&imgdii=qYVgook3SPAJ4M
680&bih=946#imgrc=tqqTnvevUlCByM&i
STREETSCAPE

https://www.slideshare.net/jeffpsj/spanish-influences-in-the-philippines-ito-na
Colonial Urban Planning and Land Structures in the Philippines, 1521-1898Pilar Chias*1 and Tomas Abad21 Professor, Department of Architecture, University
of Alcala, Madrid, Spain2 Researcher, Department of Architecture, University of Alcala, Madrid, Spain
2. THE INFLUENCE
OF SPANISH
ARCHITECTURE
OUTSIDE THE
PHILIPPINES
The newly restored 400-year-old church made of yellow adobe and coral
stones, one of the oldest in the country. Some sources on the internet mention
that the church seems to date back to about 1769-1774, when it was finished
after about 3 decades of construction, but that would completely contradict its
fortified structure which was used against pirate invasions.
This church in Taal, Batangas is considered to
be the largest church in the Philippines and in
Asia, standing 88.6 metres (291 ft) long and 48
metres (157 ft) wide.

The Manila Cathedral was officially
established in 1571 and since that
seven times reconstructed.
The Quiapo church was established in 1574. In
1933, Fr. Magdaleno Castillo began the
reconstruction of the church from the plan
prepared by National Artist of the Philippines
architect Juan Nakpil. He added the church's
dome and a second belfry to balance out the
façade.
Architect José María Zaragoza later enlarged
the church and changed the design of the
lateral walls in 1984, retaining the façade and
the dome.
Rino D.A. Fernandez, A Visual Dictionary – Baclayon Church, Bohol
Rino D.A. Fernandez, A Visual Dictionary
– Miagao Church (Iloilo) - Guian Church (Samar) - La Loma Church, Manila
 It was first established as a mission station
Capul church, Samar by the Jesuits in 1596.

Rino D.A. Fernandez, A Visual Dictionary

When Moro attacked the town, the people of

Capul would take refuge inside the church.
https://www.slideshare.net/ArchiEducPH/history-architectural-character-of-the-spanish-period
 3. MISSIONARY
INSPIRATION IN
SPANISH SACRED
ARCHITECTURE
(16.-19. century)
Sacred architecture in the Philippines underwent a
similar development as the residential architecture.
The colonizers needed time to adapt climatic
experiences of the locals: in this case not only from
the weather, but also from neighboring cultures,
the “intellectual climate.”
3.1. A PURELY EUROPEAN BUILDING: SAN
AGUSTINE CHURCH IN MANILA (1607)
 SAN AGUSTINE
CHURCH IN MANILA
(1607)

Rino D.A. Fernandez, A Visual Dictionary

SAN AGUSTINE
CHURCH IN
MANILA (1607)
FIRST PHASE OF CATHOLIC CHURCH
ARCHITECTURE IN THE PHILIPPINES: A
PURELY EUROPEAN BUILDING: SAN
AGUSTINE CHURCH IN MANILA (1607)
The San Agustine Church in Downtown of Manila (Intramuros) is one
of the earliest Catholic church buildings in the Philippines. It shows the
European architectural ideas and patterns introduced by the first
European missionaries as a launching of Spanish colonial architecture
in the Philippines.
This church is a great example of the time when the Spaniards
still thought that their architecture can be fully applied in the
Philippines.
At this early time, they were not yet aware of challenges like
earthquakes, typhoons, and others.
This church is so far unique as it presents the European influence
in full strength. This community in the capital city of the Philippines had
the proper financial background for carrying it out with the ambition as it
was usual in Europe. The fireproof stone vaults prove this. They were
applied here, but they became rare after adaptation of local conditions.
San Agustin Church, Intramuros, Manila
ITS STYLE COMES FROM EUROPE…
The construction of this church began in 1591. Many people would be
glad to accept a hypothesis that the architect, a certain Brother Antonio
was a nephew of the architect of Madrid's Escorial palace, but it's hard to
find a proof.
The basic pattern of this building complex is very much know in
all Catholic countries: a church with a two-towers facade and with an
added monastery building. This is called the Sankt Gallen-type pattern.
However, the history of this church is richer than pure European influence.
 … BUT IT WAS
MEDIATED THROUGH
LATIN-AMERICA

• It also presents influences from Latin America, since the

Spaniards used to come here not directly from the Spain, but
from Mexico. (There were no Suez and Panama Channels yet. The
colonizers had to arrive on the East/coast of Mexico, go through the land
and again set off at the West-coast.)
• In the first years of the new colony, Catholics in the
Philippines were under the Archdiocese of Mexico. Therefore,
Father Klassen indicates two Mexican examples as direct
patterns: the Yuririapundaro Monastery and the Mexico City
Cathedral with two towers (1563). began in Mexico City
cathedral facade of the two towers.
WITH LONG DETOUR OF IMPORTED TASTE AND
TECHNICAL EXPERIENCES

• The local impact is therefore considerable, as here, the

farthest corner of the Spanish Empire in the European
Baroque could only arrive after a long detour.
• Since Spain first had to go to Central America, so that
from there, colonial officials, soldiers, monks could sail to
the Philippines - that is, bypassing "half of the world".
Spain seemed to be very far for the Asian colonies.
• Highly talented architects, and really big money did not
got here. Similarly, architectural ideas came very slowly
from Europe.
• Thus local builders had to be ingenuin.
AN ADDITIONAL CATALYST FOR ADDED LOCAL
TASTE: CLIMATIC CHALLENGES IN THE
PHILIPPINES

• Even this early monument shows the ways how local

conditions additionally modified the imported European
architectural patterns.
• Here, the earthquake hazard in the tropical heat and
the threat of pirate attacks by sea had to be taken into
account! Not purely a copying of famous (European)
buildings, but rather self-inspired alterations characterize
the Philippine sacred architecture.
 SECOND (2.) PHASE OF SACRED ARCHITECTURE
IN THE PHILIPPINES: ADAPTATION TO LOCAL
CLIMATIC CHALLENGES
• .Local architects had to handle the problems on their own
because (even in comparison with Mexico) they had to made up
on their own for the lack of material and cultural resources,
while Mexico (and in particular the mother country) got these
easier. This special challenge was positive for the Philippine
architecture, because so, a very unique and ingenuine
Philippine architectural culture came into existence.
• The shortcomings acted as a catalyst to the local architecture
that had more to rely increasingly on local resources, than it
was the case in Europe, or Latin America. On the other hand,
the shortcomings of those times are sometimes burdensome
even today for the Philippine architectural heritage
management. These buildings constitute a SECOND (2.)
PHASE OF CATHOLIC CHURCH ARCHITECTURE IN TE
PHILIPPINES.
 ADAPTED TO CLIMATIC CHALLENGES:
“EARTHQUAKE BAROQUE”
Many architectural authors call the unique version of Philippine sacred
architecture "earthquake Baroque". It is true that the protection against
earthquakes endowed many churches with unique architectural details.
That is why the churches are low, with thick and strong lateral
buttresses, almost buttress walls which keep safe the already thick
walls. Before concrete and steel structures, thick walls of the church
building structures delivered protection against earthquakes.
• This includes
the huge,
down-to-earth
(or, to put it
positively,
"organic")
buttresses
that give
accents to the
architectural
appearance.
Paoay Church, Ilocos
• Having few openings as protection against heat of the
sun, these churches are more embrasure-like. Moreover,
since the local materials are not always of good quality, this
adds another explanation to the thickness of the walls.
• However, this tough, masculine walls still accommodate a
delicacy of the decoration. At first glance, the very
depressed, cumbersome look of the local churches depend
on the lighting. Since the low side wall's parapet is low for
windows, the interior of the temple hardly gets light. But the
space between the benches and the walls is well lit.
• Thus the Church, at least from the European observers
delivers a "secular" impression. The old Spanish churches
thick, sometimes more than three-foot wall with windows
cut (limits) the light streaming of the strong tropical
upset the balance of luminance, especially against the
darkness of the central part of the nave. II.
ADAPTED TO DEFENCE REQUIREMENTS
Not only earthquakes, but also the more conventional
maritime piracy was not appropriate to build churches of
significant height.

Fortress churches on the shores of the island of

Cebu form a chain of defense. The towers can be seen
from neighboring towers and the sea as well. The tower is
separated from the church naves, in an "Italian campanile
method", for the case of an attack to better observe the
surroundings.
II. After World War many church extensions, buttresses,
outer walls were demolished and completed with
previously non-existent side aisles with only pillars instead
of the side walls. This enlightens natural ventilation, but
might disturb the integrity of the structure.
 THIRD (3.) PHASE OF
SACRED
ARCHITECTURE IN
THE PHILIPPINES:
MULTICULTURAL
INFLUENCES (CEBU
CATHEDRAL )

Father Klassen believes that the

contemporary main facade of the
Cebu Cathedral is a neo-classical
interpretation of a Baroque
Cebu Cathedral facade.
 The clover-shaped
pediment is the most
valuable part of the facade
where he would discover
Rococo, Gothic, Renaissance
and Islam formal features .In
Coseteng's understanding it
is an eclectic striving
which believes that the
cathedral church has
to host "everything".
The objective would have
been the transformation of the
original (actually never
completed) Baroque facade,
with a Neoclassic balance.

Cebu Cathedral Cebu Cathedral

 A MORE COMPLEX EXAMPLE FOR
MULTICULTURAL INFLUENCE - Naga, Parish
Church (Cebu Island)
Indigenous expressivness”. The parish church of Naga
presents an incorporation of
Islam, Chinese and other
motifs into the Christian
missionary architectural
culture, so that the Christian
doctrine could be planted
into the local ancient (and
thus non-Christian) artistic
conception.
Fr. Coseteng calls this
synthesis an "indigenous
expressivness”. Indeed,
one of the secrets of the
mission's success was the
ability to adapt to the local
culture.
 Naga, Parish

The facade looks like a mosaic of Islam. The unadorned lower part
diametrically opposes to the flamboyance of the pediment. Father Galende
refers that the "law of contrast prevails here." Looking in the upper part, it can
be observed the dominance of geometric shapes which is an Islam
feature. The two lateral buttresses form "minarets" with mini domes on the
top which appear even on the main facade.
 Naga, Parish
However, these, to
Christianity alien
forms clearly serve
the Christian
preaching. The
miniature relief in
the middle lined
with tiny columns
presents the
proclamation of
Christian faith that
emanates rays of
the cross.

Similar is the message of the niche in the middle of the pediment: the
missionary command of Christ: "Predicate Evangelium omni creaturae."
( " Preach the Gospel to every creature.")
 Naga, Parish

In the rest of
the pediment,
we can see
winged
cherubim
seen, with
musical
instruments.
Coseteng believes that these cherubs are actually not Islam,
but also China-inspired pieces. He also considers the rosettes of the
facade as originating from the Chinese art. On decorated columns, there are
also Christian symbols such as the cross, the Sacrificial Lamb, the
Tabernacle.
INSPIRED BY CENTRAL-AMERICAN INDIGENOUS ART
MOVEMENT TEQUITQUI

• As stated by Father Galende in Naga, "the facade

is reminiscent of the art in Mexico, but it fits neatly in
the local Filipino church architecture."
• By several motifs, Coseteng is reminded of
Catholic church buildings of Central
American Indians. These flat and Indian-stylized
reliefs jut only little out. Such are the "sharp, but
irregular and broken lines which portray interrupted,
precisely indicate movements."
• Therefore, Coseteng holds that this church is also
inspired by the "Tequitqui" art movement. He
points out that behind the apparent chaos, there is
originality and a unique worldview.
A MULTICULTURAL MISSIONARY BUILDING -
WITH
MALAY-ISLAM-CHINESE-CENTRALAMERICAN
MOTIFS

• Thus Christianity of European origin tries to be

expressed through a non-European, and non-abstract
sensitivity, not without success!
• The church of Naga was shaped not only by a
Christian sacred architecture, but also the Muslim and
even Chinese culture which have been present here,
together with the art of the majority Malay (probably
animist) population.
• In other words, very practical requirements of the
mission (such as adaptation of local cultures for a more
efficient preaching of the faith, the earthquake safety,
military defense as a use of church buildings, specific
requirements caused by tropical climate) influenced
and created the architectural forms.
 THANK
YOU FOR
YOUR
ATTENTION
!