CONTEMPORARY ARTS

FOLK ARCHITECTURE ARTIST

IN GAWAD SA MANLILIKHA NG
BAYAN(GAMABA)

Presented By: Noelito G. Mabansag

STEM Student
 FOLK ARCHITECTURE

The architecture of the Philippines reflects the

country’s cultural identity. First colonized by Spain
then Japan and finally America, Filipinos joke that they
spent 400 years in a convent, five in a prison camp, and
45 in Hollywood. This complexity finds its creative
expression in the work of these six post-war architects,
whose vision simultaneously captured the country’s
history while looking towards the region’ future.
 Leandro Locsin (1928-
1994)
was in some ways a quintessential. A brilliant
architect, interior designer, artist, and classically
trained pianist, Locsin was also a keen art
collector, amassing a sizable collection of fine
Chinese art and ceramics during his lifetime.
Despite the wide range of buildings Locsin
created, all of them have one thing in common:
CONCRETE. His ability to make this most monolithic of materials
appear weightless, and to elegantly combine Western brutalism with
vernacular elements, led Locsin’s peers to dub him the “poet of
space.”
 Leandro Locsin (1928-
1994)
Locsin was determined to reconfigure western
architectural mores for a Filipino audience. His most
substantial contribution to Filipino architecture is the ,
a collection of five buildings that demonstrate the
architect’s drive to find a vernacular form of modernist
architecture. The NationalTheater building within the
complex is a good example of Locsin’s trademark
style. Known as “floating volume,” it consists of a two-
floor-high block of travertine marble cantilevered 12
feet into the air. The theater harks back to traditional
Filipino dwelling huts, but on a monumentally modern
scale.
 Leandro Locsin (1928-
1994)

The CCP Complex PHILCITE

 Pablo S. Antonio(1901-1975

One of the first exponents of modernist

architecture in the Philippines, Pablo Antonio
(1901-1975) is revered as a pioneer and the
foremost architect of time. This success was
perhaps unexpected for a boy who was
orphaned at 12 and who dropped out of his first
architecture program. It was during his studies
at the University of London that Antonio
began to shine, completing a five-year program
in only three years. He went on to revolutionize
popular architecture in the Philippines, eschew
in the fashionable neo-classical style for hi own version of art deco.
Antonio was acutely aware of the demands made on architecture by
the unforgiving Philippine climate.
 Pablo S. Antonio(1901-1975

Buildings such as the Galaxy

Theater, the Far Eastern University,
and the Manila Polo Club display
practical innovations such as natural
ventilation systems and sunscreens,
all of which are rendered in Antonio’s
signature style: clean lines, strong
shapes, and simplicity As Antonio’s
son Pablo Jr explains, “for our father,
every line must have a meaning, a
purpose. For him, function comes first
before elegance and form.”
Far Eastern University
 Pablo S. Antonio(1901-1975

Galaxy Theater Ideal Theater

 Juan Nakpil(1899–1986)

The son of veterans of the Philippine Revolution,

Juan Nakpil (1899–1986) was committed to the
belief that architecture built in the Philippines
should reflect its culture and people. In his early
career, Nakpil spent time studying in the United
States and France , absorbing the lessons of
international architecture. When he returned to Manila in the mid-
1920s, Nakpil applied his new-found knowledge to Filipino
structures. He worked on the restoration of the home of national
hero Jose Rizal and, like Locsin, took inspiration from traditional
stilt houses, remaking them in cantilevered concrete on a mammoth
scale. His own holiday home was designed along these lines,
combining traditional nipa roofing (made out of natural materials)
with a poured concrete base.
 Juan Nakpil(1899–1986)

Nakpil worked on dozen of buildings

across the nation, from the Manila Jockey
Club and the Quiapo Church, to the Mabini
Shrine and government departments.
Despite his determination to make buildings
specifically for Filipino citizens, some of his
designs were considered too radical by the
public. Nakpil’s stainless steel pylon,
superimposed over a granite obelisk
memorialising Jose Rizal was unpopular
and was soon removed. But Nakpil’s
failures were few, and he remained one of the Philippines’ most
popular and revered architects until his death. He was named a
National Artist for Architecture in 1973.
 Juan Nakpil(1899–1986)

Rizal Theater Manila Jockey Club

 Juan Nakpil(1899–1986)

Rufino Building Philippine Village Hotel

 Juan Nakpil(1899–1986)

University Of The Philippines

Administration And Rizal House
University Library
 José María V. Zaragoza(1912-1994)

• José María V. Zaragoza’s place in Philippine

architecture history is defined by a significant body
of modern edifices that address spiritual and secular
requirements. Zaragoza’s name is synonymous to
modern ecclesiastical architecture.Â
Notwithstanding his affinity to liturgical structures,
he greatly excelled in secular works: 36 office
buildings, 4 hotels, 2, hospitals, 5 low-cost and
middle-income housing projects; and more than 270
residences – all demonstrating his typological
versatility and his mastery of modernist architectural
vocabulary.
 José María V. Zaragoza(1912-1994)

• Zaragoza graduated from the University of Santo Tomas in Manila in

1936, passing the licensure examinations in 1938 to become the 82nd
architect of the Philippines. With growing interest in specializing in
religious architecture, Zaragoza also studied at International Institute of
Liturgical Art (IILA) in Rome in the late 1950s, where he obtained a
diploma in liturgical art and architecture. His training in Rome resulted
in innovative approaches, setting new standards for the design of mid-
century Catholic churches in the Philippines. His prolificacy in
designing religious edifices was reflected in his body of work that was
predominated by about 45 churches and religious centers, including the
Santo Domingo Church, Our Lady of Rosary in Tala, Don Bosco
Church, the Convent of the Pink Sisters, the San Beda Convent, Villa
San Miguel, Pius XII Center, the Union Church, and the controversial
restoration of the Quiapo Church, among others.
architecture in Philippines buttressed
by a half-century career that
José María V. Zaragoza(1912-1994)
produced ecclesiastical edifices and
structures of modernity in the service
of God and humanity.

Santo
Domingo
Church
 José María V. Zaragoza(1912-1994)

Convent (Quezon City), Metropolitan Cathedral

of Cebu City
THAT'S
ALL
THANK
YOU