Abstract
To date, Philippine architectural research has been limited to the study of history, social factors, constructional data, and decorative characteristics. Although these are unquestionably useful, they are ineffectual in communicating the holistic value of architecture. Architecture is an integration of numerous factors through forms; thus, it becomes necessary for the initial visual analysis to be done on the basis of forms. This paper involves a formal analysis of the work of Philippine architect Leandro V. Locsin and how he utilized the concept of bipolarity in the dynamic formation of his architectural forms and spaces. The first three sections explain the significance of bipolarity as an element of Philippine culture and architecture by illustrating the phases of development of Philippine architecture and of Locsin. The fourth section deals with the data and analysis. 70 projects were subjected to a visual analysis of spatial form and object form, from which bipolarity emerged as a recurring concept; these manifestations were noted, classified, and further analyzed. From these, 4 major manifestations of bipolarity emerged: (1) Floating effect, (2) Grounded flight, (3) Enclosed Openness, and (4) Alternation of opposite spatial characters. Keywords: Leandro V. Locsin; bipolarity; modern architecture; Filipino architecture 1. Introduction: Bipolarity architecture. Aside from Wofflin (1950), Frankl (1977) There are two opposite, conflicting forces found in developed a system based on polarity in his studies of every action; one force is needed in order to induce architectural history, and Zevi (1978) used polarity to the other. They symbolize the two polar energies that, distinguish between classic and modern architecture. upon the balance of their fluctuation and interaction, 1.1 Bipolarity in the Philippines are responsible for a dynamic universe. Philippine culture has always been a unique blend of In architecture, this dynamism is present in the way East and West. Ancient Indo-Malayan origins provide that we continually seek new spatial experiences. the basis for the Philippines' rich culture. Chinese and In many cases, the difficulty in distinguishing the Arabian influences, along with 300 years under the symmetry of visual objects is due to the complexity Spanish and 50 years under the Americans contribute of their form and structure, Jablan (2002) states that t o t h e m i x t u r e . T h e c u l t u r e o f t h e P h i l i p p i n e s i s "polarity considerably affects the degree of visual naturally at polar opposites, and this bipolarity is dynamism. A dynamic visual effect produced by polar physically manifested in architecture. generators can be stressed or lessened by the right Zialcita and Tinio (1980) have spoken of polarity choice of the relevant visual parameters" (Jablan in Filipino culture by contending that the Philippine 2002:248). Spanish colonial house is a successful blend of Eastern Wofflin (1950) affirms that the art of passionate and Western building traditions. Klassen's (1986) tension, which we roughly interpret here as dynamism, studies on Philippine architecture partially focused on cannot be composed solely of elements that induce the concept of polarity as a basis of analysis of modern excitement, but must also incorporate areas of repose architecture. that highlight the areas of excitement. T h i s s t u d y f u r t h e r d e f i n e d K l a s s e n ' s p r e v i o u s Polarity is a useful tool for the analysis of art and assertion of polarity in Philippine architecture by focusing on the manifestation of concepts of bipolarity in the works of Leandro V. Locsin, one of the foremost *Contact Author: Caryn Paredes-Santillan, Post-doctoral modern Filipino architects. Researcher, The University of Tokyo The decision to shift the analysis from the general 302 Urban Homes Mon, 1-1-11 Minami Gyoutoku, concept of polarity to bipolarity was due to the fact Ichikawa, Chiba 272-0138 Japan that during that time, Asian culture was thought of as Tel: +81-90-6155-2821 a single entity, and the conception that it consisted of E-mail: cpsanti@yahoo.com multiple identities had only begun. In fact it was only ( Received October 7, 2008 ; accepted December 31, 2008 ) Journal of Asian Architecture and Building Engineering/May 2009/8 1 in 1984 at a conference of ARCASIA, in which Locsin The main objective of this study was to determine was a keynote speaker, wherein the multi-polar concept the character of Locsin's architecture through a formal of Asian identity arose. Although Asian culture has analysis of the forms and spaces of his buildings. had numerous influences on Philippine culture, what Architecture is an integration of numerous factors I wanted to highlight in this study was the bipolar through forms; thus, it became necessary for the initial distinction between the Asian and Western influences visual analysis to have been done on the basis of forms. in the Philippines. Upon the visual analysis of the object forms and spatial A l t h o u g h L o c s i n d i d n o t s p e c i f i c a l l y p i n p o i n t forms, I was then able to establish the characteristics of bipolarity as an element of his architecture, he was form. certainly aware of the dualities in Philippine culture The first part of the study sought to define the formal as symbolized by Asian and Western conceptions of characteristics of Locsin's architecture and further culture and their manifestations in space. In his work examined the most apparent characteristics in detail. he spoke of being obsessed with "[forms] that were The second part of the study explained why bipolarity massive and yet light." Bipolarity is also evident in is a concept that relates closely to the development of the monumentality of the exterior as opposed to the Philippine architecture, describing how it developed interiors that are built to the scale of man, as well as into a natural mix of eastern and western principles the other bipolar elements further discussed in this and how this subsequently affected the development study. of Leandro V. Locsin. Lastly, this study discussed the 1.2 Bipolarity in the Philippines and Japan different manifestations of bipolarity in architecture Bipolarity is not unique to the Philippines, and there and how this can be defined as Filipino characteristics. are parallels between Japan and the Philippines. 1.4 Methodology Even before Commodore Perry forced diplomatic L a r g e l y b a s e d o n t h e v i s u a l p e r c e p t i o n o f relations on a reluctant Japan, the Japanese were aware a r c h i t e c t u r e , t h e f o r m a l a n a l y s i s i n v o l v e d a n of the West. In the 19th century through the Dutch investigation of the visual effects rendered by Locsin's mission at Nagasaki, the Japanese began to study the forms and spaces. Both object form and spatial form West's science, technology, and languages. After the were analyzed. Meiji Restoration, the West was taken as the supreme A total of 70 projects were analyzed, 53 of which, model for nearly every significant aspect of life. t h e a u t h o r h a d b e e n a b l e t o p e r s o n a l l y v i s i t a n d From this we may be able to infer that the East-West document. Plans, sections, photographs, and drawings bipolarity in Japan occurred mainly in the latter part were also analyzed. Supplementary data-gathering, of its history, whereas in the Philippines, the West was such as interviews with Locsin's son, Leandro Jr., as largely involved in its formation as a country. well as with several of the partners at his firm, Leandro The early population of the Philippines consisted of V. Locsin and Partners (LVLP) was also carried out. independent Indo-Malay settlements in different parts After the concept of bipolarity was identified as a of the country. It was the Spanish who helped unify recurring characteristic in the architecture of Locsin, the islands into one nation, so from early on, Filipinos a secondary survey was performed to determine the had felt more European than Asian. The whole concept bipolar characteristics that best exemplified his work shifted only slightly with the arrival of the Americans and how their manifestations in his designs have and the transplantation of their culture, language, evolved over time. Each manifestation of bipolarity and system of government. After initial resistance, was noted, classified, and analyzed. From this analysis, Filipinos embraced the freedom that was offered, the evolution of the concept of bipolarity in Locsin's probably because it was very different from what they design, as well as the development of his architectural had experienced under Spanish rule. However, it was style was ascertained. only after independence was granted in 1946, that the T h e f o r m a l a n a l y s i s w a s s u p p l e m e n t e d b y a country underwent an introspection of its identity, wide sweep of the literature on architecture in the upon which there was a gradual acceptance of the Philippines and on Locsin. This allowed us to correlate East-West bipolarity as an inherent cultural concept. the characteristics of form to various socio-political Thus, bipolarity in the Philippines is not simply the factors, which in turn helped us grasp the holistic result of having a new culture transplanted, but came meaning of architecture. from severing the connection with foerign cultures and forcing the country to delve back to its roots. 2. Review of Related Literature 1.3 Significance of the Study The study review was done on three levels: C u r r e n t l y, s t u d i e s a n d r e s e a r c h o n P h i l i p p i n e (A) In determining the research structure, three architecture have been limited to the study of history, m a j o r w o r k s r e l e v a n t t o L o c s i n w e r e c o n s u l t e d . social factors, constructional data, and decorative Although two monographs (Polites 1977, Villalon and characteristics. Although these contributions were Perez 1995) documented most of Locsin's work, they u n q u e s t i o n a b l y u s e f u l , t h e y w e r e i n e ff e c t u a l i n did not contain any formal analysis. Klassen (1986) communicating the holistic value of architecture. in his description of the Chapel of the Holy Sacrifice 2 JAABE vol.8 no.1 May 2009 Caryn Paredes-Santillan provided us with a more holistic view of the project; however, it was the only one that he discussed in detail and instead left it as a starting point for further research. (B) In the second part, we reviewed the history of the development of Philippine modern architecture. Although Locsin was mentioned in several books on Philippine architecture, those articles were based largely on the primary sources mentioned above. ( C ) L a s t l y, w e t o o k i n t o c o n s i d e r a t i o n s e v e r a l relevant articles in magazines, journals, and newspapers some of which contained lengthy interviews with the architect. These helped put into perspective the general public perception of his architecture, and provided Fig.2. A Row of Houses during the Spanish Period. insights into his design conceptions. Image from Zialcita and Tinio (1980) 2.1 Architectural Development in the Philippines 2.1.1 Pre-Spanish and Spanish Periods (1565-1898) Americans also set up training schools and introduced modern building techniques in the Philippines. 2.1.3 Post-War Period (1946-1986) In the years following World War II, architects simply focused on rebuilding ravaged cities. On 4 July 1946, the Philippines was declared an independent republic. It was this newfound independence that prompted questions of nationalism and of national identity, which became apparent in various fields, including art and architecture. It was this period of cultural soul-searching that Locsin's formative development as an architect and artist started. 2 . 2 T h e E m e r g e n c e o f a m o d e r n F i l i p i n o architecture In the development of modern architecture in the Philippines, there was almost no conscious need to Fig.1. An Ifugao House in Northern Luzon. incorporate local traditions with modern practices. Image from Alarcon (1998) Modern architecture was simply copied from the P r e - S p a n i s h d w e l l i n g s i n t h e P h i l i p p i n e s , l i k e West. Architectural theory was not a prime factor in t h o s e p r e v a l e n t i n S o u t h e a s t A s i a , w e r e m a i n l y the development of early modern architecture, and made of wood and built on stilts above the ground. most architects possessed an education that was more The Spanish introduced building in stone. However, Western than Asian. constant earthquakes prevented the European practice 2.2.1 Background of building wholly in stone. A hybrid dwelling called Leandro V. Locsin was born on 15 August 1928, in Bahay na Bato was produced: stone was only used as Silay City, Negros Occidental, Philippines. Locsin's a covering on the ground floor, and roof trusses and early education was in Silay and Manila. In 1947, he floors were held up by wooden posts. And together enrolled at the Conservatory of Music at the UST. they formed a giant frame that shuddered freely during After two years of liberal arts and music, and with only tremors. The Spanish mainly built fortifications and a year left to earn a bachelor's degree in music, Locsin churches, which were usually overseen by friars who decided to shift to architecture. heavily copied from European models. It was only in The author believes that growing up in a culturally- the later period (from the 1900s) that the residential rich environment such as Silay allowed Locsin to Bahay na Bato came into existence. become aware of the forms and spaces of Spanish- 2.1.2 American Period (1898-1946) period Filipino architecture, the bipolar qualities of The Americans set up basic infrastructure, providing which are apparent in his work. public facilities such as hospitals, schoolhouses, and I n f a c t , L o c s i n w a s o n e o f t h e f i r s t a r c h i t e c t s town halls. William Parsons designed public buildings who seemed well-informed on traditional building in Manila as specified by the plan laid out by Daniel concepts and practices. In Polites' book (1977), the Burnham. During this period, buildings done in the artist Fernando Zobel even commented that at an California-mission, Neo-Classical, and Revivalist architectural student exhibition at the University of s t y l e s i n t h e e a r l i e r p e r i o d , i n t h e l a t e r p e r i o d , Santo Tomas (UST), "only one of the projects (that Art Nouveau and Art Deco styles were used. The of Locsin) had a distinct Philippine look to it, which JAABE vol.8 no.1 May 2009 Caryn Paredes-Santillan 3 in those days came as a total surprise." From this statement we may deduce that in the Philippines, the image of modern architecture was geared towards Western standards rather than as an amalgam of East and West. Before Locsin, historical tendencies in Philippine a r c h i t e c t u r e t e n d e d t o h a v e a p r o v i n c i a l f e e l , a s illustrated by the remark of the supervising architect of the Bureau of Public Works, Juan Arellano "We Fig.3. Chapel of the Holy Sacrifice. Image from Polites (1977) are prone to follow the Occident in matters of art as in other respects, and this, in architecture at least, is perhaps unavoidable in so cosmopolitan a city such as Manila; but in our regional architecture we should carry out our own historical tendencies wherever possible" (Hartendorp 1952). This is perhaps because Western-educated Filipino architects regarded Western Fig.4. The Commercial Credit Corp. Bldg., one of Locsin's architecture as the symbol of modernity, order, and Early Commercial Buildings. Image from LVLP Archives power, and regarded locally-produced buildings as old- fashioned. In their minds, by having very Western-type structures in their cities, they were proclaiming their sophistication to the world. 2.2.2 Early architectural practice Locsin graduated from the UST in 1953. After graduation, he was engaged by Frederic Ossorio to design a chapel for the Salesian school of the Victorias Milling Corporation. Although Locsin had already started the design, Ossorio was called back to the US Fig.5. CCP Theater of Performing Arts. and the chapel was never built. Image from Polites (1977) Locsin received his first big break in 1954 when he met Fr. John Delaney, who was looking for an architect (FAT), Philippine International Convention Center to design a chapel for the University of the Philippines (PICC), Philippine Center for Industrial and Trade in Diliman. Locsin got permission from Ossorio; and Exhibits (Philcite), and Philippine Plaza Hotel. used the design intended for the Salesian chapel for the Since 1955, Locsin has produced 71 residences, UP chapel. 81 buildings and 1 state palace. His major buildings In 1955, upon completion of the Chapel of the include 9 churches and chapels, 17 public buildings, Holy Sacrifice, Locsin was asked to design the first 4 apartment buildings, 6 hotels and 41 commercial building in the newly-proposed business center in buildings. His largest single work is the palace of the Makati. Bipolarity was evident in the stark modernity Sultan of Brunei, which has a floor area of 205,200 (West) that worked with the apparent lightness of the square meters. buildings, which called traditional models (East) to 2.2.3 Filipino character in Locsin's architecture mind. This lightness was very apparent in Locsin's Leandro V. Locsin was one of the most significant Monterrey Apartments, which were completed in 1957, p e o p l e i n t h e d e v e l o p m e n t o f c o n t e m p o r a r y followed by the Ayala Building I in 1958, and the architecture in the Philippines. Locsin's architecture has Ayala Building II in 1959. It is important to note that been attributed to having a distinct Filipino character most of the commercial buildings he designed during (Zobel 1977, Zialcita 1989, Rouda 1995). His studies that period echo the forms of Spanish-period and in Philippine archaeology, history, folk architecture, American-period commercial architecture with their m u s i c a n d P h i l i p p i n e m o d e r n a r t a l l c o m b i n e t o arcaded fronts and overhangs. produce a continuous striving, both unconsciously In 1966, at a gathering of artists, Locsin was asked and consciously, for "an architecture which is truly by First Lady Imelda Marcos to design a cultural Filipino." center, as she was impressed by his proposed plans for the defunct Philippine-American Cultural Center. The 3. Bipolarity in the Architecture of Leandro V. Cultural Center of the Philippines (CCP) Theater of Locsin Performing Arts was inaugurated in September 1969 3.1 Floating Effect and since then has become internationally known for T h e f l o a t i n g f o r m i s n o t o n l y a d e r i v a t i o n o f its stunning design and remarkable acoustics. It was vernacular forms but also a reflection of the process of the first in the series of Locsin-designed buildings at human integration into the traditional house on stilts. the CCP Complex which include the Folk Arts Theater Reminiscent of the process of entering into traditional 4 JAABE vol.8 no.1 May 2009 Caryn Paredes-Santillan Fig.6. The Floating Effect is an Application of Traditional Practices into Modern Form houses wherein importance is given to the upper floors (Fig.6.-A), the ground floor or silong is used as a storage area and the main living areas are on the second floor. The entry to most of Locsin's buildings gave emphasis to the process of ascending and entering through the upper floor. This is particularly evident in his work at the CCP Theater of Performing Arts (Fig.5.). The upper floor in turn serves as a distributor to the lower floors (Fig.6.-B). The floating quality pertains to the idea of buoyancy a n d g r a v i t y, w h i c h w e r e a n a l y z e d a c c o r d i n g t o F i g . 7 . S o m e E x a m p l e s o f t h e F l o a t i n g E ff e c t i n L o c s i n ' s "buoyant mass" and "buoyant force." The analysis Architecture. The Buoyant Masses are Shaded of "buoyant mass" (apparent mass of the suspended object) shows that we may divide the samples into two basic groups: singular floating masses (Fig.7. D-F) and multiple floating planes (Fig.7. A-C). Although both are rectangular in nature, those of the former are more massive than the latter. The analysis of the samples by "buoyant force" (strength and quality of the supports of the buoyant mass) yielded three classifications of F i g . 8 . T h e D i ff e r e n c e b e t w e e n G r o u n d e d F l i g h t ( A ) a n d the forces applied to the buoyant masses. The first is Floating Effect (B) upright vertical support (Fig.7. B, C, and D), which mostly caters to multiple floating planes, and is used to the ground plane. In order to analyze the quality impart even, distributed support. Next are the slanted of grounded flight, we took into consideration the forces (Fig.7.-E), which seem to be a precursor of the qualities of the "Anchored Mass" and the "Anchor final classification, curved forces (Fig.7.-F). Slanted Supports." In the matter of anchor supports, we saw and curved forces are usually employed in singular an evolution from slanted supports to footed bases. floating masses, whereas upright vertical support is These footed bases articulate the separation of the used for stacked multiple planes. a n c h o r e d m a s s f r o m t h e g r o u n d a n d p r e v e n t t h e 3.2 Grounded Flight vertical movement from seeming to continue beyond S t i l l c o n n e c t e d t o t h e c o n c e p t o f l i g h t n e s s i n the ground plane. traditional Philippine architecture, the quality of M o v e m e n t i s m o r e a p p a r e n t i n t h e f o r m s o f grounded flight in Locsin's architecture seems to have grounded flight compared to the forms of the floating developed from the floating quality into much lighter e ff e c t ( F i g . 9 . ) . T h e y a l s o r e p l i c a t e t h e s h a p e o f forms. Unlike the buoyant masses of the floating traditional architecture wherein the roof was the main quality, anchored masses are generally not rectangular feature (Fig.1.). The practice of securing these large blocks. They are characterized by their connection to roofs to the ground was common during typhoon the ground (Fig.8.-A), unlike the buoyant masses that season. These forms are interpreted by the tensions are completely separated by the area of displacement observed in grounded flight. Some of these forms also composed of their supports (Fig.8.-B). echo the shape of a billowing sail, a common sight in Grounding relates to the anchoring pull of gravity, an island nation such as the Philippines. and flight denotes movement and detachment from JAABE vol.8 no.1 May 2009 Caryn Paredes-Santillan 5 Fig.10. An Example of the Open Plan of the Traditional Ifugao Hut from the Northern Mountain Province. The Silong and the area Surrounding the Hut are Semi-communal Public Space, while the more Private Areas are Nestled below. Fig.9. Examples of Grounded Flight. (A) Istana Nurul Iman (B) Osaka Pavilion, (C) and (D) Church of St. Andrew 3.3 Enclosed Openness Locsin was one of the few Filipino architects who paid attention to the relationship of interior and exterior s p a c e s . H e w a s a w a r e o f t h e b i p o l a r d i ff e r e n c e s b e t w e e n e n c l o s e d We s t e r n s p a c e s a n d t h e m o r e open, multi-purpose Eastern space. Such qualities of enclosed openness and alternating spaces of opposite s p a t i a l c h a r a c t e r b o t h s t e m m e d f r o m t h e n e e d t o segregate space while maintaining a continuous flow F i g . 11 . E n c l o s e d O p e n n e s s D e f i n e D i ff e r e n t D e g r e e s o f throughout the rooms. One apparent underlying theme Participation in the Chapel of the Holy Sacrifice in the bipolar qualities of both Locsin's object form and that surround the altar and provide different levels of spatial form is the continuous process of detachment interaction (Fig.11. A-C). Though visibly open, the and reintegration from space to space. core space is enclosed by several levels of porous Enclosed openness pertains to the quality of Locsin's residual space that impedes direct access to the core work that involves "multiple enclosures around a space. Though from within, the space may seem open, central core." Traditional Filipino architecture, like light, and airy, when entering from the exterior into much of its Asian neighbors, uses an open, multi- the chapel, one feels the different levels of enclosure purpose plan. Using a space-time continuum, spaces a r e d i v i d e d v e r t i c a l l y r a t h e r t h a n h o r i z o n t a l l y. that surrounds the core space. This is also apparent in the National Arts Center and the Monastery of the Furthermore, horizontal divisions, when they occur, are Transfiguration. semi-solid in the form of movable partitions, screens, 3.4 Alternation of opposite spatial characters and lattices that allow space to be divided according to Related to the Asian spatial concept, Locsin divides the user's preference. h i s s p a c e s b y a n a l t e r n a t i o n o f o p p o s i t e s p a t i a l These permeable residual spaces surround the core characters (narrow-wide, light-dark). Emphasis is space with different levels of tangible or implied given to the non-physical barriers of space. We enter barriers. For example, in the Church of the Holy through low, dimly-lit passages and emerge into large, Sacrifice (Fig.6.), there are three concentric layers 6 JAABE vol.8 no.1 May 2009 Caryn Paredes-Santillan light, and airy spaces that allow us different degrees of 4.1 Bipolarity: Modern Architecture deriving from integration within a space. Much like the contrast of the Vernacular stepping into the dark coolness of a traditional Filipino The abstract formal interpretations of Locsin are house after the harsh glare of the tropical sun, these very different from how some Filipino architects have passages and barriers serve as a rite of passage that used local materials appliqué-style as a concession to separates exterior and interior spaces. vernacular architecture. Locsin's forms are based on an innate understanding not only of traditional forms, but also of the processes involved therein. This process of integration as facilitated by the bipolarity in his works is one of the aspects that set Locsin's architecture apart. It was not only Locsin who made use of bipolarity to express a Filipino character in his architecture, h o w e v e r, t h e u s e o f s u c h w a s m o s t c o n s i s t e n t i n his work compared to others. Still, his influence is undeniable. The floating effect for example is visible in Jose Zaragosa's Meralco Building (1968) and Alfredo Luz's Magsaysay Center (1967). Both buildings were built almost a decade after the first appearance of the floating effect in Locsin's architecture (UP Chapel, 1957). Other architects of note are Carlos Arguelles for his tropical adaptation of the international style in his Philamlife Building and Gabriel Formoso's Bauhaus-inspired Central Bank Buildings. Some, such as Francisco Manosa have chosen to develop the use of indigenous materials in building, such as in the Coconut Palace and the Mary Immaculate Church Fig.12. The Alteration of Narrow and Wide Spaces (1986). in the Ayala Museum 4.2 Bipolarity and Locsin as Symbols of Power The alternation of opposite spatial character is The author agrees with Lico's argument (2003) evident in how "larger dominant spaces" and "narrow t h a t t h e M a r c o s r e g i m e ' s o b s e s s i o n w i t h m o d e r n residual spaces" interchange. There is a visible pattern architecture of monumental proportions signified the of separation and re-integration in the passage from drive of the government at that time. They were at the residual space to the dominant spaces. In the Ayala threshold of industrialization; this necessitated a show Museum for example, one enters a building through of power, both locally and internationally. Thus the a l o w, c a n t i l e v e r e d c a n o p y t h a t s e e m s t o p r o p e l Marcoses supported architecture that propagated their movement into the inner space, upon entering one Filipino visions for the new society. is greeted by the wide, open expanse of the lobby. The change of Locsin's architecture into monumental However, to get to the other dominant spaces, one has forms during this period signified maturity as he to pass through narrow residual spaces (Fig.12. A-B). gained the confidence to carry off his bold architectural Often, there are no tangible barriers that segregate one statements, and thus established an architectural dominant space from another, but because residual identity for himself. However, although most of his spaces are scaled to human height, they seem to induce projects for the Marcoses were designed to be a symbol a separation from the dominant spaces. The dominant of the people, they were often alienating in their spaces in turn, usually allow for easy integration monumentality. Thus, although these buildings were to because of their high ceiling height (Fig.12.-C). This is serve as a symbol of the Philippines to the world, the also apparent in the hallways connecting the buildings Filipino public mostly felt ambivalent towards them in Locsin's PICC, CCP Theater, Nutrition Center, and because they were not able to experience the spaces the main clubhouse of the Canlubang Golf and Country within, and tended to judge the buildings solely from Club. the monumental massiveness they perceived from outside. 4. Conclusion 4.3 Art and Architecture We have used the concept of bipolarity as a starting One of the most significant effects of Locsin's point for our inquiry, as it abstractly represents the architecture on the Philippines is that he brought art dilemma of the Filipino, caught as he or she is between back into architecture; during that time, architects in two very different worlds. In our analysis of Locsin's the Philippines prided themselves on being so well- architecture, we have found an incorporation of bipolar versed in structural engineering that architects were elements in both exterior form and interior space. simply viewed as decorators. Locsin, with his forms JAABE vol.8 no.1 May 2009 Caryn Paredes-Santillan 7 and spaces, re-introduced the architectural experience Note of building. This paper is based on the author's PhD dissertation Locsin said, "[The Philippines is] a hybrid culture. completed in 2007 under the supervision of Prof. This is both our weakness and our strength." It is by an S h o g o K i s h i d a , K i s h i d a l a b o r a t o r y, D e p t . o f understanding and acceptance of bipolarities in culture Architecture, Graduate School of Engineering, the as it pertains to the production of new forms that we University of Tokyo. The author would like to express are able to harness bipolarity as a tool to develop and her gratitude to Prof. Kishida for his guidance and further communicate architecture and culture. support. References Endnotes 1) Alarcon, Norma I. (1998) Philippine Architecture during the The congress was titled "First Asian Congress of Architects Spanish and Pre-Spanish periods. Manila: UST Press. and Asian Identity: A search for a meaningful role." It was the 2) Arnheim, Rudolf. (1969) Visual Thinking. Berkeley: University of consensus of the convening body that Asian identity may not be California Press. summed up into a narrow, singular definition, because Asian 3) Dacanay, Julian. (1978) Filipino Heritage, Vol.6 Manila: Lahing architecture is in itself very multi-cultural. A single Asian nation Pilipino Publishing. may be an amalgam of different cultures, and although there may 4) Frampton, Kenneth. (1980) Modern Architecture: A Critical be similarities in the basic structure of most Asian nations, they history. London: Thames and Hudson. are still very different from each other. 5) Hila, Ma. Corazon, Rodrigo Perez III and Julian Dacanay. (1992) Some scholars deplore this absolute transplantation of culture, Balai Vernacular: Images of the Filipinos Private Space. Manila: because it went against a classic rule of imperialism: that the CCP. colonial masses must never be taught the language of their 6) Jablan, Slavik Vlado. (2002) Symmetry, Ornament and Modularity. masters (Joaquin 1999:226). Singapore: World Scientific. The Spanish called the Filipinos indios (natives) and set them 7) Kalaw-Ledesma, Purita. (1974) The Struggle for Philippine Art. apart in a stringent class system, the remnants of which are still Manila: Vera-Reyes Publications. apparent in modern society today. 8) Klassen, Winand. (1978) Towards a Filipino Architecture. In House of wood and stone of upper-class Filipinos during the turn Philippine Quarterly Digest 6: 218-227. of the century –––. (1986) Architecture in the Philippines: Buildings in a cross- William Parsons was commissioned to design the buildings cultural context. Cebu City: USC Press. stipulated in Burnham's plan. –––. (1984) First Asian Congress of Architects and Asian Identity: A Daniel Burnham, an architect and urban planner, cam to Manila search for a Meaningful role. In Philippine Quarterly of Culture in the early 1900s at the invitation of the US government. Details and Society 12: 271-305. of the plans he made for both Manila and Baguio city appear in 9) Kubler, George. (1962) The Shape of Time: Remarks on the The Chicago Plan publication of 1909. History of Things. New Haven and London: Yale. Unlike most architects of the time who were part of the United 10) Lefebvre, Henry. (1991) The Production of Space. D. Nicholson- States' Pensionado program, which sent Filipinos to the US for Smith (trans.) Oxford: Blackwell Publishing. education then placed them in appropriate government posts upon 11) Lico, Gerard. (2003) Edifice Complex: Power, Myth and Marcos their return to the Philippines, Locsin was educated entirely in State Architecture. Manila: Ateneo University Press. the Philippines. Although he had planned to go to Harvard for 12) Locsin, Leandro. (1964) The Elusive Filipino Soul in Architecture. graduate studies, the early start of his architectural career made In Exchange. 4th Quarter. 33: 18-25. him decide to stay in the Philippines. –––. (1964) Need for a Filipino Style in Architecture. In Philippine Architecture, Engineering & Construction Record 13: 4. –––. (1966) The Cultural Center of the Philippines in the Philippine Institute of Architects Journal 1: 4. 13) Perez, Rodrigo III and Augusto F. Villalon. (1996) The Poet of Space: Leandro V. Locsin. Manila: CCP. 14) Perez, Rodrigo III, Rosario S. Encarnacion and Julian Dacanay. (1989) Folk Architecture. Manila GCF Books. 15) Polites, Nicholas. (1977) The Architecture of Leandro V. Locsin. Weatherhill: Tokyo, Japan. 16) Wolfflin, Heinrich. (1950) Principles of Art History: The problem of the Development of Style in Later Art. Translated by Hottinger. New York: Dover Publications, Inc. 17) Zialcita, Fernando N. and Martin I. Tinio, Jr. (1980) Philippine Ancestral Houses 1810-1930. Quezon City: GCF Books. 8 JAABE vol.8 no.1 May 2009 Caryn Paredes-Santillan
Journal
Journal of Asian Architecture and Building Engineering
– Taylor & Francis
Published: May 1, 2009
Keywords: Leandro V. Locsin; bipolarity; modern architecture; Filipino architecture
