National Theatre of the Philippines

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fig.1.11 East and Main lobby of Theatre of Performing Arts, 2016 Meanwhile, the interior of the building bridges the lacuna between tradition and modernity. It was ingeniously produced along with the unanticipated special poetry creating an impression of transparent order and organic unity in his architectural composition. The use of concrete, which has a highly tactile texture were made by mixing cement with crushed seashell particles were done to achieve for the building to have a strong congruity with a place that was previously in water. 21 On the topic of his purpose as an architect, Locsin said on an interview, ‘I believe that my particular role in Architecture is to be the bridge between the past and future’ 22. One has to go back within their roots but at the same time move forward and use the modern technology as an advantage to be up to par with the world. The Philippines’ national hero, Jose Rizal’s saying comes to mind ‘He who does not know how to look back where he came from will never get to his destination' 23 – which is metaphorically similar in his approach to the newly hybrid form of Philippine Architecture. 21 Lico, Gerard, Arkitekturang Filipino (Diliman, Quezon City: University of the Philippines Press, 2008) p.481 22 “Works of Locsin, Filipino architect.” Philippine Architecture & Building Journal, 1960: 13-19. 23 Jose P Rizal !14
Using elements of what we sought to identify as Filipino, he interprets them as symbols in his buildings. Locsin’s architectural trademarks were the lightness in form, transparency, and grace imparted by slender tapering columns, delicately thin sun breakers and the projecting and suspended balconies and overhangs. They are sculptural, interpenetrating spaces, governed by his fascination with strict geometrical inclination. 24 The refined minimalism in his works acts as the purest form of aesthetic manifestation, which is evident in his treatment of raw textures, grains and repeated rhythm of materials, luminosity elevating the structure’s materiality and sensuality to transcend the ephemeral interpreting them in accordance with contemporary aesthetic sensibilities in terms of construction technique or use of materials. 25 His works were sculptural manipulations, which were established through the interplay of geometric solids and voids while transgressing the defined boundary between enclosure and the environment. By intimately observing vernacular structure, he came to realise that longstanding building practices were valid for the Philippine geographic climatic conditions, even in an era of cutting edge technology driven society. 26 24 Klassen, Winand W, “TOWARDS A FILIPINO ARCHITECTURE.” Philippine Quarterly of Culture and Society, vol. 6, no. 4, 1978 25 Lico, Gerard, Arkitekturang Filipino (Diliman, Quezon City: University of the Philippines Press, 2008) p.479 26 Lico, Gerard, Arkitekturang Filipino (Diliman, Quezon City: University of the Philippines Press, 2008) p.481 !15
Page 1 and 2: Cultural Centre of the Philippines:
Page 3 and 4: Introduction Architecture can be po
Page 5 and 6: fig.1.1 Leandro Locsin: National Ar
Page 7 and 8: Following the success of his first
Page 9 and 10: The Architect’s architectural sty
Page 11 and 12: fig.1.6 Traditional Bahay Kubo, 198
Page 13: fig.1.10 Theatre of Performing arts
Page 17 and 18: fig. 2.1 Theatre of Performing Arts
Page 19 and 20: fig. 2.2 Current Noli Plan 1:7500 !
Page 21 and 22: fig. 2.4 Original site plan 1:2500
Page 23 and 24: fig. 2.6 Front Elevation during sun
Page 25 and 26: fig. 2.10 Boulevard road view from
Page 27 and 28: From top left clockwise fig. 2.12 T
Page 29 and 30: From top left clockwise fig. 2.20 c
Page 31 and 32: From top left clockwise fig. 2.25 M
Page 33 and 34: From top to bottom fig. 2.31 Studio
Page 35 and 36: From top clockwise fig. 2.38 Salon/
Page 37 and 38: fig. 2.42 Original site model of CC
Page 39 and 40: fig. 2.46 Aliw Theatre fig. 2.47 St
Page 41 and 42: fig. 2.50 Folk Arts Theatre fig. 2.
Page 43 and 44: fig. 3.1 East Gate Olympic Stadium
Page 45 and 46: fig. 3.2 Alibata - old Filipino alp
Page 47 and 48: fig. 3.3 Presidential inauguration
Page 49 and 50: fig. 3.4 EDSA Revolution, 1986 As t
Page 51 and 52: Imelda Marcos did her best to make
Page 53 and 54: Placing the building in a very stra
Page 55 and 56: Primary research !55
Page 57 and 58: fig. 5.2 1:500 m first floor plan !
Page 59 and 60: fig. 5.4 1:500 m third floor plan !
Page 61 and 62: fig. 5.6 1:500 m -1 B back floor pl
Page 63 and 64: fig. 5.8 East to West Section 1:500
Page 65 and 66:
fig. 6.1 North elevation sketch !65
Page 67 and 68:
fig. 6.4 Interior main lobby sketch
Page 69 and 70:
fig. 7.2 North side of the building
Page 71 and 72:
fig. 7.4 North side of the building
Page 73 and 74:
fig. 7.6 Ramp and pool connection t
Page 75 and 76:
fig. 7.8 South entrance balcony !75
Page 77 and 78:
Left and right fig. 7.10 North side
Page 79 and 80:
fig. 7.16 Main entrance stairs List
Page 81 and 82:
Bibliography: Ábalos, Iñaki. Lati
Page 83:
Peralejo, Elizabeth R. “The Colle
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National Theatre of the Philippines

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