National Theatre of the Philippines
My final year dissertation which explored a symbolic edifice in Manila, built by the National Artist for Architecture as per request of the former First Lady of the Philippines. It discusses Architecture's innate role in a political society, specifically in a country that has undergone centuries of colonialism; which got an overall grade of A. My final year dissertation which explored a symbolic edifice in Manila, built by the National Artist for Architecture as per request of the former First Lady of the Philippines. It discusses Architecture's innate role in a political society, specifically in a country that has undergone centuries of colonialism; which got an overall grade of A.
Awarding of Project to Locsin In 1961, then First Lady, Imelda Marcos had seen Leandro Locsin’s presentation drawing for a cultural centre, commissioned by the Philippine-American foundation. That building was never realised. 27 Through the success of his early works and being a resident architect for the Zobel-Ayala (a prominent family in the Philippines), he met well-connected people along the way that helped him link in receiving the big commission from Mrs. Marcos. This was no surprise as during that time, oligarchs were a big part of the Philippine society. The affluent families will always have a connection with politics as these families provide investments and money towards the government’s projects. Imelda Marcos even made them contribute through donating some of their wealth in pursuing her image of the ‘Beautiful Philippines’. The money for the unrealised theatre was then moved to CCP. She was determined to see the building through to completion as one of her initial projects as a First Lady and designing a flagship structure for a site is not new to Locsin. The project is then in full force and along with is the realisation in Leandro Locsin’s architectural style. 27 Polites !16
fig. 2.1 Theatre of Performing Arts main facade The Theatre of Performing Arts Serving as a focal point and main gateway for the Philippines’ then only arts and cultural centre is the Theatre of Performing arts. The building is the central piece of a complex called Cultural Centre of the Philippines (CCP), located within the heart of Metro Manila, it is situated on the northeast of the site facing along the palm-lined Roxas Boulevard with Manila Bay on its East. The overall concept of the building is a piece of a sculpture reflected by a pool and silhouetted against the sky. He wanted it to have a very strong and precise form that would act as a Manila landmark that is both symbolic and real 28. Acoustics became the most important consideration for the theatre. He designed the foyer to give a grand and sophisticated feeling that allow spaces to be flexible for showcasing Philippine art pieces and sculpture. 28 Polites !17
- 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 and 14: fig.1.10 Theatre of Performing arts
- Page 15: Using elements of what we sought to
- 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
Awarding <strong>of</strong> Project to Locsin<br />
In 1961, <strong>the</strong>n First Lady, Imelda Marcos had seen Leandro Locsin’s presentation<br />
drawing for a cultural centre, commissioned by <strong>the</strong> Philippine-American foundation.<br />
That building was never realised.<br />
27<br />
Through <strong>the</strong> success <strong>of</strong> his early works and being a<br />
resident architect for <strong>the</strong> Zobel-Ayala (a prominent family in <strong>the</strong> <strong>Philippines</strong>), he met<br />
well-connected people along <strong>the</strong> way that helped him link in receiving <strong>the</strong> big<br />
commission from Mrs. Marcos. This was no surprise as during that time, oligarchs were<br />
a big part <strong>of</strong> <strong>the</strong> Philippine society. The affluent families will always have a connection<br />
with politics as <strong>the</strong>se families provide investments and money towards <strong>the</strong> government’s<br />
projects. Imelda Marcos even made <strong>the</strong>m contribute through donating some <strong>of</strong> <strong>the</strong>ir<br />
wealth in pursuing her image <strong>of</strong> <strong>the</strong> ‘Beautiful <strong>Philippines</strong>’. The money for <strong>the</strong><br />
unrealised <strong>the</strong>atre was <strong>the</strong>n moved to CCP. She was determined to see <strong>the</strong> building<br />
through to completion as one <strong>of</strong> her initial projects as a First Lady and designing a<br />
flagship structure for a site is not new to Locsin. The project is <strong>the</strong>n in full force and<br />
along with is <strong>the</strong> realisation in Leandro Locsin’s architectural style.<br />
27 Polites<br />
!16
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