National Theatre of the Philippines

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Chapter 3: The Architecture of Power, the commissioner and the political atmosphere of that time – It explores how the idea of creating a National Theatre came forward and why the building was built. Chapter 4: Conclusion – The common denominator and questions about the building’s legacy as a national theatre to the Philippines – The last chapter argues about the co-incidental objective of both the architect and the client that was never planned as it discusses the building’s viability in present time and its legacy. In hope to use this dissertation as an opportunity to show and learn in depth about the history and architecture of the Philippines enough to enlighten the readers concerning a country far from the west, a thorough research was carried out. This is through visiting the site, watching documentaries and recorded architectural conferences, live projects, reading dissertations, essays, newspaper articles, government websites, published books and peer-reviewed journals about the building in study, the architect and the client with the help of the RIBA library, The British library, Dame Elizabeth Esteve-Coll Centre and the CCP Library and Archives. This dissertation was carefully prepared alongside with my tutors Deny Jones and Laura Evans as big help in structuring my dissertation as a part of my final year as a student of BA Architecture in Kingston University. !4
fig.1.1 Leandro Locsin: National Artist Award for Architecture, 1990 fig.1.2 The Partners in the photo, left to right: Edgardo “Ed” Ledesma Jr., Leandro “Lindy Locsin”, Raul Locsin, Ruben “Ben” Protacio, and Orlando “Orly” Mateo having fun discussing plans around the marble table | Photo courtesy of LVLP and Bluprint Leandro Locsin Born in the central region of the Philippines and a grandson to the first governor of their province, Leandro Locsin was a Filipino architect, interior designer, artist and an aficionado of Philippine arts, culture and heritage. He came back to Manila after the Second World War to study Pre-Law but instead pursued a degree in Music and then again changed his course into Architecture. 1 On an interview with his son, there was a question about how did his father know that he wanted to take up architecture and he answered ‘Somewhere along the line, my father realised that he wasn’t gifted with the chops that his friend had. In his own assessment, that’s what it took to be the best at what one does —to get where you want to go at the top of one’s field. While he was pretty good technically and completely passionate about it, he just didn’t have ”The Gift” of a true virtuoso. Some people thought he did, but as a deeply knowledgeable musician, he knew better—he could hear and feel the difference. So in his second or third year, he was completely honest with himself and he accepted that it wasn’t going to work in the long run. Every day on the path to the Conservatory, 1 Nicholas Polites, Akio Kawasumi. The Architecture of Leandro Locsin. New York: Weatherhill, 1977 !5
Page 1 and 2: Cultural Centre of the Philippines:
Page 3: Introduction Architecture can be po
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 and 16: Using elements of what we sought to
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
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Primary research !55
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fig. 5.2 1:500 m first floor plan !
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fig. 5.4 1:500 m third floor plan !
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fig. 5.6 1:500 m -1 B back floor pl
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fig. 5.8 East to West Section 1:500
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fig. 6.1 North elevation sketch !65
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fig. 6.4 Interior main lobby sketch
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fig. 7.2 North side of the building
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fig. 7.4 North side of the building
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fig. 7.6 Ramp and pool connection t
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fig. 7.8 South entrance balcony !75
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Left and right fig. 7.10 North side
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fig. 7.16 Main entrance stairs List
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Bibliography: Ábalos, Iñaki. Lati
Page 83:
Peralejo, Elizabeth R. “The Colle
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National Theatre of the Philippines

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