National Theatre of the Philippines

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ingrained within the Puerto Rican identity. It became a representative of their ideals as they selectively retrieve their Spanish heritage amidst the feeling of nostalgia. 32 But this did not happen in the Philippines as the country had a different response in accumulating and taking in the American culture. One significant change was the use of American alphabet as its own official one. The country absorbed the influence of its conqueror as like a sponge. This is because it had no singular cultural identity. Philippines already had an old civilisation, which were originally from the Malay and Chinese, even before Ferdinand Magellan discovered it. This makes the Philippines already culturally diverse even during the Spanish rule. Fast forward to 60 years later, during the Marcos regime (1965 - 1986) in the Philippines, the government declare New Society / New Filipino project for the country. The idea of Palingenesis 33 (a utopian idea of rebirth or spiritual regeneration to reconnect with the past) is to be evoked within the culture and tradition of the nation. During the Martial Law, this regime consolidated nationalism with a mode of identity and modern progress. There were two particular rules about the resolution to our identity in this new society: 34 1. Identity as a derivative of primeval ancestry 2. Identity as evidence of human progress made possible through art The continuous ambition of this scheme resulted the amalgam of national identity to architecture and politics. 32 Vivoni-Farage, Enrique, “The Architecture Of Power", Cmu.Edu https://www.cmu.edu/ARIS_3/vivoni/frameset_vivoni.html (accessed 18 July 2017) 33 "Palingenesis", En.Wikipedia.Org https://en.wikipedia.org/wiki/Palingenesis (accessed 25 September 2017) 34 Lico, Gerard, Arkitekturang Filipino (Diliman, Quezon City: University of the Philippines Press, 2008) p 452 !44
fig. 3.2 Alibata - old Filipino alphabet To revive the old heritage of Filipino identity, they used symbolic designs like the Alibata (Philippine’s ancient alphabet), salakot (wide brimmed hat used by the soldiers during the old Philippine age), mythical creatures, etc. and translated them literally into a modern conception. They wanted these symbols to be used as visual aesthetics of power in built form such as art, architecture, sculpture and painting. However, with this particular concept of new society and proving the nation’s prowess through building monumental structures, the government needed support from either an allied country’s aid or from a private investment sector. A budget should be allocated for these projects (one of them being the Theatre of Performing Arts) but even the taxpayer’s money is not enough to cover a megalomaniac plan that the Marcos regime was trying to seek. The money they used was from the cultural development fund, supported by the special fund for education, which originated from the Philippine war claims from the USA. !45
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 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: fig. 3.1 East Gate Olympic Stadium
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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