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The Common denominator Was there a mutual goal between the architecture of Leandro Locsin and the Marcos Regime? Manila as a primate city (the largest city in its country, disproportionately larger than any others in the urban hierarchy) 41 is conditioned by the geographic, economic and political setup all of which in turn affect the development of architecture in the country. 42 The essence of architecture is immaterial. It concerns itself with values and inspirations with meanings, as some want to call the non-physical side of architecture. It is expressed by a significant architectural form. 43 On December of 1978, Imelda Marcos challenged the architects during ‘Architecture week’ about enjoining designers and builders to develop strategies that will reflect our culture, utilise our indigenous materials and develop an architecture which is truly Filipino. 44 It was only in the 1980’s that architects in the Philippines began to discuss subjects such as Filipinism in Architecture. There was no such disagreement in architectural scene and topics pertaining to the controversy between traditional and modern architecture. It was never became the subject of debate. 45 There was a lack of architectural critics as compared to art critics although if we compare art to architecture, the latter affects a great number of people more often than art in a dense city environment. 46 According to Gerard Lico in one of his articles, “In the minds of Marcos, a building was not merely a walled structure but a metaphor for a Filipino ideology and the process of construction was synonymous to the building of the nation” 47 41 McPhelin Michael. Manila: The Primate City Philippine Studies, Vol. 17, No. 4 (October 1969), pp. 781-789 42 Klassen, Winand W, “TOWARDS A FILIPINO ARCHITECTURE.” Philippine Quarterly of Culture and Society, vol. 6, no. 4, 1978 43 context on Mañosa’s look on Philippines’ architecture - Klassen, Winand W, Architecture In The Philippines (Cebu City, Philippines: University of San Carlos, 1986) p 210 44 United Architects of the Philippines. History of UAP. https://united-architects.org/about/history-of-uap (accessed September 24 2017) 45 Klassen, Winand W, Architecture In The Philippines (Cebu City, Philippines: University of San Carlos, 1986) pp. 186-187 46 Klassen, Winand W, Architecture In The Philippines (Cebu City, Philippines: University of San Carlos, 1986) p 212 47 Lico, Gerard, Arkitekturang Filipino (Diliman, Quezon City: University of the Philippines Press, 2008) p 452 !50
Imelda Marcos did her best to make her mark as the First Lady by building landmarks that she claimed represented a national resurgence. Leandro Locsin, may it be consciously or unconsciously in pursuit to find the Philippine architectural identity through hybrid, cross-fertilisation on culture, design, art and architecture became the ideal architect for the first lady’s purposes. Both benefitted the other in social, economic and political ways. Locsin found himself useful to the ambitious leaders who needed to build to convince themselves that they were in command of dynamic modern state and at the same time, the guardians of national pride. 48 The greatest difficulty in creating a convincing sense of national identity through architectural means is that it is an essentially artificial in process that must mimic supposedly organic characteristics. The manufacture of identity through architecture is revealed as an entirely self-conscious process. 49 The elusive Filipino soul in Architecture cannot be achieved by consciously striving for it. The political objectives of building structure for a nation to mark its identity in the world could be metaphorically compared to a person’s. A man can only truly find their identity after they mature and age enough. Friedrich Von Schelling said, ‘Architecture is a frozen music’. 50 In addition, according to Philip Johnson, both are sequential art that has an element of time. The only difference is that in Music, the art object moves through sequences of time with the listener being fixed, while in Architecture, the art object is fixed and the observer must move through the sequence of time to experience it. Thus could tell is that identity can be found in time. 48 Sudjic, Deyan. The edifice complex: how the rich and powerful shape the world, London: Penguin, 2006 p153 49 Sudjic, Deyan. The edifice complex: how the rich and powerful shape the world London: Penguin, 2006 pp. 154-155 50 Hellman, Louis. Architecture is frozen music... or is it frozen money? 11 MARCH, 2010 https://www.architectsjournal.co.uk/opinion/architecture-is-frozen-music-or-is-it-frozen-money/ 5215228.article (accessed 18 December 2017) !51
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 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: fig. 3.4 EDSA Revolution, 1986 As t
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

National Theatre of the Philippines

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