National Theatre of the Philippines

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he would pass through the Art and Architecture building. As he was walking through the Architecture department one day, he thought, “Maybe I’ll try one of these courses!” So he signed up for an Architecture course. The moment he became involved in architecture, he discovered that he was unbelievably good at it.’ 2 He attended University of Santo Thomas in which during the 50’s looked up to Industrial design, Modernism and the 20th century architects like Frank Lloyd Wright, Le Corbusier and Mies van der Rohe. 3 Not only with academia but during the post war period, the Philippine government set a particular task to local architects to create a master plan for the capital city of Manila and study American Modernism - having ‘form follows function’ as a principle in which they loosely base their design; and Latin American architecture – where they focus on climatic and technical characteristics that led to the use of staple design elements such as sun shades, overhang, etc. 4 which are sensible to use considering the similarity to Philippines’ tropical climate and environment. As a young architect, Locsin’s break was a rare and incredible opportunity. A prominent family asked Locsin to design a circular chapel. Unfortunately, the client, Frederick Ossorio left for the United States for good; so the chapel was never built. But not long until Locsin received a project from the Catholic chaplain of a state university where he was asked to build ‘an open sided chapel seating one thousand that would be receptive of whatever faith’ 5. This time, the client is a priest who is ‘open-minded and completely unbound by tradition’ 6. With the consent of Mr. Ossorio, he developed the original scheme of his first commission which was never realised. The result is the Chapel of the Holy Sacrifice. Nicholas Polites described it in his book as ‘modified design specified a thin-shell concrete dome that could span a large space at minimal cost’ 7. It was a triumphant construction and the chapel became an overnight sensation. 2 Succeeding Success: Lindy and Andy Locsin, 2017 http://bluprint.ph/succeeding-success-lindy-and-andy-locsin/ (accessed 18 December 2017) 3 Nicholas Polites, Akio Kawasumi. The Architecture of Leandro Locsin. New York: Weatherhill, 1977 4 Ábalos, Iñaki. Latin American Architecture Today, Harvard Design Magazine No. 34 http://www.harvarddesignmagazine.org/issues/34/latin-american-architecture-today (accessed 18 December 2017) 5 Nicholas Polites, Akio Kawasumi. The Architecture of Leandro Locsin. New York: Weatherhill, 1977 6 Nicholas Polites, Akio Kawasumi. The Architecture of Leandro Locsin. New York: Weatherhill, 1977 7 Nicholas Polites, Akio Kawasumi. The Architecture of Leandro Locsin. New York: Weatherhill, 1977 !6
Following the success of his first building, he started working for an established real estate firm. He was to design the first building that would set the architectural idiom for subsequent buildings on what was then the frontier of urban development and what has become Manila’s premiere business district. 8 He had numerous projects ahead of him before he came to be the architect for the Theatre of Performing Arts in 1965. His projects range from chapel to private commercial buildings; hotels and large numbers of residential housing projects. His early works were often made up of concrete due it being low-cost and the labour being inexpensive. Most of his buildings were heading through the direction of solid and fluid forms but still vernacular to accommodate the existing built environment and microclimate. In 1959, Locsin won a specialist grant from the US State Department to make an architectural viewing tour of the States. He met Eero Saarinen – whose works he admired due to its exciting shapes and forms – and Paul Rudolph – whose buildings left a big impression on him as he study the architect’s works. He describe them as ‘textured and finished concrete surfaces in various ways to articulate elements, to embellish and enrich, to create changing patterns caught by the rays of the moving sun’ 9. These two architects and his experiences left him thinking, ‘If concrete was regarded as one of the most exciting modern materials – as it can create plastic shapes, forms and sculptural buildings, why should Filipino architects feel deprived using it?’ 10 Following the trip, his fascination for concrete as a material for modern buildings became a pivotal turn on his succeeding works. fig.1.3 Temple Street Garage, New Haven Connecticut, Paul Rudolph 1961 fig.1.4 TWA Terminal, Queens New York, Eero Saarinen, 1962 8 https://arkitekturaph.wordpress.com/portfolio/cultural-center-of-the-philippines/ (accessed 9 January 2018) 9 Nicholas Polites, Akio Kawasumi. The Architecture of Leandro Locsin. New York: Weatherhill, 1977 10 Nicholas Polites, Akio Kawasumi. The Architecture of Leandro Locsin. New York: Weatherhill, 1977 !7
Page 1 and 2: Cultural Centre of the Philippines:
Page 3 and 4: Introduction Architecture can be po
Page 5: fig.1.1 Leandro Locsin: National Ar
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
Page 55 and 56: 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 !
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
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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
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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