National Theatre of the Philippines

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During the late 50’s, Brutalism started to flourish in the United States 11 and concrete, although abundant, were ignored by the young Filipino architects as they wanted to do something more European, like metal and glass 12 – which are expensive materials for such a newly independent country. As he developed his perspective in Architecture, along with his new ideas of Brutalism and greater respect for concrete, he then adapted them to coincide with his cultural heritage as a response to contemporary Philippine architecture. Indeed, this has led to the birth of what has become now the National Theatre of the Philippines. 11 Modernism and Brutalism, Architectural styles of America and Europe https://architecturestyles.org/post-war-modern/ (accessed 25 September 2017) 12 Nicholas Polites, Akio Kawasumi. The Architecture of Leandro Locsin. New York: Weatherhill, 1977 !8
The Architect’s architectural style and Philippine Architecture So what does it take to make a product of Architecture, Filipino? How can you successfully call it Philippine Architecture? The Philippines is a young developing nation that only got their true independence when the Treaty of Manila was signed in 1946 with USA granting the country its full independence 13, a year before Leandro Locsin entered university. Originally, Architecture was not a subject one could study in the country and this resulted its first generation of architects to be educated mostly from the United States. 14 But as this group of architects grows older, another emerges. The time eventually came where they can produce their original breed of architects. In the Philippines, architecture students learn their nation’s historical types of building along with climate responsive design as a particular subject in university. This is a method that enables students to be aware of their own architectural structure and history. With Locsin being locally educated, there was a great influence on the teaching he received to the kind of work he produced. In addition to it, having exposed to the arts for a very young age – having an opera enthusiast as a grandfather and the fact that he himself is a Philippine Art supporter became stimuli on the patriotic approach on his designs. But the trend in architecture in his country was changing. In the early 50’s vast structural development swooped the capital. As much as the country being originally Spanish-Latin influenced, the architects envied the all glass and steel buildings in the western world. They were trying to keep up with the style but cannot afford to do so –the country being poor and just starting to stand on its own. Number of buildings were designed to be precedent with American and European architecture. This gave a challenging opportunity to the native architects. It triggered a start in pursuing a goal on creating an architectural identity that they can call their own. 13 "Treaty Of Manila (1946)", En.Wikipedia.Org, 2017 https://en.wikipedia.org/wiki/Treaty_of_Manila_(1946) (accessed 25 September 2017) 14 United Architects of the Philippines. History of UAP. https://united-architects.org/about/history-of-uap (accessed September 24 2017) !9
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: Following the success of his first
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
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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National Theatre of the Philippines

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