Check out “THE CARVE” a design proposal for the Museum of Philippine Contemporary Art here: https://www.facebook.com/media/set/?set=a.272480669593684.1073741831.228879293953822&type=1
Lantawan 2014 is out. Check out my article, "New Direction in Philippine Architecture" in the magazine.Introduction below.
"Our bahay kubos in wooden stilts are distant cousins of Asian huts; our old churches in brick and stone are grandsons of European cathedrals; and now our modern buildings in steel and glass are but the ugly brothers of the US skyscrapers. This genetic fate is rooted in the inherent interconnection of architecture evolution. But the connection is a one-way road, for the story has always been about foreign architecture inspiring local architecture - never the other way around. In fact, we always seem to be so eager to copy celebrated buildings around the world, instead of challenging ourselves to raise our standards and forge a trail in new directions. As a result, whatever new trends we have in Philippine architecture are, in reality, dying fads on the other side of the world. It is, thus, difficult to tackle the subject of “new” or of innovation when the history that we have is hardly backing up with evidence."
The Legacy of Locsin
Excerpt from my article for Lantawan magazine:
Small gestures and humble forms, no matter how intricate in detail, and even if multiplied tenfold, would always be dwarfed by any one giant undertaking. A hundred small parishes, therefore, could never equal a colossal temple like the Parthenon. Locsin was yet to make grand gestures and bold forms after his accomplishment with the Diliman chapel. While some of his contemporaries and even the architects that came before him, like Juan Nakpil and Pablo Antonio, have searched their inspiration from foreign education, Locsin decided to stay home. In a twist of fate, however, the US government awarded him with a leader grant which allowed him to tour the US and visit outstanding examples of modern architecture. He then began buying architecture books. A review of his library would tell the quality of ideas which he read and that later molded him and his architecture. After more than a decade since the Diliman chapel, the grand gestures and bold forms eventually manifested themselves. The Church of St. Andrew, the Mandarin Oriental Hotel, the Ayala Tower One, the Philippine International Convention Center (PICC), and the Cultural Center of the Philippines National Theater (Tanghalang Pambasa), among others, were colossal structures that changed the course of Philippine architecture: from the religious to the civic to the commercial, Locsin has defined Philippine Monumental Modernism.